Director’s notebook mrs minister

Branislav Nušić, the author of Mrs. Minister (Gospođa ministarka), was a Serbian playwright, novelist, essayist, and diplomat who lived from 1864 to 1938. He was born in Belgrade and studied law in Belgrade and Geneva. He worked as a journalist and editor before turning to playwriting, and his first play, Narodni poslanik, was performed in 1895. He is considered one of the most significant figures of Serbian literature and is best known for his works of social satire and comedy, which are characterized by a sharp wit and a critical eye for the societal norms, customs and politics of his time. His most famous play is Sumnjivo lice (Suspicious Person), which is a biting satire of the middle class in Serbia. He also wrote a semi-autobiographical novel, Autobiografija, and many essays and articles on topics such as women's rights and education.

Nušić's works can be understood in the context of the Realist and Naturalist movements, which were prevalent in the European theatre at the time. These movements emphasized the representation of everyday life and social reality, and Nušić's plays reflect this focus on satirical realism through their portrayal of the everyday struggles and experiences of working-class characters. Furthermore, Nušić's work can be understood in relation to other contemporary playwrights in the region, such as Ivan Cankar and Mihailo Crnjanski, who were also writing about the struggles and issues of their respective countries, and the impact of political changes on the lives of the people.

He has further inspired other notable Balkan playwrights to continue his legacy, especially in the later 20th century. One example of them is Dušan Kovačević who has used humour and irony to critique the Yugoslav political situation. His plays, such as Marathon Family and The Professional, are still associated with Nušić's works. While their political context was different due to their different periods, the genre and style of writing had a very clear connection.

In this section, I will aim to examine the play within different relevant frameworks: Cultural, historical, and theoretical, and to explain the main ideas presented.

Mrs. Minister (Gospođa ministarka) is a play written and premiered in 1911. It was written and performed in Serbia, which at the time, was part of the Austro-Hungarian Empire and later, the Kingdom of Yugoslavia.

The play is set in late 19th and early 20th century Serbia, a time when the country was undergoing significant political and social changes. The country was in the process of asserting its independence from the Austro-Hungarian Empire and there was a growing sense of nationalism among the population. This was a period of modernization and nation-building, and the society was in a state of transition. The play reflects these social and political issues, specifically by highlighting the role of women in society, the bureaucracy, the corruption and the political situation.

The cultural context of the play is rooted in Serbian culture, which is heavily influenced by Eastern Orthodox Christianity, as well as by the Slavic and Balkan culture. The play also reflects the influence of Western European culture and the modernization process that Serbia was undergoing. The play is a reflection of the cultural influences that shaped the society of that time, and it can be seen as a commentary on the cultural changes that were taking place. The play's themes, characters, and humor are a reflection of the cultural norms of the time, and it can be seen as a product of the cultural milieu in which it was written.

Additionally, during this time, Serbia was also experiencing a cultural movement known as the National Awakening (Narodno buđenje), which sought to promote and preserve the country's cultural heritage and identity. This cultural trend can be seen in Gospodja ministarka through its exploration of themes such as national identity, power, and corruption. In terms of its relation to the rest of Europe, Serbia at the time was heavily influenced by Western European culture and ideals, particularly in the realm of literature and theatre. The play can therefore be seen as a product of the broader cultural and intellectual movements of the time, such as modernism and realism, which were dominant in European culture at the time.

Furthermore, Serbia at the time was also part of the Austro-Hungarian Empire, which also influenced its culture and society. The play reflects this influence through its critique of bureaucracy, which was a prevalent feature of the empire. The play can also be seen as a commentary on the tensions between the imperial power and the growing sense of nationalism among the population in Serbia

In terms of theoretical context, Gospodja ministarka can be understood as a mixture of various theatre theories and movements that were prevalent at the time of its writing and performance. Nusić has incorporated the theoretical context of Realism, which emphasizes the representation of everyday life and social reality, with satire (which uses humour to expose and critique the faults and issues in the political and social systems of the time). While the plot has been set with a satirical structure, the situations and setting have a realist theme.

