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LIJEVO DESNO GLUMAC – Zijah A. Sokolović

Winchester Theatre Toronto

11. novembra 2023.

u 6:30pm


Welcome to a very special evening with a very special artist! Zijah Sokolović presents you an unusual theatre format under the name “Lijevo, Desno, Glumac.” Part monodrama, part lecture and even team building, this authentic project will challenge your conventional view of theater.

In the theatrical structure of the work, first, there is a text writer. Then the director, who will direct the text into the form of a theatrical play. The director, based on the reading and analysis of the text, determines the “first dramatic action”, which determines the idea of his future play. Reading the text together, during rehearsals, the director and actors “objectively” look for elements of that idea in the text as a confirmation of the “first dramatic action”. Those elements of the idea are hidden in the “given circumstances”, which determine and explain the flow of the dramatic action in the play, the characters’ characters and their reactions and changes in thinking or feeling. Searching, finding and analyzing the “given circumstances”, which confirm and determine the “first dramatic action” is a very important process in the creation of a future play. Then, the director and the actors go to the space, to the stage, and connecting scene by scene, from the text, build the idea of the “first dramatic action”.

Acting and theatrical means can be “subjective”, because it is a style of play determined by the director, which actors must understand in order to find acting means and show it to the audience in their acting. Through that “subjective”, viewers should see and understand the idea of “the first dramatic action”. That process of searching, analyzing, connecting scenes from the text into a meaningful whole “showing the idea in the first dramatic action” is art. Theater art! Time and Space, from the first reading rehearsal to Action, the premiere of the play, is a journey into art!

Actors become possible artists in the process. Once made, in repetition, reprises, the play cannot and must not be changed in the play and text, because that changes the “first dramatic action” as well! Reality is theater. And in our reality, we do not have “obligations”, but we have roles. Each of our roles has its own “given circumstances”. Every “given circumstance” belongs to some “first dramatic action”. Every “first drama” has its own director and writer. “The first dramatic action” in reality, can be “life”. Or “marriage”. Or “work”. Or “children”. “The first dramatic plot” can also be “holiday” or “morning bath” or “watching football” or “having coffee” or “gossip”. Do we understand our “life” as the “first dramatic action” objectively or subjectively in the “given circumstances”? Can we be and become artists in the daily life of the “first dramatic actions”? Why do we get the text “I don’t have time” or “if I have time” or “if I find time”? All this is talked about and played by an actor from Left to Right.”