Baština (Jan 2016)
Banjanski theatre of absurd: The Master Is Coming Tomorrow of Petar Saric in the highlight of Becket's philosophy of waiting
Abstract
The novel's title itself The Master Is Coming Tomorrow indicates to the idea it is about modern novel, which is of more avant-guardistic than realistic type. That was especially reinforced by the title of Becket's dramatic text Waiting for Godot, and with the fact that Saric's novel was compositionally organized in two parts the same as Becket's tragic comedy. Beet was occupied with the problem of human existence, and alienation of modern world. His vision of the world is pessimistic, and shows the life as the game of force majeure in which the human is reduced to physiological, and spiritual vegetarian, to senseless duration' fulfilled with questions, and futile expectation of salvation. Saric's Banjani 'play' in their theatre of absurd; by losing of their power, and the right over their freedom, they are also losing their identity, and are becoming a puppet governed by the will of one man. Their existential space is the circle which they closed by the fear, accepting vassalage, non-giving resistance, and reconciliation with their own limits. So their circle of life was reduced from existential and ontological point of view, to the area of Banjani, within which a dramatic plot is occurring through a series of scenes from little paradoxal life of the inhabitants of Banjannski villages, and their autocrat the Master Kojadin Kojadinovic. The category which is the most frequently connecting these two parts is the one of waiting, which is turning into the atmosphere of tension, unknowns, and even psychosis. But, while Becket's Vladimir, Estragon and Popo spend their life in senseless waiting for Godot, Saric's master is coming surely, and that moment is of crucial importance that the sheer drama of anticipation turns into Montenegrin, Banjanski tragic theatre of absurd.
