There’s an interesting moment near the end of the play when Moša Pijade, who doesn’t speak much otherwise, says: “When a new communist revolution starts somewhere... then they can see how difficult it is”. I think this is the key moment, and one we keep coming up against repeatedly. Namely, it’s easy to criticise the new class, it’s easy to criticise the Gulags; it’s easy to criticize Goli otok; it’s easy to criticise all the shortcomings of self-management, which never really was self-management. However, try finding solutions to these problems yourself, and you will see how difficult it is, and Moša Pijade is actually right here... In a way at the end of the play Djilas provides an answer that transports us directly into the future, or rather the present moment. At the end of the play, in a utopian/dystopian America he understands that capitalism, just like communism has serious flaws. He says “Let’s sing The Internationale”. At that moment in a sense the “fourth wall” is broken: I’m seated in the audience and I expect everyone to start singing The Internationale. However, what happens is identical to what happened in 2009 at a large conference on communism at the University of London, with speakers including Žižek, Badiou, Negri, Terry Eagleton – the leading theoretitians of the New Left… At the end of several days’ conference, there was lots of enthusiasm, thousands of people in the auditorium. And at the end of his speech Žižek said: “Let’s sing The Internationale!”. And what happened? Nothing… No one knew the words… something similar happens in this play… The actors mumble unable to remember the words, but Đjilas himself, who has distanced himself from communism, who criticised it, says: “Let’s sing The Internationale”. It is the only thing that can save us… Instead you get silence, mumbling on the stage and a passive audience… A few days ago I heard news about another union protest in Croatia… And what song did they sing? Not The Internationale. (Srećko Horvat)

With refined taste, subtly and skilfully, director Radmila Vojvodić moves the plot forward at the analytically reasonable, yet compact rhythm and pace in which the rest of the performance’s segments, such as set, costume design and music, are installed and synchronized. The main feature of this theatrical structure is certainly its purity and stylized form, ranging from acting, mise en scene, all the way to determining the accurate measure for the duration of single sequences or scene images. Within such an organization of the stage act, as a leitmotif it is provided the space for inclusion of viewers as active participants in the play. They are not only witnesses but also the participants of the “Đjilas plenum”. There are, of course, a lot of associations and inclinations to a Brecht’s theatrical style. Epic content is only a starting point for historical act and character which implies actual and contemporary ideas. Finally, the freedom is eternal theme which is even nowadays, and especially nowadays, particularly important, challenging and intriguing. Particularly this production of Montenegrin National Theatre has an impressive style and approach to the theme of man’s self-sacrifice at the altar of freedom and democracy. This is the style of aesthetic lightness and unpretentiousness which provides free "flow" of fresh air and breakthrough of original thoughts and ideas. (Todor Kuzmano)