We can identify that Nušić has drawn the inspiration for the realist setting from some notable Western plays of that time, such as Henrik Ibsen's A Doll's House and Hedda Gabler which also dealt with the themes of women's rights, societal expectations, and the critique of the societal norms. On the other hand, Mrs Minister's structure is more similar to The Government Inspector by Nikolai Gogol, which also used satire to criticize the political and social systems.

Therefore, Nušić manages to reach a particular style of Satirical Realism, a form of theatre that uses humour, irony, and satire to portray contemporary society in a realistic setting but with an exaggerated plot. This highlights the Balkans as a cultural crossroad between the East and the West, as this revolutionary style hasn't been popular in any other region of Europe at that time, and it is one of the reasons why I choose to direct this particular play.

Additionally, a play incorporates some elements of farce such as the use of mistaken identity, misunderstandings, and rapid-fire dialogue, particularly at the end of the play. However, farce cannot be classified as a genre of this play, but rather as an addition which the playwright decided to incorporate into the structure of the play, due to it's small stake in the context of the play as a whole. Nušić was familiar with the farceurs and vaudvilles of that time, with French playwright Georges Feydeau, who was a master of the farce, and Nušić has probably driven some inspiration for this addition from his works.

The plot is centred around the life of Zhivka and her journey as the wife of the Government Minister. While at the beginning she is portrayed as an uneducated poor woman, she soon becomes acting like a very high-class woman, buying tasteless furniture and getting a gold tooth implant to impress her community. However, she doesn't stop with her greed, and she tries to break the engagement of her daughter with her fiance(who tries to use his position within the family to increase his political position). Meanwhile, all members of her wider family try to use Zhivka as a way for them to get closer to a higher class, or to get money or material goods. The play ends with a scandal where her husband is forced to resign as a Minister.

For a more detailed plot, please refer to Appendix 1 in case you need it while reviewing this Notebook.

Primary idea presented in the play concerns greed. The characters in the play are obsessed with social status, money, and power, and they constantly strive to achieve higher positions in society, no matter how good their position is. Their greed and ambition lead them to make unethical decisions, lie, cheat, and manipulate others(which escalates into vaudeville-like intrigues, conflicts and mishaps by the end of the play).

Zhivka, the main character, is the embodiment of greed in the play. She is obsessed with social status and wealth and will do whatever it takes to achieve her goals. She lies to her aunt to get money, changes her name to sound more prestigious, and tries to marry off her daughter to a wealthy man(when they are already in a higher class position). She is constantly scheming and manipulating people to get more wealth and prestige, and enjoys a stranger's jealous views on her.

Nušić portrays greed as a destructive force that leads people to make unethical choices and causes them to lose sight of what is truly important in life. The characters' obsession with wealth and status leads to tension, conflict, and unhappiness. In the end, the play suggests that the pursuit of money and power is ultimately meaningless and that true happiness comes from living a simple, honest life.

Secondary ideas and themes presented in the play include:

1. Social class and status: The characters are preoccupied with their social standing. They believe that being connected to someone in power, like a minister, can help them climb the social ladder. This is particularly evident in the second act when the whole wider family comes to Zhivka's place.
2. Corruption: The play suggests that corruption is rampant in the government and that those with connections can use them to their advantage. The characters are willing to do whatever it takes to get ahead, including lying, cheating, and borrowing money they cannot repay.
3. Political unrest: The play takes place during a time of political turmoil, with characters discussing protests and changes in government. The characters are divided in their views on the government, with some supporting it and others wanting change, but no one has clear political views or path they want to follow. They either support or fight against depending on their personal connection with those working in the government.
4. Gender roles: The play highlights traditional gender roles and expectations, with Živka taking care of the household and family while her husband and son pursue their own interests. The characters also discuss the importance of marriage and dowries for women of that time, as the only way for them to prosper.
5. Materialism: The characters are obsessed with money and material possessions, believing that wealth and status will bring them happiness and fulfillment. They are willing to sacrifice their integrity and relationships to achieve their goals.

