BUDUĆNOST PROŠLOSTI
Future of the Past
Sjećanje je važna komponenta nas samih, dio našeg bića. Naša
iskustva na Balkanu su posebna, imamo potrebu i obavezu da
prenesemo naša sjećanja kroz empatiju za druge, jer to otvara
perspektivu budućnosti, u kojoj se mržnja i ratovi neće ponavljati
kao refren u istoriji. Festival MESS će ove godine proći kroz istoriju
okrutnog 20. stoljeća sa zebnjom kako čovječanstvo na početku
21. stoljeća ratuje na cijeloj planeti. Način i odabir onoga čega
se trebamo i moramo sjećati jedno je od suštinskih pitanja našeg
društva. Nažalost, kod nas je sjećanje selektivno i filtrirano kroz
političko-društveni odnos u kojem se istorijski događaji posmatraju
bez konteksta i korelacije sa vremenom u kojem su se odigrali,
a često smo svjedoci kako se poriču činjenice i njeguje kultura
zaborava i laži. Umjetnost je važna za čuvanje sjećanja, jer je priča
o životu i pojedincu/ki, osjetljiva je na manipulacije i prisvajanje,
tiče se još uvijek živih ljudi, dok je istorija “slavna” i bavi se
onim sto je prošlo. Festival MESS će nam osvijetliti i osvijestiti
sadašnjost kroz našu prošlost, ma kako ona bila bolna ili teška,
sramna ili časna. Pozorište jeste prostor budućnosti jer vjeruje da
svijest i mašta, uzvišeno zajedništvo glumaca/ica i publike stvaraju
paralelni svijet mira i slobode. Na MESS-u ćemo krenuti u potragu
za takvim svijetom!
Memory is an important element of each one of us – part of our
very being. Our experiences in the Balkans are special and we
want and feel obliged to convey our memories through empathy
for others, for this opens a perspective towards the kind of future
where hatred and wars will not be repeated like a bad historical
refrain. This year again, the MESS Festival will go through the
history of our cruel 20th century with a sense of anxiety, since it
seems that mankind is marking the onset of the 21st century with
planet-wide warfare. The method and the selection of what we
need and should remember is one of the substantive issues of
our society. Unfortunately, our memory is selective and filtered
through the socio-political approach that observes historical
events with no context and no correlation with the time when they
actually happened; we are often confronted with denials of facts
and promotion of a culture of oblivion and lies. Art is important for
preserving memories, because any story about life or an individual
– however susceptible to appropriation and manipulation – is
related to people who are still alive, whereas it is history that is
“glorious” and related to times past. The MESS Festival will shed
light and wisdom on the present through the past, however painful
or hard, shameful or honourable it may be. Theatre is the space of
the future, since it believes that human mind and imagination, the
sublime unity of actors and the audience, do create a parallel world
of peace and freedom. At MESS, we shall embark on a quest for
such a world!
Dino Mustafić
direktor festivala MESS
Dino Mustafić
MESS Festival Director
54. INTERNACIONALNI TEATARSKI
FESTIVAL MESS 2014
3.10-12.10.2014.
Sarajevo, Zenica, Goražde, Visoko
3.10.2014. / PETAK
20.00 / Narodno pozorište Sarajevo
FRONT
Režija: Luk Perceval
Thalia Theater / NT Gent
NJEMAČKA / BELGIJA
20.00 / Bosansko narodno pozorište Zenica
Doruntina Basha / Almir Bašović / Almir Imširević:
BALKANSKI REKVIJEM
Režija: Stevan Bodroža
Bosansko narodno pozorište Zenica / Hundsturm /
Wien Kultur / Festival MESS / Trembles Verein für
freies Theater / BMUKK
BOSNA I HERCEGOVINA / AUSTRIJA
4.10.2014. / SUBOTA
20.00 / Narodno pozorište Sarajevo
BURŽOAZIJA
Režija: Jan Mikulášek
Divadlo Na zábradlí
ČEŠKA REPUBLIKA
22.00 / Međunarodni centar za djecu i omladinu
Novo Sarajevo
Biljana Srbljanović: PORODIČNE PRIČE
Režija: Paolo Magelli
Teatro Metastasio / Stabile della Toscana
ITALIJA
5.10.2014. / NEDJELJA
20.00 / Kamerni teatar ‘55
TI! SVI SU DOBRODOŠLI
Režija: Roberto Bacci
Fondazione Pontedera Teatro
ITALIJA
20.00 / Bosansko narodno pozorište Zenica
Doruntina Basha / Almir Bašović / Almir Imširević:
BALKANSKI REKVIJEM
Režija: Stevan Bodroža
Bosansko narodno pozorište Zenica / Hundsturm /
Wien Kultur / Festival MESS / Trembles Verein für
freies Theater / BMUKK
BOSNA I HERCEGOVINA / AUSTRIJA
6.10.2014. / PONEDJELJAK
18.00 / Kamerni teatar ‘55
TI! SVI SU DOBRODOŠLI
Režija: Roberto Bacci
Fondazione Pontedera Teatro
ITALIJA
20.00 / Narodno pozorište Sarajevo
ČETRNAESTA
Režija: Ana Đorđević
Narodno pozorište Republike Srpske
BOSNA I HERCEGOVINA
22.00 / Sarajevski ratni teatar
KOŠTANA
Režija: András Urbán
Narodno pozorište Subotica
SRBIJA
7.10.2014. / UTORAK
18.00 / Međunarodni centar za djecu i omladinu
Novo Sarajevo
Doruntina Basha / Almir Bašović / Almir Imširević:
BALKANSKI REKVIJEM
Režija: Stevan Bodroža
Bosansko narodno pozorište Zenica / Hundsturm /
Wien Kultur / Festival MESS / Trembles Verein für
freies Theater / BMUKK
BOSNA I HERCEGOVINA / AUSTRIJA
19.30 / Narodno pozorište Sarajevo
SKUPŠTINA
Režija: Selma Spahić
Narodno pozorište Sarajevo / Sarajevski ratni teatar
/ Kamerni teatar ‘55
BOSNA I HERCEGOVINA
23.00 / Sarajevski ratni teatar
UTROBA KITA
Režija: Fabio Rubiano Orjuela
Teatro Petra
KOLUMBIJA
8.10.2014. / SRIJEDA
18.00 / Kamerni teatar ‘55
SARA KAŽE
Režija: Fabio Rubiano Orjuela
Teatro Petra
KOLUMBIJA
20.00 / Narodno pozorište Sarajevo
Fedor Šili: ČAROBNJAK
Režija: Boris Liješević
Narodno pozorište Sombor
SRBIJA
22.00 / Sarajevski ratni teatar
HA!
Koreografija: Bouchra Ouizguen
Compagnie O
MAROKO
9.10.2014. / ČETVRTAK
18.00 / Akademija scenskih umjetnosti Sarajevo
POZDRAVI NEKOG
Režija: Miroljub Mijatović
Bosansko narodno pozorište Zenica
BOSNA I HERCEGOVINA
20.00 / Kamerni teatar ‘55
Biljana Srbljanović: MALI MI JE OVAJ GROB
Režija: Dino Mustafić
Hartefakt Fond / Kamerni teatar ‘55 /
Kazalište Ulysses / Testament filmS / MESS
SRBIJA / BOSNA I HERCEGOVINA / HRVATSKA
22.00 / Sarajevski ratni teatar
<DOB>
Režija: Francesca Pennini
CollettivO CineticO
ITALIJA
10.10.2014. / PETAK
14.00, 18.00, 22.00 / Akademija scenskih umjetnosti
Sarajevo
MOJE VELIKO DJELO (AMBICIOZNI PROJEKAT)
Režija: David Espinosa
El Local E.C / C.A.E.T.
ŠPANIJA
20.00 / Narodno pozorište Sarajevo
ODLAZAK
Režija: Kalle Nio
WHS
FINSKA
22.00 / Međunarodni centar za djecu i omladinu
Novo Sarajevo
TAČKE, LINIJE I KOCKA. SVIJET I OSTALI U KOCKI
KOJA SIJA.
Režija: Takahiro Fujita
mum&gypsy
JAPAN
11.10.2014. / SUBOTA
12.00 / Kamerni teatar ‘55
GENIJALNI GENIJE
Režija: Tamara Kučinović
Kazalište lutaka Zadar
HRVATSKA
14.00, 18.00 / Akademija scenskih umjetnosti
Sarajevo
MOJE VELIKO DJELO (AMBICIOZNI PROJEKAT)
Režija: David Espinosa
El Local E.C / C.A.E.T.
ŠPANIJA
20.00 / Sarajevski ratni teatar
BOJNO POLJE SJEĆANJA
Režija: Hans-Werner Kroesinger
HAU / Sarajevski ratni teatar / CZKD Beograd /
Goethe-Institut
NJEMAČKA / BOSNA I HERCEGOVINA / SRBIJA /
Turska
22.00 / Međunarodni centar za djecu i omladinu
Novo Sarajevo
TAČKE, LINIJE I KOCKA. SVIJET I OSTALI U KOCKI
KOJA SIJA.
Režija: Takahiro Fujita
mum&gypsy
JAPAN
12.10.2014. / NEDJELJA
11.00 / Centar za kulturu Sarajevo
*izvedbe i u Gradskom kinu Visoko i Centru za
kulturu Goražde
PLUMB BO-BO, ZU
Režija: Belma Lizde-Kurt
Aparat teatar
BOSNA I HERCEGOVINA
12.00 / Međunarodni centar za djecu i omladinu
Novo Sarajevo
JURI MURI PLEŠE U AFRICI
Režija: Ivana Djilas
Plesni teatar Ljubljana
SLOVENIJA
16.00 / Akademija scenskih umjetnosti Sarajevo
Ivor Martinić: DRAMA O MIRJANI I OVIMA OKO NJE
Mentor/ica: Ermin Bravo, Džana Pinjo
Akademija scenskih umjetnosti Sarajevo
BOSNA I HERCEGOVINA
18.00 / Sarajevski ratni teatar
BOLERO
Režija: Michael Pinchbeck
Nottingham Playhouse / Sarajevski ratni teatar /
Teatri Oda
UJEDINJENO KRALJEVSTVO / BOSNA I
HERCEGOVINA / KOSOVO*
20.00 / Narodno pozorište Sarajevo
SAMO ZA SARAJEVO (VRIJEME IZMEĐU DVIJE
GREŠKE)
Koncept: Grace Ellen Barkey, Jan Lauwers
Needcompany
BELGIJA
22.00 / Kamerni teatar ‘55
ŠTA SAM ČUO O SVIJETU
Autori i reditelji: Jorge Andrade, Alexander Kelly,
Chris Thorpe
Third Angel / mala voadora
UJEDINJENO KRALJEVSTVO / PORTUGAL
OFF MESS
3.10-12.10.2014.
12.00-20.00 / Galerija JAVA
Projekat: KOLEKCIJA BUDUĆEG NASLJEĐA
Inicijatorica: Azra Akšamija
Producenti/ce: Lejla Hodžić, Anton Lederer,
Margarethe Makovec, <rotor>
AUSTRIJA / BOSNA I HERCEGOVINA
6.10-13.10.2014.
18.00 / Muzej književnosti i pozorišne
umjetnosti BiH
Izložba: OTVORENI PROSTORI
Autorica: Regine Dura
HAU / Goethe-Institut
11.10.2014. / SUBOTA
10.30-14.30 / Hotel Europe
Feministički razgovori: Žene Bosne i
Hercegovine u (post)jugoslovenskom
vremeplovu
Sarajevski otvoreni centar
BOSNA I HERCEGOVINA
*Ovaj naziv ne dovodi u pitanje status Kosova i u skladu je s Rezolucijom
1244 i odlukom ICC-a o kosovskoj Deklaraciji o neovisnosti.
54th INTERNATIONAL THEATER
FESTIVAL MESS
October 3 – October 12, 2014
Sarajevo, Zenica, Goražde, Visoko
3.10.2014 / FRIDAY
20:00 / National Theater Sarajevo
FRONT
Director: Luk Perceval
Thalia Theater / NT Gent
GERMANY / BELGIUM
20:00 / Bosnian National Theater Zenica
Doruntina Basha / Almir Bašović / Almir Imširević:
THE BALKAN REQUIEM
Director: Stevan Bodroža
Bosansko narodno pozorište Zenica / Hundsturm /
Wien Kultur / Festival MESS / Trembles Verein für
freies Theater / BMUKK
BOSNIA AND HERZEGOVINA / AUSTRIA
4.10.2014 / SATURDAY
22:00 / Sarajevo War Theater
KOŠTANA
Director: András Urbán
Narodno pozorište Subotica
SERBIA
22:00 / Sarajevo War Theater
<AGE>
Director: Francesca Pennini
CollettivO CineticO
ITALY
7.10.2014 / TUESDAY
10.10.2014 / FRIDAY
18:00 / International Center for Children and Youth
Novo Sarajevo
Doruntina Basha / Almir Bašović / Almir Imširević:
THE BALKAN REQUIEM
Director: Stevan Bodroža
Bosansko narodno pozorište Zenica / Hundsturm /
Wien Kultur / Festival MESS / Trembles Verein für
freies Theater / BMUKK
BOSNIA AND HERZEGOVINA / AUSTRIA
19:30 / National Theater Sarajevo
THE ASSEMBLY
Director: Selma Spahić
Narodno pozorište Sarajevo / Sarajevski ratni teatar
/ Kamerni teatar ‘55
BOSNIA AND HERZEGOVINA
20:00 / National Theater Sarajevo
THE BOURGEOISIE
Director: Jan Mikulášek
Divadlo Na zábradlí
CZECH REPUBLIC
23:00 / Sarajevo War Theater
THE BELLY OF THE WHALE
Director: Fabio Rubiano Orjuela
Teatro Petra
COLOMBIA
22:00 / International Center for Children and Youth
Novo Sarajevo
Biljana Srbljanović: FAMILY STORIES
Director: Paolo Magelli
Teatro Metastasio / Stabile della Toscana
ITALY
8.10.2014 / WEDNESDAY
5.10.2014 / SUNDAY
20:00 / National Theater Sarajevo
Fedor Šili: THE WIZARD
Director: Boris Liješević
Narodno pozorište Sombor
SERBIA
20:00 / Chamber Theater ‘55
YOU! EVERYONE IS WELCOME
Director: Roberto Bacci
Fondazione Pontedera Teatro
ITALY
20:00 / Bosnian National Theater Zenica
Doruntina Basha / Almir Bašović / Almir Imširević:
THE BALKAN REQUIEM
Director: Stevan Bodroža
Bosansko narodno pozorište Zenica / Hundsturm /
Wien Kultur / Festival MESS / Trembles Verein für
freies Theater / BMUKK
BOSNIA AND HERZEGOVINA / AUSTRIA
6.10.2014 / MONDAY
18:00 / Chamber Theater ‘55
YOU! EVERYONE IS WELCOME
Director: Roberto Bacci
Fondazione Pontedera Teatro
ITALY
20:00 / National Theater Sarajevo
1914
Director: Ana Đorđević
Narodno pozorište Republike Srpske
BOSNIA AND HERZEGOVINA
18:00 / Chamber Theater ‘55
SARA SAYS
Director: Fabio Rubiano Orjuela
Teatro Petra
COLOMBIA
22:00 / Sarajevo War Theater
HA!
Choreography: Bouchra Ouizguen
Compagnie O
MAROCCO
9.10.2014 / THURSDAY
18.00 / Academy of Performing Arts Sarajevo
SEND GREETINGS TO SOMEONE
Director: Miroljub Mijatović
Bosansko narodno pozorište Zenica
BOSNIA AND HERZEGOVINA
20:00 / Chamber Theater ‘55
Biljana Srbljanović: THIS GRAVE IS TOO SMALL
FOR ME
Director: Dino Mustafić
Hartefakt Fond / Kamerni teatar ‘55 /
Kazalište Ulysses / Testament filmS / Festival
MESS
SERBIA / BOSNIA AND HERZEGOVINA / CROATIA
14:00, 18:00, 22:00 / Academy of Performing Arts
Sarajevo
MY GREAT WORK (AN AMBITIOUS PROJECT)
Director: David Espinosa
El Local E.C / C.A.E.T.
SPAIN
20:00 / National Theater Sarajevo
DEPARTURE
Director: Kalle Nio
WHS
FINLAND
22:00 / International Center for Children and Youth
Novo Sarajevo
DOTS, LINES AND THE CUBE. A WORLD AND THE
OTHERS IN THE CUBE THAT SHINES.
Director: Takahiro Fujita
mum&gypsy
JAPAN
11.10.2014 / SATURDAY
12:00 / Chamber Theater ‘55
THE INGENIOUS GENIUS
Director: Tamara Kučinović
Kazalište lutaka Zadar
CROATIA
14:00, 18:00 / Academy of Performing Arts Sarajevo
MY GREAT WORK (AN AMBITIOUS PROJECT)
Director: David Espinosa
El Local E.C / C.A.E.T.
SPAIN
20:00 / Sarajevo War Theater
BATTLEFIELD MEMORY
Director: Hans-Werner Kroesinger
HAU / Sarajevski ratni teatar / CZKD Beograd /
Goethe-Institut
GERMANY / BOSNIA AND HERZEGOVINA / SERBIA
/ TURKEY
22:00 / International Center for Children and Youth
Novo Sarajevo
DOTS, LINES AND THE CUBE. A WORLD AND THE
OTHERS IN THE CUBE THAT SHINES.
Director: Takahiro Fujita
mum&gypsy
JAPAN
12.10.2014 / SUNDAY
11:00 / Cultural Center Sarajevo
*performances also in City Cinema Visoko and
Goražde Center for Culture
PLUMB BO-BO, ZU
Director: Belma Lizde-Kurt
Aparat teatar
BOSNIA AND HERZEGOVINA
12:00 / International Center for Children and Youth
Novo Sarajevo
JURI MURI IN AFRICA DANCES
Director: Ivana Djilas
Plesni teatar Ljubljana
SLOVENIA
16:00 / Academy of Performing Arts Sarajevo
Ivor Martinić: A PLAY ABOUT MIRJANA AND
THOSE AROUND HER
Mentors: Ermin Bravo, Džana Pinjo
Akademija scenskih umjetnosti Sarajevo
BOSNIA AND HERZEGOVINA
18:00 / Sarajevo War Theater
BOLERO
Director: Michael Pinchbeck
Nottingham Playhouse / Sarajevski ratni teatar /
Teatri Oda
UNITED KINGDOM / BOSNIA AND HERZEGOVINA /
KOSOVO*
20:00 / National Theater Sarajevo
JUST FOR SARAJEVO (THE TIME BETWEEN
TWO MISTAKES)
Concept: Grace Ellen Barkey, Jan Lauwers
Needcompany
BELGIUM
22:00 / Chamber Theater ‘55
WHAT I HEARD ABOUT THE WORLD
Authors and Directors: Jorge Andrade, Alexander
Kelly, Chris Thorpe
Third Angel / mala voadora
UNITED KINGDOM / PORTUGAL
OFF MESS
3.10.-12.10.2014
12:00-20:00 / JAVA Gallery
Project: FUTURE HERITAGE COLLECTION
Initiator: Azra Akšamija
In collaboration with: Lejla Hodžić, Anton Lederer,
Margarethe Makovec, <rotor>
AUSTRIA / BOSNIA AND HERZEGOVINA
6.10.-13.10.2014
18:00 / Museum of Literature and Performing Arts
of B&H
Exhibition: OPEN SPACES
Author: Regine Dura
HAU / Goethe-Institut
11.10.2014 / SATURDAY
10:30-14:30 / Hotel Europe
Feminist Talks: Women in Bosnia and
Herzegovina in (Post)Yugoslav Time
Machine
Sarajevski otvoreni centar
BOSNIA AND HERZEGOVINA
*This label does not prejudge the status of Kosovo and is in accordance
with Resolution 1244 an the opinion of ICJ on Kosovo’s declaration of
independence.
Narodno pozorište Sarajevo 20.00
National Theater Sarajevo
Trajanje / Running time: 120 min.
Rođen je 30. maja 1957. godine (Lommel, Belgium). 1979. godine diplomirao je glumu na
Koninklijk konzervatoriju u Antwerpu. Od 1980. do 1985. radi kao glumac u teatru KNS
(Koninklijke Nederlandse Schouwburg) u Antwerpu. Od 1981. do 1989. godine podučava
glumce/ice na Koninklijk Muziekconservatoriumu u Antwerpu. 1984. godine osnovao
Blauwe Maandag Compagnie (Blue Monday Company) zajedno sa Guyem Joostenom. 1998.
godine, Luk Perceval osnovao je kompaniju HET TONEELHUIS. HET TONEELHUIS je spoj
kompanija Blauwe Maandag Compagnie (sa sjedištem u Gentu) i KNS (Antwerp) koja je
smještena u Bourla teatru u Antwerpu.
DIRECTOR
Born on May the 30th, 1957 (Lommel, Belgium). Graduated as an actor in 1979 at
the Koninklijk Conservatorium Antwerp. Worked as an actor at the KNS (Koninklijke
Nederlandse Schouwburg) in Antwerp from 1980 untill 1985. He teached actors’ training
from 1981 untill 1989 at the Koninklijk Muziekconservatorium Antwerp. In 1984 he
founded Blauwe Maandag Compagnie (Blue Monday Company) together with Guy Joosten.
In 1998 Luk Perceval founded HET TONEELHUIS. HET TONEELHUIS is a fusion between
Blauwe Maandag Compagnie (based in Ghent) and KNS (Antwerp) based at the Bourla
theatre in Antwerp.
Njemačka, Belgija / Germany, Belgium
PRODUKCIJA
FRONT
Jezik: njemački, francuski, holandski i engleski sa bosanskim i engleskim prijevodom
Language: German, French, Dutch and English with Bosnian and English subtitles
PREDSTAVA
Prije stotinu godina, u zapadnoj Evropi počeo je
četverogodišnji rat koji je trajao od 1914. do 1918. godine i
koji je odnio najmanje šesnaest miliona života – deset miliona
vojnika/inja – francuskih, britanskih, njemačkih i belgijskih, ali
i italijanskih, ruskih, srpskih, rumunskih, američkih, turskih
i ostalih i šest miliona civila/ki, što je često bilo rezultat
gladi i bolesti. Nakon ovog “Velikog rata”, nekad ponosna,
prosperitetna Evropa više nikad neće biti ista; nestale su stare
monarhije, a na horizontu su se pojavile neke nove, velike
sile poput Sovjetskog saveza i Sjedinjenih Američkih Država.
