Presented collection of works on the playwright and polemicist

CO-PUBLISHING OF Matica srpska and Serbian reading room from Iriga published the collection of works “Drama of Mihiz’s time”. It is a collection of works from other meetings of Mihiz (2023) at Matica srpska in Novi Sad.

The collection includes texts by Zorica Nestorović, Marina Milivojević Mađarev, Marija Voštić, Miloš Pešut, Kristijan Olah, Zoran Milutinović, Marija Blagojević, Vesna Crepuljarević, Anđelka Lutovac, Aleksandar Pejčić, Jasmine Ahmetagić, Aleksandra Jerkova, Vladan Bajčeta and Rastko Lončar.

The editor of the Collection, Dr. Vladan Bajčeta, points out that during the second half of the 20th century, Dragoslav Mihajlović Mihiz (Iriga, 1922-Belgrade, 1997) had a significant role in several areas of dramatic creativity: as an original playwright, then as a prolific dramatist, and then as a theater critic and active participant in theater life in the capital of Yugoslavia at the time. He wrote four plays: “Banović Strahinja” (1963), “Commander Sayler” (1966), “Kraljević Marko” (1969) and “The Accused Pera Todorović” (1985).

– In addition, Mihiz brought Beckett’s “Godot” to Belgrade, sponsored the name “Ateljea 212” (in whose buffet he held an informal “academy”), encouraged the staging of adaptations of certain works for the stage, acted in the work of various juries. He dramatized a dozen works of Serbian and world literature, which include Radoj Domanović’s “Stradia” (1958), Leonid Leonov’s “Thief” (1969), “Dervish and Death” by Meša Selimović (1971), “Međa Vuk Manitog” by Matija Bećković (1978), “Korešpodencija” by Borislav Pekić (1980)… – the editor of the “Drama of Mihiz’s Age” enumerates.

As a theater critic, Mihiz also wrote about the acting achievements of Rahela Ferrari, Raša Plaović, Branko Pleša, then about the dramatic (failures) of Đorđe Lebović, Miloš Crnjanski, Dragoslav Mihailović, Dušan Kovačević… Throughout the decades of his presence in the literary arena, Mihiz, therefore, participated in the most diverse aspects of theatrical life, which in terms of scope exceeds his engagement as a critic as the most recognizable and the most appreciated part of the writer’s opus”.