Vladimir Kecmanovic

FELIX

ABOUT PLAY

Writer:

Vladimir Kecmanovic

Dramatists

Kosta Pesevski and Darko Bajic

Director

Darko Bajic

Scenographer

Magdalena Vlajic

Costume Designer

Marina Vukasovic Medenica

Composer

Dejan Pejovic

Editor

dr Ljiljana Mrkic-Popovic

Organizer

Dragisa Curguz

Stage Manager

Goran Mladenovic

Lighting Designers

Vladimir Radojevic, Radovan Samolov, Petar Dosenovic

Sound Designers

Stefan Andjelic, Stefan Zdravkovic

Makeup Artist

Marijana Golubovic

Property Master

Dejan Tamindzija

Warderobe

Milena Kovacevic

Poster Creator

Santa Djula

Video Clip Creator

Stevo Mandic

Designer

Aleksandra Ilic

Photographers

Jakov Simovic, Nikola Vukelic

PREMIERE

22.3.2019.

LAST FOR:

90 minutes

Play:

Milutin Mima Karadzic

Felix-Simeon

Filip Hajdukovic

Felix-Dragan

Marko Gvero

Miladin Gojkic

Andrijana Oliveric

Marina Pejcic

Milena Damnjanovic

Martinela Gojkic

Nikola Cvetkovic

Robert Gojkic

The word of the playwright

Vladimir Kecmanovic

It was at the beginning of the 2000s that afriend told me a story of a pensioner who, in an “original” way, increases his modestincome; it wasat a timewhen the “transition” started, which would “flow permanently”, just as it was the case withthe path to “communism”. When I started writing a novel about thatcharacter, the key problem I was faced with was not the question of whatSimeon Rakić, a.k.a. Felix, was before he became a pensioner and startedhis new business – the presumption that he was a scam came by itself. The trouble would’ve been that the evocation of the past through the antihero’s reminiscences would haveresulted in a déjà vu and not particularly inspiringnovel. As it usually happens, after many troubled thoughts, the savingsolution appeared seemingly as self-evident – instead of Simeon lamenting overthe past, the past itself visited him, with a gun in the hand, in the character ofan outraged misbegotten son who started pursuing his own identity, and the central part of the story assumed the character of a duo drama. I am pleasedthat this potent dramatic situation that gave this novel the necessary dynamics, will be staged, as it belongs to the stage like morethan anything else I’ve written.

The word of the dramatist

Kosta Pesevski

Felix is a piece about the phenomena that we meet every day: about children who cannotseparate from their parents because they do not have the conditions, parents who do notwant to let the children go away from them because they are afraid to stay alone, about the people fleeing from a land where life has become unbearable, about
the familial heritage – spiritual and material, which is the only strongholdleft for people here. And in the end, this is a drama about the phenomenon with which wemeet every day most often –it is about scamming. Scams that are served to usevery morning we look at the media, when get out of the house, when we go to work. About the local scams that we experience from our surroundings, the ones we work for andthose whom we have chosen as rulers. And that global scamming in which the whole world lives and in which they persuade us not to rely on common sense and personalfeelings, but on the lies they overwhelm us with. In a world where nothing else is the way as it looks like, one of the smallest and rare positive scams seems to be thistheatre illusion in which a person may best return to personal reason,feeling and an innate instinct.

The word of the director

Darko Bajic

Play Felix
Felix is​a play that talks about two scammers, a father and a son. However, it has a much wider context than the story of two characters who through lies and deception come to their own personal goals. This context talks about the whole world, the one we live in. The world in which everything has become relative, both the truth and the lie. In such a world, these two antiheroes become romantic heroes who prefer to deceive rather than be deceived. And their petty scams may be a rebellion against the system. Regardless of whether we are here or at some other end of the world.

E = m x (times) c2 (per square)

ENERGY of truth = m (mass) of data X (times) c (velocity) information per square
Incorrect data X (times) acceleration of the Internet = (equal) WEST
West X (times) global communication speed = (equals) truth

The global truth creates uniformity of thinking.
Everything is relative, so it is meaningless that we all live, we think and create in the same way…
Felix raises the question of whether we are really aware of the scams we volunteer to invest in our lives.

Felix – until the last breath

Vladimir Kecmanović is a writer of exciting reversals and brilliant dialogues, who not only creates a gallery of great characters, but also reveals the tiniest, forbidden world of their subconscious. A writer of incessant research spirit, inspired by history and its consequences, he builds striking and powerful scenes that arouse your curiosity, but also your imagination. The writer deals with the complex conflict of history and the time of today in his books, fearlessly passing the barriers from those stories that we do not tell anyone about to the explosion of beliefs and attitudes that provoke us. Kecmanović provokes the truth and in us liberates the thought without self-censorship. His heroes are heroes to the last breath.
In his novels, the New Age brings fear of the unknown. It’s as if his characters were initially discouraged by the time they would make changes.
This fear is in literature, cinema, theatre, introduced characters losers. Characters who lose, without even beginning the battle…

The over-riding machine of liberal capitalism for making money and an unstoppable profit-making mechanism simply moves the hope of an individual for a more humane tomorrow.
Kecmanović’s books restore faith in the heroes, the belief in free choice, the faith in the fighters and the miraculous alchemy of life that we can survive of our own choice. That’s why he is a valuable writer.
Kecmanovic’s heroes inspired KostaPeševski and me, until the last breath, to make two dramatisations for the Zvezdara theatre one after one. The play Osama – a Kasaba in New York today also provokes enthusiasm of spectators, standing ovations, as well as a strong sense of freedom that returns them to theatre and gives them the hope that they can become heroes who will change the reality, the future, or at least their lives.

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