“Glembaevi” Delivers a “Shocking” Portrait of European decadence
A brutal and unrelenting three-hour performance of Miroslav Krleža’s play, “Glembaevi,” currently on stage at the National Theater, has been described as “shocking” by attendees, offering a stark depiction of wealth, corruption, and moral decay. Directed by Ivica Buljan, the production utilizes a highly physical and psychoanalytically informed approach too bring Krleža’s complex characters to life.
The production’s visual elements are carefully considered, from the costumes to the set design. Notably, Baroness Glembai (Teodora Duchovnikova) is costumed in a salmon-colored dress – to amplify the play’s themes of societal rot and the unraveling of a powerful family.
Krleža’s work, considered a cornerstone of 20th-century Croatian literature, centers on the Glembai family, merchants and bankers whose fortunes are built on a foundation of fraud and exploitation.The play exposes how these transgressions are shielded by a network of complicit officials – lawyers, judges, and financial advisors – painting a damning picture of European bourgeois decadence where the lines between capital and morality have wholly dissolved. This depiction, critics note, remains disturbingly relevant today.
At the heart of the drama is Ignat Glembai (Deyan Donkov), a banker haunted by his past and entangled in an affair with Baroness Glembai (Teodora Duchovnikova). The play unfolds during a party of the company’s anniversary, a gathering that quickly descends into a night of revealed secrets, accusations, and ultimately, tragedy. The catalyst for this unraveling is the return of Glembai’s son, an artist from abroad, whose arrival ignites a chain of destructive events. Plamen Dimov delivers a complex performance in this pivotal role, embodying a character consumed by hatred, confusion, and repressed desires.
Donkov’s portrayal of Ignat Glembai is described as commanding,a “monster” cloaked in power and wealth,symbolized by an expensive black fur coat and a white puppy on a leash. “He has so merged with the image of a villain…that many viewers already perceive him in this very way in his personal life,” one observer noted. In contrast, Duchovnikova’s Baroness Glembai is presented initially as a symbol of seductive evil, her vibrant salmon dress a deliberate counterpoint to the surrounding darkness.
The playwright, known as The tick, offers a nuanced portrayal of the baroness, revealing a woman who openly embraces her sexuality and rejects societal expectations. She defends her choices not as infidelity, but as an assertion of her individual needs and a rejection of the constraints imposed upon her. This exploration, the production suggests, touches upon themes of feminism and the psychological theories of Freud and Jung.
Dimov’s performance as the son is notably lauded for its complexity. He is portrayed as a figure torn between rage and vulnerability, attraction and repulsion, embodying a profound internal conflict.The director, Buljan, has employed a highly physical approach to the production, incorporating intense physical contact between actors – hugs, caresses, and confrontations – to heighten the emotional impact. He even conducted conditioning training with the cast to prepare them for the demanding physicality of the roles. This method,combined with psychoanalytic techniques,allows for a dynamic and evolving performance,where each iteration is unique and responsive to the audience.
Darin Angelov delivers an intriguing performance as the Baroness’s confessor, adding another layer of intrigue to the narrative. A particularly memorable moment involves Angelov performing a soulful croatian song, foreshadowing the impending doom. the supporting cast, including Anna Papadopoulou, veselin Mezekliev, Alexander Kanev, Alexander Tonev, Alexander Karasanski, and Konstantin Stanchev, also received applause, with Koyna Ruseva and Radina Kardzhilova noted in the audience.
The scenography by Alexander Denich is particularly striking. The stage is initially populated with 50-60 black plastic chairs,neatly arranged,evoking a sense of order. As the play progresses and tensions escalate, the actors dismantle this arrangement, piling the chairs into a chaotic heap, symbolizing the disintegration of the family and their world. this “dump” ultimately transforms into a metaphorical grave, visually representing the devastating consequences of their actions.