Industrijalizacija je uzela maha, kako na frontu, tako i mimo
njega. Njemački filozof Peter Sloterdijk smatra da je dvadeseto
stoljeće počelo 22. aprila 1915. godine, na mjestu sjeverno
od grada Ypresa, kada je u napadu prvi put korišten bojni
otrov. To je bilo prvi put u historiji da je ljudska vrsta pokušala
istrijebiti svoje pripadnike/ce kao insekte. U drami “FRONT”,
nesretni pješadijci/ke iz perioda 1914-1918. ponovo poprimaju
ljudski lik i to ne putem historijske rekonstrukcije ili kostima
koji evociraju taj period, nego jednom evokativnom polifonijom
koja daje konkretne slike ratovanja u rovovima u dolini rijeke
Ijzer, gdje su dvije zaraćene strane – Nijemci i Saveznici –
postigli primirje već 1914. godine, čizama zaglavljenih duboko
u prohladno blato Westhoeka. U ovoj simboličnoj oblasti
oni/e su se tri godine borili za svaki metar zemlje, a rovovi
su im ponekad bili tako blizu da su vojnici/kinje na suprotnim
stranama mogli čuti jedni druge. “FRONT” – koprodukcija
teatara Thalia, Hamburg (Njemačka) i NT Gent (Belgija), u
režiji Luka Percevala – prikaz je života s obje strane ratišta
s pripovijestima na njemačkom, francuskom, holandskom i
engleskom jeziku.
PERFORMANCE
Hundred years ago, in Western Europe, a four-year war started
which between 1914 and 1918 would claim a total of at least
sixteen million dead, including ten million soldiers – French,
British, German and Belgian, but also Italian, Russian, Serb,
Romanian, American, Turkish and others – and six million
civilians, often as a result of famine and disease. After this
“Great War”, the once so proud, prosperous continent of
Europe would never be the same again: several old monarchies
were swept away and new great powers appeared on the
horizon, including the Soviet Union and the United States.
Industrialisation also took off, both on and off the battlefield.
The German philosopher Peter Sloterdijk suggests that the
twentieth century started on 22nd April 1915, just north of the
town of Ypres, when poisonous gas was used for the first time
during an assault. This was the first occasion in history that
the human species tried to eliminate fellow men like insects.
In “FRONT”, the unfortunate foot-soldiers of 1914-1918
are given a human face again. Not by means of an historical
reconstruction or a costume drama evocation, but by an
evocative polyphony, portraying specifically the trench warfare
on the plain of the River Ijzer, the place where the two front
lines – the Germans versus the Allies – came to a standstill
as early as 1914, their boots sinking deep into the chilling
mud of the Westhoek . In this symbolic area they fought over
every metre of ground for three years, and the trenches were
sometimes so close together that the soldiers on the two
sides could hear one another. “FRONT”, a coproduction of the
Thalia Theater Hamburg (DU) and NTGent (BE), directed by
Luk Perceval, gives an impression of life on both sides of this
front line: with accounts in German, French, Dutch and English.
Kada je Cheri Maurice dobio dozvolu za otvaranje
teatra u Hamburgu 1843. godine, zabranili su mu da
postavlja ozbiljne predstave kako ne bi ugrožavao
rad Gradskog teatra u ulici Dammtorstrasse. Zbog
toga je svoj teatar nazvao po grčkoj muzi komedije
– Thalia. Svoja vrata otvorio je 9. novembra 1843.
godine, na mjestu koje se nalazi tačno preko puta
njegove današnje lokacije. Međutim, zgrada teatra je
tokom Drugog svjetskog rata bila gotovo uništena.
Renovirana je krajem pedesetih godina, a teatar je
ponovo otvoren u decembru 1960. godine. Mjuzikli
Roberta Wilsona (u saradnji sa Tomom Waitsom i Lou
Reedom) su već stvar legende i obišli su cijeli svijet.
Teatar je često pozivan na Berliner Theatertreffen i
dobitnik je priznanja “Teatar godine”. Thalia teatar
je tokom godina postao komercijalno najuspješniji
njemački teatar za klasične drame. Joachim Lux je
generalni direktor Thalia teatra od ljeta 2009. godine.
Već u prvoj sezoni svoga mandata u teatru angažirao
je sjajne reditelje/ice. Luk Perceval kao glavni reditelj,
Nicolas Stemann, Jan Bosse, Dimiter Gotscheff,
samo su neka od imena. Lux strastveno promovira
razumijevanje među kulturama, društvenim klasama i
religijama. Upravo to je bit interkulturalnog festivala
“Za svijet - Lessingovi dani” koji se od 2010. godine
održava u Thalia teatru, a njegova ideja počiva na
Lessingovoj progresivnoj misli i ugošćuje renomirane
međunarodne drame. Također, teme i drame koje
program Thalia teatra pokriva odražavaju tendenciju
čovjeka da se više pozabavi “svijetom”, a manje
unutrašnjim psihološkim predjelima.
NTGent je gradski teatar u Gentu. Iz svog sjedišta
– teatra na Sint-Baafspleinu, u samom srcu grada
između katedrale, zvonika i gradske vijećnice, on
kreće u bijeli svijet sa svojim ansamblom kojeg čine
vodeći flamanski i holandski glumci/ice. NTGentu
je velika čast što donosi teatar u svaki kutak svog
sopstvenog govornog područja, ali je i dobrodošao
gost i aktivan partner na međunarodnoj sceni, od
festivala u Avignonu, Ruhr trienala, festivala u Atini
i festivala Wiener Festwochen, do gradova poput
Sidneja, Njujorka. Moskve, Zagreba i Seula. NTGent
nastoji predstaviti teatar koji je dirljiv, izazovan i
iznenađujući. Prema svom uvjerenju da je teatar
ostao nenadmašen kao društveni prostor koji ima
štošta za ponuditi svojom tolerancijom, kao duševno
utočište u kojem najrazličitiji pogledi na svijet mogu
mirno da se sukobljavaju, kao umjetnički prostor u
kojem otvorenost prema novim idejama nudi početak
jedne nove priče, teatar budnim okom prati današnji
svijet i uvijek je spreman na interakciju sa ostalim
umjetničkim disciplinama. Do jula 2015. godine,
umjetničku putanju NTGenta određivat će glumac
i umjetnički majstor za sve Wim Opbrouck. Nakon
toga, NTGent će slaviti povratak svog nekadašnjeg
umjetničkog direktora Johana Simonsa, holandskog
reditelja, koji je 2010. godine iz NTGenta otišao
u teatar Münchner Kammerspiele. Od 2015. do
2017. godine, Simons će ovo zaduženje kombinirati
sa ulogom administratora trienala u Ruhru. Wim
Opbrouck će nastaviti raditi kao glumac za NTGent
koji će 2015. godine proslaviti 50. godišnjicu svog
postojanja.
PRODUCTION
When Cheri Maurice was granted the license for
a theatre in Hamburg in 1843, he was forbidden
from staging serious plays in order to protect the
Stadttheater on Dammtorstraße. As a result, he
named his theatre after the Greek muse of comedy,
Thalia and opened its doors on 9th November 1843, in
a spot directly opposite its current location. However
the theatre was largely destroyed during the Second
World War, restored towards the end of the Fifties
and re-opened in December 1960. Robert Wilson’s
musicals (collaborations with Tom Waits and Lou
Reed) are the stuff of legend and have embarked on
tours all over the world. The theatre was frequently
invited to the Berliner Theatertreffen and was awarded
the accolade of “Theatre of the Year”. “Along the way”
Thalia Theater became Germany’s most commercially
successful theatre for straight plays. Joachim Lux
has been the Managing Director at Thalia Theater
since summer 2009. He began signing up brilliant
directors to the theatre in his very first season. Luk
Perceval as lead director, Nicolas Stemann, Jan Bosse,
Dimiter Gotscheff are just a few of the names. Lux is
passionate about promoting understanding between
cultures, social classes and religions. This is also what
the intercultural festival “For the world – Lessing
Days” stands for, which has taken place at Thalia
Theater between the end of January and the beginning
of February every year since 2010, based on Lessing’s
progressive ideas and hosting renowned international
guest plays. Furthermore the topics and plays covered
in our programme reflect the tendency to occupy
oneself more with the “world” and less with inner
psychological realms.
Igraju / Cast:
Patrick Bartsch
Bernd Grawert
Burghart KlauSSner
Benjamin-Lew Klon
Oscar van Rompay
Peter Seynaeve
Steffen Siegmund
Oana Solomon
Katelijne Verbeke
Steven van
Watermeulen
Gilles Welinski
WORLD MESS
Režija / Direction:
Luk Perceval
REDITELJ
03/10/14
Dramaturgija / Dramaturgy:
Christina Bellingen
Steven Heene
Scenografija / Stage Design:
Annette Kurz
Kostimografija / Costume
Design:
Ilse Vandenbussche
Muzika / Music:
Ferdinand Försch
Muzika uživo / Live-music:
Ferdinand Försch
Video:
Philip BuSSmann
Svjetlo / Light:
Mark Van Denesse
Fotografija / Photography:
CSMAILOVIC
NTGent is Ghent’s civic theatre. From its home base –
the theatre on Sint-Baafsplein, at the heart of the city,
between the cathedral, belfry and town hall – it goes
out into the wide world with its ensemble of leading
Flemish and Dutch actors/actresses. NTGent makes
it a point of honour to take theatre to every corner of
its own language area, but it is also a welcome guest
and an active partner on the international scene, from
the Avignon Festival, the RuhrTriennale, the Athens
Festival and the Wiener Festwochen to such cities as
Sydney, New York, Moscow, Zagreb and Seoul. NTGent
aims to present theatre that is moving, challenging
and surprising. On the basis of its conviction that
theatre remains unsurpassed as a social space that
sets great store by tolerance, as a mental haven
where the most diverse world-views can clash
peacefully with each other, as an artistic space where
openness to new ideas provides the start of a new
story, with an eye to today’s world and always ready
for interaction with other artistic disciplines. Until
July 2015, NTGent’s artistic course will be determined
by actor and artistic jack-of-all-trades Wim Opbrouck.
After this, NTGent will be celebrating the return
of its former artistic director Johan Simons, the
Dutch director who in 2010 swapped NTGent for the
Münchner Kammerspiele. From 2015 to 2017, Simons
will be combining this role with that of intendant of
the RuhrTriënnale. Wim Opbrouck will continue to
work as an actor for NTGent, which, incidentally, will
be celebrating its 50th birthday as a civic theatre in
2015.
1914
Narodno pozorište Sarajevo 20.00
National Theater Sarajevo
Trajanje / Running time: 75 min.
Jan Mikulášek (1978) rođen je u Zlínu gdje mu je majka bila glumica, a otac glumac u
lokalnom pozorištu. Po završetku gimnazije u Brnu, upisuje se na Janáčekovu Akademiju
muzičkih i scenskih umjetnosti i studira na Odsjeku za dramsku režiju. Tu provodi tri
godine, najprije u klasi Petera Scherhaufera, a potom i Zbyněka Srbe. Nakon uspješne
postavke Brechtove drame “Lindbergov let” postaje umjetnički direktor pozorišta Polárka
u Brnu 2001. godine. Uz druge mlade pozorišne umjetnike/ce uspijeva da od Polárke
napravi jedno posjećeno, alternativno pozorište, usredsređeno uglavnom na autorski rad
usmjeren za što širi spektar publike. Bio je i umjetnički direktor pozorišta Petr Bezruč
u Ostravi. Pored režiranja, posvetio se i komponiranju pozorišne muzike. Od ove sezone
bit će stalni režiser u Pozorištu na Balustradi. Mikulášekova režija je dobrim dijelom
inspirirana filmskim pristupom – pored činjenice da je režirao brojne adaptacije filmova, on
na sceni također koristi elemente filmskog jezika – rezove, detalje, muzički kontrapost i
paralelnu radnju. Njegov drugi značajan izvor inspiracije je slikarstvo iz kojeg “crpi” ideje
za mizanscen i svjetlo. Mikulašek je također dobro upućen u različite žanrove i naginje ka
grotesknoj stilizaciji za koju nalazi mjesto čak i u dramskim klasicima.
Igraju / Cast:
Petra Bučková
Jiří Vyorálek
Jan Hájek
Petr Jeništa
Magdaléna Sidonová
Anežka Kubatová
Leoš Noha
Miloslav König
Ladislav Hampl
Dramaturgija / Dramaturgy:
Dora Viceníková
Scenografija / Stage Design:
Marek Cpin
Fotografija / Photography:
Kiva
Češka Republika / Czech Republic
DIRECTOR
Jan Mikulášek (1978) was born in Zlín, where both his parents were actors in the local
theatre. After studying at the Academy Grammar School in Brno, he was accepted at the
Janáček Academy of Arts to study drama directing. He spent three years there, being
taught first by Peter Scherhaufer and then by Zbyněk Srba. After a successful production
of Bertolt Brecht’s “The Flight Across the Ocean”, he became the artistic head of the
Brno theatre Polárka in 2001. Together with other young theatre artists, he helped make
Polárka a closely followed alternative theatre, focusing mostly on auteur work for as
wide an audience spectrum as possible. He has also held the position of artistic head
of the Petr Bezruč Theatre in Ostrava. In addition to directing, he actively devotes his
time to composing music for the theatre. From this season, he is to become an in-house
director at the Theatre on the Balustrade. Mikulášek’s direction is notably influenced
by film approaches – in addition to having directed many adaptations of films, he also
uses elements of film language on stage, such as cutting, detail, musical contrapposto,
and parallel plot unfolding. His other major source of inspiration is fine art, from which
he “takes” an emphasis on mise-en-scène and lighting. Mikulášek is also well-versed in
different genres, and inclines towards grotesque stylization, something for which he finds
space even in major dramas.
BURŽOAZIJA
THE BOURGEOSIE
Jezik: češki sa bosanskim i engleskim prijevodom
Language: Czech with Bosnian and English Subtitles
PREDSTAVA
Buñuel se poigrava sa svojim likovima mameći ih da
očekuju fine večere, a potom ih iznova dosjetljivo
frustrira. Oni se opiru i uljudno iskazuju svoj gnjev,
ali nikad ne odustaju; oni neumorno očekuju i traže
sve ono što žele, kao da je njihovo urođeno pravo da
ih drugi/e služe i da im ugađaju. On ogoljuje njihovu
bahatost, njihovo licemjerje i njihovu potkupljivost.
U sekvencama snova on istražuje njihove intenzivne
strahove – ne samo strah od javnog poniženja, već i
strah da ih policija ne uhvati i da ne padnu pokošeni
u pucnjavi. Ispostavlja se da bar jedna sekvenca sna
nekog od likova kasnije biva ugniježđena ili ugrađena
u sekvencu sna nekog drugog lika. Kako se ti “snovi u
snu” odmotavaju, tako se čini da se i Buñuel poigrava
sa svojom publikom, dok mi cijeloj toj priči nastojimo
naći smisao.
PERFORMANCE
Buñuel plays tricks on his characters, luring them in
with expectations of fine dinners, and then repeatedly
frustrating them in inventive ways. They bristle, and
politely express their outrage, but they never stop
trying; they relentlessly expect and pursue all that
they desire, as though it were their natural right to
have others serve and pamper them. He exposes
their sense of entitlement, their hypocrisy, and their
corruption. In the dream sequences, he explores their
intense fears – not just of public humiliation, but of
being caught by police, and mowed down by guns. At
least one character’s dream sequence is later revealed
to be nested, or embedded, in another character’s
dream sequence. As the dreams-within-dreams unfold,
it appears that Buñuel is also playing tricks on his
audience, as we try to make sense of the story.
PRODUKCIJA
Brojne su istaknute ličnosti poput Václava
Havela, Ivana Vyskočila, Jana Grossmana,
Evalda Schorma i Petra Lébla prošle kroz
ovo umjereno, moderno češko pozorište,
kako ga kritičari vole nazivati. Od svog
osnivanja 1958. godine, ovo pozorište
igra značajnu ulogu u društvenom i
kulturnom životu zemlje. Pozorište je
brojnim izvedbama predstavljalo Češku
Republiku u inostranstvu, a matična je kuća
plejadi istaknutih glumaca/ica. Pozorište
na Balustradi prednjači u savremenim
pozorišnim trendovima.
PRODUCTION
Numerous distinguished figures, including
Václav Havel, Ivan Vyskočil, Jan Grossman,
Evald Schorm, and Petr Lébl have passed
through this soft Czech modern theatre,
as it is described by critics. Since its
creation in 1958, the theatre has played a
significant role in the country’s social and
cultural context. It has created numerous
productions that have represented the
Czech Republic abroad, and has been home
to a plead of notable actors. The Theatre
on the Balustrade is a leader in current
theatrical trends.
MITTELEUROPA
Režija / Direction:
Jan Mikulášek
REDITELJ
04/10/14
Međunarodni centar za djecu i omladinu Novo Sarajevo 22.00
International Centre for Children and Youth Novo Sarajevo
Trajanje / Running time: 80 + Intermission + 35 min.
Biljana Srbljanović je rođena 1970. godine u Švedskoj. Diplomirala je na Fakultetu dramskih umjetnosti u Beogradu,
na Odsjeku dramaturgije, gdje radi od 1996. godine, trenutno kao vanredna profesorica. Kao studentica, zajedno sa
Milošem Radovićem, radila je na stvaranju serije “Otvorena vrata” i napisala je scenario za većinu epizoda. Njene
drame su prevedene na preko dvedeset stranih jezika i izvedene u više od stotinu pozorišta širom svijeta, i objavljene
na više jezika u Evropi. Napisala je, između ostalog, i drame: “Beogradska trilogija” (1997), “Porodične priče” (1998),
“Pad” (2000), “Supermarket” (2001), “Amerika, drugi deo” (2003), “Skakavci” (2005), “Barbelo, o psima i deci” (2007),
i “Nije smrt biciklo da ti ga ukradu” (2011), “Mali mi je ovaj grob” (2013). Petostruka je dobitnica Sterijine nagrade,
zatim nagrada: Osvajanje Slobode, Dragiša Kašiković, Slobodan Selenić, Godišnje nagrade Grada Beograda za dramsku
umjetnost, Statuete Joakim Vujić i najvišeg evropskog priznanja – Premio Europa – Nova pozorišna realnost. Završava
naučne doktorske studije iz Teorije dramskih umjetnosti, medija i kulture na Fakultetu dramskih umjetnosti. Alumni
je Fulbright stipendije i bila je gostujuća profesorica na univerzitetima u Njujorku, Beču, Milanu i Firenci. Osnivačica je
Foruma pisaca i dobitnica francuskog ordena iz reda Viteza umjetnosti i književnosti, borkinja za prava životinja, a nekad
i ljudi.
AUTHOR
Biljana Srbljanović was born in 1970 in Sweden. She graduated from the Faculty of Dramatic Arts in Belgrade,
Department of Dramaturgy, where she has been working since 1996, currently holding the position of associate
professor. As a student, along with Miloš Radović, she worked to create a TV series “Open Doors”, and wrote the
screenplay for the majority of the episodes. Her plays have been translated into more than twenty foreign languages
and performed in over a hundred theaters around the world, and have been published in several languages in Europe.
She wrote, among others, the following dramas: “Belgrade Trilogy” (1997), “Family Stories” (1998), “The Fall” (2000),
“Supermarket” (2001), “America, Part Two” (2003), “Locusts” (2005), “Barbelo, on Dogs and Children” (2007), and
“Death Is Not a Bicycle (To be Stolen from You)” (2011), “This Grave is Too Small for Me” (2013). She has won a Sterija
award five times, as well as winning the following awards: The Conquest of Freedom, Dragiša Kašiković, Slobodan
Selenić, Annual Belgrade Drama Theatre Award, the Statuette of Joakim Vujić, and the highest European award, Premio
Europa - New Theatrical Realities. She completed her doctoral studies in the Theory of Dramatic Arts, Media and Culture
at the Faculty of Dramatic Arts. She is a Fulbright Scholarship Alumna, and was a visiting professor at universities in
New York, Vienna, Milan, and Florence. She is the founder of the Forum of Writers, the recipient of the French Medal of
the Knight of the Order of Arts and Letters, fighter for the rights of animals and, occasionally, of humans.
Italija / Italy
REDITELJ
Paolo Magelli rođen je u Pratu. Sa nepunih dvadeset godina postao je direktor teatra Teatro Studio Metastasio.
Sarađivao je sa Giorgiom Strehlerom na nacrtu svoje sada već slavne reforme teatra u Toscani, a zatim i italijanskog
teatra – dva prijedloga koja su bila osuđena na propast, nakon čega, sredinom 70-tih godina, napušta Prato. 1974.
godine u Beogradu, Magelli je započeo projekat koji će mu omogućiti saradnju sa svim velikim centrima bivše Jugoslavije
i donijeti mu brojne nagrade. 1985. seli se u Zagreb gdje je bio umjetnički direktor ZKM teatra. 1989. godine pozvan
je na trajnu saradnju kao reditelj u Wuppertaler Bühnen u teatru Pine Bausch gdje je ostao do 1995. Početak rata
ga je zatekao u Zagrebu gdje je radio na Horvathovom komadu “Vjera, ljubav, nada”. Veoma brzo je došao u sukob s
Tuđmanovim režimom i bio mu je zabranjen pristup hrvatskim teatrima. 1995. godine (nakon tri godine zabrane) vratio se
na zagrebačku scenu i sam finansirao predstavu “Višnjik” u djelimično uništenom foajeu teatra Gavella. 2000. godine radi
sa Palestinskim narodnim pozorištem u Ramallahu i izraelskim pozorištima u Tel Avivu, Akkou i Haifi. 2003. godine seli
u Dresden, gdje radi do 2009. u teatru Staatschauspiel. 2010. godine postao je reditelj u teatru Metastasio Stabile della
Toscana u sklopu kojeg nastavlja saradnju sa teatrima u Srbiji, Hrvatskoj i Njemačkoj.
BILJANA SRBLJANović
DIRECTOR
Paolo Magelli was born in Prato. Not yet twenty-year-old, he became Director of Teatro Studio of Metastasio. He worked
with Giorgio Strehler in drafting his now famous reform of Tuscan theatre, first, and Italian theatre later – two proposals
doomed to be “buried”, then he left Prato in the mid 70’s. In 1974 in Belgrade Magelli started a job that will take him to
collaborate with all the big centres of Ex-Yugoslavia, earning innumerable prizes. In 1985 he moved to Zagreb to become
artistic director of the theatre ZKM. In 1989 he was invited to collaborate on a permanent basis as a director at the
Wuppertaler Bühnen of Pina Bausch where he stayed until 1995. The breakout of the war took him by surprise. He was
in Zagreb working on “Faith, Hope, and Charity” by Horvath. Very soon he came into conflict with the Tuđman regime and
he was banned from Croatian theatre. In 1995 (after three years of being banned) he put back onto the scene in Zagreb,
self-funding “The Cherry Orchard”, in the partially destroyed foyer of the Gavella theatre. In 2000 he worked with the
Palestinian National Theatre of Ramallah and with the Israeli theatres of Tel Aviv, Akko and Haifa. In the 2003 he moved
to Dresda, where he will work stably until 2009 to the Staatschauspiel. In 2010 he became director of Teatro Metastasio
Stabile della Toscana continuing to collaborate with theatres in Serbia, Croatia and Germany.
