Celebrating Blagota Eraković: A Journey Through Montenegrin Theatre

The Crnogorsko narodno pozorište (CNP) recently hosted a packed event to celebrate the launch of the book “Među svima kao da je sam – priča o Blagoti Erakoviću,” authored by Aleksandar Milosavljević. The venue was filled beyond capacity, necessitating the addition of extra seating for eager attendees. The book pays tribute to the esteemed Montenegrin director, chronicling his significant contributions to theatre over a career spanning an impressive six decades.

During the event, Blagota Eraković reminisced about his early days in theatre, recalling his first directing experience from sixty years ago. Upon joining CNP, he had the fortune of working alongside legends of Montenegrin acting, including Dragica Tomaš, Bora Begović, Petar Begović, Miloš Jeknić, Veljko Mandić, Nada Blažević, and Zlata Raičević. He expressed gratitude for their mentorship, noting, “They were truly top-tier actors. I had much to learn from them, and they embraced me wholeheartedly.”

Eraković shared a poignant conversation with the late writer Danilo Kiš, who once told him, “You have a homeland and can return whenever you wish. I do not. I am a Jew, and my mother is Montenegrin. For some, I am a Jew; for others, a Montenegrin. You can enter your homeland and know what you are fighting for.” This sentiment underscored Eraković’s deep connection to his roots and the theatre he dedicated his life to.

Milasavljević explained that the book can be interpreted not only as a narrative about Eraković but also as a reflection of the CNP and a broader story about Montenegro itself. He highlighted Eraković’s crucial role in the theatre’s revival after it suffered a devastating fire, stating, “It was necessary to rebuild the theatre and preserve it amid financial hardship. This was Blagota Eraković’s mission.”

The director’s impact extends beyond mere performances; he is seen as a bridge between different eras of theatrical art. Milasavljević pointed out that while little existed before Eraković’s time, his tenure inspired a new wave of creativity in Montenegrin directing, describing him as “one of the Prometheans of directing in this region.”

Vasko Raičević, the book’s editor, emphasized Eraković’s vital role in shaping modern aesthetics in Montenegrin theatre. He stated, “Blagota is significant because his career coincides with transformative changes in our theatre. During this time, our country finally began to move away from archaic practices and modernize theatrical aesthetics.”

In a departure from traditional monographs, Janko Ljumović noted that Milasavljević’s work combines interviews with Eraković, selected writings from contemporaries, and archival documents, creating a multidimensional portrait of a director whose legacy has significantly influenced modern Montenegrin and Yugoslav theatre. The book intricately weaves together Eraković’s personal biography and professional history, offering insights into the evolution of theatrical art in Montenegro.

The collection also features reflections from various contributors, including Boža Koprivica, Sreten Perović, and Vlatko Šimunović, alongside Eraković’s own memories and archival texts. It highlights the development of directing in Montenegro, emphasizing the aesthetic foundations and challenges faced by the art form. Ljumović remarked that it serves as a testament to Eraković’s influence on repertoire policy and his commitment to promoting Montenegrin dramatic traditions.

Despite being unable to attend the event, CNP Director Ilija Subotić had his remarks read aloud, underscoring the significance of Eraković’s contributions to both the theatre and Montenegrin culture. This book launch not only honored a remarkable director but also celebrated the rich tapestry of Montenegrin theatre and its evolution over the decades.