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Ujež
Ujež ili Udruženje jugoslovenskih emancipovanih žena je komedija Branislava Nušića premijerno izvedena u Narodnom pozorištu, 4. septembra 1935. godine, u kojoj je Nušić na satiričan način komentarisao pokret za ženska prava u tadašnjoj Kraljevini Jugoslaviji.
54 pages, ebook
First published January 1, 1935
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About the author
Branislav Nušić
203 books127 followersBorn Alkibijad Nuša (Aromanian: Alchiviadi al Nuşa) in Belgrade, Principality of Serbia to a well-off family, Nušić enjoyed the benefits of a privileged upbringing for only a brief time. His father Đorđe Nuša was a well known grain merchant of Cincar (Aromanian Vlach) origin who lost his wealth shortly after his son's birth and was forced to move the family to Smederevo where young Alkibijad attended elementary school and first two grades of boarding school. During his teens, Nuša moved back to Belgrade where he graduated from boarding school. Upon turning 18 years of age, he legally changed his name to Branislav Nušić. In 1884, he graduated from the University of Belgrade's Law School. During his studies, he also spent a year in Graz, Austria-Hungary.
Twenty-one-year-old Nušić fought in the Serbo-Bulgarian War of 1885 while serving in the Serbian Army. After the war, he published a controversial poem "Dva Raba" in Dnevni list for which he spent two years in prison. The poem ridiculed Serbian King Milan, namely his decision to attend the funeral of the Serbian-born Austro-Hungarian general Dragutin Franasović's mother instead of that of the war's hero, Captain Mihailo Katanić who died as a result of wounds sustained while saving the regimental flag from the hands of Bulgarians.
At first, Nušić's sentence was only two months, but the King pressured the judges to extend it. Despite harsh prison conditions, Nušić still managed to write a comedy: Protekcija (Protection).
When he first asked the prison intendant, Ilija Vlah, for the permission to write, Vlah told him that it was the writing that got him into prison, and denied his request. Knowing that intendant read all outgoing mail, Nušić wrote a brief letter to the second husband of his aunt (he was related to her first husband), who served as a minister of justice. Nušić addressed Gersic as uncle and told him how it would be much easier for him to serve 2 years if he could write. He noted that he had no interest in writing political texts, and signed the letter your nephew. One day later, Vlah allowed him to write literature.
In 1889, Nušić became a civil servant. As an official in the Ministry of Foreign Affairs he was appointed to clerk of consulate in Bitola, where he eventually married (1893). He spent a decade in southern Serbia and Macedonia. His last post in this region was vice-consul in Pristina.[1]
In 1900, Nušić was appointed as a secretary of Ministry of Education, and shortly afterwards he became a head dramaturgist of the National Theatre in Belgrade. In 1904, he was appointed a head of Serbian National Theatre in Novi Sad. In 1905, he left his new post and moved to Belgrade to work as a journalist.
In 1912, Nušić returned to Bitola as a civil servant. During Balkan Wars in February 1913, Nušić, who was the prefect, was regarded as too moderate, and replaced by someone more sympathetic with the views of the military party and of "the black hand."[2] In 1913, he founded a theater in Skopje, where he lived until 1915. Due to the World War I, Nušić fled the country and lived in Italy, Switzerland and France for its duration.
After the war, Nušić was appointed to be the first head of the Art Department of the Ministry of Education. He remained at this post until 1923. Afterwards, he was appointed head of Narodno pozorište (National Theater) in Sarajevo. In 1927, he returned to Belgrade.
Twenty-one-year-old Nušić fought in the Serbo-Bulgarian War of 1885 while serving in the Serbian Army. After the war, he published a controversial poem "Dva Raba" in Dnevni list for which he spent two years in prison. The poem ridiculed Serbian King Milan, namely his decision to attend the funeral of the Serbian-born Austro-Hungarian general Dragutin Franasović's mother instead of that of the war's hero, Captain Mihailo Katanić who died as a result of wounds sustained while saving the regimental flag from the hands of Bulgarians.
At first, Nušić's sentence was only two months, but the King pressured the judges to extend it. Despite harsh prison conditions, Nušić still managed to write a comedy: Protekcija (Protection).
When he first asked the prison intendant, Ilija Vlah, for the permission to write, Vlah told him that it was the writing that got him into prison, and denied his request. Knowing that intendant read all outgoing mail, Nušić wrote a brief letter to the second husband of his aunt (he was related to her first husband), who served as a minister of justice. Nušić addressed Gersic as uncle and told him how it would be much easier for him to serve 2 years if he could write. He noted that he had no interest in writing political texts, and signed the letter your nephew. One day later, Vlah allowed him to write literature.
In 1889, Nušić became a civil servant. As an official in the Ministry of Foreign Affairs he was appointed to clerk of consulate in Bitola, where he eventually married (1893). He spent a decade in southern Serbia and Macedonia. His last post in this region was vice-consul in Pristina.[1]
In 1900, Nušić was appointed as a secretary of Ministry of Education, and shortly afterwards he became a head dramaturgist of the National Theatre in Belgrade. In 1904, he was appointed a head of Serbian National Theatre in Novi Sad. In 1905, he left his new post and moved to Belgrade to work as a journalist.