PORODIČNE PRIČE
FAMILY STORIES
Jezik: italijanski sa bosanskim i engleskim prijevodom
Language: Italian with Bosnian and English translation
PREDSTAVA
“Drama Giochi di famiglia (Porodične priče) odvija se
u oronulom predgrađu bilo kojeg evropskog grada i
govori o četvero napuštene djece koja se pretvaraju
da su odrasli i koja se jednostavno pridružuju
pokvarenosti svijeta koja nas preplavljuje. Ova djeca
nude nam priliku da zavirimo u svoju dušu i suočimo
se sa brutalnošću koju svi skrivamo u sebi. Tekst
Biljane Srbljanović predstavlja priliku da se na jedan
beskrupulozan način razgovara o porodici. Ova djeca
govore o roditeljima koji su u stvarnosti odsutni.
Mi smo ti odrasli, ti ljudi koji su uveliko odsutni.Ta
odsutna porodica kreira model koji ne samo da je
uvredljiv već je i model s kojim se da poistovijetiti. Na
kraju svake scene, dijete na razne načine ubija svoje
roditelje. U predstavi nalazimo jednu kreativnost koja
nas razoružava, koja prkosi, ali koja je nadasve očajna.
Ovo je tekst koji obiluje upitnicima: Kakvu retoriku bi
trebalo eliminirati iz našeg društva? Zašto kreiramo
vojsku dječaka pripremljenih da pred teškoćama
poginju glave, umjesto da ih uzdižu do platonskog
ponosa? Zašto se svijet ne mijenja? Ovdje se radi o
tekstu koji generira raspravu, stid i bolni osmijeh,
ostavljajući nam jedan veliki upitnik i u glavi i u
stomaku.”
Paolo Magelli
PERFORMANCE
“Giochi di famiglia (Family stories) takes place in the
degraded suburb of any European city and tells of four
alone children who play to be adult and, just joining
the badness of the world that inundated us, these
children will offer us the possibility to look within
the spirit and to meet the brutality that everyone
hides within oneself. The text of Biljana Srbljanovic
represents the occasion to discuss about the family
in an unscrupulous way. These children speak about
parents who in reality are absent. We are these adults,
the great absentees. This absent family creates a
model not only exceptionable but also attachable.
And the child in the end of every scene always kills
the parents in various ways. There is a disarming
creativity, spiteful but above all desperate. It is a text
full of question marks: Which are the speeches that
would have to be eliminated from our society? Why
we create an army of prepared boys to wind down the
head in front of the difficulties instead raising them to
a platonic pride? Why doesn’t the world change?
A text that creates argument, embarassment and a
smiling pain, leaving a question mark in the mind and
in the stomach.”
Paolo Magelli
PRODUKCIJA
Teatar Metastasio Stabile della Toscana (koji se
od 1994. vodi kao Fondacija sa partnerima Comune
di Prato, Regione Toscana, Provincia di Prato;
od 1998. godine priznat od strane Italijanskog
ministarstva kulture kao jedna od najsvjetlijih
tačaka proznog stvaralaštva u Italiji) djeluje
na dvije adrese – Metastasio (zgrada teatra iz
XIX stoljeća u italijanskom stilu) i Fabbricone
(nekadašnja tvornica tekstila koja je sada pretvorena
u teatar). Pod rediteljskom palicom Paola Magellia
osnovana je rezidentna kompanija, a pet glumaca/
ica uključeno je u produkcije, radionice i kurseve
obuke. Teatar Stabile oduvijek je radio na razvijanju
mreže produkcijske saradnje sa stranim teatrima.
Trenutno postoji projekat razmjene sa najboljim
evropskim i mediteranskim teatrima. Od 2010. godine,
Metastasio je član ETC mreže. Od svog osnivanja,
teatar Stabile radi na obuci i davanju smjernica. U
toku je osnivanje škole “Nuova Bottega” u kojoj će
se obučavati novi glumci/ice, reditelji/ce, scenski
tehničari/ke i tehničari/ke svjetla, kostimografi/kinje
i scenografi/kinje. Metastasio je dosljedno posvećen
ideji dovođenja teatra u škole i predstavljanju mladoj
publici. Teatar trajno sarađuje sa kompanijom TPO,
jednom od najstručnijih kompanija u oblasti dječijeg
teatra. Kompanija TPO je učesnica na najprestižnijim
festivalima diljem svijeta. Još jedan projekat teatra
Metastasio je festival Contemporanea (prvi put
održan 1999. godine), kulturni projekat usredsređen
na nove sfere istraživanja savremene umjetnosti i
zabave, privilegovano mjesto za posmatranje scenske
umjetnosti teatra, plesa, performansa, muzike – koje
tumači, uključuje i okuplja produkcijsku aktivnost
nacionalnih i međunarodnih umjetnika/ca, s posebnim
fokusom na mlade grupe u usponu.
PRODUCTION
Teatro Metastasio Stabile della Toscana (since 1994
established as Foundation, with partners Comune di
Prato, Regione Toscana, Provincia di Prato, since 1998
acknowledged by the Italian Department of Culture
as one of the highest – public – points for prose
production in Italy) acts in two venues: Metastasio
(a XIX century all’italiana theatre) and Fabbricone (a
textile industrial plant transformed into a permanent
playhouse). Under Paolo Magelli’s direction a
resident company has been formed, five reference
actors involved in productions, workshops, training
courses. The Teatro Stabile has always been working
to develop a network of production relationship with
foreign theatres. There’s now a project of exchange
with the best European and Mediterranean theatres.
Since 2010 Metastasio is member of the ETC Network.
Since its foundation the Teatro Stabile has been
engaged in a strong training and guidance activity.
We are now establishing a “Nuova Bottega” to coach
new actors, directors, stage and light technicians,
wardrobe, dressmakers, set designers. Metastasio is
steadily engaged with spreading theatre in schools
and for young audience. It permanently collaborates
with TPO, one of the most qualified Italian companies
in the field of children’s theatre. TPO has taken part
in numerous prestigious festivals worldwide. Another
project of Metastasio is Contemporanea Festival (first
edition in 1999), a cultural project addressed to the
new spheres of the research of contemporary arts and
live entertainment; a privileged place to observe arts
of the stage – theatre, dance, performing arts, music
– that interprets, involves and gathers important
production paths of national and international artists,
with particular focus on young emerging groups.
Tekst / Text:
Biljana Srbljanović
Prijevod / Translation:
Paolo Magelli
Režija / Direction:
Paolo Magelli
Igraju / Cast:
Milena Valentina Banci
Vojin Mauro Malinverno
Andrija Francesco
Borchi
Nadezda Elisa Cecilia
Langone
Fabio Mascagni
Dramaturgija / Dramaturgy:
Željka UdovičiĆ
Scenografija / Stage Design:
Lorenzo Banci
Laboratorio del Teatro
Metastasio
Dizajn svjetla / Light Design:
Roberto Innocenti
Kostimografija / Costume
Design:
Leo Kulas
Muzika / Music:
Arturo Annecchino
Inspicijent / Stage Manager:
Roberto Innocenti
Pomoćnica reditelja /
Assistant Director:
Giulia Barni
Pomoćnica inspicijenta /
Assistant Stage Manager:
Giulia Giardi
Glavni scenski tehničar /
Chief Stagehand: Tobia Grassi
Glavni električar i majstor
zvuka / Chief Electrician and
Sound Engineer:
Daniele Santi
Menadžerica produkcije /
Production Manager:
Francesca Bettalli
Fotografija / Photography:
Giovanni Santarelli
Grafički projekat i montaža /
Graphic Project and Editing:
Francesco Marini
Video Bam Container:
Associazione Culturale
(Nadia Baldi)
Video montaža / Video
Editing:
Compagnia T. P.O.
BALKAN (CON)TEXT
AUTORICA
04/10/14
Kamerni teatar ‘55 20.00
Chamber Theater ‘55
Trajanje / Running time: 70 min.
Roberto Bacci je 1974. godine osnovao Centro per la Sperimentazione e la Ricerca Teatrale
(Centar za pozorišne eksperimente i istraživanja). Od osnivanja Centra obavlja funkciju
njegovog umjetničkog direktora. Centar je 1999. godine preimenovan u Fondazione
Pontedera Teatro, u čijem sklopu Bacci realizira brojne projekte u Italiji i inostranstvu
i ostvaruje kontakte sa umjetnicima/ama kao što su: Jerzy Grotowski, Eugenio Barba,
Peter Brook, Anatoli Vasiliev, Raul Ruiz, Julian Beck, Judith Malina, Sanjukta Panigrahi
i drugi. U periodu od 1978. do 1987. godine sedam puta je obnašao funkciju umjetničkog
direktora festivala Festival Internazionale di Teatro di Santarcangelo di Romagna. Bio je
i umjetnički direktor međunarodnog festivala Volterra Teatro u periodu od 1990. do 1999.
godine, kao i festivala Passaggio a Pontedera koji od 2000. godine nosi naziv Generazioni.
Od 2002. godine obnaša funkciju umjetničkog direktora pozorišnog dijela festivala Fabbrica
Europa u Firenci. Od 2012. godine je direktor festivala Collinarea koji se održava u Lariju.
U periodu od 1976. do 2011. godine Bacci je režirao brojne predstave koje su igrane u
Italiji, Evropi, Srednjoj Americi i na Bliskom Istoku, najprije sa pozorištem Piccolo Teatro
di Pontedera, a zatim sa pozorištem Compagnia Laboratorio di Pontedera. Neke od tih
predstava dobitnice su nagrada i priznanja kritike.
Italija / Italy
Kamerni teatar ‘55 18.00
Chamber Theater ‘55
Trajanje / Running time: 70 min.
06/10/14
Igraju / Cast:
Sebastian Barbalan
Silvia Pasello
Francesco Puleo
Alessio Targioni
Tazio Torrini
Asistentica režije / Assistant
Director:
Elena Piscitilli
Dramaturgija / Dramaturgy:
Stefano Geraci
Roberto Bacci
Scenografija i dizajn svjetla /
Stage and Light Design:
Stefano Franzoni
Kostimografija i umjetnička
saradnja / Costumes and Art
Assistance:
Luisa Pasello
DIRECTOR
TI! SVI SU DOBRODOŠLI
YOU! EVERYONE IS WELCOME
Roberto Bacci founded in 1974 the Centro per la Sperimentazione e la Ricerca Teatrale
(Centre for Theatrical Experiment and Research). Since its foundation he has been Artistic
Director of the Centre, that has become in 1999 Fondazione Pontedera Teatro, with
which he has organized numerous projects in Italy and abroad, coming into contact with
artists such as Jerzy Grotowski, Eugenio Barba, Peter Brook, Anatoli Vasiliev, Raul Ruiz,
Julian Beck and Judith Malina, Sanjukta Panigrahi and others. Between 1978 and 1987
he was Artistic Director for seven editions of the Festival Internazionale di Teatro di
Santarcangelo di Romagna. He was Artistic Director of the International Festival Volterra
Teatro from 1990 to 1999, and of the festival Passaggio a Pontedera, which, from the
edition 2000 on, has been called Generazioni. Since 2002 he is Artistic Director of the
theatre section of the festival Fabbrica Europa in Florence. Since 2012 is director of the
festival Collinarea festival in Lari. From 1976 to 2011 he has directed many performances
presented in Italy, in Europe, in Latin America, in the Middle East, first with the Piccolo
Teatro di Pontedera, and then with the Compagnia Laboratorio di Pontedera. Some of
these performances have received prices and recognition from critics.
Jezik: italijanski sa bosanskim i engleskim prijevodom
Language: Italian with Bosnian and English Subititles
PREDSTAVA
Ova predstava je tragikomedija svakog
“zapošljavanja” – zasnovana na posljednjim
stranicama nedovršenog Kafkinog romana “Amerika”
ili “Onaj koji je nestao”, prvenstveno na tehnikama
intervjuiranja, testovima i metodologiji koja se koristi
u procesu selekcije ljudskih resursa, a u cilju nalaženja
onog “najboljeg” kandidata/kinje koji će dobiti posao.
Univerzum koji kombinira fragmente različitih oblasti
nauke sa unezvijerenom radošću biranja sudbine
užasnutih kandidata/kinja iz svih dijelova svijeta.
Dakle?!
Jesmo li svi primljeni?
Na koje mjesto tačno?
Hoće li vječno obećanje ostvarenja VELIKOG TEATRA
svih naših težnji biti i održano?
Potraga za poslom i obećanje koje nas održava “u
društvu” i omogućava nam da preživimo do kraja
života otvara neke, nama nevidljive stupice pod
nogama. Tako, namaštavajući razne izlaze koji nas
mame da krenemo za nekim novim bivstvovanjem,
stojimo ukorijenjeni pred tim jednim izlazom gdje naše
vrijeme polako prolazi.
Isuviše okrutna vizija?
Svakako.
Živi bili pa vidjeli.
PERFORMANCE
The theme of the show, the tragicomedy of every
“recruitment”, is based on the last unfinished pages of
Kafka’s “Amerika” or “The Man Who Disappeared”, but
above all on the interviewing techniques, tests, and
methodologies used during the process of selecting
human resources to find the “best” man to take on.
A universe that mixes parts of different branches of
knowledge with ferocious cheerfulness to choose the
destinies of dismayed candidates from all parts of the
world.
So?!
Have we all been recruited?
For what, exactly?
And will the eternal promise of achieving the GREAT
THEATRE of all our aspirations ever be kept?
The search for a job and a promise that will maintain
us “in society” and allow us to survive to the end of
our days, opens pitfalls at our feet that we do not see.
Thus, imagining the multiple gateways inviting us to
reach a new existence, we stay rooted to the spot in
front of that single gateway where all our time wears
away.
Too cruel a vision?
Of course.
Seeing is believing.
PRODUKCIJA
Nekadašnji Centro per la Sperimentazione
e la Ricerca Teatrale (osnovan 1974),
Fondazione Pontedera Teatro aktivno
se bavi pozorišnim stvaralaštvom i
produkcijom, pozorišnim obrazovanjem
i obukom, prezentacijom, izdavaštvom i
širenjem kulture na regionalnom, državnom
i međunarodnom nivou. Oko projekata ove
kuće okupljaju se umjetnici/e, studenti/
ce, teatrolozi/ginje i raznovrsna publika;
pozorište također provodi aktivnosti
sa lokalnim institucijama, sarađuje sa
srednjim školama i Univerzitetom za
starije osobe. Od 1986. godine, pozorište
Pontedera Teatro je dom Radnog centra
Jerzyja Grotowskog koji je 1996. godine
preimenovan u Radni centar Jerzyja
Grotowskog i Thomasa Richardsa.
Djelovanje pozorišta Fondazione usko je
povezano sa dva jako važna pozorišna
festivala u Italiji Santarcangelo i
Volterrateatro, kao i sa Fabbrica Europa
festivalom u Firenci. Od 2008, na
sceni Teatra Era, Fondazione godišnje
učestvuje u organizaciji dva pozorišna
festivala: festivala Fabbrica Europa u
Firenzi i festivala Collinarea u Lariju u
mjesecu julu.
PRODUCTION
Formerly the Centro per la Sperimentazione
e la Ricerca Teatrale (instituted in
1974) Fondazione Pontedera Teatro is
active in the fields of theatre creation
and production, theatre education and
training, presentation, publishing and
dissemination on regional, national and
international levels. The projects of the
Fondazione bring together artists, students
and theatre scholars, and a diverse
public; it also carries out activities with
local institutions, collaborating with high
schools and with the University of the
Elderly. Since 1986 Pontedera Teatro has
hosted the Workcenter of Jerzy Grotowski,
which in 1996 became the Workcenter of
Jerzy Grotowski and Thomas Richards.
The history of the Fondazione is closely
associated with two of the most important
theatre festivals in Italy, Santarcangelo and
Volterrateatro, as well as Fabbrica Europa
Festival in Florence. Since 2008 hosted
at Teatro Era, the Fondazione mounts
two annual theatre festivals: at Fabbrica
Europa in Florence in May and at Collinarea
in Lari in July.
Tehničko vodstvo / Technical
Direction:
Sergio Zagaglia
Muzika / Music:
Ares Tavolazzi
Direktor produkcije / Director
of Production:
Angela Colucci
PR:
Micle Contorno
Fotografija / Photography:
ALICE CASAROSA
Produkcija / Production:
Fondazione Pontedera
Teatro 2013
WORLD MESS
Režija / Direction:
Roberto Bacci
REDITELJ
05/10/14
Narodno pozorište Sarajevo 20.00
National Theater Sarajevo
Trajanje / Running time: cca 120 min.
REDITELJICA
Rođena je u Beogradu 1977. godine. Diplomirala je na Odsjeku za pozorišnu i radio-režiju,
na Fakultetu dramskih umjetnosti u Beogradu, predstavom “San ljetne noći” V. Šekspira u
produkciji Gradskog pozorišta u Podgorici, 2001. godine. Od 2011. godine zaposlena je kao
asistentica na predmetu Pozorišna režija na Fakultetu dramskih umjetnosti u Beogradu.
Značajnije predstave režirala u Narodnom pozorištu Subotica, Jugoslovenskom dramskom
pozorištu (Teatar Bojan Stupica), Narodnom pozorištu Sombor, Kruševačkom pozorištu,
Srpskom narodnom pozorištu u Novom Sadu. U Banjoj Luci režirala predstavu “Radnička
hronika”, dramski tekst Petra Mihajlovića u njenoj adaptaciji, premijerno prikazanu 24.
decembra 2010. godine. Predstava je u cjelini osvojila tri prestižne nagrade u Bosni i
Hercegovini. Njen rediteljski rad rezultirao je nagradama na brojnim festivalima u Srbiji i
Bosni i Hercegovini.
Igraju / Cast:
Branko Janković
Goran Jokić
Željko Erkić
Zlatan Vidović
Sandra Ljubojević
Miljka Brđanin Babić
Dragana Marić
Danilo Kerkez
Ivan Perković
MITTELEUROPA
Autorica, dramaturginja
i rediteljica / Author,
Dramaturge and Director:
Ana Đorđević
06/10/14
Scenografija / Stage Design:
Dragana Purković
Macan
Kostimografija / Costume
Design:
Ivana Jovanović
Muzika / Music:
Petar Topalović
Bosna i Hercegovina / Bosnia and Herzegovina
DIRECTOR
She was born in Belgrade on August 7th, 1977. She graduated from the Department of
Theatre and Radio Directing, at the Faculty of Dramatic Arts in Belgrade, with the play
“Midsummer Night’s Dream” by William Shakespeare, produced by the City Theatre in
Podgorica in 2001. Since 2011, she has worked as an assistant professor of Theatre
Directing at the Faculty of Dramatic Arts in Belgrade. She directed some of her most
significant plays at the National Theatre in Subotica, Yugoslav Drama Theatre (Theatre
Bojan Stupica), National Theatre Sombor, Kruševac Theatre, and Serbian National
Theatre in Novi Sad. In Banja Luka, she directed the “Workers’ Chronicle”, after her own
adaptation of the play by Petar Mihajlović, which premiered on December 24th, 2010. The
play as a whole won three prestigious awards in Bosnia and Herzegovina.
For her directing projects, she received numerous awards at the festivals in Serbia and
Bosnia and Herzegovina.
ČETRNAESTA
1914
Kamera i video dizajn /
Camera and video design:
Petar Bilbija
Lektori / Text Editors:
Milorad Telebak
Nataša Kecman
Video tehničar / Video
technician:
Dragan Majkić
Asistent rediteljice /
Assistant director:
Igor Vuk Torbica
Fotografija / Photography:
DRAGO VEJNOVIĆ
Jezik: njemački sa bosanskim i engleskim prijevodom
Language: German with Bosnian and English Subititles
PREDSTAVA
U pokušaju da do kraja i trajno definiše sve detalje u vezi
sa ubistvom Franje Ferdinanda, istorijska nauka pokazuje
se sasvim nemoćnom, isto koliko i politika kada pokušava
da razreši pitanje motiva atentatora i logističke pozadine
ubistva, a posebno kada govori o pojmu krivice za početak
Prvog svetskog rata, dovodeći je neposredno u vezu sa
Sarajevskim atentatom. Umetnost je, na sreću, uvek bila
pametnija od politike, i nju nisu zanimali odgovori koje daje
dnevna politika. Pošto je predmet njenog prikazivanja ono
što je iza pojavnog, ne samo odgovori, nego je i način na koji
ona postavlja pitanja uvek takav da u žižu stavlja krajnje
nepoverenje prema svakom obliku ideološkog manipulisanja i
ide ka samom čoveku i tragediji (ne)postojanja izbora. Ona sve
dovodi u pitanje dok ne dođe do onoga što je neupitno – prava
na život. I ona to pravo veliča i rida nad njegovim gubitkom. I
ako ide do kraja u svojoj zapitanosti, prepoznaje kao konačni
usud činjenicu da to pravo – pravo na život, narodima i
pojedincima ne oduzimaju ni mali ljudi, ni još manji ljudi, već
upravo ono što nastoji da uništi i samu umetnost – borba
oko plena između moćnika nevidljivih iz rakursa nas koji smo
ovde, nevidljivih i iz rakursa ugla Apelovog keja i Ulice Franje
Josifa, gde je bila prodavnica Morisa Šilera, pred kojom je 28.
juna 1914. stajao Gavrilo Princip, i gde se greškom zaustavio
automobil prestolonaslednika Franje Ferdinanda.
Ana Đorđević
PERFORMANCE
In an effort to fully and permanently define all the details
about the murder of Franz Ferdinand, the study of history
has proven to be of no use. The same is true for the politics
when trying to resolve the question of motive of the assassin
and the logistical background of the assassination, especially
regarding the concept of the blame for the start of World War
I, directly pinning it on the assassination in Sarajevo.