In this section, I will highlight different creative approaches that I thought about as I read the play. While I may use some of them in staging of my production later, the purpose of most of them will be to examine different ideas, dimensions and approaches that could be applied to this play.

While reading the play, I perceived the main character Zhivka as the epitome of a power-hungry social climber, using her wealth and connections to manipulate those around her. I caught myself laughing at her, as satire is often conveyed through her character. She is being made fun of by the playwright, particularly in contrast to other higher-class characters in the play. For example, she doesn't know how to use cutlery properly, she doesn't know any political terms, nor she knows how to dress up in a higher-class way. I saw her as unmannered, unqualified and unintelligent enough to be part of the society she suddenly becomes.

However, as the play unfolded, she became more than just a caricature for me. Her fierce determination to succeed, despite her background, despite the fact that she is not well educated(Her language is often funny, and she doesn't know English or French...), represented strength and resilience for me. While on the one hand, she does represent an unnecessary pretentious aristocratic character who is being made fun of, on the other hand, she is a feminist character, because she breaks through the glass ceiling in a society that is laughing to her face. And not just the society of the play, but also the playwright, directors, audience, actors... But while we are making fun of her, she does succeed in pursuing her goals. Her willingness to use whatever means necessary(even if we laugh at those actions) to achieve her goals is a reflection of the lengths that many women have had to go to in order to succeed in male-dominated fields. Whether we like it or not, Zhivka becomes a very influential woman without even finishing primary school, and she gives us a precise recipe for how to do that. I have not received this message until the second full reading of the play, particularly because it is between the lines and not emphasized directly. However, I may want to highlight this message in my staging later.

One example of such production is the Broadway musical Legally Blonde, which features a protagonist who is often dismissed and belittled for her stereotypically feminine traits and interests, even by the director and audience at first. However, she uses her intelligence and determination to succeed in law school and prove her worth to those who underestimated her. The director, Jerry Mitchell, uses comedic elements, such as exaggerated fashion and dance numbers, but ultimately delivers a message about female empowerment and breaking down stereotypes. He also uses music and choreography to create a vibrant and energetic atmosphere that celebrates the protagonist's strength and resilience, which is something that I would incorporate in a way, not in such a vibrant sense, but more as a triumphalist as it would fit my plot better.

One of the most interesting creative responses that came to my mind is how luxury creates a time contrast between the first and second acts, where I see a potential opportunity for setting them up in different era's. This choice can be seen as a way to bring a new perspective on the play, by showing the characters' social class in a new light, and to bring a new layer of meaning to the play, by showing how much the society has changed over time. I can see my characters wearing worn-out, dirty old clothes in the first act, and complex futuristic suites in the second one. While reading the first act, I hear old, sad and simple music, while in the second one, I can hear sophisticated and clear sound music, which goes a bit too much into the tawdry.

While my inspiration is quite clear, I looked for some practical ideas on how to implement this from Peter Brook's production of A Midsummer Night's Dream, where the first act was set in a traditional forest setting while the second act was set in a modern, industrial setting and Robert Wilson's production of The Black Rider, where the first act was set in a traditional, 19th-century setting while the second act was set in a more contemporary, industrial setting. While this was a risky idea, especially for approaching a theatre play that already has a classical reputation, I decided to see where those futuristic explorations take me, even if I don't end up incorporating them into my play.

