BOULEVARD Magazine No.4 December 2013 - Page 23

view of the prison and his role of the jail director and the hobby of making origami, in the show is highlighted by the expressive role of Milos Lalovic which is set as a grotesque teacher in kindergarten worrying how to entertain prisoners, giving them cruel “games” and looking at them as overgrown children, feeling hurt if these do not “love” him. Duality is valid on the other side of the bars, too; even though we don’t fully support any prisoner, and we know that they are murderers, rapists, thieves or drug dealers, we sympathize with them and want their sufferings to be eased if eventually there’s no way to end them. We cheer for their escape, althouh we are awere that it is sentenced to failure. Not even Rat,”Judas”, “Snitch” - the most disgusting figure of the show - remains with no sympathy from the audience. Especially in the scene where he betrays the escape plan to Boss, Marko Pavlovic is on the table, with his back to the audience, holding a paper crane received from Boss over his head, begging his monologue in which he is mortal in a world of gods who demand absolute obedience, and only occasionally give the gifts to the mortals, the greatest of all - a few square meters of living. When impressions after the show settle down, except the verified maxim that cop and felon are two sides of the same coin, we come to the thought that since the prison is the embodiment of law the freedom can only exist outside the law. And it is not only applied to the prisoners, since the prison life in “The man without mass” is a general view of the human society where the authority is always achieved by violence, so the laws can be prescribed. The thing we can blame on directors is the rhythm, which the intensity after a strong start is falling twice, leaving the audience to watch the prisoners being bored in their cells, though this can be understood as an authentic view of a prison life. The rhythm from the middle of the play to the end raises more and more. It’s created primarily by acting gig on the stage, by repeated recitation of why a certain character is sentenced (“thief”, “murderer”, “whore”) which gets the characteristic of a tribal ritual which culminates with the cry of “innocent” Laky:”Not guilty!”, to whom all members of the community are joined one by one, and then in the choir. The young and energetic actors’ ensemble deserves another mention. The oldest is Vladimir Tesovic playing a boring but also a touching role of Laky, the only one whose crime, which secured him a ticket to jail, we don’t know, and who always insists on his innocence, until he gives a mortal punch to Maradona. Through the convincing Tesovic’s representation of the “little man” – the one who society notes on the street pretty much as if he were in jail - is given a strong prison image that shapes a man. 23