Fortunately, art was always more clever than politics, and
it was not interested in the answers given by the daily
political humdrum. Since the object represented by art is
what is hidden behind the readily visible, the way it asks the
questions, as well as the answers it gives, always focuses on
the extreme distrust of any form of ideological manipulation,
and is directed toward the man and the tragedy of (non)
existence of a choice. Art questions everything until it
encounters that which is undisputed – the right to life. Art
glorifies it and mourns its loss. And if art, in its questioning,
follows through until the end, it recognizes, as the ultimate
fate, the fact that this right – the right to life – was not
taken away from the peoples and individuals neither by small
people, nor by smaller people, but rather that which seeks
to destroy the art itself – the fight over the spoils between
the powerful ones, those invisible from the perspective of us
who are here, and invisible from the perspective of the corner
between Apel Quay Street and Francis Joseph Street, where
the shop of Moris Šiler once stood, in front of which, on June
28th 1914, stood Gavrilo Princip, and where the car of the
Crown Prince Franz Ferdinand came to a full stop by mistake.
Ana Đorđević
PRODUKCIJA
Narodno pozorište Republike Srpske, pod
nazivom Narodno pozorište Vrbaske banovine,
počelo je sa radom 18. oktobra 1930. godine.
Tokom vremena, Pozorište je više puta mijenjalo
svoje ime. Zgradu Pozorišta projektovao
je inženjer Josif Goldner. Prva značajnija
rekonstrukcija urađena je 1959. godine, po
projektu Vladimira Dobrovića, kada je scena
tehnički modernizovana, a sala i interijeri
generalno preuređeni. Prema projektu Vjenceslava
Rihtera, poslije katastrofalnog zemljotresa, koji
je zadesio Banju Luku 1969. godine izvršena je
druga velika rekonstrukcija. Tokom adaptacije
napravljena je scena Petar Kočić sa 77 sjedišta.
Na svečanom otvaranju premijerno su odigrane
tri jednočinke rodoljubivog jugoslovenskog
karaktera: “Hadži Loja” Branislava Nušića, “Hej
Sloveni” Riste Odavića i “Povratak” Budimira
Švabića. Prije svečane premijere govore su održali
ban Milosavljević i Božo Nikolić, predsjednik
Udruženja glumaca Kraljevine Jugoslavije. Prvi
glumački ansambl činili su: Radenko Almažanović,
Momir Andrić, Vjekoslav Afrić, Marica Afrić, Joza
Bakotić, Ružica Bogdanović, Žarko Joković, Zlata
Kovačević, Emil Kutijaro, Dragan Jovanović,
Ljubica Jovanović, Carka Jovanović, Dušan
Mitrović, Kosana Pavlović, Dobrivoje Radenković,
Ivka Radenković, Kosara Rajčević, Miloš Rajčević,
Pava Sluka, Nikola Stojanović, i Tereza Fogl. Prvi
upravnik bio je Dušan M. Mitrović Šabalija.
PRODUCTION
National Theatre of the Republic of Srpska,
opened its doors on October 18th, 1930 under the
name National Theatre of Vrbanska Banovina.
Since then, the theatre changed its name several
times. The theatre building was projected by
the engineer Josif Goldner. The first significant
reconstruction was done in 1959, based on the
project of Vladimir Dobrović, when the stage was
technically modernized, and the auditorium and
interiors were generally reconstructed. The second
significant reconstruction happened in 1969, and
was based on the project of Vjenceslav Rihter,
following the catastrophic earthquake in Banja
Luka. During the adaptation the 77-seat stage
Petar Kočić was built. At the opening ceremony,
three one-act plays with patriotic Yugoslavian
character were premiered: “Hadži Loja” by
Branislav Nušić, “Hej Sloveni” (Hey Slovenes)
by Rista Odavić, and “Povratak” (The Return) by
Budimir Švabić. Before the gala premieres, the
speeches were delivered by ban Milosavljević and
Božo Nikolić, president of the Actors’ Association
of the Kingdom of Yugoslavia.The first acting
ensemble consisted of: Radenko Almažanović,
Momir Andrić, Vjekoslav Afrić, Marica Afrić, Joza
Bakotić, Ružica Bogdanović, Žarko Joković, Zlata
Kovačević, Emil Kutijaro, Dragan Jovanović,
Ljubica Jovanović, Carka Jovanović, Dušan
Mitrović, Kosana Pavlović, Dobrivoje Radenković,
Ivka Radenković, Kosara Rajčević, Miloš Rajčević,
Pava Sluka, Nikola Stojanović, and Tereza Fogl.
The first principal was Dušan M. Mitrović Šabalija.
1914
Sarajevski ratni teatar 22.00
Sarajevo War Theater
Trajanje / Running time: 80 min.
Rođen je 1970. u Senti. Još kao sedamnaestogodišnjak stvara samostalnu pozorišnu i književnu
radionicu (bio autor, reditelj i glumac). Kasnije formira pozorišnu trupu Aiowa, koja je teatar tretirala
kao specifičnu, ali ipak sveumjetničku ideološku akciju. Upisuje režiju na novosadskoj Akademiji
umjetnosti, studira filmsku i pozorišnu režiju, režira u subotičkom Narodnom pozorištu. Sredinom
devedesetih napušta studije, radi u pozorištu i godinama živi povučeno. Režiju diplomira 2000, u klasi
prof. Vlatka Gilića i Bore Draškovića, i ponovo intenzivno radi u pozorištu. Uz podršku segedinskog
MASZK-a i vlastitog ansambla stvara i “nezavisne” pozorišne predstave. Osnivač je internacionalnog
pozorišnog festivala Desiré Central Station. Radi u Novom Sadu i Beogradu, vodi umjetničke radionice
u Rumuniji, odlazi na studijsko putovanje u Japan. Od 2005. direktor je Mađarskog gradskog pozorišta
Dezső Kosztolányi u Subotici. Na pozorište gleda kao na prosvjetljeni prostor ponekad provokativne
akcije, gdje se misli, govori i organizuje specifičan vid umjetničke stvarnosti. Predstava je za njega
komunikacija i druga stvarnost koja postoji za sebe, ali nastaje u odnosu izvođača/ica, izvođene
stvarnosti i gledatelja/ica. Režiju ostvaruje preko interaktivne komunikacije s glumcem/icom. Režije
(izbor): “Gušteri”, “Rosa”; G. Bihner, “Vojcek”; Šekspir, “Hamlet”; Dejan Dukovski, “Mamu mu jebem,
ko je prvi počeo”; F. Arabal, “Piknik na frontu”; Jordan Radičkov, “Lazarica” (Balkanstage Bugarska);
Janoš Pilinski/Urban, “Deca”; Beket, “Čekajući Godoa”; Silvija Plat/Urban, “Devojka koja je lajala na
mesec”; Šekspir, “Ukroćena goropad”; Brecht “The Hardcore Machine” (Berlin); D. Kovačević, “Sabirni
centar”; Danilo Kiš, “Turbo Paradiso” (po “Enciklopediji mrtvih”). Kratki filmovi: “Neko i neko”, “Staklo”
(AU Novi Sad–TV Novi Sad). Dobitnik je brojnih nagrada i priznanja.
Srbija / Serbia
DIRECTOR
KOŠTANA
KOMAD IZ ŽIVOTA S PJESMAMA / A PLAY FROM LIFE WITH SONGS
Jezik: srpski sa engleskim prijevodom
Language: Serbian with English Subititles
PREDSTAVA
Svako ima pravo na život, slobodu i bezbednost ličnosti.
(Univerzalna deklaracija o ljudskim pravima)
Izrazi “diskriminacija” i “diskriminatorsko postupanje”
označavaju svako neopravdano pravljenje razlike ili
nejednako postupanje, odnosno propuštanje (isključivanje,
ograničavanje ili davanje prvenstva), u odnosu na lica ili
grupe kao i na članove njihovih porodica, ili njima bliska
lica, na otvoren ili prikriven način, a koji se zasniva
na rasi, boji kože, precima, državljanstvu, nacionalnoj
pripadnosti ili etničkom poreklu, jeziku, verskim ili
političkim ubeđenjima, polu, rodnom identitetu, seksualnoj
orijentaciji, imovnom stanju, rođenju, genetskim
osobenostima, zdravstvenom stanju, invaliditetu,
bračnom i porodičnom statusu, osuđivanosti, starosnom
dobu, izgledu, članstvu u političkim, sindikalnim i
drugim organizacijama i drugim stvarnim, odnosno
pretpostavljenim ličnim svojstvima .
(Zakon o zabrani diskriminacije Republike Srbije)
Svi su jednaki i uživaju jednak položaj i jednaku
pravnu zaštitu, bez obzira na lična svojstva. Svako je
dužan da poštuje načelo jednakosti, odnosno zabranu
diskriminacije.
(Zakon o zabrani diskriminacije Republike Srbije)
PERFORMANCE
Everyone has the right to life, liberty and security of
person.
(Universal Declaration of Human Rights)
The terms “discrimination” and “discriminatory
treatment” shall be used to designate any unwarranted
discrimination or unequal treatment, that is to
say, omission (exclusion, limitation or preferential
treatment) in relation to individuals or groups, as
well as members of their families or persons close to
them, be it overt or covert, on the grounds of race, skin
colour, ancestors, citizenship, national affiliation or
ethnic origin, language, religious or political beliefs,
gender, gender identity, sexual orientation, financial
position, birth, genetic characteristics, health, disability,
marital and family status, previous convictions, age,
appearance, membership in political, trade union and
other organisations and other real or presumed personal
characteristics
(Law on the Prohibition of Discrimination
of Republic of Serbia)
All persons shall be equal and shall enjoy equal status
and equal legal protection regardless of personal
characteristics. Everyone shall be obligated to respect
the principle of equality, that is to say, the prohibition of
discrimination.
(Law on the Prohibition of Discrimination
of Republic of Serbia)
Born in 1970, in Senta. At the age of seventeen, he formed an independent theatre and literary
workshop (as its author, director, and actor). Later, he formed a theatre troupe Aiowa, which treated
the theatre as a specific, yet artistically all-encompassing ideological action. He enrolled in the
program for directing at the Academy of Art in Novi Sad, where he studied film and theatre directing,
and directed plays in the National Theatre of Subotica. In the mid-nineties, he abandoned his studies,
as well as all theatre work, and lived reclusively for years. In 2000, he obtained a degree in directing,
in the class of professors Vlatko Gilić and Bora Drašković, and once again began intensively working in
the theatre. With the support of Szeged MASZK and his own ensemble, he also created “independent”
theatre plays. He is the founder of the international theatre festival Desiré Central Station, has worked
in Novi Sad and Belgrade, lead art workshops in Romania, and went on a study trip to Japan. Since
2005, he is the director of the Hungarian City Theatre Dezső Kosztolányi in Subotica. He considers the
theatre as an illuminated area of an occasionally provocative action, where the specific forms of artistic
reality are thought, spoken, and organized. For him, the play is the form of communication and another
reality which exists for itself, but is born through the relationship between the performer, performed
reality, and the viewer. He achieves the directing through communication with the actor. He directed,
among others: “The Lizards”, “The Dew”; G. Buchner, “Woyzeck”; Shakespeare, “Hamlet”; Dejan
Dukovski, “Fuck the Motherfucker Who Started This”; F. Arrabal, “Picnic on the Battlefield”; Jordan
Radičkov, “Lazarica” (Balkanstage Bulgaria); Janoš Pilinski/Urban, “The Children”; Beckett, “Waiting
for Godot”; Sylvia Plath/Urban, “The Girl who Barked at the Moon”; Shakespeare, “Taming of the
Shrew”; Brecht, “Hardcore Machine” (Berlin); D. Kovačević, “The Assembly Centre”; Danilo Kiš, “Turbo
Paradiso” (based on the short story “The Encyclopaedia of the Dead”). Short movies: “Someone and
Someone”, “Glass” (AU Novi Sad–TV Novi Sad). He received numerous awards and recognitions.
PRODUKCIJA
Narodno pozorište Subotica otvoreno je 1854.
16. decembra 1854. odigrana je prva predstava
“Dvoje iz porodice Barčai”. 1874. mađarski
glumci/ice napustili Suboticu, a došli glumci/
ice Srpskog narodnog pozorišta iz Novog
Sada, koji su odigrali 28 predstava. Požar koji
je izbio 1915. godine, uništio je pozorište, a
novo je otvoreno 1927 godine. U jesen 1945.
godine zgrada subotičkog pozorišta postaje
stalna kuća profesionalnim ansamblima.
Nakon više od 90 godina grad je dobio stalni
ansambl i svoje pozorište. U subotičko pozorište
1985. godine dolazi Ljubiša Ristić. On i Nada
Kokotović u svom desetogodišnjem radu
okupili su veliku grupu reditelja/ica i glumaca/
ica iz mnogih jugoslovenskih centara. 5. maja
2003. premijerom predstave “Buba u uhu”
Drame na mađarskom jeziku otvara se scena
Jadran, sala bivšeg bioskopa prilagođena
potrebama teatra. Idejni projekat adaptacije,
rekonstrukcije i izgradnje zgrade pozorišta
završen je 2003. godine. 2006. obezbijeđena
su sredstva za početak rekonstrukcije. Kao
početak rekonstrukcije pozorišta određena je
2007. godina. Obje drame subotičkog teatra
do izgradnje nove zgrade igrati će se na sceni
Jadran. Godišnje svaka drama izvede po četiri
premijerne predstave.
PRODUCTION
National Theatre Subotica was founded
in 1854. The first play “The Two Barcsays”
premiered on December 16th, 1854. Hungarian
actors left Subotica in 1874, and were replaced
with Serbian actors from the Serbian National
Theatre in Novi Sad, who acted in 28 plays.
The fire destroyed the theatre in 1915, and
the new one was built in 1927. In the autumn
of 1945, the building of the Subotica Theatre
became a permanent home for the professional
ensembles. After more than 90 years, the city
had a permanent ensemble and its own theatre.
Ljubiša Ristić joined the Subotica Theatre in
1985. During a period of a decade, together with
Nada Kokotović, he gathered a large group of
directors and actors from many Yugoslavian
centres. The Jadran Scene, a former cinema
hall adapted to the needs of theatre, opened on
May 5th, 2003, with the premiere of “Flea in Her
Ear” in the department of Drama in Hungarian
language. Preliminary designs for adaptation,
reconstruction, and construction of the theatre
building were completed in 2003. The funds to
begin reconstruction were obtained in 2006,
and 2007 was set as the year in which the
reconstruction was to commence. Both Drama
departments of the Subotica theatre perform
at the Jadran Scene until the completion of the
new building. Each drama has four premieres
annually.
Režija i intervencije na
tekstu / Direction and Text
Intervention:
András Urbán
Igraju / Cast:
Emina Elor
Marko Makivić
Snežana Jaksić
Ljubiša Ristović
Suzana Vuković
Srđan Sekulić
Jelena Mihajlović
Branko Lukač
Vladimir Grbić
Kristina Jakovljević
Zoran Bučevac
Geza Kučera
Balša Pešikan
Maćaš Lakatoš
Kompozitorica / Composer:
Irena Popović Dragović
Scenografija / Stage Design:
Marija Kalabić
Kostimografija / Costume
Design:
Marina Sremac
Saradnica reditelja /
Director’s Associate:
Suzana Vuković
Asistentica reditelja /
Assistant Director:
Jelena Mihajlović
Autori/ce tekstova pjesama /
Authors of Song Lyrics:
Stanislav Vinaver
Stevan Vladislav
Kaćanski
Milorad PetrovićSeljančica
Nataša Ilić
Jovan Đorđević
nepoznati narodni
autori / unknown folk
authors
Lektorica / Text Editor:
Nataša Ilić
Inspicijent / Stage Manager:
Igor Lerić
Suflerka / Prompter:
Vesna Suvorova
Fotografija / Photography:
Atila Kovacs
MITTELEUROPA
REDITELJ
06/10/14
Bosna i Hercegovina, Austrija / Bosnia and Herzegovina, Austria
Međunarodni centar za djecu i omladinu Novo Sarajevo 18.00
International Centre for Children and Youth Novo Sarajevo
Trajanje / Running time: cca 100 min.
Doruntina Basha je rođena u Prištini 1981. godine. Studirala je dramaturgiju na Fakultetu umjetnosti Univerziteta u Prištini. Master studije je
završila na Erasmus Mundus programu “Crossways in European Humanities”, u polju rodnih studija. Drame su joj izvođene u kosovskim, srpskim
i makedonskim pozorištima i objavljivane u Francuskoj. Napisala je scenarije za nekoliko kratkih filmova i televizijskih serija. Kao dramska
spisateljica, živi i radi na Kosovu od 2002. godine.
Almir Bašović je rođen u Sarajevu 1971. godine. Diplomirao je i magistrirao na Filozofskom fakultetu u Sarajevu na Odsjeku za komparativnu
književnost. Autor je drama “Priviđenja iz srebrenog vijeka” koja je praizvedena u Narodnom pozorištu u Sarajevu, 2003. godine i “RE:
Pinocchio” praizvedenu na albanskom jeziku u CTC teatru Skopje (Makedonija), 2006. godine. Drame su mu prevođene na francuski, italijanski,
češki, albanski i makedonski jezik. Pisao je pozorišnu, filmsku i književnu kritiku, teorijske članke i eseje. Objavio je knjigu “Čehov i prostor.
Struktura dramskog prostora u Čehovljevim dramama kao koncentrirani izraz dramske strukture” (Sterijino pozorje, Novi Sad, 2008) i zajedno
sa Savom Anđelkovićem priredio zbornik “Drama i vrijeme” (Dobra knjiga, Sarajevo, 2010). Na Filozofskom fakultetu u Sarajevu na Odsjeku za
komparativnu književnost predaje nekoliko predmeta. Na III Festivalu bosanskohercegovačke drame Zenica 2004. dobio je Nagradu za najbolji
izvedeni bosanskohercegovački dramski tekst za tekst predstave “Priviđenja iz srebrenog vijeka” u režiji Elmira Jukića i produkciji Narodnog
pozorišta u Sarajevu.
Almir Imširević je dramatičar, scenarist, pripovjedač i teatarski pedagog. Rođen je 1971. u Bihaću. Dramaturgiju je diplomirao 1998. na Akademiji
scenskih umjetnosti u Sarajevu. Autor je sljedećih dramskih tekstova: “Kad bi ovo bila predstava...”, “Balkanski đavo Sram”, “Circus Inferno”,
“Playback sevdalinka”, “Igra plakanja”, “Mousefuckers”, “Deset razlika ili The Only Thing That’s Real” i “Kad bi ovo bio film...”, koji su inscenirani
u više bosanskohercegovačkih i inostranih teatara. Dramski tekst “Kad bi ovo bila predstava...” uvršten je u “Antologiju bosanskohercegovačke
drame XX vijeka”, a “Balkanski đavo Sram” u francusku antologiju evropske drame De Pinter a Muller. Na teatarskim festivalima u Sarajevu,
Brčkom, Jajcu i Zenici dobio je ukupno sedam nagrada za najbolji dramski tekst. Nagrađivan je i za scenaristički rad (od strane Udruženja filmskih
radnika Bosne i Hercegovine, za scenarij “Nestajanje”). Scenaristički opus sačinjavaju mu još i scenariji za jedan igrani film (“Mliječni put”) i tri
televizijske serije (“Familija doo”, “Crna hronika”, “Viza za budućnost”). Osim knjiga dramskih tekstova, objavio je i knjigu kratkih priča “Strana
212”. Vanredni je profesor na Akademiji scenskih umjetnosti u Sarajevu i šef Odsjeka za dramaturgiju. Predsjednik je ITI centra u BiH.
Doruntina Basha was born in Pristina in 1981. She studied dramaturgy at the Faculty of Arts of the University of Pristina. She completed her
master studies in the Erasmus Mundus program Crossways in European Humanities, in the field of gender studies. Her plays were performed in
Kosovar, Serbian and Macedonian theatres and published in France. She wrote the screenplays for several short films and television series. As a
playwright, she lives and works in Kosovo since 2002.
Almir Bašović was born in Sarajevo in 1971. He obtained bachelor’s and master’s degrees at the Department of Comparative Literature of the
University of Philosophy in Sarajevo. He is the author of the drama “Visions from the Silver Age” which premiered at the National Theatre in
Sarajevo, 2003, and “RE: Pinocchio”, performed in Albanian at CTC theatre in Skopje (Macedonia) in 2006. His plays have been translated into
French, Italian, Czech, Albanian, and Macedonian language. He is the author of theatre, film, and literary critics, theoretical articles, and essays.
He published a book “Chekhov and the space. The structure of space in Chekhov’s drama as concentrated expression of drama structure” (Sterija
Theatre, Novi Sad, 2008), and together with Savo Anđelković, edited the anthology “Drama and Time” (Dobra knjiga, Sarajevo, 2010). He teaches
several courses at the Department of Comparative Literature of the University of Philosophy in Sarajevo. At the third BH Drama Festival at
Bosnian National Theatre Zenica in 2004, he received an award for the best performed BH drama, for the text of the play “Visions from the Silver
Age”, directed by Elmir Jukić and produced by the National Theatre in Sarajevo.
Almir Imširević is a playwright, screenwriter, novelist, and theatre educator. He was born in 1971 in Bihać. In 1998, he graduated in Dramaturgy
in from the Academy of Performing Arts in Sarajevo. He is the author of the following plays: “If This Was a Play...”, “Balkan’s Devil – Shame”,
“Circus Inferno”, “Playback Sevdalinka”, “Crying Game”, “Mousefuckers”, “Ten differences or The Only Thing That’s Real”, and “If This Was a
Film…”; all of these were performed in several theatres in BiH and abroad. “If This Was a Play...” was included in the “Anthology of Bosnian
drama of the XX century”, and the “Balkan’s Devil – Shame” was included in the French anthology of European drama De Pinter a Muller. At
theater festivals in Sarajevo, Brčko, Jajce, and Zenica, he received a total of seven awards for best play. He received awards for screenwriting
(by the Association of Filmmakers of Bosnia and Herzegovina, for his scenario for “Disappearance”). Within his screenplay opus are scenarios for
a film (“The Milky Way”) and three TV series (“Family, Ltd.”, “Black Chronicle, and “Visa for the Future”). In addition to books of plays, he also
published a book of short stories “Page 212”. He is an associate professor at the Academy of Performing Arts in Sarajevo, and the head of the
Department of Dramaturgy. He is also the president of the ITI Center in BiH.
BALKANSKI REKVIJEM
THIS BALKAN REQUIEM
Jezik: srpski sa engleskim prijevodom
Language: Serbian with English translation
PREDSTAVA
“Balkanski rekvijem” je projekat koji se bavi problemom
nestalih ljudi na Balkanu, nestalih u ratovima na
teritoriji bivše Jugoslavije, devedesetih. Aktuelnost
ovog fenomena nije u dovoljnoj mjeri prepoznata ni
od strane političkih struktura ni od strane kulturnih
institucija na Balkanu. Na prostorima bivše Jugoslavije
još uvijek se čak 10.000 ljudi vodi kao nestalo. Tragične
i nerasvijetljene sudbine ovih ljudi čine jasnom istinu
kako su zemlje Zapadnog Balkana svoju mračnu,
recentnu prošlost samo gurnule pod tepih i nastavile
svoj historijski put sa potpisnutom traumom koja prije
ili kasnije prijeti da generiše nove mržnje i sukobe.