I have decided to experiment with how the mentioned contrast works, primarily as a set and lighting design method, and what would then be the theme of the play. I have looked into the work of some famous scenographers who have used similar techniques to create contrast and emphasis in their productions. For example, the British scenographer Richard Hudson, who designed the sets for the original production of The Phantom of the Opera, used a similar technique of contrasting styles to create a sense of contrast between the present and the past, and to emphasize the contrast between different branches of societies represented. From the perspective of the audience, this can be an eye-opening experience as those transitions show them the variety of communities an individual can function within. Similarly, the American scenographer David Rockwell, who designed the sets for the Broadway production of Kinky Boots, used a similar technique of contrasting styles to create a sense of contrast between the traditional and the modern, and to emphasize the themes of the play. Furthermore, the choice to use a modern and futuristic style for the second act, can also be associated with a famous scenographer like Robert Wilson, who is known for his abstract and minimalist style, and often used a futuristic approach in his productions.

Deciding to depart from the original scenographic dissertation and depict the setting as a more modern and futuristic space. The stage would be designed to be a spacious and well-appointed living room, with high-tech furnishings and a sleek, minimalist design. This choice would be intended to reflect the characters' newfound financial stability and high status but in a more modern and futuristic way.

After creating them, I realized that this would not be realistically possible and that it would confuse the audience. As much as the message that I wanted to convey to the audience was clear to me, after showing these designs to some of my theater passionate friends who have seen multiple versions of the play, I realized that my audience probably wouldn't get the message in case I transmit it in such a drastic and radical way. I have therefore decided to return back to conventional/traditional set design, as per the guidance of the playwright, but to convey the contrast through other aspects of the production - costumes, music, movements, etc, where they won't completely destabilize the dynamic of the play but just give it an extra meaning.

Another compelling idea would be exploring the fluidity of gender identity and challenging traditional assumptions about gender roles in the play(and here the focus wouldn't be just on Zhivka' character, but also other female characters in the play). This casting choice could be used to emphasize the power dynamics and gender politics that influenced the plot. While the audience has an understanding of some shy female characters, such as Dara, I would love to experiment and see how they would perceive that trait if she was played by a man.

The practice of casting male actors as female characters has a long history in theater, but it started being used only recently in the context of challenging norms. One example is The Tempest directed by Phyllida Lloyd in 2016 at the Donmar Warehouse in London. This was an all-female production, with several male characters played by women, including Prospero, the play's protagonist.

This casting choice was made to explore the themes of gender and power in the play, as well as to challenge the whole plot of the play. The audience was left with a completely different understanding of the plot, and they realized how much femininity/masculinity plays a role in character development, especially in terms of showing emotions.

Another example is the 2017 Emma Rice's Twelfth Night at Shakespeare's Globe in London, which featured a completely gender-blind casting approach. In this production, male actors played both male and female roles, and female actors played both male and female roles. This casting choice allowed the production to explore the fluidity of gender identity and create an atmosphere that challenges traditional assumptions about gender roles and performance.

In the case of Mrs Minister, casting male actors as female characters could similarly highlight the artificiality of gender roles and create a sense of ambiguity that is both entertaining and intellectually engaging. On one hand, this casting choice could be used to emphasize the satirical and subversive elements of the play and create a sense of heightened contrast between the male and female characters. However, this would also allow me to explore the concepts of masculinity and femininity in the context of 19/20 century theatre and therefore represent the artificial segregation between them.

From a visual perspective, this production could use bold and exaggerated physical movements, but less explicit staging in order to help the theme of gender politics to stay in the focus. This would mean a simple setting, little to no music and costumes which barely pass the directories given by the playwright.

My intention while directing Mrs Minister is to explore the themes of gender roles, power dynamics, and corruption within society through a feminist and anti-capitalist lens. I aim to challenge societal norms and expectations of women by highlighting the struggles and experiences of the female characters in the play, even in the moments where the playwright didn't put an accent on them. I also want to critique the modern perception of development in the context of capitalism by questioning is constant material growth and development are something we should strive for. Additionally, I want to use a combination of realistic and post-modern elements in the staging to create a dynamic and thought-provoking production.

