Pavle Maric, an architect, is furious with his wife because she is conducting an affair with Milan Novakovic, his best friend and business partner. Pavle leaves town to think things over. Weeks later, a deformed corpse is found washed up on the banks of the Danube and is identifed to be that of Pavle. The case is judged a suicide. Three years later, Pavle, now "the deceased," unexpectedly returns. He discovers that his heirs have not only plundered his estate, but also refuse to recognize him as being "legally" alive, and they unite to keep him "dead" to maintain the status quo. This is the first English translation of a masterful and darkly comic play that will enter its rightful place as a world classic. The fluid and natural translation lends itself to theatrical production. Comically absurd, filled with existential angst, it was ahead of its time in 1937. At once vaudevillian and modernist, it is distinguished by clever plotting and stinging dialogue. The play stands as a lasting and caustic satire of human greed, strangely consonant with todays society.

The Deceased: A Comedy with a Prelude and Three Acts

Nusic, Branislav

The Serbian Classics Press

An Anthology of Serbian Satire and Aphorisms Between 1950 and 1990, satire contributed the most to the democratization of society in the former Yugoslavia and Serbia. Cabaret performances, The Alarm-Clock by Vlada Bulatovic Vib; The Tavern, The Court, The Mad House by Brana Crncevic or Marx, Marx, What Time Is It? by Milovan Vitezovic played a large role in the process. In 1969 Vitezovic’s book, My Heart Betrayed Me, was burned. In addition, Matija Beckovic, primarily a poet, had both the courage (considering that he lived in communist Yugoslavia) and the talent to write such provocative texts as “On Yugoslavs” and “On Success and Failure.” Writings of this nature were generally considered heresy, to put it mildly, and could have led to censorship, ostracism, or imprisonment. Under the influence of the great Polish aphorist and poet Stanislaw Jerzy Lec and later under the influence of Brana Crncevic and Milovan Vitezovic, the world-renowned Belgrade Aphoristic Circle was formed. Aphorisms were heavily used in the last decades of the 20th century in Serbia without slowing down in the 21st century. “It is a miserable democracy when people have to choose between two evils,” wrote Vitezovic four decades ago. These words are equally fresh and alive today, regardless of where one stands along the political spectrum. The form of satirical aphorism culminated under the pen of Vitezovic in the earlier decades and more recently under the pen of Aleksandar Baljak and Aleksandar Cotric, to name a few. “Our native land is in danger. From the saviors,” says Cotric, and this is the critique or social function of satire at its best. The absurdity of the situation and the use of paradox by satirists led to the best results in their works. Strangeness in literature is a quality regardless of form or genre, but in satire, strange or grotesque situations create a much stronger message. In a story titled, “Letter from 1920,” Andric wrote that “most evil and dark people can be seen around shrines, monasteries and mosques.” Humor is not present in this sonorous statement, yet the tone and message are piercingly satirical. In his essay "Laughter," Henri Bergson rightfully argues that, when people are found in unusual situations, it triggers laughter. For example, somebody walks down the street and for no obvious reason falls down in a grotesque way, so that passersby start laughing immediately. The peculiarity of this scene lies in the fact that it is not usual that a person walking down the street falls for no obvious reason. People who laugh in such situations react mechanically. Although comedies or humorous literary works are not necessarily satiric, many satirical plays and novels or stories are humorous. Humor in literature is most effective if it contains the elements similar to the situation described in the Bergson’s essay. Strangeness, absurdity, paradox, and hyperbole make satire more appealing, effective, and clear in its message. All these elements were employed by Petar Kocic in his play A Badger in Court. We can hardly imagine a stranger situation than a person suing a badger and bringing it to court to seek justice. From the first stories of Domanovic and Kocic, Serbian satire moved on to an adventurous journey full of creativity and surprises that led to improvement and artistic invention along a wide spectrum of artistic forms and mediums. One of the most popular and fruitful forms was aphorism, in which Serbian authors achieved the highest points even on the world scene. Today, there is no immediate danger for the satirical writers in Serbia since society has changed and democratized and not much courage is needed to write about any subject. Still, this journey not only continues in the 21st century but is equally productive, thought-provoking, and adventurous. -Dejan Stojanovic

