S a t u r d a y,  July 5th
18:00..“Pera Dobrinovic” Stage of Serbian National Theatre

"Ruben Simonov" Theatre:
(Moscow, Russia)


Oblomov Ilja Iljic……………..…… Vladislav Demcenko
Stoljc Andrej Ivanovic…..…..…… Vjaceslav Petrusin
Zahar, Oblomov's Servant…..…… Aleksej Jarmilko
Iljinskaja Olga Sergejevna…….… Natalija Masic
Psenicina Agafja Matvejevna…... Svetlana Jozefij
Arkadij, doctor……….…………… Mihail Bezobrazov
..Directed by: Sergej Zuev
..Scenography: Aleksandaar Cekanov
..Costume Designer: Aleksandar Petljura
..Music: Ljudmila Baksi
..Assistant Director: Svetlana Simakova
..Sound: Mihail Smirnov
..Stage Design: Igor Gusev
..Grim: Olga Mocalina
..Theatre Art Director: Veceslav Salevic
..Directed in Co-operation with the Centre Zet-Kreativ

In Autumn 1988, a new theatre occurred in Moscow. It was created by Evgenij Rubenovic Simonov with his students, the graduates of High Theatre School im. B.V.Sjukina. Dreaming about the development of traditional school Vahtangova, Evgenij Rubenovic above all considered that the basis was the theatre of absolute taste and emphasized theatricality at the stage ruled by an Actor. Some older people of Moscow - the admirers of Evgeni Vahtangov's theatre at the time - used to like and were quite familiar with such a theatre, when general manager was one of brilliant Evgenij Vahtangov's students - Ruben Nikolaevic Simonov.
In a jubilant fifteenth theatre season in a row 2002-2003, the theatre, together with production company "Zet-Kreativ", started with the rehearsal of performance "Oblom.ok" by the play of M. Ugarov "The Death of I. Iljic" according to the motifs of Goncar's novel "Oblomov".
Oblomov - one of the key figures of Russian literature, who chose to be a hero. Therefore, it is quite easy to explain why the performance author turns to his character once again. Now, it is important to understand to what extent it is modern? To what extent does the present Oblomov resembles the classic one? What are present motives by which Oblomov's "heroism" is fed with? And, to what extent is the disdaining tone of the notion "oblomovity" justifiable? To what extent has "Oblomov stereotype" changed, has it become "gigantic ideologist" of nonconformity? To what extent has aggressive information environment destroyed the limits of a hero and has it done so? All these questions are very interesting (current) for the authors, led by genial institution. "Oblom.ok" - imperial consciousness and greatness - as stated in the performance advertisement - this is the act of participation, heroism, inactivity, the courage of sozercanje, honest "Oblom.ok" dynasties giving birth to Totus descendants of complete people". To what extent is this view unusual: with, truly, cosmic "teasing" - about our funny time.
Our Oblomov is best explained by Goncarov himself through Stoljc's words: What was the best with Ilija Oblomov? Honest, faithful heart! This is his natural gold, he harmlessly carried it out through life. No false notes were betrayed by his heart, nor was he besmirched. He was not attracted by the slightest colourful injustice, and nothing made him take the wrong way. The whole ocean of garbage, evil may ruffle around him, the whole world may be poisoned and take a reverse direction - I have never met more purer, shining, and simpler heart".
The play by Mihail Ugarov "The Death of I. Iljic" was awarded with grand-prix as the best modern play at the international forum of young playwrights in Russia for 2002. This project was called by critics - an ecological one (real grass, rain, snow are at the stage). The project director, Sergej Zukev, who was the first to be authorised by Patrik Ziskind to direct the play "Contrabass" in Russia and for which he was awarded by the critics of Theatre Festival in Avignon.
Costume designer, Aleksandar Petljura, who did several projects with Bob Willson, is an owner of unique antiquity clothes, the largest in Europe.
The project scenographer, Aleksandar Cekanov, is the winner of international awards in Venice, Paris, Vienna, Belgrade, for his scenographies in different theatre projects.
The performance music was composed by Ljudmila Baksi, the winner of "Golden Mask" 2000 for theatre music.
Main role in this project is played by meritorious Russian artist Vladislav Demcenko, "the star of European Experimental Theatre", the winner of "Goethe" award of Berlin Academy of Art in 1998, "Mozart" award in Vienna 1996, Smoktunovski award in 1999 and 2002, etc.

Cultural Centre of Novi Sad