Jacqueline Dobreva speaks with director Javor Gardev about his production ‘Pillar of Salt‘ by contemporary Montenegrin playwright Aleksandar Radunović, staged at the Royal Theatre “Zetski Dom” in Cetinje, Montenegro, presented at Varna Summer Theatre Festival as part of the international selection.
Radunović’s play pictures a world where salvation seems impossible and disintegration – inevitable. In your view, how does this text reflect the state of contemporary society?
What drew me to this text—having witnessed its development from the stage when it was merely a synopsis of ideas for different stories—was not so much its direct reflection on the condition of contemporary society, but rather the author’s attempt to link this present state with the great epic narratives about the destructive impulse within human nature. These are the very stories that once gave rise to the tragic genre itself and lie deeply embedded in humanity’s centuries-long experience. Indeed, if we think in terms of a long historical perspective, today’s manifestations of archetypal tragic plots are merely the latest episodes in the ongoing series of our planet’s tragic legacy.
The symbol of the “pillar of salt” carries a biblical image associated with punishment. How is this motif woven into the aesthetics of the performance?
In today’s situation, that prohibitory authority which restrains aggressive thoughts and impulses behind the barriers of social taboo is becoming less and less noticeable. Rather, the general feeling is one of fragility and vulnerability not only to the impulses of others, but also to one’s own inclination towards them. Aggressive impulses flit like sparks towards us. Aggressive urges spark around us like stray embers. From the heated zones of the wars unfolding near our borders, they begin to generate local, and not entirely harmless, echoes. These echoes periodically erupt into the news cycle, raising anxiety levels—even in segments of society that appear to be under no immediate threat.
Yet it is precisely from within these seemingly unthreatened strata that we see the emergence of so-called “locals” boy gangs, animal abusers, and others of that kind. The drive toward destruction and annihilation reactivates periodically and becomes highly virulent. And the modern age—which smugly regards itself as more civilized than previous eras—once again finds itself reaping the bitter fruits of supposedly outdated barbaric impulses.
As for Aleksandar Radunović, he places the audience itself in the position of Lot’s wife—compelled to look back at the dangerous recesses of human nature, to confront the death drive, the impulse toward destruction.
The play presents characters living on the edge – dependent, traumatized, unbalanced. What was important for you in working with the actors to achieve this authenticity without losing the artistic integrity?
The Montenegrin actors I worked with on this project are very familiar with the traumatic consequences of such destructive impulses. Both from the years of the Yugoslav war and from their daily lives. They, like us here in Bulgaria, face every day the numerous disagreements and contradictions that characterize all Balkan societies, with their inherent cultural, generational, and value-based struggles. So, the actors’ great creative talents had to be filtered through the knowledge of their personal experiences, and that happened.
You are working with the Royal Theatre “Zetski Dom” in Montenegro, an institution with over 140 years of history. How does this production resonate in the context of their repertoire and mission? What did it bring to you as a creator?
Historically speaking, this is probably the most important cultural institution in Montenegro, and it is also a wonderful place from a theatrical architectural perspective. It’s both small and cozy, and yet it exposes the actor’s inner life as if it were at the palm of one’s hand, while also carrying the dignity of a large theatre with impressive scenic depth. These characteristics of the theatre building provide something that every director and actor dreams of – unparalleled comfort in communication, without the need for “amplifying” the sound, straining the vocal cords, or using microphones. This spatial comfort was further enriched by the creative encounter, which had a necessary and healthy effect of alienation—the plot, so familiar to the Montenegrins, had to pass through the interpretative distance of the foreign director and scenographer, and to create an image beyond the imitation of everyday life. I think this premise was very useful for both sides.
If you had to name one feeling you would like the audience to take with them after the performance – what would it be?
A sense of gratitude that what happens to the characters in the play does not happen to them, the spectators, personally. And a renewed love for life.
“Pillar of Salt”, 9 June, 8:00 PM, Drama Theatre – Main Stage