The World of the Nahvao Puppets

Naslov „Svijet lutaka nahvao“ ističe tri pojma bitna za Bourekovo stvaralaštvo, napose za predstave koje je postavio kao kompletan autor. U tim je predstavama, svakoj posebno i svima zajedno, stvorio svoj svijet ne obazirući se na općeprihvaćena pravila dramaturgije i režije. Nije polazio od teksta ni tražio način kako da najbolje prenese autorove ideje nego je tražio tekst koji će najbolje odgovarati njegovim lutkama. Lutke su određivale i njegove redateljske postupke. Sve što je radio, radio je zbog lutaka, kako bi one došle do izražaja. Stvorio je svoj svijet, ali ne idejama, ni tekstom, ni redateljskim postupcima, nego bojom i oblicima, svojim lutkama snažne, prepoznatljive vizualnosti. Nježno ih je zvao nakazama i grdačima. Kao što Držićevi ljudi nazbilj i nahvao postoje samo u prologu negromanta Dugoga Nosa u komediji Dundo Maroje, tako i Bourekovi grdači postoje samo u Bourekovu svijetu. Držićevi su ljudi nahvao nakazni likovi, ružna izgleda i karaktera. Bourekovi grdači uvijek su grdi, ali zli su samo ako im je takav karakter zadan u djelu. No čak ni takvi nisu odbojni. Bourekova simpatija i ljubav prema njegovu teatru nakaza, njegova radost stvaranja prelazila je i na publiku. Bourek je zaista uspio stvoriti samo svoj svijet, ali i poklonike svoga svijeta.The title The World of the ‘Nahvao’ Puppets (dishonest, only pretending to be good) emphasises three terms essential for Bourek’s oeuvre, in particular in the context of performances he created as sole author. In these performances, each in particular and all in general, he formed a world of his own, regardless of the general rules of dramaturgy or directing. Neither was his starting point the text nor did he search for the most suitable manner for transferring the author’s ideas; he was rather in search of the text that would best suit his puppets. The puppets even defined his directing moves. Everything he did was for the sake of the puppets, to make them as strong in expression as possible. He indeed created a world of his own, however not by using either the text or director’s moves, but rather by using colour and shapes – his puppets of strong and recognisable visual character. He tenderly addressed them as freaks or ‘grdači’ (the ugly ones). Same as Držić’s people ‘nazbilj’ (good, honest) and people ‘nahvao’ (dishonest, only pretending to be good) exist only in the Prologue to the comedy Dundo Maroje, spoken by the Necromancer Dugi Nos (The Long Nose), Bourek’s ‘grdači’ exist only in Bourek’s world. Držić’s people ‘nahvao’ are freaks, ugly both in appearance and character. Bourek’s ‘grdači’ are always ugly, but they are mean only when their character has been designed thus in the play. Nonetheless, even so, they are not unpleasant. Bourek’s joy of creation, and his sympathy and love for his theatre of freaks, moved to the audience. Bourek indeed succeeded in creating not only a world of his own, but also admirers of that world