THE GLEMBAYS press clipping

Tomislav Čadež, Globus, 19. 12. 2001
SHARP STAGE PRODUCTION
The opening of two of Krleža’s dramas, The Glembays and In Agony, directed by moscovite actor and director Aleksander Anurov, is an interesting and important theatre happening.

These are impressive performances directed in a very sophisticated way, conceptually and specially in acting.  First of all, I think that Anurov noted Krleža’s subtle sociobiological leitmotive, which regards people as if they were monkeys, mamals, and regards the conflicts between them as conflicts of genes;  which are perturbed, and made  tragic,  precisely by  consciuosness, by culture.  He showed, for our standards almost  unreachable, a skillfull work with actors, stylisticly compact and meaningful acting.  Every move, intonation, step, consciously chosen, so that it carefully fits, in all, the thoughtful tone and flow of the performance. 
Zlatko Vidačković, Vijenac, 27. 12. 2001.
SEQUENCE OF RADICAL SOLUTIONS
In all, the director in this show reached for a sequence of radical solutions which have completely changed Krleža’s drama.
Anatolij Kudrjavcev, Slobodna Dalmacija, 16. 12. 2001.
KNOCKED OUT KRLEŽA
If Split’s CNT should be given any merit in regards to Krleža’s celebration jubilee, then it’s unexplainable that his work has been staged in such a vandalized way which doesn’t add anything to theatre nor to Krleža.  On the contrary, Krleža will probably because of this performance turn a few times in his grave.
Dubravka Vrgoč, Vjesnik, 16. 12. 2001.
TAKING A PEEK AT THE GLEMBAY’S TORMENTS
A cult dramatic text, saturated by innumerable interpretations, many of which offered an almost mythical portrayal of the destruction of bourgoisie in our surroundings, stereotype glembay sindrome and downfall of a decadent family, to which Anurov tried to assign a different meaning.  He wanted the anxiety-ridden dramatic triangle – the insolube relationship between father, son and the fatal Baroness Castelli, burdened by the traumatic shadows of the past and neurotic present, to be seen from the distance, searching for the archetypical glembay original sin and glembay repent.
Vlatko Perković, Hrvatsko slovo, 21. 12. 2001.
HOMMAGE TO GLEMBAY DESTINY
Russian director Aleksandar Anurov and set designer Victor Kharitonenko approached The Glembay’s disregarding the academic, sociologically contextual characteristics which have burdened this capital drama by Miroslav Krleža for the last seventy years. Instigated by the basic reflex of investigating the essential phenomena of theatre acting, taught by the “theatrical school” of  pedagogue and director Anatolij Vasiljev, his student Anurov doesn’t lay the action in the genre, and thus the piece’s Ibsen like realism doesn’t follow the established scenic realizations.  Anurov is more interested in treating the text as material for producing a (original) theatrical statement about The Glembays and The Glembays M. Krleža.  He is mainly interested in the “theatrical playing on the theme”.  And from this point of departure, from this subjectivity of the work, focus the piece in a phenomenological motivated theatre, Anurov continually runs away from the framework of the piece, especially from the certainty of its realistic happenings and it flows into some kind of dreamlike, sometimes surreal, projection of a thousand pictures.