The ultimate message that I want the audience to receive through this production is a mixture of feminist and anti-capitalist ideals. While the play script itself does provide us with a few elements of this, as described before, I want to use my production as an opportunity to highlight those and apply them on the play as a whole. Even though this is a bit more contemporary approach, I don't want to go too far away from the playwright's ideas by staging this in a very modern or futuristic world, as I believe my message wouldn't be conveyed directly. Instead, I would like to highlight the timelessness and universality of the play by making the audience relate to the characters despite the different time periods they are in, meaning that I will use classical staging of the play, in the late 19th century, as per the playwright.

When it comes to the feminist part of my message, I want to use ideas brainstormed under section 3.1. The resilience of Zhivka's character. I would do so by making Zhivka vulnerable to the satire and humour of the play, especially in the first part, until one moment when I would love the message to be less humoristic and lead to a discussion about whether we should appreciate or judge Zhivka. Ideally, I want my audience to have that moment of realization of another perspective of Zhivka, which I had during the reading of the play, whether their realization will go in line with mine or not. I would use examples of feminist theorists such as Cixous and how they created a sense of empathy and understanding for their characters, rather than judging or pathologizing them.

As mentioned before and in reference to Legally Blonde, I would first introduce Zhivka as a very uneducated woman. I would like the audience to be sorry for her at the very beginning of the play, then when her husband becomes minister I want the audience to be annoyed by her and to laugh at her and her greed, and ultimately for the audience to notice her strength and resilience.

I would do so by dramatic and engaging music during the moments of her triumph, and by creating a tense and strict atmosphere in some of the scenes in the second act where she is usually being made fun of, not leaving any space for the audience to see her as such(I would use the silence among other characters on the stage a technique to portray this). However, this would not be possible without first portraying her in a conventional way described by the director. The audience would then notice the contrast and have an "Aha" moment where they would realize that, even though they laughed to her, she succeeded.

Another part of the message I want to convey is the critique of capitalism and the constant strive for development which is embodied in the greed in this play. My primary intention with this is for the audience to question whether they can identify with characters in their constant greed for more money/status/development and question whether this is something that benefits them personally. The ultimate goal is therefore for the audience to critically rethink whether they have fallen into this trap themselves and whether our society's pursuit of growth and progress actually benefits them as individuals.

I would do so in the second act, by making it obvious that my characters have everything they need: I would present materials goods they possess, such as expensive accessories, but they don't notice them and they are not thankful for them. This would be particularly evident in the scene where Zhivka's wider family comes, as well as in Cheda's character throughout the whole act. I would do so by preserving the scenographic luxury on the stage, and particularly the accessories, possessions and costumes of those aiming to reach higher status.

In terms of realism, I would take inspiration from theatre theorists such as Stanislavski and Brecht, who emphasized the representation of everyday life and social reality. I would aim to set the play in a naturalistic manner, as per the playwright, but would get out of that narrative at special moments where I would try to convey Zhivka's power and resistance. I would pay close attention to the details of the setting and the movements of the characters to create a believable and immersive world for the audience.

At the same time, I would also incorporate some elements of postmodernism, inspired by theorists such as Artaud and Grotowski, to update the play to a contemporary setting and explore the themes in relation to current social and political issues. This would involve using particularly breaking the fourth wall to create a sense of self-reflexivity and to question the nature of the play and its relationship to the audience.

Finally, I would pay close attention to the portrayal of female characters, and work to create a. This could be achieved by highlighting their struggles and challenges, as well as their resilience and resistance, especially inspired by Cixus.

I want to use movement to highlight the power struggles and shifting relationships between the characters, as well as to convey the theme of societal transition and change. By utilizing dynamic blocking and movement patterns, especially during the family's visit to Zhivka, I aim to create visually striking scenes, where several different actions would happen at the same time.

