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U svoja dva komada sa rimskim temama, Velimir Lukić pokazuje dva različita lica. U drami Zavera ili dugo praskozorje, dajući jednu epizodu inspirisanu Tacitovim Analima, pesnik stvara vešt zaplet i uverljive likove. Kroz sveden i jezgrovit dijalog, on priča priču o okrutnoj autoritarnoj vlasti i čoveku koji, hteo-ne hteo, mora prema toj vlasti da se odredi. Svet Zle noći nije Grčka, ni Rim, ni savremeno doba. To je neko, Lukiću omiljeno, svevremeno doba. Motiv prognanog pesnika ipak je rimski i u njemu prepoznajemo udes Ovidijev. Nažalost, ovde se Lukić trudi da svaku emociju i stanje verbalizuje, čime replici ukida podtekst. Jedan kritičar primetio je da Lukić deluje kao sopstveni epigon. Ili epigon sopstvenog epigona, dodao bih ja. In his two pieces upon the Roman themes, Velimir Lukić presents two different faces. In a drama play 'Conspiracy or long dawn', presenting an episode inspired by the Annals of Tacitus, the poet creates a clever plot and compelling characters. Through a quite reduced and concise dialogue, he tells the story of a cruel authoritarian government and a man who nilly-willy, has to determine himself towards the one. The world of Evil night is neither Greece, nor Rome, nor the modern age. That is a kind of, a favourite one to Lukić, a timeless era. The motif of an exiled poet however, is the Roman one and the providence of Ovid can be recognized within it. Unfortunately, this is where Lukić tries each of his emotions and conditions to be put in words, which deprives replica of its subtext. One of the critics noted that Lukić acts as its own epigones. Or the epigone of his own epigone, I would add. |