Umjetnost se bavi istinom, suočavanjem i ukazivanjem
na smijer iz kog se novo zlo može pojaviti. Umjetnost
opominje. To je razlog zašto ovaj projekat nastaje.
Heterogenom formom predstava “Balkanski rekvijem”
pokušava da osvijetli ovaj fenomen iz što više uglova i
da postavi što više pitanja. Odnos prema mrtvima je na
najdubljem nivou odnos živih prema samima sebi, slika
onoga što živi moraju da zaborave ili pak moraju da se
sjećaju da bi uopće mogli da žive. “Balkanski rekvijem”
je predstava o događajima i fenomenima koji su
formirali sve nas, koji su sastavni dio našeg kolektivno
nesvjesnog i koji bespovratno slikaju pejzaž naše
sadašnjosti i budućnosti.
PERFORMANCE
“The Balkan Requiem” is a project that deals with
the problem of the missing people in the Balkans,
disappeared during the wars in the former Yugoslavia,
back in the 90s. Relevance of this phenomenon has not
been sufficiently recognized neither by the political
structures, nor by the cultural institutions in the
Balkans. In the former Yugoslavia area, there are still
as many as 10,000 people listed as missing. The tragic
and unsolved destinies of these people reveal the truth
of how the countries of the Western Balkans swept
their dark, recent past under the carpet, and continued
their journey through history with suppressed trauma
that threatens to, sooner or later, generate new hatred
and conflicts. Art deals with the truth, confrontation,
and pointing out the direction from which the new evil
can arise. Art cautions. That is the reason for the birth
of this project. With its heterogeneous form, “The
Balkan Requiem” attempts to shine the light on this
phenomenon from as many different angles, and to
ask as many questions. The attitude towards the dead
reflects, at its base level, the relationship of the living
with themselves, the representation of what the living
must forget or, indeed, must remember to be able to stay
alive. “The Balkan Requiem” is a play about the events
and phenomena that have formed all of us, that are a
part of our collective unconscious, and that irrevocably
paint the landscape of our present and future.
REDITELJ
Stevan Bodroža je rođen 1978. godine u Beogradu. Završio je Pozorišnu režiju na Fakultetu dramskih umjetnosti u svom rodnom gradu. Više
od deset godina profesionalno je aktivan na pozorišnim scenama u Srbiji, Crnoj Gori, Bosni i Hercegovini i Austriji. Radio je u Beogradskom
dramskom pozorištu, Bitef teatru, Narodnom pozorištu u Beogradu, Ateljeu 212, Malom pozorištu Duško Radović, Drami i operi Madlenianum,
Crnogorskom narodnom pozorištu, Mostarskom teatru mladih, Teatru Nestroyhof-Hamakom kao i u niz drugih pozorišta. Devet godina predavao
je na Fakultetu dramskih umjetnosti u Beogradu. Režirao je tekstove značajnih klasičnih kao i savremenih pisaca/spisateljica. Neke od drama
koje je postavio na scenu su: “Medeja, materijal” Hainera Müllera, “Prometej u okovima” Eshila, “Ifigenijina smrt u Aulidi” Euripida, “Učene žene”
Molijera, “Gospa od mora” Ibzena, minijature Samjuela Beketa... Od savremenih tekstova režirao je “Gospodina” Filipa Lolea, “Lice od plamena”
Mariusa fon Majenburga, “Mali Geza” Janoša Haja, “U samoći pamučnih polja” Bernar Mari Koltesa, “Lasice” Bojane Mijović, i mnoge druge.
Dramu Almira Bašovića “Priviđenja iz srebrenog vijeka” režirao je na sceni bečkog Teatra Nestroyhof-Hamakom i ta predstava je na Festivalu
bosanskohercegovačke drame u Zenici, te na festivalu Sarajevska zima, osvojila nagradu publike. Na sceni Bosanskog narodnog pozorišta
postavio je dramu “Mousefuckers” Almira Imširevića.
Stevan Bodroža was born in 1978 in Belgrade. He obtained a degree in Theatre Directing at the Faculty of Dramatic Arts in his hometown. For
over ten years, he has been professionally active in the theatre scene in Serbia, Montenegro, Bosnia and Herzegovina, and Austria. He worked at
the Belgrade Drama Theatre, Bitef Theatre, the National Theatre in Belgrade, Atelier 212, Little Theatre Duško Radović, Drama and Opera Hall
Madlenianum, the Montenegrin National Theatre, Mostar Youth Theatre, Theatre Nestroyhof-Hamakom, as well as a number of other theatres.
For nine years, he taught at the Faculty of Dramatic Arts in Belgrade. He directed texts from classical, as well as contemporary writers. Some
of the dramas he brought to the stage are “Medea as Material” by Heiner Müller, “Prometheus in Chains” by Aeschylus, “Iphigenia in Aulis” by
Euripides, “The Learned Ladies” by Molière, “The Lady from the Sea” by Ibsen, Samuel Beckett’s miniatures, and more. The contemporary plays
he directed are “Mister” by Philip Lole, “A face in flame” by Marius von Mayenburg, “Little Geza” by Janoš Haj, “In the Solitude of Cotton Fields,”
by Bernard-Marie Koltès, “The Weasels” by Bojana Mijović, and many others. He directed a play “Visions from the Silver Age” by Almir Bašović
at the scene of the Theatre Nestroyhof-Hamakom in Vienna. This play won the audience awards at the Festival of Bosnian-Herzegovinian drama
in Zenica, as well as the Sarajevo Winter Festival. At the scene of the Bosnian National Theatre, he directed the play “Mousefuckers” by Almir
Imsirević.
Bosansko narodno pozorište Zenica je osnovano
početkom 1950. Od tada do danas izvelo je 686
premijera i više od 11.000 predstava. Tokom svoje
historije, BNP Zenica je izgradilo prepoznatljiv
stil i poetiku, i zauzelo značajno mjesto u porodici
bosanskohercegovačkih teatara. Učestvovalo je na
brojnim teatarskim festivalima i ostvarilo veliki broj
gostovanja. Za rad i umjetnička postignuća dobilo je
značajne nagrade i društvena priznanja.
BNP Zenica je osnivač i organizator Festivala
bosanskohercegovačke drame. Nosilac je i koordinator
evropskog pozorišnog projekta Noć teatra (za
BiH). BNP Zenica je organizator i domaćin ne samo
teatarskih, nego i drugih umjetničkih, kulturnih
i zabavnih programa i manifestacija, značajnih
za cjelokupan kulturni život u gradu Zenici, u
Zeničko-dobojskom Kantonu i šire. BNP Zenica je
član Međunarodne mreže za savremene izvedbene
umjetnosti (IETM), a njegova Dječija, omladinska i
lutkarska scena članica je Međunarodne asocijacije
teatara za djecu i mlade (ASSITEJ).
Igraju / Cast:
Jan Hutter
Sylvia Haider
Ana Stefanović-Bilić
Jens Olle Schmieder
Dramaturgija / Dramaturgy:
Asja Krsmanović
Kostimografija / Costume
Design:
Lejla Hodžić
Scenski pokret / Stage
Movement:
Sanja Burić
Izbor muzike / Music
Selection:
Stevan Bodroža
Producenti / Producers:
Hazim Begagić
Jaschka Laemmert
Ana Stefanović–Bilić
Wolfgang Schlag
Dino Mustafić
Izvršna producentica /
Executive Producer:
Sandra Ikanović
Inspicijentica / Stage
Manager:
Borka Jokanović
Fotografija / Photography:
MUHAMED TUNOVIĆ-BADI
DIRECTOR
PRODUKCIJA
Režija i adaptacija / Direction
and Adaptation:
Stevan Bodroža
Scenografija / Stage Design:
Vedran Hrustanović
AUTHORS
Doruntina Basha / Almir Bašović / Almir Imširević
Tekst / Text:
Doruntina Basha
Almir Bašović
Almir Imširević
PRODUCTION
Bosnian National Theatre Zenica was formed in
the beginning of 1950. From that day it has had 686
premieres and more than 11.000 performances. During
its history, BNP Zenica has established a recognizable
style and poetics, and has taken significant place
in Bosnian and Hercegovinian theatrical scene. The
theatre has participated in numerous theatre festivals
and had a large number of guest performances. For
its work and achievements, it has been awarded with
important awards. BNP Zenica is the founder and
organizer of the Bosnian and Herzegovinian Drama
Festival. BNP is the holder and coordinator of the
European theater project The Night of Theatre (in
B&H). BNP is an organizer and a host not exclusively
for theater, but also for other artistic, cultural and
enterteinment programs and events that are important
for the general cultural life in Zenica, Zenica-Doboj
Canton and wider. BNP Zenica is a member of the
International Network for Contemporary Performing
Arts (IETM), and its Children, Youth and Puppet
Scene is a member of the International Association of
Theatres for Children and Youth (ASSITEJ).
Produkcija / Production:
Bosansko narodno
pozorište Zenica
Wien Kultur
BMUKK
Trembles Verein für
freies Theater
Hundsturm
festival MESS
BALKAN (CON)TEXT / MESS PREMIERES
AUTORICA / AUTORI
07/10/14
Narodno pozorište Sarajevo 19.30
National Theater Sarajevo
Trajanje / Running time: 90 + intermission + 90 min.
Selma Spahić rođena je 1986. god. Diplomirala je režiju na Akademiji scenskih umjetnosti u Sarajevu.
Režirala je predstave i držala pozorišne radionice u Bosni i Hercegovini, Srbiji, Hrvatskoj, Crnoj Gori,
Velikoj Britaniji. Režije joj uključuju postavke dramskih klasika, savremenih svjetskih i bh. dramskih
tekstova kao i dokumentarne predstave. Njene predstave su višestruko nagrađivane na festivalima u
Bosni i Hercegovini i regiji, te bilježe učešće na nekim od najznačajnijih evropskih festivala poput Neue
Theater Stücke aus Europa u Wiesbadenu, u Njemačkoj. Od 2010. je selektorica Future MESS programa
za mlade reditelje i rediteljice, a od 2012. i rukovoditeljica umjetničkog programa Internacionalnog
teatarskog festivala MESS Sarajevo.
DIRECTOR
Selma Spahić was born in 1986. She earned a degree in Directing from the Academy of Performing
Arts. She has directed plays and held theatre workshops in Bosnia and Herzegovina, Serbia, Croatia,
Montenegro, and Great Britain. Her directing repertoire includes classics, contemporary foreign and
dramas from Bosnia and Herzegovina, as well as documentary plays. Her plays won multiple awards on
festivals in Bosnia and Herzegovina and the region, and have been a part of some of the major European
festivals such as the Neue Theater Stücke aus Europa in Wiesbaden, Germany. Since 2010, she has
been a curator for the Future MESS program for young directors, and since 2012, she has worked as the
head of the artistic program of the International Theater Festival MESS Sarajevo.
Bosna i Hercegovina / Bosnia and Herzegovina
PRODUKCIJA
SKUPŠTINA*
DOKUMENTARNA PREDSTAVA
THE ASSEMBLY*
A Documentary piece
Jezik: bosanski sa engleskim prijevodom
Language: Bosnian with English translation
PREDSTAVA
“Kad narodna skupština postane buržujski teatar, svi buržujski
teatri moraju postati narodne skupštine.” (1968, natpis iznad
ulaza u okupirani teatar Odéon)
Već dvadeset godina u Bosni i Hercegovini raste jaz
između vladajućih političkih struktura i ljudi koji ih biraju.
Disfunkcionalan sistem ne samo da omogućava nesagledivu
zloupotrebu pozicije moći, već je i potiče. Država, zajedno
sa građanima i građankama, tone sve dublje u siromaštvo, a
političari i političarke održavaju se na vlasti nacionalističkom
retorikom, predizbornim obećanjima i zastrašivanjem
“neprijateljima” iz drugih nacionalnih skupina. Iz potrebe
da pozovemo na političku odgovornost, kako političare i
političarke, tako i građane i građanke, krenuli smo raditi
“Skupštinu”. Ona predstavlja svojevrstan presjek političke
situacije u BiH u posljednjih dvadeset godina. Čin skupštinskog
zasjedanja dosta toga dijeli sa činom pozorišne predstave:
oba su, u idealnom slučaju, javna okupljanja koja služe
razmjeni mišljenja radi postizanja određenog zajedničkog cilja,
odnosno polemičkog sagledavanja važnih tema. U “Skupštini”,
glumci/ice igraju pojedince/ke koji su voljom građana/ki
izabrani da “igraju” njihove predstavnike/ce. Što zbog fizičke
sličnosti skupštinskim klupama, što zbog koncepta, glumci
i glumice su postavljeni u prostor gledališta sarajevskog
Narodnog pozorišta, dok je publika smještena na scenu –
narod u gledalištu gleda svoj odraz, jer ansambl predstave
otjelotvoruje legalne predstavnike/ce tog istog naroda. S
druge strane, publika se nalazi na sceni, prostoru djelovanja i
odlučivanja.
* van konkurencije za Nagradu za najbolju režiju i Nagradu za najbolju predstavu
PERFORMANCE
“When the National Assembly becomes a bourgeois theater,
all the bourgeois theaters should be turned into national
assemblies.” (1968, written above the occupied Odéon
Theatre)
For twenty years, the gap between the ruling parties in Bosnia
and Herzegovina, and the people who elect them has been
constantly increasing. A dysfunctional system not only allows
for immense abuse of power, but also encourages it. The
state, together with its citizens, is sinking deeper and deeper
into poverty, and the politicians remain in power through
nationalist rhetoric, electoral promises, and by intimidating
the citizens with “enemies” from other ethnic groups. We
set out to create “The Assembly” because of the need to
call for political responsibility, both the politicians and the
citizens. It represents a certain cross-section of the political
situation in Bosnia and Herzegovina in the last twenty years.
A session of the Assembly has a lot in common with theater
performances: both are, ideally, public gatherings with the
purpose of exchange of opinions in order to achieve a certain
common goal; in other words, a polemical consideration of
important issues. In the “The Assembly”, the actors portray
individuals who have been chosen by citizens to “play” their
representatives. Either because of the physical resemblance
of the benches in an Assembly, or because of the concept, the
actors and actresses are placed in the space of the Sarajevo
National Theatre auditorium, while the audience is seated
on the stage - the people in the audience are watching their
reflection, because the ensemble of the performance embodies
their legitimate representatives. On the other hand, the
audience is on the stage, the area of action and decisionmaking.
* out of competition for Best Director Award and Best Performance Award
Narodno pozorište Sarajevo osnovano je 18.11.1919.
godine. U počecima svog djelovanja Narodno pozorište
Sarajevo je djelovalo, isključivo, kao dramski teatar.
Od 1946. Narodno pozorište dobiva i muzičke segmente
djelovanja pa će tako bogatoj povijesti našeg teatra
izuzetno pridonijeti Opera, odnosno Balet. Narodno
pozorište Sarajevo je centralna teatarska kuća države
BiH, i ono je svojim umjetničkim rezultatima, radom
generacija umjetnika/ca, a posebno načinom organizacije
(tri ansambla Opera, Drama i Balet) veoma važan
element teatarskog i uopće duhovnog života u BiH. U
toku svog, preko 85 godina dugog djelovanja Narodno
pozorište Sarajevo odigralo je ogroman broj dramskih,
baletnih, opernih predstava po cijeloj Bosni i Hercegovini,
ali i u inozemstvu. Nema značajnijeg umjetničkog
festivala u regionu, pa i u Europi, a da na njemu nisu bile
prisutne predstave našeg teatra. Na daskama Narodnog
pozorišta u Sarajevu Sarajlije su mogle gledati Petera
Brooka, Giorgia Strehlera, Boba Vilsona, L. Pavarotia,
H. Karerasa, Z. Mehtu, J. Menjuhina…Jedan od prvih
direktora Narodnog pozorišta Sarajevo bio je Branislav
Nušić, a nesumnjiv doprinos razvoju našeg teatra dali
su i njegovi nasljednici među kojima vrijedi pomenuti
Vlajka Ubavića, Ahmeda Muradbegovića, Niku Milićevića,
Salka Nazečića, Ivana Fogla, Miroslava Avrama, Aliju
Isakovića, Muhameda Karamehmedovića, Tvrtka
Kulenovića...Narodno pozorište Sarajevo je poseban
doprinos dalo kako razvoju drame i novih dramskih
oblika, autentičnom tumačenju klasike u Drami, Operi i
Baletu ali i razvoju muzičke literature za Operu, Balet u
bosanskohercegovačkim razmjerama.
Sarajevski ratni teatar SARTR utemeljen je 17. maja
1992. godine na inicijativu reditelja Dubravka Bibanovića
i Gradimira Gojera, ing. Đorđa Mačkića i pisca Safeta
Plakala, a okupio je glumce/ice i ine saradnike/ce iz tri
profesionalna sarajevska teatra koja su, zbog agresije
na Bosnu i Hercegovinu, morala obustaviti svoj rad. U
augustu 1992. SARTR je konstituiran kao vojna jedinica
pri Regionalnom štabu Oružanih snaga BiH Sarajevo, a
12. januara 1993. godine Odlukom Ratnog Predsjedništva
Skupštine grada Sarajeva kao javna ustanova iz
oblasti kulture od posebnog interesa za odbranu grada.
Odlukom Skupštine Kantona Sarajevo od 24. jula 1997.
ulogu osnivača SARTR-a preuzeo je Kanton Sarajevo.
Godine 2003. Sarajevski ratni teatar SARTR je dobio
Šestoaprilsku nagradu Grada Sarajeva. Predstave
SARTR-a su višestruko nagrađivane.
Kamerni teatar ‘55 iz Sarajeva počeo je sa radom
7. marta 1955. godine. Iako historija ove kuće nije
iznimno duga, “ona je nesumnjivo bogatija, atraktivnija
i značajnija od decenija i decenija nečijeg rutinerstva,
hladnog shematizma i bezbrižnog tavorenja”, kako
je to primijetio jedan ugledni kritičar. U stalnom
kritičkom preispitivanju i u žaru traganja za drukčijim,
neposrednijim i otvorenijim scenskim izrazom, događala
su se, dakako, i lutanja, koja također nisu bila beskorisna
i nakon kojih se Kamerni teatar ‘55, ponovo vraćao
sebi, još maštovitiji i bolji, ne iznevjeravajući onaj profil
kojeg je već u startu definirao njegov osnivač Jurislav
Korenić (1914-1974) a koji je, na tragu novih teatarskih
stremljenja u tadašnjoj Evropi, bio novost na prostorima
bivše Jugoslavije i primjer kojeg su slijedili brojni
teatri širom bivše države. Otvarajući širom svoja vrata
za naglašeno eksperimentiranje u teatru, za tekstove
Beketa, Žarija, Ženea, Joneska, Švarca, Čehova… i čitavu
plejadu autora/ica čija je poetika u modernom teatru
proizlazila iz “apsurdnog osjećanja života”, Kamerni
teatar ‘55 je imao presudan utjecaj na čitave generacije
dramskih umjetnika/ca koji su “pozornicu ring”,
okruženu gledalištem, umjesto frontalnog tipa scene,
sa nepremostivom “rampom”, prepoznali kao priliku za
intimniju, prirodniju i iskreniju glumačku igru.
PRODUCTION
The Sarajevo National Theatre was founded in
November 18, 1919. Soon after its inception, the
Sarajevo National Theater worked exclusively as a
drama theater. Since 1946 the theater broadened
its scope to include opera and ballet. The Sarajevo
National Theater is the major theatrical house in the
country of Bosnia and Herzegovina, and its artistic
success, built by several generations of artists, as
well as its organizational structure (Opera, Drama
and Ballet) are important contributing factor to the
cultural life in Bosnia and Herzegovina. Our plays
were performed at all major festivals in the region
and Europe as well. Our theater welcomed the likes
of Peter Brook, Giorgio Strehler, Bob Wilson, Luciano
Pavarotti, Jose Carreras, Zubin Mehta, Yehudi
Menuhin… One of the first directors of the Sarajevo
National Theatre was Branislav Nušić, and many
of his successors have undoubtedly contributed to
the development of the theater, among them Vlajko
Ubavić, Ahmed Muradbegović, Niko Milićević, Salko
Nazečić, Ivan Fogl, Miroslav Avram, Alija Isaković,
Muhamed Karamehmedović, Tvrtko Kulenović... The
Sarajevo National Theater made special contribution
to the development of drama and new dramatic forms,
but also authentic interpretation of drama, opera and
ballet classics, and helped the publication of music
scores for opera and ballet in Bosnia and Herzegovina.
Sarajevo War Theatre SARTR was established on 17
May 1992 at the initiative of the directors Dubravka
Bibanović and Gradimir Gojer, eng. Đorđe Mačkić, and
writer Safet Plakalo, bringing together actors and
various associates of three professional Sarajevo
theatres which, because of the aggression against
Bosnia and Herzegovina, had to suspend their work.
In August 1992, SARTR was constituted as a military
unit at the Regional Headquarters of the Armed
Forces of Bosnia and Herzegovina in Sarajevo, and on
January 12th, 1993, by a Decree of the War Presidency
of the Assembly of Sarajevo, it was instated as a
public institution in the field of culture of particular
interest to the defence of the city. By the Decision of
the Sarajevo Canton Assembly on July 24th, 1997, the
Sarajevo Canton assumed the role of the founder of
SARTR. In 2003, Sarajevo War Theatre SARTR received
the Sixth of April Award. SARTR’s performances won
multiple awards.
The Chamber Theatre ‘55 from Sarajevo was founded
on March 7, 1955. Although it does not have an
exceptionally long history, it is “undoubledly richer,
more attractive, and more significant then the
decades-long routine and cold schematism of other
theaters and their careless existence”, as a renowned
critic once noted. Through the constant questioning
and challenging, as well as fervent search for different,
more direct and more open stage expression, there
certainly have been wonderings, but not in vain, after
which the theater kept returning to its own self, better
and with even greater imagination, staying true to
its profile defined by its founder Juroslav Korenić
(1914-1974) – the profile that was a novelty in this
part of the world, and in sync with the tendencies
of the European theater at the time. By opening
it’s gates to more experimental forms of theater,
including the plays by Beckett, Jarry, Genet, Ionesco,
Schwartz, Chekov, and the plethora of authors whose
poetics in modern theater came from the “feeling of
absurdity in life“, The Chamber Theater ‘55 made a
decisive influence on generations of young artists who
recognized this ring-like stage surrounded by audience
as their opportunity for more intimate, natural and
sincere performance.
Igraju / Cast:
Miodrag Trifunov
Jasna Ornela Beri
Aleksandar Seksan
Selma Alispahić
Riad Ljutović
Vedrana Seksan
Slaven Vidak
Leonardo Šarić
Senad Alihodžić
Alban Ukaj
Snežana Alič
Jasenko Pašić
Aldin Omerović
Boris Ler
Maja Izetbegović
Igor Skvarica
Adnan Goro
Benjamin Bajramović
Merjem Čuljević
Članovi Hora Opere / Opera
Choir Members:
Nedim Bašić
Edin Daši
Davor Ebner
Miran Karabašić
Majo Marilović
Mijo Marjanović
Alen Mustafić
Bruno Papišta
Mustafa Sokolović
MAHIR SREBRENICA
Dramaturgija, odabir i obrada
dokumentarnog materijala /
Dramaturgy, Selection and
Document Processing:
BAD TRIO:
BOJANA VIDOSAVLJEVIĆ
ADNAN LUGONIĆ
DARIO BEVANDA
Scenografija / Stage Design:
MIRNA LER
Kostimografija / Costume
Design:
SANJA DŽEBA
Kompozitor / Composer:
DRAŠKO ADŽIĆ
Šef Hora Opere / Opera Choir
Chief:
DANIJEL ŽONTAR
Dizajn svjetla / Light Design:
OGNJEN MARTINOVIĆ
Majstor tona / Sound
Engineer:
ZDENKO BEVANDA
Inspicijent / Stage Menager:
NIHAD KAPIĆ
Asistentica rediteljice /
Assistant Director:
BELMA JUSUFOVIĆ
Stručni saradnik / Associate:
MERSAD ČULJEVIĆ
Dizajn plakata / Poster
Design:
GORAN LIZDEK
Fotografija / Photography:
FUAD FOČO
MITTELEUROPA
Režija / Direction:
Selma Spahić
REDITELJICA
07/10/14
Sarajevski ratni teatar 23.00
Sarajevo War Theater
Trajanje / Running time: 65 min.
Diplomirao je dramsku umjetnost na univerzitetu Universidad del Valle u Kolumbiji.
Proveo je dvije godine u Školi dramske umjetnosti u Bogoti te šest godina na Stalnoj
radionici za teatarska istraživanja Santiaga Garcie (Teatro La Candelaria). Radio je i na
filmu i televiziji. Napisao je 20 drama, od kojih su četiri dobitnice Državne nagrade za
dramski tekst: “Gracias por haber venido” (1996), “Cada vez que ladran los perros” (1997),
“La penúltima cena” (1999) i “El Natalicio de Schumman” (2009). Četiri njegove drame
dobitnice su koprodukcijskih nagrada, a dvije drame je napisao zahvaljujući umjetničkim
rezidencijama u Španiji i Meksiku. Kolumbijsko ministarstvo kulture mu je dodijelilo i
pet umjetničkih grantova. Njegove drame izvodile su teatarske kuće u Sloveniji, Čileu,
Meksiku, Sjedinjenim Američkim Državama, Peruu, Španiji i Francuskoj, ali i druge
kompanije iz Kolumbije. Djela su mu prevedena na francuski, engleski i slovenački jezik.
Režija i dramaturgija /
Direction and Dramaturgy:
Fabio Rubiano Orjuela
Igraju / Cast:
Marcela Valencia
Fabio Rubiano O.
Liliana Escobar
Jacques Toukhmanian
Mónica Giraldo
Mario Escobar
Jonatan Cabrera
Asistent produkcije /
Production Assistant:
Rafael Arévalo
Dizajn svjetla / Light Design:
Adelio Leiva
Izrada kostima / Costume
Making:
Servando Díaz
Scenografija / Stage Design:
Laura Villegas
Kolumbija / Colombia
DIRECTOR
B.A. in Dramatic Art, Universidad del Valle (Colombia). He studied two years at the Bogotá
School of Drama and six years at Santiago García’s Permanent Workshop on Theatrical
Research (Teatro La Candelaria). He has worked also for the movies and for television. He
has written 20 plays. Four of them have won the National Prize for Playwriting: “Gracias
por haber venido” (1996), “Cada vez que ladran los perros” (1997), “La penúltima cena”
(1999) and “El Natalicio de Schumman” (2009). Other four of his plays have won coproduction awards and two plays have been written due to artistic residencies in Spain
and México. Rubiano has also won five creation grants from the Colombian Ministry of
Culture. His plays have been staged by companies in Slovenia, Chile, México, USA, Perú,
Spain and France, and by other groups in Colombia. He’s been translated to French,
English and Slovenian.
UTROBA KITA
THE BELLY OF THE WHALE
Jezik: španski sa bosanskim i engleskim prijevodom
Language: Spanish with Bosnian and English translation
PREDSTAVA
Policajac Bruno Basquiat istražuje slučaj nestanka
djece i žena u gradu dok istovremeno pokušava
razotkriti mrežu krijumčarenja poliestera, žoržeta,
egipatskog pamuka, ševiota i drugih tkanina. Usred
istrage, nestaje i njegova vlastita kćer koja je
uključena u tu mrežu. Tokom potrage, on pronalazi niz
veza među svjetovima, tako različitim, ali tako bliskim
stvarnosti naših gradova, da, iako naizgled nepovezivi
jedan s drugim, oni to zapravo jesu. Tinejdžer koji
tvrdi da je odrastao, odrasla osoba koja tvrdi da
je djevojčica, organizacije surogata, krijumčara/ki
ljudskih organa i tekstila, ukazanja djevice, svodnici
i sudske presude donesene na osnovu televotinga,
sastaju se u priči koja je obična koliko je i apsurdna
i domaća. Međutim, sve te priče i ti svjetovi koji se
prepliću proizilaze iz naše sopstvene stvarnosti koja
se povremeno čini nevjerovatnijom i okrutnijom od
fikcije. Utroba kita spada u kategoriju crne komedije s
primjesama izvještaja o zločinu.
PERFORMANCE
Police officer Bruno Basquiat investigates the case
of the disappearance of children and women in the
city, and at the same time tries to unmask a network
of traffic of human organs and traffic of polyester,
georgette, egyptian cotton, cheviot cloth and other
textiles. In the midst of the investigation his own
daughter escapes and is involved in the network.
During the search, he finds a series of connections
between universes so different but so close to
the reality of our cities, that although they seem
impossible to connect with each other, they actually
do. A teenager who claims to be a grown-up, a
grown-up who claims to be a little girl, organizations
of surrogacy, human organs and textiles dealers, the
apparitions of the virgin, pimps, and judicial verdicts
defined by t.v. viewers vote, come together in a story
that is as ordinary as absurd and domestic. However,
all these stories and these universes that criss-cross,
arise from our own reality, which at times seems less
credible and crueler than fiction. “The belly of the
whale” falls into the category of black comedy, crime
report-tinged.
PRODUKCIJA
Teatro Petra su 1985. godine osnovali Fabio
Rubiano O. i Marcela Valencia. Prva predstava
“El negro perfecto” odigrana je 1987.
godine. Ovaj teatar je jedna od najznačajnijih
teatarskih kompanija u Kolumbiji u oblasti
savremenog teatra i ima odanu publiku koja
prati sve njegove projekte. Rad kompanije
temelji se na istraživanju i pisanju dramskih
tekstova. U gotovo trideset godina
neprekidnog rada, Teatro Petra dobitnik je
nekoliko domaćih i međunarodnih priznanja,
uključujući nagrade za dramski tekst, grantove
za postavljanje predstava, koprodukcije,
umjetničke rezidencije i posebna priznanja
na festivalima i turnejama diljem svijeta.
Najnovija ostvarenja teatra su: “Utroba kita”,
“Sara kaže”, “Pinocchio i Frankenstein se boje
Harrisona Forda” i “Muha”. Sa pomenutim
predstavama i sa njih još nekoliko, trupa
je gostovala na više od 25 međunarodnih
festivala u Evropi, Južnoj Americi i Sjedinjenim
Američkim Državama. Drame Fabia Rubiana
prevedene su na francuski, engleski i
slovenački jezik, a izvodile su ih i trupe
iz drugih zemalja. Teatro Petra trenutno
priprema tri nove predstave (“Labio de liebre”
je jedna od njih) i ugovara dozvole potrebne
za izgradnju vlastite zgrade u kojoj će ojačati
svoju produkciju dramskih tekstova, obuke,
istraživanja i režiranja.
PRODUCTION
Teatro Petra was founded in 1985 by Fabio
Rubiano O. and Marcela Valencia. “El negro
perfecto”, its first play, opened in 1987. It
is one of the most important companies
in Colombia in the field of new theatrical
proposals and has a devoted audience which
follows all of its projects. Its work focuses on
research and playwriting, from both the text
and the stage. Throughout almost 30 years
of uninterrupted work, Teatro Petra has won
several national and international awards,
including playwrighting prizes, staging grants,
coproductions, artistic residencies and special
mentions in different festivals and tours
worldwide. Most recent productions are: “El
vientre de la ballena”, “Sara Says”, “Pinocho
y Frankenstein le tienen miedo a Harrison
Ford” and “Mosca”. With these ones and
others, the group has been invited to more
than 25 international festivals in Europe,
South America and USA. Fabio Rubiano’s
plays also have been translated to French,
English and Slovenian, and staged by groups
in other countries. Teatro Petra is currently
in the process of preparing three new shows
(“Labio de liebre” being one of them) and
getting arranged the permits needed for
building its own venue, where more projects of
playwrighting, training, research and staging
will be strengthened.
Asistentica scenografkinje /
Assistant Stage Designer:
Juliana Barreto
Fotografija / Photography:
SANDRA ZEA
WORLD MESS
REDITELJ
07/10/14
Kamerni teatar ‘55 18.00
Chamber Theater ‘55
Trajanje / Running time: 65 min.
Diplomirao je dramsku umjetnost na univerzitetu Universidad del Valle u Kolumbiji.
Proveo je dvije godine u Školi dramske umjetnosti u Bogoti te šest godina na Stalnoj
radionici za teatarska istraživanja Santiaga Garcie (Teatro La Candelaria). Radio je i na
filmu i televiziji. Napisao je 20 drama, od kojih su četiri dobitnice Državne nagrade za
dramski tekst: “Gracias por haber venido” (1996), “Cada vez que ladran los perros” (1997),
“La penúltima cena” (1999) i “El Natalicio de Schumman” (2009). Četiri njegove drame
dobitnice su koprodukcijskih nagrada, a dvije drame je napisao zahvaljujući umjetničkim
rezidencijama u Španiji i Meksiku. Kolumbijsko ministarstvo kulture mu je dodijelilo i
pet umjetničkih grantova. Njegove drame izvodile su teatarske kuće u Sloveniji, Čileu,
Meksiku, Sjedinjenim Američkim Državama, Peruu, Španiji i Francuskoj, ali i druge
kompanije iz Kolumbije. Djela su mu prevedena na francuski, engleski i slovenački jezik.
Igraju / Cast:
Marcela Valencia
Liliana Escobar
Jacques Toukhmanian
Mónica Giraldo
Fabio Rubiano
Inés Correa
Jimena Durán
Mario Escobar
Nelson Camayo
Asistent režije / Direction
Assistant:
Jonatan Cabrera
Scenografija / Stage Design:
Laura Villegas
Alexander Gumbel
Asistentica scenografa /
Assistant Stage Designer:
Luisa Fernanda
Rodríguez
Kolumbija / Colombia
DIRECTOR
B.A. in Dramatic Art, Universidad del Valle (Colombia). He studied two years at the Bogotá
School of Drama and six years at Santiago García’s Permanent Workshop on Theatrical
Research (Teatro La Candelaria). He has worked also for the movies and for television. He
has written 20 plays. Four of them have won the National Prize for Playwriting: “Gracias
por haber venido” (1996), “Cada vez que ladran los perros” (1997), “La penúltima cena”
(1999) and “El Natalicio de Schumman” (2009). Other four of his plays have won coproduction awards and two plays have been written due to artistic residencies in Spain
and México. Rubiano has also won five creation grants from the Colombian Ministry of
Culture. His plays have been staged by companies in Slovenia, Chile, México, USA, Perú,
Spain and France, and by other groups in Colombia. He’s been translated to French,
English and Slovenian.
SARA KAŽE
SARA SAYS
Jezik: španski sa bosanskim i engleskim prijevodom
Language: Spanish with Bosnian and English translation
PREDSTAVA
Predstava se temelji na tekstovima Makoa Sagure,
japanskog pisca i pilota koji je nestao u Drugom
svjetskom ratu i koji se pita: “Šta se dogodi kada
ubistvo nestane iz zajednice?” On ujedno i odgovara:
“Kada ne bi bilo ubistava, ponašanje stanovništva
bi se očito promijenilo.” Saguru kasnije uviđa da se
ubistvo ne može u potpunosti iskorijeniti. Periodično
je potreban minimum ubistava - jedno ubistvo
svakih stotinu dana. Na ovaj način se nasilne smrti
kontroliraju, a ubistva koja su izazvana strahom,
bolom, otuđenjem, posebnim interesima ili političkim
idealima sprečavaju. Ubistvo kao lična odluka
nestaje i pretvara se u institucionalni postupak. U
predstavi “Sara kaže”, ova uredba je već na snazi i po
jedno ubistvo se mora dogoditi svakih stotinu dana.
Institucija žrijebom bira dvije porodice. Jedna od tih
porodica treba odlučiti koji njen član/ica će biti žrtva, a
druga odlučuje o tome ko će biti počinitelj/ica.
Predstava se, između ostalog, fokusira na odabrane
porodice, njihove odluke, reakcije na činjenicu da neko
treba da bude žrtva ili počinitelj/ica, izglasavanje
članova/ica, očaj odabranih, prvobitno i naknadno
žalovanje što nije moguće počiniti ubistvo mimo
zadanog pravila...
PERFORMANCE
The play is based on texts by Mako Saguru, a
Japanese writer and pilot, missing in the II World War,
who wonders: “What happens when murder disappears
from a community?” And he also answers: “If there
are no more murders, the population’s behaviour
obviously changes.” Saguru realizes later that murder
can’t die entirely out. A minimum of murders is needed
periodically: One every one-hundred days. This way,
violent deaths are streamlined and murders produced
by anger, pain, alienation, special interests or political
ideals, are prevented. Killing as a personal decision
disappears and turns into an institutional procedure.
At “Sara Says”, the regulation is already established
and a murder must occur every one-hundred days.
The Institution chooses two families by drawing. One
of these families will decide who of its members will
perform the victim and the other one will decide who
will perform the executioner. The play focuses on the
chosen families, its decisions, the reactions to the
fact of being required to be victim or executioner,
the voting to elect a member, the dismay of the
chosen ones, previous and later mourning and the
impossibility of killing outside the rule, amongst other
moments.
PRODUKCIJA
Teatro Petra su 1985. godine osnovali
Fabio Rubiano O. i Marcela Valencia. Prva
predstava “El negro perfecto” odigrana
je 1987. godine. Ovaj teatar je jedna od
najznačajnijih teatarskih kompanija u
Kolumbiji u oblasti savremenog teatra i ima
odanu publiku koja prati sve njegove projekte.
Rad kompanije temelji se na istraživanju i
pisanju dramskih tekstova. U gotovo trideset
godina neprekidnog rada, Teatro Petra
dobitnik je nekoliko domaćih i međunarodnih
priznanja, uključujući nagrade za dramski
tekst, grantove za postavljanje predstava,
koprodukcije, umjetničke rezidencije i
posebna priznanja na festivalima i turnejama
diljem svijeta. Najnovija ostvarenja teatra
su: “Utroba kita”, “Sara kaže”, “Pinocchio
i Frankenstein se boje Harrisona Forda” i
“Muha”. Sa pomenutim predstavama i sa njih
još nekoliko, trupa je gostovala na više od
25 međunarodnih festivala u Evropi, Južnoj
Americi i Sjedinjenim Američkim Državama.
Drame Fabia Rubiana prevedene su na
francuski, engleski i slovenački jezik, a izvodile
su ih i trupe iz drugih zemalja. Teatro Petra
trenutno priprema tri nove predstave (“Labio
de liebre” je jedna od njih) i ugovara dozvole
potrebne za izgradnju vlastite zgrade u kojoj
će biti moguće izvoditi još veći broj projekata pisanja dramskih tekstova, obuke, istraživanja
i režiranja.
PRODUCTION
Teatro Petra was founded in 1985 by Fabio
Rubiano O. and Marcela Valencia. “El negro
perfecto”, its first play, opened in 1987. It
is one of the most important companies
in Colombia in the field of new theatrical
proposals and has a devoted audience which
follows all of its projects. Its work focuses on
research and playwriting, from both the text
and the stage. Throughout almost 30 years
of uninterrupted work, Teatro Petra has won
several national and international awards,
including playwrighting prizes, staging grants,
coproductions, artistic residencies and special
mentions in different festivals and tours
worldwide. Most recent productions are: “El
vientre de la ballena”, “Sara Says”, “Pinocho
y Frankenstein le tienen miedo a Harrison
Ford” and “Mosca”. With these ones and
others, the group has been invited to more
than 25 international festivals in Europe,
South America and USA. Fabio Rubiano’s
plays also have been translated to French,
English and Slovenian, and staged by groups
in other countries. Teatro Petra is currently
in the process of preparing three new shows
(“Labio de liebre” being one of them) and
getting arranged the permits needed for
building its own venue, where more projects of
playwrighting, training, research and staging
will be strengthened.
Fotografija / Photography:
Teatro Petra ArchivE
WORLD MESS
Režija / Direction:
Fabio Rubiano Orjuela
REDITELJ
08/10/14
Narodno pozorište Sarajevo 20.00
National Theater Sarajevo
Trajanje / Running time: 95 min.
Rođen u Beogradu 1983. Završio je Akademiju umjetnosti, Odsjek dramaturgija, u klasi profesora Siniše
Kovačevića, 2005. godine. Drama “Čarobnjak” igrana je u Narodnom Pozorištu Sombor, u režiji Borisa
Liješevića. Jednočinka “Beograd-London” igrana je u SKC-u, u režiji Borisa Liješevića, u okviru projekta
“Beogradske priče 04”. Radio je kao dramaturg, sa Brankom Dimitrijevićem, na predstavama “Plodni
dani” Borisa Liješevića i Jelene Kislovski Liješević, u režiji Borisa Liješevića, Atelje 212 / Kulturni
centar Pančevo, i “Sluga dvaju gospodara Karla Goldonija”, u režiji Borisa Liješevića, Grad Teatar
Budva / Srpsko Narodno Pozorište Novi Sad / Narodno Pozorište Toša Jovanović Zrenjanin. Dobitnik je
Sterijine nagrade za najbolji tekst 2013. godine za “Čarobnjaka”.
AUTHOR
Born in Belgrade in 1983. He graduated from the Academy of Arts, Department of dramaturgy, in the
class of professor Siniša Kovačević, 2005. His drama “The Wizard” was played in National Theatre
Sombor, directed by Boris Liješević. One-act play “Belgrade-London” was played in SKC, directed
by Boris Liješević, within the “Belgrade stories 04” project. With Branko Dimitrijević, he worked as
a dramaturge on the performances “Fertile Days” by Boris Liješević and Jelena Kislovski Liješević,
directed by Boris Liješević, Atelier 212 / Cultural Center Pančevo, and “Servant of Two Masters by Karl
Goldoni”, directed by Boris Liješević, Budva Theatre City / Serbian National Theatre Novi Sad / National
Theatre Toša Jovanovic Zrenjanin. With “The Wizard” he won Sterija Award for best text of the year
2013.
REDITELJ
Boris Liješević je rođen 1976. godine u Beogradu. Diplomirao je na Odsjeku za multimedijalnu režiju, u
klasi profesora Bore Draškovića, također 1999. godine, apsolvirao na Filozofskom fakultetu u Novom
Sadu, na Grupi za srpsku književnost i jezik. Režirao u skoro svim najznačajnijim pozorištima u Srbiji
i regionu. Autor je filmova “Gvozdeni krst” prema istoimenoj noveli Heinera Müllera, i dokumentarnog
filma “Luka”. Učestvovao je i osvajao nagrade na mnogim festivalima: FSF u Beogradu, RAF u Zagrebu,
ŠTUKFEST u Mariboru, Beogradskom festivalu kratkometražnog i dokumentarnog filma, Festivalu
Evroregije u Segedinu, Festivalu vojvođanskih pozorišta u Subotici, Sterijinom pozorju, Gradu teatru
u Budvi i mnogim drugim. Izabran je 2004. godine za asistenta na Odsjeku za multimedijalnu režiju
Akademije umjetnosti u Novom Sadu, u klasi prof. Draškovića. Za režiju “Čarobnjaka” Fedora Šilija, u
produkciji Narodnog pozorišta Sombor, 2013. godine dobio je Sterijinu nagradu.
Srbija / Serbia
DIRECTOR
FEDOR ŠILI
Boris Liješević was born in 1976 in Belgrade. He graduated from the Department of multimedia
directing, under Professor Boro Drašković. In 1999, he graduated from the Faculty of Philosophy in
Novi Sad, at the Group of Serbian literature and language. He directed in nearly all the most important
theatres in Serbia and the region. His films include “The Iron Cross”, based on the eponymous novel
by Heiner Müller, and a documentary film “Harbour”. He has participated in and won awards at many
festivals: FSF in Belgrade, RAF in Zagreb, ŠTUKFEST in Maribor, Belgrade Festival of Short and
Documentary Film, Euroregion Film Festival in Szeged, Festival of Professional Theatres of Vojvodina in
Subotica, Sterija Theatre Festival, Budva Theatre City, and many others. In 2004, he was elected as an
assistant at the Department of multimedia directing of the Academy of Arts in Novi Sad, in the class of
prof. Drašković. For directing “The Wizard” by Fedor Šili, produced by the National Theatre Sombor, he
received the Sterija award in 2013.
ČAROBNJAK
THE WIZARD
Jezik: srpski sa engleskim prijevodom
Language: Serbian with English subtitles
PREDSTAVA
Predstava “Čarobnjak” Fedora Šilija u režiji Borisa
Liješevića govori o životu Tomasa Mana. Radnja
komada obuhvata period od 1891. godine, kada je
Tomas Man bio đak i imao petnaest godina, do 1949.
godine, kada je njegov sin Klaus izvršio samoubistvo.
Naizgled biografska, ova drama, osim činjenica,
zasnovanih na motivima Manovog književnog djela i
historijskim podacima o njegovom životu, u sebi miješa
biografske činjenice i fiktivne događaje, kao i likove.
