Moving Music Theatre Битола, Moving Music Theatre Bitola, Macedonia
In association with Centre of Culture – Bitola, Macedonia

Based on the short story by Nikolai Vasilievich Gogol

Musical score, set design and directed by Marjan Nećak
Performed by Ozren Grabarić
Video by Marin Lukanović

Izabela Filov, PhD MD Psychiatrist
Olivera Makarievska, Art historian
Elena Kitanovska-Ristovska, Translator
Julijana Lukić, English Lector
Martina Perkušić, Drawing, Booklet design
Ges, Ilija Jankulovski, Set design and props

Best Actor Award, 23rd International Small Scene Theatre Festival, Rijeka 2016
Best Music Award, 23rd International Small Scene Theatre Festival, Rijeka 2016
“Mediteran” Award for Best Actor, 23rd International Small Scene Theatre Festival, Rijeka 2016
Audience Award, 18th International Monodrama Festival, Bitola 2016

Running time: 60 minutes
Original languages: English and Spanish

Diary of a Madman by N. V. Gogol is considered to be one of the earliest detailed records of schizophrenia, long before the disease got it recognition and name in the medical practice. However, Gogol’s short story doesn’t analyse the disease in the medical sense, but rather questions the world in which the individual struggles to make sense of his identity and social status. Gogol, in a lucid manner – through the disease of Poprishchin, speaks about the disease of the society and reminds us that all of us are in some kind of conflict with the reality. Which reality is more real? The one we read about in the newspapers, the one we observe in our immediate vicinity, or the one inside us? 
Spontaneity is a key segment when you start the creation. This was the way we created this mono-opera, which includes many different musical styles and still heads down the road of the classical music work – the Opera… at the beginning in a form of an Overture and very quickly veering off the path changing into a Symphony of the mental, spiritual, and emotional condition of the main protagonist. His captivity in himself, his inability, and his sentences half-way composed by Gogol without the musical line wouldn’t sound so strongly and astonishingly no matter how successful the acting interpretation is. The music is like the water. While we sail on it, drink it, and defend ourselves from it, we are wrapped in a unique acoustic garment without being aware of it.    
Marjan Nećak

Moving Music Theatre (MMT) produces contemporary music for performing arts (both theatre and dance), contemporary opera forma, and musical and theatre experimental performances.
For many performers, singers, musicians, directors, choreographers, and visual artists, MMT will become a laboratory for exploring ideas and developing innovative performing practices through the prism of musical theatre. MMT will also work in the sphere of film, visual arts, and multimedia, as well as in education. 

“Mono-opera performed by Ozren Grabarić is currently the best show in Zagreb this autumn. The ease with which composer and director Marjan Nećak plays with Gogol’s ideas is incredible. (...) In the end, the doubt whether it is Poprishchin the one to lose his mind, or has the world lost its mind, remains unsolved, while the whole madness, in this superb performance, is projected straight into the head of each individual spectator.”
Mia Mitrović, 24express, Croatia

“To say that Grabarić’s performance and his vocal interpretation of extraordinary psychedelic music by Marjan Nećak are well-studied to the smallest detail would be an understatement. It is not just mysterious and deep, but it builds up very discreetly up to the culmination. (...) Nećak leads the madman as a perfect and colourful character at the brink of madness, and a small step would suffice to cross the line and fall into the abyss from which there is no turning back.”
Todor Kuzmanov, Radio Skopje, Macedonia

“Grabarić is a great master of scenic gradation and culmination, only to subdue his expression to lower, calmer spheres, and again, and again. In doing so he follows Nećak’s musical and spatial ideas perfectly, while videos by Lukanović coincide with both, thus forming a unique rhythm. (...) The way in which Ozren Grabarić presents it is simply impossible to describe with words. One needs to see and hear it, feel it and burst into tears over every discarded, hunted, humiliated, and tortured human being, from the beginning of time until the end of the world.”
Darko Gašparović,