|dc.description.abstract||Synchronous interest of different artists in the subject of the Impure Blood by Borisav Stanković points that this classical novel gains new importance in our times, revoked after more then three decades since the last staging. Both Lidija Pilipenko and Milena Marković looked for the musical expression of the subject. While previous dramatisations put the plot in the shadow of the beauty of the main character Sofka, both L. Pilipenko and M. Marković return it to its possible dramatic roots, i.e. to „dramatic story” – the term which Stanković invented to defend its writings from genre judgments. L. Pilipenko has made a ballet in which the central figure is the writer Stanković by himself, intermingling characters from his life with those who are his creation, otherwise, his thoughts and dreams with his tragic life moments, and titling it as the impure blood.
The work of M. Marković is created after the Stanković’s novel. It has a subtitle „A play about decay” and introduces a cycle of contemporary problems, though Marković’s play follows dramatic moments of the Impure Blood story and nevertheless, through songs – the sensibility of Stanković’s world. The task of songs which make more then a half of the spoken text is multiple: to inform the audience, to express complex relationships and could be in the form of a dialogue (between Mita and Marko), or functions as a chorus in ancient drama, or is a confession and stream of consciousness of the main characters, Marko and Sofka. All songs if extracted from the play could be read as a song wreath forming the thematic and melodic unity of decaying.||pl_PL