Ova predstava nije koncipirana kao biografija Tomasa
Mana već kao pozorišna igra. U njoj je gledatelj/ica, od
samog početka, aktivni učesnik/ca.
PERFORMANCE
The play “The Wizard” by Fedor Šili, directed by Boris
Liješević, talks about the life of Thomas Mann. The
plot covers the period from 1891, when Tomas Man
was a fifteen year-old schoolboy, until 1949, when his
son Klaus committed suicide. Seemingly biographical,
this drama, in addition to the facts based on motifs of
Mann’s literary works and historical data on his life,
meshes biographical facts and fictional events and
characters within it. This play was not conceived as a
biography of Thomas Mann, but as a theater play. The
spectator, from the outset, is an active participant in
this play.
PRODUKCIJA
Prva predstava u zgradi Narodnog pozorišta
Sombor odigrana je 1882. godine i od tada
pozorište radi kontinuirano. U Somboru su režirali
najistaknutiji reditelji/ce svoje generacije i mnogi od
njih su tu pravili svoje prve profesionalne korake:
Mata Milošević, Ljubomir Draškić, Dejan Mijač,
Paolo Mađeli, Vida Ognjenović, Stevo Žigon, Jagoš
Marković, Dušan Petrović, Kokan Mladenović,
Gorčin Stojanović, Egon Savin, Ljubiša Ristić i dr.
Na sceni Narodnog pozorišta Sombor su izvođeni
najznačajniji pozorišni klasici, ali se također
prati i nova i avangardna dramska literatura. U
posljednje dvije decenije, ovo pozorište je jedno
od najmobilnijih u zemlji. Predstave su gostovale
u Mađarskoj, Austriji, Makedoniji, Slovačkoj,
Bugarskoj, na Kipru, u Sloveniji, Rusiji, Ukrajini,
Crnoj Gori, Hrvatskoj i Kanadi. Sa predstavama
“Ukroćena Goropad”, “Kate Kapuralica”, “Figarova
ženidba”, “Fiškal galantom”, “Afera nedužne
Anabele”, “Zla Žena”, “Ruženje naroda u dva
dela”, “Bogojavljenska noć”, “Buđenje proljeća”,
“Kazimir i Karolina”, “Opsada crkve Svetog
spasa”, “Paradoks”, “Mračna komedija”, “Buba u
uhu”, “Nora (Lutkina kuća)”, “Ženidba”, “Pučina”,
“Čarobnjak” osvojene su brojne nagrade. Od 1993.
godine, Narodno pozorište Sombor svoju sezonu
završava festivalom Pozorišni maraton. Tokom
tri dana i tri noći smjenjuju se predstave, kako
pozorišta domaćina, tako i predstave gostujućih
pozorišta, pozorišnih trupa i studenata/tica
dramskih fakulteta.
PRODUCTION
The first performance in the National Theatre
Sombor building was held in 1882 and since then
the theater has had ongoing seasons each year.
The most prominent directors of their generation
directed in Sombor, and many of them there took
their first professional steps in this town: Mata
Milošević, Ljubomir Draškić, Dejan Mijač, Paolo
Mađeli, Vida Ognjenović, Stevo Žigon, Jagoš
Marković, Dušan Petrović, Kokan Mladenović,
Gorčin Stojanović, Egon Savin, Ljubiša Ristić, and
others. The most important theatrical classics were
performed on the stage of the National Theatre
Sombor, but the new and avant-garde drama
literature has also been included in the repertoire.
In the last two decades, this theater has been
one of the most mobile theaters in the country.
The performances toured in Hungary, Austria,
Macedonia, Slovakia, Bulgaria, Cyprus, Slovenia,
Russia, Ukraine, Montenegro, Croatia, and Canada.
Numerous awards were won with performances
of “The Taming of the Shrew”, “Kate Kapuralica”,
“The Marriage of Figaro”, “Fiškal Galantom”, “The
Affair of Innocent Annabelle”, “Evil Woman”, “The
Scolding of the Nation in Two Parts”, “Twelfth
Night”, “The Spring Awakening”, “Casimir and
Caroline”, “The Siege of the Chruch of the Holy
Savior”, “Paradox”, “Dark Comedy”, “Ear Bug Nora
(Dollhouse)”, “Marriage”, “Offshore”, “The Wizard”.
Since 1999, each season at the National Theatre
Sombor ends with the Theatre Marathon. Through
the course of three days and nights, plays of the
National Theatre Sombor, as well as plays of visiting
theaters, theater groups, and students of the
Faculty of Drama are acted out on the Great Stage.
Tekst / Text:
FEDOR ŠILI
Režija / Direction:
Boris Liješević
Igraju / Cast:
Saša Torlaković
Svetozar Cvetković
Radoje Čupić
Tatjana ŠantaTorlaković
Marko Marković
Kostimografija / Costume
Design:
Mirna Ilić
Scenografija / Stage Design:
Miša Keskenović
Kompozitor / Composer:
Aleksandar Kostić
Dramaturgija / Dramaturgy:
Branko Dimitrijević
Inspicijent / Stage Manager:
Zoran Vučković
Dizajn svjetla / Light Design:
Stipan Petreš
Svjetlo / Light:
Antun Renc
Igor Pekanović
Miloš Smiljić
Zvuk / Sound:
Branko Marić
Šminka / Make-up:
Radmila Pekez
Tehnički direktor / Tehnical
Manager:
Stipan Petreš
Saradnik za kostim / Costume
Assistant:
Andraš Farkaš
Saradnik za ples / Dance
Assistant:
Lado Božić
Fotografija / Photography:
Milan Đurđević
BALKAN (CON)TEXT
AUTOR
08/10/14
Sarajevski ratni teatar 22.00
Sarajevo War Theater
Trajanje / Running time: 50 min.
Pjevačice i plesačice / Singers
and Dancers:
Bouchra Ouizguen
Kabboura Aït Ben Hmad
El Hanna Fatéma
Naïma Sahmoud
Dizajn svjetla / Light Design:
Jean Gabriel Valot
Istraživač / Researcher:
Otman El Mernissi
Fotografija / Photography:
Hervé Véronèse
Produkcija / Production:
Compagnie 0
Maroko / Marocco
KOREOGRAFKINJA
HA!
Jezik / Language: no problem
PREDSTAVA
Crpeći inspiraciju iz poezije Dželaludina Rumija, velikog
perzijskog pjesnika i mistika, osnivača Mevlevijskog
derviškog reda, Ha! – najnovije ostvarenje Bouchre
Ouizguen – istražuje ludilo. Ali kakvo ludilo? Genijalno ili
mudro? Obično ili krvoločno? Ono koje osamljuje ili ono
koje oslobađa? Koje obožava ili koje očajava? Delirično
ili bezosjećajno? U Evropi, luđake/inje uvijek zatvaraju u
ustanove. U arapskoj kulturi to nije slučaj; oni/e u društvu
imaju svoje mjesto. Riječi kojima ih opisuju su brojne kao
i “lijekovi” koje im daju – pjevanje, ples, mistični rituali,
trans ili šamanizam. Posluživši se istim onim procesom
koji je performans “Madame Plaza” učinio uspješnim,
uz Fatému El Hanna, Kabbouru Aït Ben Hmad i Naïmu
Sahmoud, Bouchra Ouizguen ponovo kreće na put kroz
Maroko kako bi uronila u odnos koji svi dušom i tijelom
održavaju sa svojim opsesijama. Ona nastoji produbiti svoj
rad pjesmom, tijelom i jezikom, kroz ljude koje susreće na
planinama, u školama, barovima ili u pustinji, nastojeći ih
upoznati – ljude koji nas plaše i ljude koji su nam odbojni;
ljude koji su stranci/kinje svima, pa i samima sebi; ljude
čija nas tišina uznemirava i ljude čija nam tišina govori;
one otuđene ljude čiji nam glasovi otkrivaju nakrnjena
bića; one čija nam tijela otkrivaju krhku dušu ili stegnuto
srce; one muškarce i žene koji nam uslijed siline svog
prisustva pokazuju život koji se suprotstavlja običnom.
PERFORMANCE
Taking inspiration from the poetry of Jalal ad-Din Rumi,
the great Persian poet and Sufi mystic who founded the
order of the Whirling Dervishes, Ha!, the newest creation
of Bouchra Ouizguen, explores madness. But which
madness? Genius, or wise? Ordinary, or bloodthirsty?
Isolating, or liberating? Adoring, or despairing? Delirious,
or unfeeling? In Europe, the mad are always locked up,
but such is not the case in Arab culture, where they have
their place in society. The words to categorize them
are as numerous as the “remedies” – singing, dancing
and mystical rituals, trance or shamanism. Following,
with Fatéma El Hanna, Kabboura Aït Ben Hmad and
Naïma Sahmoud, the process that led to the success of
“Madame Plaza”, Bouchra Ouizguen has left again on a
journey through Morocco to delve into the relationship
that everyone maintains, body and soul, with their
obsessions. She attempts to deepen her work in song,
body and language through the people that she meets, in
the mountains, schools, bars or even in the desert, and
learning about others; those who frighten us and those
who repel us; those who are strangers to all and even
themselves; those whose silence troubles us and those
whose silence reveals to us; those alien people whose
voices reveal cracked beings; those whose bodies bend
to reveal a weak soul or a pinched heart; those men and
women who, by the intensity of their presence, show us a
life lived against the current.
Rođena 1980. godine u Ouarzazateu,
Maroko, Bouchra Ouizguen studirala je
u Francuskoj, a u periodu od 1995. do
2000. godine je u Maroku kao solistica
izvodila istočnjačke plesove. Učila je uz
dva koreografa i jednu koreografkinju
koji su bitno utjecali na njenu karijeru:
Bernarda Monteta, Borisa Charmatza i
Mathildu Monnier. 2002. godine, zajedno
sa Taoufiqom Izeddiouom i Saïdom
Aït El Moumenom osnovala je plesnu
kompaniju Anania. Pod umjetničkim
vodstvom Mathilde Monnier, 2002.
godine je kreirala solo tačku pod
nazivom “Ana Ounta” u sklopu projekta
“Prière de regarder”. “Mort et moi”,
plesni komad koji je kreirala 2005.
godine, predstavljen je u Marakešu i
Turu, u Fondaciji Cartier i na Montpellier
Dance festivalu. Krajem 2005. godine
bila je jedna od organizatorica festivala
Recontres chorégraphiques u Marakešu.
Zajedno sa Taoufiqom Izeddiouom
kreirala je duet “Déserts, désires” 2006.
godine. Bila je izvođačica u performansu
“Matter“ autorice Julie Nioche 2007.
godine. Te iste godine kreirala je duet sa
jednom Aïta pjevačicom (tradicionalna
marokanska kabare pjevačica) koji je
izveden prije njenog prvog grupnog
performansa “Madam Plaza”. 2011.
godine kreirala je solo tačku “Voyage
Cola” tokom “Sujets à Vif” Avinjonskog
festivala sa koreografom Alainom
Buffardom.
CHOREOGRAPHER
Born in 1980 in Ouarzazate, Morocco,
Bouchra Ouizguen studied in France and
was an Eastern dance soloist in Morroco
between 1995 and 2000. She essentially
taught herself alongside three
choreographers who would be decisive
in her career: Bernardo Montet, Mathilde
Monnier and Boris Charmatz. In 2002,
she created the dance company Anania
with Taoufiq Izeddiou and Saïd Aït El
Moumen. Under the artistic direction of
Mathilde Monnier, she crafted the solo
“Ana Ounta” in 2002 in the midst of the
project “Prière de regarder”. “Mort et
moi”, a dance piece created in 2005,
would be presented in Marrakesh and
around Tours, at the Fondation Cartier
and at the Montpellier Dance Festival.
At the end of 2005, she co-organized
“Rencontres chorégraphiques” in
Marrakesh. With Taoufiq Izeddiou, she
co-wrote the duo “Déserts, désires”
in 2006. She was a performer in Julie
Nioche’s “Matter” in 2007. That year,
she also created a duo with an Aïta (a
traditional Moroccan cabaret singer)
that ran before her first group piece,
“Madame Plaza.” In 2011, she created
the solo “Voyage Cola” during the
course of “Sujets à Vif” of the Festival
d’Avignon with the choreographer Alain
Buffard.
Koprodukcija / Coproduction:
Festival Montpellier
Danse 2012 / Les
Spectacles Vivants
– Centre Pompiou /
Kunsten Festival of
Arts / Fabbrica Europa
Institut Français /
Minister of Foreign
and European Affairs
(Paris)
WORLD MESS
Koreografija / Choreography:
Bouchra Ouizguen
08/10/14
Kamerni teatar ‘55 20.00
Chamber Theater ‘55
Trajanje / Running time: 110 min.
Biljana Srbljanović je rođena 1970. godine u Švedskoj. Diplomirala je na Fakultetu dramskih umjetnosti u Beogradu,
na Odsjeku dramaturgije, gdje radi od 1996. godine, trenutno kao vanredna profesorica. Kao studentica, zajedno sa
Milošem Radovićem, radila je na stvaranju serije “Otvorena vrata” i napisala je scenario za većinu epizoda. Njene
drame su prevedene na preko dvedeset stranih jezika i izvedene u više od stotinu pozorišta širom svijeta, i objavljene
na više jezika u Evropi. Napisala je, između ostalog, i drame: “Beogradska trilogija” (1997), “Porodične priče” (1998),
“Pad” (2000), “Supermarket” (2001), “Amerika, drugi deo” (2003), “Skakavci” (2005), “Barbelo, o psima i deci” (2007),
i “Nije smrt biciklo da ti ga ukradu” (2011), “Mali mi je ovaj grob” (2013). Petostruka je dobitnica Sterijine nagrade,
zatim nagrada: Osvajanje Slobode, Dragiša Kašiković, Slobodan Selenić, Godišnje nagrade Grada Beograda za dramsku
umjetnost, Statuete Joakim Vujić i najvišeg evropskog priznanja – Premio Europa – Nova pozorišna realnost. Završava
naučne doktorske studije iz Teorije dramskih umjetnosti, medija i kulture na Fakultetu dramskih umjetnosti. Alumni
je Fulbright stipendije i bila je gostujuća profesorica na univerzitetima u Njujorku, Beču, Milanu i Firenci. Osnivačica je
Foruma pisaca i dobitnica francuskog ordena iz reda Viteza umjetnosti i književnosti, borkinja za prava životinja, a nekad
i ljudi.
AUTHOR
Biljana Srbljanović was born in 1970 in Sweden. She graduated from the Faculty of Dramatic Arts in Belgrade,
Department of Dramaturgy, where she has been working since 1996, currently holding the position of associate
professor. As a student, along with Miloš Radović, she worked to create a TV series “Open Doors”, and wrote the
screenplay for the majority of the episodes. Her plays have been translated into more than twenty foreign languages
and performed in over a hundred theaters around the world, and have been published in several languages in Europe.
She wrote, among others, the following dramas: “Belgrade Trilogy” (1997), “Family Stories” (1998), “The Fall” (2000),
“Supermarket” (2001), “America, Part Two” (2003), “Locusts” (2005), “Barbelo, on Dogs and Children” (2007), and
“Death Is Not a Bicycle (To be Stolen from You)” (2011), “This Grave is Too Small for Me” (2013). She has won a Sterija
award five times, as well as winning the following awards: The Conquest of Freedom, Dragiša Kašiković, Slobodan
Selenić, Annual Belgrade Drama Theatre Award, the Statuette of Joakim Vujić, and the highest European award, Premio
Europa - New Theatrical Realities. She completed her doctoral studies in the Theory of Dramatic Arts, Media and Culture
at the Faculty of Dramatic Arts. She is a Fulbright Scholarship Alumna, and was a visiting professor at universities in
New York, Vienna, Milan, and Florence. She is the founder of the Forum of Writers, the recipient of the French Medal of
the Knight of the Order of Arts and Letters, fighter for the rights of animals and, occasionally, of humans.
Srbija, Bosna i Hercegovina, Hrvatska / Serbia, Bosnia and Herzegovina, Croatia
REDITELJ
Dino Mustafić je diplomirao na Akademiji scenskih umjetnosti u Sarajevu, Odsjek za režiju, i na Odsjeku za opštu
književnost na Filozofskom fakultetu u Sarajevu. Režirao je u mnogim pozorištima i gradovima regiona: Beograd, Zagreb,
Sarajevo, Sofija, Ljubljana, Rijeka, Trst, Split, Maribor, Skoplje, Priština, Podgorica, Pariz… Njegove predstave su igrane
i izvođene na raznim jezicima i osvajale su nagrade na mnogim domaćim i internacionalnim festivalima: u Kairu, Rimu,
Madridu, Bogoti, Gvadalahari, Parizu, Londonu, Sibiu, Vratsa, San Hozeu, Rijeci, Zagrebu, Novom Sadu... Predstava
“Helverova noć” Kamernog teatra ‘55 je ušla u historiju bosanskohercegovačkog pozorišta kao najnagrađivanija, sa 23
internacionalna priznanja. Postavio je više od 50 drama klasičnih i savremenih pisaca. Snimio je više dokumentarnih
filmova i dugometražni igrani film “Remake”, koji je gostovao na više od 40 festivala, a nagrađen je u Minhenu i San
Francisku. Od januara 2003. do decembra 2005. godine je bio Umjetnički direktor Drame Narodnog pozorišta Sarajevo. Na
čelu je najstarijeg pozorišnog festivala u regionu Internacionalnog teatarskog festivala MESS od 1997. godine, kojeg je
obnovio nakon opsade Sarajeva sa svojim saradničkim timom.
BILJANA SRBLJANović
MALI MI JE OVAJ GROB*
THIS GRAVE IS TOO SMALL FOR ME*
Jezik: srpski sa engleskim prijevodom
Language: Serbian with English translation
PREDSTAVA
U PRINCIPU, živimo u vremenu, ali i geografskomentalnom
prostoru gdje je premještanje kostiju, izlijevanje pa razbijanje
stopa i slično – neka vrsta uobičajenog sporta, gdje se duhovi
prošlosti pojavljuju ne zato što su priznati i poznati dio našeg
identiteta, historiografski smješteni i počivaju mirni, već zato
da bi se uvijek netko drugi o njih saplitao pokušavajući ih
interpretirati ili reinterpretirati u korist svojih sitnih, opasnih
dnevnopolitičkih interesa.
... PO PRINCIPU vlastitosti koju Biljana njeguje kako rukopisom
tako i stavom prema bivšem i sadašnjem vremenu ona slaže
tekst “Mali mi je ovaj grob”. Tekst čija se suvremenost ne
ogleda u pukoj faktografskoj istini da pripada ovom trenutku
(naprosto prigodničarski: pa godišnjica je!, ali i prigodno: čiji je i
tko je uopće Princip?), već u odluci da pokuša kritički promisliti,
progovoriti i o ovom našem (ne)vremenu, o Gavrilovom metku koji
putuje ovim prostorima već čitavo jedno stoljeće. Ona odolijeva
okolnostima koje prozivaju prijeteći i znatiželjno, tražeći “ili – ili”
i kaže “niti – niti”. Heroj ili terorist? Ubojica ili žrtva? Srbin ili
Jugoslaven? Ne opravdava niti ne optužuje.
... PREMA PRINCIPU koji se odlučuje za umjetnost, a nikako
pokušaj bilo kakve precizne rekonstrukcije: ova je drama tek
inspirirana konkretnošću povijesne ostavštine. Fikcija je ona koja
je zagarantirala poetičnost koja pokazuje i prokazuje ljude od
krvi i mesa. I upravo takav modus izričaja nepogrešivo osigurava
dijalog s onim što zovemo - istinom.
Željka Udovičić Pleština
PERFORMANCE
… PRINCIPALLY, we live in a certain time, as well as a certain
geographicalmental area where displacement of the bones,
the pouring and breaking of the foundations and the like – are
a kind of common sport, where the ghosts of the past appear
not because they are recognized and well-known parts of our
identity, historiographically located and resting in peace, but
in order for someone else to trip and stumble on them while
trying to interpret or reinterpret them in favor of their own tiny,
dangerous daily political interests.
… BASED ON THE PRINCIPLE OF singularity, which she nurtures
both through her manuscript and her attitude toward the past
and present time, Biljana has created the text for “This Grave
is too Small for Me”. A text the contemporariness of which is
not reflected in the sheer factographic truth that it belongs to
this particular moment (as the occasion would have it, it’s the
anniversary!; coincidentally, who is this Princip, and who does
he belong to, anyway?), but is reflected in the decision to try
to think critically, to speak about this time, our time, Gavrilo’s
bullet that has been travelling throughout the region for an entire
century. It resists the circumstances which call out menacingly
and with curiosity, demanding “either - or”, and it says “neither
- nor.” A hero or a terrorist? The killer or the victim? Serb or
Yugoslav? It does not justify and it does not accuse.
… ACCORDING TO THE PRINCIPLE which supports the art and
not the attempt of any precise reconstruction: this drama is
merely inspired by the substantiality of historical legacy. Fiction
guarantees a poetic quality that shows and exposes the people
made of blood and meat. And it is precisely such a mode of
expression that invariably provides a dialogue with what we call
the truth.
Željka Udovičić Pleština
* van konkurencije za Nagradu za najbolju režiju i Nagradu za najbolju predstavu
* out of competition for Best Director Award and Best Performance Award
DIRECTOR
Dino Mustafić graduated from the Academy of Performing Arts in Sarajevo, Department of Directing, and from the
Department of General Literature at the Faculty of Philosophy in Sarajevo. He has directed in many theaters and cities
of the region: Belgrade, Zagreb, Sarajevo, Sofia, Ljubljana, Rijeka, Trieste, Split, Maribor, Skopje, Pristina, Podgorica,
Paris... His plays were performed in many languages and won awards at many national and international festivals, such
as in Cairo, Rome, Madrid, Bogota, Guadalajara, Paris, London, Sibiu, Vratsa, San Jose, Rijeka, Zagreb, Novi Sad, and
others. The play “Helver’s Night” by the Chamber Theatre 55 has been written down in the history of the Bosnian theater
as the most awarded play, with 23 international awards. He staged more than 50 dramas of classic and contemporary
writers. He has made several documentaries and a feature film “Remake”, which was screened at more than 40 festivals
and won awards in Munich and San Francisco. From January 2003 to December 2005, he was the Artistic Director of
drama at the Sarajevo National Theatre. He is at the helm of the oldest theater festival in the region, the International
Theater Festival MESS since 1997, which he help rebuild with his collaborative team following the siege of Sarajevo.
PRODUKCIJA
Hartefakt je nezavisna regionalna fondacija sa sjedištem u
Beogradu, osnovana sa ciljem da podstiče, podržava i povezuje
kreativne i progresivne snage koje doprinose demokratizaciji i
realizaciji evropskih perspektiva Balkana. Na planu pozorišne
produkcije, Hartefakt se trudi da podrži nove, hrabre, odgovorne
umjetnike/ce i da promoviše nove modele saradnje između
nezavisnih organizacija i zvaničnih kulturnih institucija.
