Sanjari budućnosti - Kaštel Pula
THE DREAMERS OF THE FUTURE Playwright: Boris Senker Music: Massimo Brajković Director: Robert Raponja
Sanjari budućnosti - Kaštel Pula
Kaštel Pula, Pula
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It's spring of 1914. The last months of the “joyful apocalypse” are passing by, as the time shortly before the Great War was named by a lethal satirist Karl Kraus, a Viennese who, by the way, held one of his public lectures at the Riviera Hotel parlor in December 1913. At the Brijuni Islands, the Doctor enjoys his short break from psychiatric practice, also a Viennese who gained his glory and many critics by interpreting dreams. His name is very likely Sigmund Freud, but it doesn't have to be - besides, he is not the important one. The important is the Miss or Missus Histria that comes to him with her problems – she dreams of dreaming someone else's dreams. Their conversation leads us into and through those dreams. In the dreams this unusual Miss or Missus dreams and dares the Doctor to interpret them if he can, Pula's “golden spring”, which starts with the collapse of Napoleon's Empire and Habsburg's rule over these lands and ends with the collapse of the Habsburg Monarchy, passes by. It is the century during which Pula, once an important center of the Roman province and at the beginning of the nineteenth century a derelict Venetian city without people with less than 1,000 inhabitants, became the main naval port of the Monarchy and an ordered Central European city with 60,000 inhabitants.
There are seven dreams just as there are seven hills in Pula, which are dreamt by completely different dreamers in Histria's dreams. Still, these dreams do have something in common – they are turned to future because their dreamers, as well as most of their contemporaries, believe that the world they wish to build will last much longer than one century. Therefore, after the prologue in which Francis I of Austria “comes into possession” of the lands acquired at the Congress of Vienna in 1815, builder Pietro Nobile and historian Pietro Kandler see in “Stone Dreams” (“Kameni snovi”) a reconstruction of antique monuments and antique greatness of Pula. In “Iron Dreams” (“Željezni snovi”) brothers Francis Joseph the Emperor of Austria and Maximilian the Archduke, and Viceadmiral Hans Dahlerup see Pula as the main naval port of the Monarchy while Empress Sisi lays the foundation stone for the Arsenal. In “Rigid Dreams” (“Tvrdi snovi”) three military architects see wreaths of artillery forts around Pula - the so called crown of Pula, as well as anything that could come to life in those forts after naval ships leave for lumber yards and cannons for foundries. In “Starry Dreams” (“Zvjezdani snovi”), the view towards the sky from that wreath of forts, from which such an ordered world causes claustrophobia, is seen by the astronomer Johann Palisa and one of the pioneers of astronautics Herman Potočnik Noordung. In “Paradise Dreams” (“Rajski snovi”), Paul Kupelwieser, an industrialist and a new owner of the swamp and malarial islands, forester Alojz Čufar and Doctor Robert Koch dream of creating paradise on Earth at the Brijuni Islands. The “Singing Dreams” (“Raspjevani snovi”) of the Admiral Tegetthoff and entrepreneur Pietro Ciscutti give to Pula two social and cultural places – Marine Casino and Politeama Ciscutti while Kapellmeister Franz Lehár gives these places souls. In the end, there are “Nostalgic Dreams” (“Nostalgični snovi”) by Paula Preradović which are ambivalent and split the same way her homeland was in the Great War.
All of these dreamers are long gone along with their “yesterday’s world”, named in that manner by another Viennese – Stefan Zweig, Kraus’ younger contemporary. But their dreams and visions have survived all wars, destructions and remakes of the world map because once dreamt dreams don’t disappear - they permanently circle around us and anyone who dares to dream, especially about the future, can catch them. This play is dedicated to them - today’s dreamers and visionaries who are mostly quiet and often imperceptible in an ostentatious noise produced by sellers that sell expendables along with themselves. Dreamers and visionaries like these made this play possible and we thank them for that. We also thank them for their dreams and visions on which they do not give up and which they achieve step by step.
During our work on this play we used different sources, but mostly reached out for the following books:
Arambašin Slišković, Tatjana. Koliki su te voljeli, moja Pulo!. Nakladni zavod Matice hrvatske – Odjel za opću upravu, gospodarske i društvene djelatnosti Grada Pule. Zagreb, 1996.
Cvek, Elmo. Naredba br. 12. Pula u doba Austrije. Ljudi i građevine. Histria Croatica c.a.s.h. Pula, 2015.
Kandler, Pietro, Tischbein, August, and Selb, August. Uspomene sa slikarskog putovanja Austrijskim primorjem (četverojezično izdanje). C.A.S.H. Pula, 1997.
Krizmanić, Atilio. Pulska kruna, knjiga 1. Čakavski sabor. Pula, 2008.
Mandić, Davor, and Đorđević, Dušan. Austrougarska Pula. Grad kojem su zavidjeli. Mara d.o.o. Pula, 2015.
We thank the authors in the name of the whole ensemble.
Where to buy tickets?
Fort Forno d.o.o.
Trg La Musa 2
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