Serbian Satire and Aphorisms

Literature & Fiction

Mikasinovich, Branko

Domanović, Radoje

Bećković, Matija

Crncevic, Branislav Brana

Putnikovic, Radomir

Stojanović, Dejan

Miletic, Slobodan

Dis, Vladislav Petkovic

Kocic, Petar

Humor & Satire

Movement Publishing

Serbian comedies by Jovan Sterija Popovic, Branislav Nusic, and Dusan Kovacevic. In the period between the two world wars, with only a few exceptions, nobody believed that Nusic was a great writer. Today, almost all people familiar with theater and the history of Serbian theater and literature would agree that Nusic was, in fact, the only Serbian playwright of high caliber between the two world wars. Thanks to the turns or whims of history, as well as the more open-minded theater people, Nusic became the most staged Serbian playwright and most popular after World War II. The new generations of theater directors realized that Nusic had a streak of genius and was, perhaps, 50 years ahead of his time for the Serbian theater. The third playwright in this anthology, Dusan Kovacevic, has been one of the most prolific and popular Serbian playwrights on the Serbian theatrical scene since the 1970s. The first term that comes to mind when thinking about some of Kovacevic's plays is grotesque, especially in The Marathon Family, one of Kovacevic's first plays. He more or less continued in this manner in his other plays. Victor Hugo thought that grotesque was "the richest source nature can offer art." The simplest explanation why grotesque is so effective is that it makes the contrasts more obvious while juxtaposing the ugly and the beautiful, the divine and the unholy, the sublime and the ordinary, the romantic and the dull. If we are directly confronted with beauty and ugliness, beauty starts shining brighter and becomes more obvious, forcing us to appreciate it more and not take it for granted. Kovacevic is a master of the grotesque and, for that reason, his plays may appear somewhat exotic, especially to foreign theater goers. The Marathon Family play, as well as a movie made in 1982, based on a screenplay by Kovacevic himself and directed by Slobodan Sijan, was so popular in the former Yugoslavia and Serbia that, in 2013, theater director Milica Kralj decided to stage The Marathon Family with the male roles played by female actors. In such a situation, for instance, Grandma Pantelija resembles Josip Broz Tito, and the main goal of all the women in the family is to become CEOs of some kind. This was not the first time that this play was played by female actors. Actually, in 1996, director Jagos Markovic staged the same play with female actors and achieved much success. Similarly, also in 2013, the female roles in Mrs. Minister, directed by Tatjana Mandic Rigonat, were played by male actors at the Bosko Buha theatre. By presenting these three playwrights and their comedies, we can follow the most important developments in the last few centuries and develop direct and indirect feelings about the state of affairs in Serbian society on many levels, not only on the level of literature and theater. Popovic was more of an intellectual and a didactic educator, desiring to enlighten the general populous and open their eyes through satire within the idea of the comedy of character. Meanwhile, Kovacevic uses his imagination more freely, relies much more on humor, and does not incorporate much satirical tone into his comedies. Somewhere between them, not only chronologically but also stylistically and in terms of the creative method, stands Nusic, as the most remarkable figure of the Serbian theatre. -Dejan Stojanovic

Selected Serbian Comedies

Popović, Jovan Sterija

Kovacevic, Dusan

Barnett, Dennis

Short Stories & Anthologies

Branislav Nusic: Sabrana Dela (Serbian Edition)

Dramas & Plays

CreateSpace Independent Publishing Platform

“Humor Branislava Nusica ocaravajuce je istinit, kao sto je njegova ostrija sestra – satira, pitoma i melanholicna, a ne surova i gruba. Izvorni, bujicni humor Nusic je slusao u muzickoj retorici naroda, malih i obicnih ljudi, koji na pozornici izrastaju u velike i neobicne tipove. Impozantno, neiscrpno, nezaustavljivo delo Branislava Nusica pripada svim ljudima, ne zato sto je komedija plebejska, narodna poslastica, nego vecma zato sto su u osecanju smeha i smejurije, komedije i lakrdije, ljudi i punopravni i ravnopravni, bez zadrske i bez zazora.” – Muharem Pervic

Komedije: Narodni poslanik, Gospodja ministarka, Ozaloscena porodica, Sumnjivo lice, Pokojnik

Humor & Entertainment

Humor

Ja mislim da uopste nema smisla pisati predgovor autobiografiji. Ako zivot covecji i ima kakav predgovor, on je tako intimne prirode da se o njemu uopste i ne pise. Ali se meni predgovorom valja opravdati sto sam preduzeo ovaj posao - pisanje biografije - kojim se obicno bave propali politicari, prognani vladari, besposleni penzioneri, bivse dvorske dame i clanovi Akademije nauka. I, eto, toga opravdanja radi ja moram ovu prvu glavu posvetiti predgovoru.U jedno doba nastala je bila citava hajka na mene. Sve sto je dobilo svrab za pisanje uzelo je da se cese o mene, tako da sam bio postao neka vrsta pismenog zadatka za sve one koji su - to se vec razume - pocinjali kritikom svoja literarna vezbanja. Svi su oni i na sav glas tvrdili: da ja nemam ni duha ni talenta. Kako su mi na taj nacin stvorili donekle reputaciju coveka bez duha i talenta, poce se saputati da mi ta reputacija daje dovoljno kvalifikacija za clana Akademije nauka i umetnosti, te sam svakoga casa mogao ocekivati da budem i izabran. Pa kako svaki akademik mora da izradi svoju autobiografiju, i kako je nasim akademicima za taj posao potrebno po nekoliko godina, pa ih ima koji su i umrli a taj toliko veliki i vazan posao nisu dovrsili, te se ni dan-danas nista ne zna ni o njihovom zivotu ni o njihovom radu na nauci - to sam odlucio da za vremena piberem gradju za svoj zivotopis.Eto to me je uglavnom rukovodilo kada sam seo da pisem ovu knjigu.Opis ovoga zivota otpoceo sam s rodjenjem, nalazeci da je to najprirodniji pocetak. Polazeci od toga fakta, ja se nisam upustao u stvari koje su prethodile mome rodjenju, posto o tome verovatno i nema nikakvih podataka. Autobiografiju sam zavrsio zenidbom, nalazeci da posle zenidbe covek i nema autobiografije.Uostalom, vreme od rodjenja do zenidbe i jeste jedan period (s mnogo potperioda) u istoriji covekovoj. Onako otprilike kao sto u istoriji Srba vreme od doseljenja na Balkansko poluostrvo do propasti carstva na Kosovu cini jedan veliki period s mnogo potperioda. Cak bi se i u zivotu covekovom taj period od rodjenja do zenidbe mogao, kao i u istoriji, zvati period od doseljenja do propasti". Kao sto bi se i period koji zatim nastaje mogao tako lepo i u &#382;ivotu, kao i u istoriji, nazvati: period robovanja i patnji".Branislav Nusic

Autobiografija (Serbian Edition)

Biographies & Memoirs

Memoirs

Ako se moji mali citaoci iz ove price nemaju cemu pouciti, izvesno je da ce se imati cemu nasmejati. Najvise mozda meni. Ja cu se tome njihovom smehu radovati, jer decji smeh je najveca radost starosti..."

Hajduci (Serbian Edition)

Children's Books

Action & Adventure

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