In 1912, Nušić returned to Bitola as a civil servant. During Balkan Wars in February 1913, Nušić, who was the prefect, was regarded as too moderate, and replaced by someone more sympathetic with the views of the military party and of "the black hand."[2] In 1913, he founded a theater in Skopje, where he lived until 1915. Due to the World War I, Nušić fled the country and lived in Italy, Switzerland and France for its duration.
After the war, Nušić was appointed to be the first head of the Art Department of the Ministry of Education. He remained at this post until 1923. Afterwards, he was appointed head of Narodno pozorište (National Theater) in Sarajevo. In 1927, he returned to Belgrade.
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June 24, 2023
Nušić (opravdano) ismeva i kritikuje nesposobne i neiskrene pokušaje tadašnjih dobrostojećih žena da se uključe u rešavanje problema od javnog interesa 👍, istovremeno zastupajući svoje konzervativne stavove o porodici kao prvom i jedinom cilju i prioritetu svake žene 👎. Emancipacija u većini slučajeva nije poželjna, jer se žene ne mogu ponašati nezavisno od porodice poput muškaraca, koji to i smeju i mogu.
Bez žena i majki u četiri kućna zida, muškarci su ostavljeni na milost i nemilost svakodnevnih, teških nedaća, poput ušivanja dugmadi i brige o deci, recimo gde su za početak; dok odrasla deca nemaju nikoga da nad njima bdi i preuzima posledice vlastitih grešaka. Nušić se u tu baš zaleteo, pa ispada da od prisustva majki zavisi da li će ćerka biti naivno iskorišćena, a sin siledžija i lopov. Gde su tu muževi kao uzori i pomoć? Jure za Saturnom i Mesecom, ali se sva krivica razorene porodice konačno svaljuje na odsutne majke, dok su muževi kažnjeni što se nisu jače bunili da ih zadrže u kući. 😡
Po meni, iz situacija koje je Nušić opisao u svojoj tragikomediji, krivca za urušavanje porodica treba podjednakom tražiti u posvećenosti i muža i žene, ne očekujući od žena da podignu loptu koju su prvi ispustili u nepažnji ili neinteresovanju, i pripisivati im zajednički poraz u roditeljstvu ako do njega dođe.
Naravno, ovo nije jedino o čemu se ova komedija bavi. Lažna pomoć koju bogati obećavaju društveno ugroženim, i uklanjanje od bilo kakve konkretne akcije ili efektnog rešenja je druga, ništa manje bitna meta Nušićeve kritike. Od prisustva zasedanjima na kojima je glavna tačka programa spletkarenje i retorika, bitnije su jedino diskusije ko će i u kojoj toaleti ići na međunarodne konferencije o irelevantnim pitanjima za tadašnju Srbiju. Ovaj deo radnje je ubedljivo bio interesantniji, i zaslužan je za ono malo uživanja koje sam imala čitajući komediju Ujež, tj. Udruženje jugoslovenskih emancipovanih žena.
Bez žena i majki u četiri kućna zida, muškarci su ostavljeni na milost i nemilost svakodnevnih, teških nedaća, poput ušivanja dugmadi i brige o deci, recimo gde su za početak; dok odrasla deca nemaju nikoga da nad njima bdi i preuzima posledice vlastitih grešaka. Nušić se u tu baš zaleteo, pa ispada da od prisustva majki zavisi da li će ćerka biti naivno iskorišćena, a sin siledžija i lopov. Gde su tu muževi kao uzori i pomoć? Jure za Saturnom i Mesecom, ali se sva krivica razorene porodice konačno svaljuje na odsutne majke, dok su muževi kažnjeni što se nisu jače bunili da ih zadrže u kući. 😡
Po meni, iz situacija koje je Nušić opisao u svojoj tragikomediji, krivca za urušavanje porodica treba podjednakom tražiti u posvećenosti i muža i žene, ne očekujući od žena da podignu loptu koju su prvi ispustili u nepažnji ili neinteresovanju, i pripisivati im zajednički poraz u roditeljstvu ako do njega dođe.
Naravno, ovo nije jedino o čemu se ova komedija bavi. Lažna pomoć koju bogati obećavaju društveno ugroženim, i uklanjanje od bilo kakve konkretne akcije ili efektnog rešenja je druga, ništa manje bitna meta Nušićeve kritike. Od prisustva zasedanjima na kojima je glavna tačka programa spletkarenje i retorika, bitnije su jedino diskusije ko će i u kojoj toaleti ići na međunarodne konferencije o irelevantnim pitanjima za tadašnju Srbiju. Ovaj deo radnje je ubedljivo bio interesantniji, i zaslužan je za ono malo uživanja koje sam imala čitajući komediju Ujež, tj. Udruženje jugoslovenskih emancipovanih žena.
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