The premiere of the mega-recital You Don't Renounce What You Haven't Got! by the theatre company Coccolemocco, then operating as a theatre section of the Society of Amateurs in Culture and Arts Vinko Jeđut, was held at the Vatroslav Lisinski Concert Hall in Zagreb as part of Republic Day celebrations, on November 18, 1979. Later, the recital toured festivals in Yugoslavia (Skopje and Young People’s Theatre Days of Dubrovnik) and performed on the Republic Square (today Ban Josip Jelačić Square) on the anniversary of the liberation of Zagreb on the 8th of May.
In their pursuit of an authentic theatre language, the company continued to explore the forms that were usually ridiculed by professional bel-esprit theatres such as socialist rallies and parades, choral recitations and alike, performed on the occasions of important anniversaries (Republic Day, May Day, Veterans Day, Antifascist Revolt Day) which were staged in a hurry and without any creativity. The performance You Don't Renounce What You Haven't Got! against any conventions, followed the development of the communist movement in Yugoslavia from the twenties to the late 1970s. The performance consists of texts dealing with the revolution from the position of unrealized left-wing forces, as Brecht sang: revolution’s "mountain hardships" but also "lowland hardships." Writings, poems and quotations by Marijan Stilinović, August Cesarec, Ivo Lola Ribar, Pavao Markovac, Drago Ibler, Krsto Hegedušić, Ivan Krndelj, Ivan Goran Kovačić, Marko Ristić, Radovan Ivšić, Karl Marx, Leon Trotsky, Friedrich Nietzsche, Bertolt Brecht, Vjeran Zuppa, Branko Matan and others were used. All sections of the Society of Amateurs in Culture and Arts Vinko Jeđut with more than a hundred participants appeared on stage. The show included, in addition to the members of Coccolemocco, a folklore ensemble, orchestras of accordions, brass instruments, tamboura, a wind orchestra, the Jeđutovke Choir, and a group of children from the Nikola Demonja Elementary School.
According to Gordana Vnuk, the recital You Don't Renounce What You Haven't Got! was critical of some aspects in self-managing socialism, such as state-sponsored public events omnipresent at the time. The performance was a persiflage which pointed to the totalitarian aspect of social realism and its forms of public representation. It could have been described as a collage of visually spectacular images characterized by poetic anarchy and subversion outside any protocols (Vnuk, interview, January 26, 2018). Performing this event during official celebrations was probably the greatest persiflage they could have done, and not be punished for it.
Gordana Vnuk cut the newspaper articles about the recital and stored them in her collection, along with the program leaflets, theatre tickets, and other documentation related to the recital You Don't Renounce What You Haven't Got!
The Orfeo Group created a rehearsal room in the mansard of their commune in Pilisborosjenő in 1974. This act was motivated in part by an attack launched by the communist cultural political leadership. As a result, the Studio was banned from every community centre in the country. From 1974 to 1976, very intense studio work was organized in this rehearsal room. Lessons were held for the actors in speaking techniques, motion, and theatre practices in the various rooms of the house. It served as a kind of college based on a mentor system, according to Tamás Fodor. In the rehearsal room, they created and performed their 3-act play (The hospital room no. 6., Warren/Militants, Lawn). They held literature evenings and premiers, as well. A select audience of intellectuals, philosophers, and artists visited the house. Today, the rehearsal room is home to the puppets made by Ilona Németh, one of the founding members of Orfeo. This illustrates the continuity between the past and the present.
This picture shows the honorary diploma given to Hristo Ognyanov by Pope Saint John Paul II in 1981 on the occasion Ognyanov’s 70th birthday and in gratitude for his activities defending freedom of religion (Source: CSA, F. 1264). It is associated with the History of the Bulgarian Church, written by Hristo Ognyanov for broadcasts on Voice of America in the period 1953–1957 (CSA F. 1264, op. 1, a.e. 249–251). In this and in programs on Radio Free Europe, Ognyanov critically discussed communist propaganda against religion. Ognyanov’s program "Eleven Centuries of Christianity in Bulgaria" received an award by The Catholic Broadcasters Association of America. Under the name "Religion and Atheism in Bulgaria under Communism," he delivered a series of lectures in 1974. In Bulgaria, Ognyanov's activities, including those on religious subjects, were considered by the authorities as "subversive propaganda".
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This manuscript was written on 2 April, 1969. Rendić raises the question of the position of the Catholic Church and Catholics after the so-called "liberalization" of the Yugoslav regime. She came to the conclusion that after ceasing the policy of open force, nothing had substantially changed in their position. She added that both the Church and Catholics live together in a sort of social ghetto isolated from the mainstream of socialist society, since "as it is with all liberalization, the Church remained in a ghetto, the Church is not moving from the ghetto at all" (Rendić 1969: 12). For this state of affairs, Rendić pointed to, as she said, the "totalitarian atheism" of the then socialist regime in Croatia and Yugoslavia, who taught that the progress of time would necessarily lead to the disappearance of religious consciousness throughout socialist society (Rendić 1969: 10).