In the first act of Mrs. Minister, I chose to depict the setting as a small, cramped living space of a poor, working-class household. My intention with this is for the audience to feel the pressure that Zhivka's household is feeling - and I don't want this pressure to be transmitted only through dialogues, but also throughout the whole set design. I want the audience to feel intimidated by the mess and cramping of the living space represented. The stage is cluttered with sewing supplies, and the walls are plain and unremarkable. The furniture is simple and functional, reflecting the characters' financial struggles. This choice is in line with the original scenographical dissertation and aimed to accurately convey the financial struggles and the poverty of the characters. It also goes in line with the empathy I want for the audience to feel with Zhivka and her family in the first act, but it doesn't yet critique their greednes for their material aimings. The reason for this is the fact that they are objectively in a bad financial situation - and the message shouldn't be saying that no one should aim to improve their standing - but rather to critique this strive when it persists regardless of the improvement they later face.

Ideally, this set design would use only a small portion of the stage - the rest would be hidden by dark curtains and not visible due to lighting. This is due to the fact that the set design for this part of the play requires a lot smaller space than the rest of the play.

In the second part of the play, I would continue following the directions by the playwright for set design, implying the newly acquired wealth. Scenography would represent a wide living room that has high ceilings, elegant furnishings such as plush armchairs, a grand piano, and other luxurious details. The walls(scenography) should be adorned with luxurious wallpaper and expensive artwork, and the floor should be made of polished hardwood or marble. The overall atmosphere should be one of opulence and luxury, with a sense of grandeur and excess, which would help me transmit the second message in effectfull way. The audience would see Zhivka and Cheda seeking more material belongings, in a setting where they have everything a 19th-century family could possibly have in Serbia. This set design would also fit the plot of the second act, and the audience could notice an excessive transition that Zhivka's family made.

Another thing that I wanted to change in relation to the first act is the wideness of the scene - I don't want the audience to feel the pressure they felt in the previous representation of Zhivka's household, therefore, this set design would use the whole stage and its size. The transition from the first to the second act would be accompanied by an exuberant theme track of the play, Bach's Brandenburg Concerto No. 3, which would suggest this change.

In my costume design for the first act of Mrs. Minister, I aimed to reflect the characters' financial struggles and working-class background through a minimalist and practical approach. The costumes for Zhivka and other characters in the first act are simple, made of durable and plain fabrics, with minimal embellishments or adornments. The colors used for the costumes are muted, such as beige, gray, or brown, and the only "decorations" on them are multiple stains that suggest the hardships of living in the province. This choice of costumes reflects the reality of the time period and the social class of the characters, again, my intention is for the audience to empathize with them in this part. I drew inspiration from the work of costume designers such as Jocelyn Herbert, who have designed costumes for plays set in similar time periods, and have emphasized the importance of realism and historical accuracy in their work.

In contrast, for the second act, I have chosen to costume the characters in more luxurious and modern clothing, however, this will differ from scene to scene. The most important part of the transition is Zhivka's costume. As mentioned earlier, at the beginning of the second act, when Zhivka experiences sudden richness, my intention is to make fun of her greediness and taste, as at that point she values clothes through how expensive they are. Therefore, I would dress her up in kitsch clothes whose colors don't match. I would make a complex hairstyle which looks funny and incorporate elements of fluffy balls and roses on her. Overall, I want her costume to help me satirize her, especially in combination with the "manners" she presents.

However, as the act progresses, I would change her costume for the one that represents her growth, which would help me transmit the feminist part of the message. This would come in one of the scenes where I would make her less vulnerable to the humour of the play and signify her power and determination. For that purpose, I would use elite clothing and hairstyle, such as a red dress in combination with an emerald set of jewellery, with an elegant hairstyle. This outfit would persist with her until the end of the play.

In the images below, I have made sketches of the transformation of Zhivka's costumes according to the relationship I want the audience to feel with her: 1. to feel sorry for her, 2. to make fun of her, 3. to feel her power and determination: