Blagota Eraković, a pivotal figure in Montenegrin culture, recently launched a monograph detailing his life and contributions to contemporary theater. The book, titled “Među svima kao da je sam – priča o Blagoti Erakoviću,” authored by Aleksandar Milosavljević, offers an in-depth look at Eraković’s impact on both the Montenegrin National Theatre and the broader social context of Montenegro.
The launch event took place on December 10, 2023, at the Crnogorsko narodno pozorište, where an unexpected turnout prompted organizers to bring in additional chairs. Those who could not find seats stood to witness the celebration, a testament to Eraković’s enduring influence and the community’s support.
In a moment of humility, Eraković attributed much of the book’s success to his wife, Olja, who diligently gathered material from various sources, including print media from Belgrade and Montenegro. Reflecting on the event, Eraković expressed his joy at the overwhelming audience support, noting, “What particularly delighted me was the mass of people. Not only did they bring in chairs, but at least fifty stood until the end.”
The title of the monograph, chosen by Eraković himself, draws from a line in the Montenegrin epic poem “Gorski vijenac.” He explained, “I have always felt like I was among everyone yet alone. My art has always been collective, surrounded by people, actors, collaborators, journalists, and the public.” This sentiment underscores his belief in the community aspect of theater while also recognizing the solitary challenges faced by artists.
Eraković’s work has consistently tackled social issues, past and present, asserting that theater must engage with relevant societal facts. He clarified, “It was never my intention to engage in politics through theater. Many interpreted my work as a political stance, which is not true. I have my views on political matters, but my primary goal was never to promote any specific political party.”
He expressed a desire to revisit his earlier play, “Šćepan Malog,” as a modern drama reflecting contemporary Montenegro. He lamented the prevalence of “false people” in various sectors of society, stating, “There are self-proclaimed experts who lack genuine qualifications. Many have graduated from dubious universities that no longer exist.” This critique points to a broader concern about authenticity in leadership and expertise.
Eraković fondly recalled his 1969 production of “Šćepan Malog” and the mixed reactions it received. “Some viewers felt I was tarnishing Njegoš, while others praised my interpretation,” he noted. Now, he feels a strong urge to present the play anew, capturing the essence of modern challenges. He envisions a narrative where impostors rise to power, mirroring the current political landscape.
In his reflections, Eraković acknowledged his extensive career, having directed over 156 productions and worked well into his sixties. He expressed a yearning to contribute more, stating, “I feel a desire to direct ‘Šćepan Malog’ again, but as a completely modern drama. The current times we live in resemble those of ‘Šćepan Malog’.”
Eraković also noted the challenges faced by talented individuals in Montenegro, lamenting that “true, exceptional qualities struggle to emerge from anonymity.” He emphasized the importance of nurturing talent, particularly among the younger generation, whom he described as highly educated yet often relegated to less impactful roles.
Reflecting on his past, Eraković described how he and his contemporaries broke new ground in Yugoslav theater. He recounted the difficulties of gaining acceptance as a young director, stating that he often felt the need to appear older to gain respect. His early works, including a notable production of Dickens, were groundbreaking, demonstrating innovative approaches that challenged conventional theater norms.
The festival BITEF played a significant role in shaping his generation, introducing young artists to international styles and perspectives. Eraković recalled the excitement of collaborating with established names and experimenting with new forms. “We created a space for exploration and creativity,” he said, highlighting the festival’s impact.
Despite the passage of time, Eraković remains passionate about the theater and its power to comment on society. He noted that Montenegrin directors often opt for safe choices, stating, “In theater and the arts, without significant risk, there is no substantial success.” He praised a few young talents, such as Mirko Radonjić and Danilo Marunović, emphasizing the need for opportunities for emerging artists.
The monograph’s release has reignited discussions about the future of Montenegrin theater and its cultural landscape. Eraković expresses disappointment at not being invited back to his hometown of Nikšić, where he co-founded the Festival glumca. Despite his foundational role, he has not received an invitation to the festival’s opening in recent years.
As Montenegro looks towards its designation as the European Capital of Culture in 2030, Eraković remains hopeful yet critical. He acknowledges the importance of recognizing and promoting genuine talent within the artistic community, ensuring that quality does not get overshadowed by superficiality.
Through his work and reflections, Blagota Eraković continues to champion the importance of authenticity in art and the necessity of addressing societal issues through theater. His journey remains a testament to the enduring power of culture in shaping collective identity and fostering meaningful discourse.