Partnerstvo sa Bitef teatrom je jedan od koraka u tom pravcu.
Prvi zajednički projekat ove dvije institucije je realizovan u
maju 2011. godine. Radi se o dokumentarističkoj predstavi
“Hipermnezija” u režiji Selme Spahić. Predstave “Radnici umiru
pevajući” u režiji Anđelke Nikolić, “Grebanje ili Kako se ubila moja
baka” u režiji Selme Spahić, “Izopačeni” u režiji Andreja Nosova
i “Prst” u režiji Ane Tomović, samo su logičan nastavak ove
saradnje. Od svog osnivanja 1989. godine, misija Bitef teatra bila
je širenje utjecaja Bitef festivala u našoj sredini, otkrivanje novih
pozorišnih tendencija, kao i pružanje prostora umjetnicima/ama
čiji rad predstavlja iskorak iz tradicionalnih i utvrđenih granica
scenskog izraza. Bitef teatar njeguje dvostruku repertoarsku
misiju – da razvija plesni teatar i unapređuje beogradsku plesnu
scenu, na prvom mestu kroz razvoj i produkcije Plesne kompanije
Bitef. Sa druge strane Bitef teatar će nastaviti da razvija i širi
platformu novog, angažovanog dramskog stvaralaštva.
Kamerni teatar ‘55 iz Sarajeva počeo je sa radom 7. marta
1955. godine. Iako historija ove kuće nije iznimno duga, “ona
je nesumnjivo bogatija, atraktivnija i značajnija od decenija i
decenija nečijeg rutinerstva, hladnog shematizma i bezbrižnog
tavorenja”, kako je to primijetio jedan ugledni kritičar. U
stalnom kritičkom preispitivanju i u žaru traganja za drukčijim,
neposrednijim i otvorenijim scenskim izrazom, događala su
se, dakako, i lutanja, koja također nisu bila beskorisna i nakon
kojih se Kamerni teatar ‘55, ponovo vraćao sebi, još maštovitiji i
bolji, ne iznevjeravajući onaj profil kojeg je već u startu definirao
njegov osnivač Jurislav Korenić (1914-1974) a koji je, na tragu
novih teatarskih stremljenja u tadašnjoj Evropi, bio novost
na prostorima bivše Jugoslavije i primjer kojeg su slijedili
brojni teatri širom bivše države. Otvarajući širom svoja vrata
za naglašeno eksperimentiranje u teatru, za tekstove Beketa,
Žarija, Ženea, Joneska, Švarca, Čehova… i čitavu plejadu autora
čija je poetika u modernom teatru proizlazila iz “apsurdnog
osjećanja života”, Kamerni teatar ‘55 je imao presudan utjecaj
na čitave generacije dramskih umjetnika/ca koji su “pozornicu
ring”, okruženu gledalištem, umjesto frontalnog tipa scene, sa
nepremostivom “rampom”, prepoznali kao priliku za intimniju,
prirodniju i iskreniju glumačku igru.
PRODUCTION
The Heartefact Fund is an independent regional foundation
based in Belgrade, with a mission to promote, support and
connect creative and progressive forces that contribute to
democratization and European integration of the Balkans.
With its theatrical productions, the Heartefact aims to
support courageous young artists and promote new models for
collaboration between independent organizations and state
cultural institutions. The partnership with the Bitef Theatre is one
such activity. The first joint project of the two institutions took
place May 2011. It was the play “Hypermnesia” directed by Selma
Spahić. Naturally followed “Workers Die Singing” by Anđelka
Nikolić, “Scratching or How my Grandmother Killed Herself” by
Selma Spahić, “Bent” by Andrej Nosov, “Finger” by Ana Tomović.
Since its inception in 1989, the Bitef Theatre’s mission was
to expand its influence, discover new theatrical voices, and
support the artists whose work transcends the boundaries of
the traditional stage expression. The Bitef Theatre has a twofold
mission – to develop and advance dance theater and Belgrade’s
dance scene through the Bitef Dance Company productions, and
to develop and expand the platform for a new, socially-minded
theater.
The Chamber Theater ‘55 from Sarajevo was founded on March
7, 1955. Although it does not have an exceptionally long history,
it is “undoubledly richer, more attractive, and more significant
then the decades-long routine and cold schematism of other
theaters and their careless existence”, as a renowned critic once
noted. Through the constant questioning and challenging, as well
as fervent search for different, more direct and more open stage
expression, there certainly have been wonderings, but not in
vain, after which the theater kept returning to its own self, better
and with even greater imagination, staying true to its profile
defined by its founder Juroslav Korenić (1914-1974) – the profile
that was a novelty in this part of the world, and in sync with the
tendencies of the European theater at the time. By opening it’s
gates to more experimental forms of theater, including the plays
by Beckett, Jarry, Genet, Ionesco, Schwartz, Chekov, and the
plethora of authors whose poetics in modern theater came from
the “feeling of absurdity in life“, The Chamber Theater ‘55 made a
decisive influence on generations of young artists who recognized
this ring-like stage surrounded by audience as their opportunity
for more intimate, natural and sincere performance.
Tekst / Text:
BILJANA SRBLJANOVIĆ
Režija / Direction:
Dino Mustafić
Igraju / Cast:
Milan Marić
Svetozar Cvetković
Ermin Bravo
Marko Janketić
Amila Terzimehić
BALKAN (CON)TEXT
AUTORICA
09/10/14
Violončelo / Violoncello:
Aleksandar Latković
Nebojša Janković
Producent / Producer:
Andrej Nosov
Izvršna producentica / Executive
Producer:
Milica Milić
Dramaturgija / Dramaturgy:
Željka Udovičić
Božo Koprivica
Kompozitor / Composer:
Draško Adžić
Scenografija / Stage Design:
Dragutin Broz
Kostimografija / Costume
Design:
Darinka Mihajlović
Koreografija / Choreography:
Sonja Vukićević
Snimanje i obrada zvuka / Sound
Recording and Processing:
Dobrivoje Milijanović
Scenski govor / Stage Speech:
dr. Dejan Sredojević
Korepetitorka / Accompanist:
Ana Ćosović
Fotografija / Photography:
Vladimir Miladinović
Asistentica režije / Direction
Assistant:
Tijana Vasić
Šef tehnike / Head of the
Technical Department:
Ljubomir Radivojević
Inspicijentica / Stage Manager:
Maja Jovanović
Dizajneri zvuka / Sound
Designers:
Miroljub Vladić
Nikola Marjanović
Dizajneri svijetla / Light
Designers:
Dragan Đurković
Milan Neić
Vizuelni identitet / Visual
Identity:
Hominid studio
Video:
Srđan Ćešić
Produkcija / Production:
Hartefakt
Bitef teatar
Kamerni teatar ‘55
Kazalište Ulysses
Testament filmS
Festival MESS
1914
Sarajevski ratni teatar 22.00
Sarajevo War Theater
Trajanje / Running time: 60 min.
Francesca Pennini (Ferrara, 1984) prvobitno je bila gimnastičarka, a kasnije se posvetila
savremenom plesu. Pohađala je školu baleta u Toskani (Balletto di Toscana) i Laban Dance
centru u Londonu, a bavila se i nizom različitih disciplina, od butoh plesa do ronjenja
na dah, od borilačkih vještina do takmičenja u disko plesu. Radila je kao nezavisna
plesačica za plesnu kompaniju Sasha Waltz&Guests. Njeno istraživanje usredsređeno je
na projiciranje i definiranje tijela u savremenom društvu kroz multimedijalne iskaze – od
videoplesa do performansa, od fotografije do grafike i tjelesnih instalacija. 2007. godine
osnovala je eksperimentalnu plesnu kompaniju CollettivO CineticO koja predstavlja jednu
fleksibilnu mrežu izvođača/ica, vizuelnih umjetnika/ca, kompozitora/ki i video umjetnika/
ca. Kao koreografkinja ove kompanije dosad je postavila 23 koreografije koje su joj donijele
mnoge nagrade i sa kojima je nastupala na međunarodnoj sceni. Osmislila je brojne
načine i didaktičke metode za koreografske kreacije (s posebnim fokusom na metode za
tinejdžere/ke i nekonvencionalna tijela), a radi i na edukaciji profesionalnih umjetnika/ca i
studenata/tica, održava seminare i radionice i daje časove plesa.
Koncept i režija / Concept and
Direction:
Francesca Pennini
Igra i kreacija / Action and
Creation:
Tilahun Andreoli
Samuele Bindini
Thomas Calvez
Marco Calzolari
Camilla Caselli
Jacques Lazzari
Matteo Misurati
Emma Saba
Martina Simonato
Dramaturgija / Dramaturgy:
Angelo Pedroni
Fotografija / Photography:
MARCO DAVOLIO
Italija / Italy
DIRECTOR
Francesca Pennini (Ferrara, 1984) starts off as a gymnast and then devoted herself to
contemporary dance. She studied at Balletto di Toscana and Laban Centre in London
and practiced a broad range of eterogeneous disciplines: from butoh to free diving, from
martial arts to disco-dance competitions. She worked as a freelance dancer for Sasha
Waltz & Guests. Her research focuses on perspectives and definitions of the body in the
contemporary society through a multimediality of languages that goes from videodance
to performance, from photography to graphics and body installations. In 2007 she founds
the experimental company CollettivO CineticO as a flexible net of performers, visual
artists, composers, videomakers. Until now she created 23 pieces as choreographer of the
company, winning many awards and touring internationally. She developed devices and
didactic methodologies for choreographic creations (with a particular focus on methods
for teenagers and for non-conventional bodies) and teaches to professional artists and
students giving seminars, workshops and dance classes.
<DOB>
<AGE>
Jezik: italijanski sa bosanskim i engleskim prijevodom
Language: Italian with Bosnian and English Subititles
PREDSTAVA
Projekat <dob> istražuje princip nesigurnosti i
sisteme pravila kakve nalazimo u igrama. Izvođači/
ce su tinejdžeri/ke koji su na pragu ili su tek prešli
osamnaestu godinu života. U ovom posebnom i
kratkotrajnom vremenskom rasponu, odnos sa
konceptom vladavine (i u društvenom i u pravnom
smislu) je izuzetno specifičan i stalno se mijenja.
Tinejdžeri/ke su biološki i hemijski programirani da
budu odvažni/e te su samim tim idealni izvođači/
ce u razigranoj, nesigurnoj i pravilima određenoj
atmosferi pozorišne scene. Ovaj komad strukturiran
je kao “ljudski atlas”, živa taksonomija izvođača/ica.
Svaki koreografski materijal nosi specifičan naziv s
kojim se izvođači/ce poistovjećuju. Istovremeno, tu je
i upitnik od 500 samodefinirajućih pitanja koja postaju
filter u selekciji kategorija. Izvođači/ce ne znaju koji
parametri (pitanja) će im biti zadani tokom izvedbe i
koje pokrete, u skladu s tim, treba da izvedu. Odgovori
ove tinejdžerske skupine utemeljeni su na njihovom
sopstvenom mišljenju o sebi, a njihova pojava potpuno
ogoljuje njihove izbore kao pojedinaca/ki. Svaki
segment performansa se razlikuje od ostalih, ne može
se uvježbati i neprekidno izaziva nepredvidive reakcije
koje proizvode atmosferu izuzetnog intenziteta i
prepredene ironije.
PERFORMANCE
The project <age> continues the research on the
uncertainty priciple and the systems of rules typical of
games. The performers are teenagers, just before or
immediately after the threshold of 18 years old. In this
particular and ephemeral time span the relationship
with the concept of rule (both socially and legally) is
extremely specific and constantly shifting. A teenager is biologically and chemically programmed to
be a risk-taker and therefore it’s the ideal candidate
to be a performer in the ludic, uncertain and
regulated environment of a theatre stage. The piece
is structured as a “human atlas”, a live taxonomy
of the performers. Each choreographic material has
a specific nomenclature in order to be identified by
the performers. At the same time has been collected
a questionnaire of 500 self-defining questions
that become a filter of selection in categories. The
performers don’t know which parameters (questions)
will be asked during the performance and which
movement material will be called. The answers of
the teen-age group are based on their own opinion
on themselves and their presence fully expose their
choices as individuals. Each performative event is
different from the others, it cannot be rehearsed
and it constantly presents unpredictable reactions
generating an atmosphere of high intensity and subtle
irony.
PRODUKCIJA
CollettivO CineticO je eksperimentalna
umjetnička grupa koja djeluje u međuprostoru
pozorišta i vizuelne umjetnosti, a koju je 2007.
godine osnovala Francesca Pennini. Zamišljena
kao fleksibilna mreža multidisciplinarnih
umjetnika/ca, grupa uglavnom istražuje formu
i status performativnog događaja. Prekretnica
reformatorskog pristupa je C/o, koreografska
“arhitektura” koja traje jednu deceniju i koja je
nastala iz Foucaultovog koncepta heterotopije.
2008. godine, performans “OKO JE BILO
UHO” koji predstavlja istraživanje virtualnog
okruženja, okrunjen je nagradom Giovani
Danz’ Autori. Projekat “Nesigurna scena” dio
je evropske produkcije “Umjetnost i nauka
u izvedbenim umjetnostima”. Performans
<dob> kojeg izvodi grupa tinejdžera osvojio
je nagradu “Progetto Speciale Performance
2012: Ripensando Cage” na Romaeuropa
festivalu. Škotski magazin “The List” uvrstio
je Performans “XD” među 20 najboljih
izvedbi na Fringe festivalu u Edinburgu. Od
2013. godine, grupa ima podršku MIBAC-a,
Italijanskog ministarstva kulture. Matična
kuća grupe ColletivO CineticO je Teatro
Comunale di Ferrara, a grupa nastupa u zemlji
i inostranstvu na velikom broju lokacija – od
pozorišta do muzeja, od urbanih zdanja do web
streaminga.
PRODUCTION
CollettivO CineticO is an experimental
performing arts group founded in 2007
by Francesca Pennini and working in the
interstices between theater and visual arts.
Shaped as a flexible net of multidisciplinary
artists it mainly investigates the format
and the status of the performative event.
Cornerstone of the reformatting approach is
C/o, a choreographic “architecture” lasting
a decade and developed from the Foucault’s
concept of heterotopia. In 2008 the piece
EYE WAS EAR, a research on the virtual
environments, won the Giovani Danz’Autori
Award. The project The uncertain scene is
part of the european production “Focus on
Art and Science in the Performing Arts”. The
piece <age>, with a cast of teenagers, won
the “Progetto Speciale Performance 2012:
Ripensando Cage” premiered at Romaeuropa
Festival. The piece XD was classified in the
Top 20 of the Edinburgh Fringe Festival by The
List. Since 2013 the company is supported by
MIBAC, Italian Ministry of Culture. CollettivO
CineticO is the resident company at Teatro
Comunale di Ferrara and performed in national
and international venues with a wide range of
locations that goes from theaters to museums,
from urban spaces to web streaming.
Koprodukcija / Coproduction:
CollettivO CineticO
Romaeuropa Festival
Armunia / Festival
Inequilibrio
L’Arboreto Teatro
Dimora di Mondaino
B.Motion / Operaestate
Festival Veneto
Festival miXXer /
Conservatorio di
Ferrara
Danae Festival
Umjetničke rezidencije /
Artistic Residencies:
Scarlattine Teatro / Il
Giardino delle Esperidi
Armunia / Festival
Inequilibrio
L’Arboreto Teatro
Dimora di Mondaino
CSC Centro per la
Scena Contemporanea /
Operaesate Festival
FUTURE MESS IYMT
REDITELJICA
09/10/14
Akademija scenskih umjetnosti 14.00 / 18.00 / 22.00
Academy of Performing Arts
Trajanje / Running time: 60 min.
Igraju / Cast:
David Espinosa
Cia. Hekinah Degul
Stručna saradnja /
Collaboration:
Africa Navarro
REDITELJ
Španija / Spain
Akademija scenskih umjetnosti 14.00 / 18.00
Academy of Performing Arts
Trajanje / Running time: 60 min.
11/10/14
MOJE VELIKO DJELO
(AMBICIOZNI PROJEKAT)
MY GREAT WORK
(AN AMBITIOUS PROJECT)
Jezik / Language: no problem
PREDSTAVA
“Moje veliko djelo” je utopija. Stvarnost u kojoj se mi
umjetnici/e stalno krećemo odlikuje se oskudijevanjem
i nedostatkom sredstava i upravo na tome je oduvijek
bilo težište našeg rada – na osmišljavanju mehanizama
kojim bi se nadomjestio taj nedostatak, pravljenju nečega
iz ničega, isticanju praznina ne bi li se interesovanje i
neuspjeh prikazali kao kreativni pokretači. Budući da se
sad nalazimo u teškoj društveno-ekonomskoj situaciji,
u kojoj jako malo ljudi sebi može priuštiti ikakav luksuz,
čini se da je pravo vrijeme da se pozabavimo našim
prvim velikim i jako ambicioznim projektom. Sa “Mojim
velikim djelom” želimo napraviti jednu grandioznu
predstavu, bez ikakvih ušteda i uz realizaciju svih naših
ideja ma koliko one skupe bile, sa svim materijalima i
neograničenim umjetničkim timom. Međutim, ima tu jedan
mali nedostatak – sve je u HO veličini. Dakle, velika ideja
– mala realizacija, uz primjenu jednog arhitektonskog
pristupa i tehnike. I dalje propitujući granice teatra i
produbljujući zaokupljenost prethodnih projekata sa
smislom izvedbe, u ovom djelu nastojimo stvoriti situaciju
u kojoj ćemo analizirati značenje velikih projekata i
umjetničkih kreacija koje raspolažu velikim sredstvima
i čija se stvarna kulturna vrijednost rijetko pokazuje,
kolosalnih djela koja su površna, nimalo domišljata i
koja pršte od ornamenata, a čija je suština upitna. Ovdje
pokušavamo izvesti ono što bismo uradili kada bismo
stvarno imali takve uslove.
David Espinosa
PERFORMANCE
“My Great Work” is an utopia. The reality in which
we have always moved as artists is characterized by
precariousness and lack of means, and there has always
been precisely the focus of our work: devise mechanisms
to solve the lack of resources, make a virtue of necessity,
emphasizing gaps to enhance interest and failure as
a creative engine. So now that we are in a difficult
socio-economic situation, in which very few can afford
this luxury, it seems the righttime to tackle our first big
project, and ambitious project. In “My Great Work” we
plan to build a large-scale show, sparing no expense,
developing all the ideas that come up however expensive
they could be, material and unlimited artistic team. But,
obviously, with a slight draw back: a scale 1:87. That is,
thinking big and doing small, using this approach and
techniques of an architect. Continuing our questioning
of the limits of theater and deepening the interest of
previous projects on the idea of performing, in this work
we try to create a situation in which to question the
meaning of major projects such artistic creations that
handle high budgets and whose real cultural value is
rarely demonstrable, colossal works very gimmicky and
disingenuous, loaded with ornaments but their substance
are questioned. While trying to carry out what we would
do if we were really able to work under these conditions.
David Espinosa
Diplomirao glumu na Visokoj školi
dramske umjetnosti (E.S.A.D.) u
Valensiji 1998. godine. Od 1994. godine
proučava savremeni ples, improvizaciju,
improvizaciju kontakta i capoeiru u
Valensiji, Briselu i Barseloni. Bio je
izvođač u brojnim plesnim kompanijama
Mal Pelo, The Malqueridas, Osmosis cie.
(Francuska), Lapsus-Alexis Eupierre
i Sonia Gómez / General Elèctrica.
Kao glumac pojavljuje se u dramama
“Tragedija” i “2666” u režiji Alexa Rigole;
“Z”, “Vojvode od Vergare Unplugged
Vergara” i “De los Condenados” u režiji
Sergija Faustina; “Klasni neprijatelj” u
režiji Paula Weibela; “Joan el Cendrós” u
režiji Carlesa Alberole, i mnogim drugim.
2006. godine, sa Africom Navarro
osniva udruženje za kulturu El Local
Espacio de Creacion u okviru kojeg su
realizirali sljedeće pozorišne projekte:
“Mi Gran Obra (un proyecto ambicioso)”
(2012), “Desconcierto nº1” (2011), “La
Procesadora” (2010), “Felicidad.es”
(2009), [email protected]
com” (2008), “Desaladas Club” (2007) i
“Propriedad Privada” (2005), kao i ulične
performanse “Summertime” (2008) i
“Agonías de lo imposible” (2006). Njihov
rad predstavljen je na međunarodnim
festivalima poput Biennal de Venezia,
Escena Contemporánea de Madrid, Alt
Vigo, Bad Bilbao, TNT de Terrassa,
Escena Abierta de Burgos, Ciclo Radicals
Lliures Barcelona, Feria de teatro y
danza de Huesca, Poblenou a Escena,
Cena Contemporânea de Brasilia i F.I.T
de Dourados (Brasil), AECID turneji
u Meksiku, Gvatemali i El Salvadoru,
kao i u brojnim pozorištima i zdanjima
u kojima se prikazuju djela savremene
španjolske pozorišne scene (Centro
Parraga Murcia, la Fundición Bilbao,
Manantiales Valencia, Casa Encendida
Madrid, Antic Teatre Barcelona, CAS
Endanza Sevilla, Circuito de la Red
teatros Alternativos…).
DIRECTOR
Bachelor of acting by E.S.A.D. Valencia in
1998. Since 1994 studying Contemporary
Dance, Improvisation, CI and Capoeira in
Valencia, Brussels and Barcelona.
Performer in different dance companies:
Mal Pelo, The Malqueridas, Osmosis cie
(France), Lapsus-Alexis Eupierre and
Sonia Gómez / General Elèctrica. As
an actor, working in “Tragedy” and
“2666” by Alex Rigola; “Z”, “Dukes of
Vergara Unplugged Vergara” and “De
los condenados” by Sergi Faustino; “El
Enemigo de la clase” by Paul Weibel, and
“Joan el Cendrós” by Carles Alberola,
among other. In 2006 creates with Africa
Navarro El Local Espacio de Creacion,
which have created the shows: “Mi
Gran Obra (un proyecto ambicioso)”
(2012), “Desconcierto nº1” (2011), “La
Procesadora” (2010), “Felicidad.es”
(2009), [email protected]
com” (2008), “Desaladas Club” (2007)
and “Propiedad Privada” (2005), and the
street shows “Summertime” (2008) and
“Agonías de lo imposible” (2006).
This works have been presented at
the Internationals Festivals Biennal
de Venezia, Escena Contemporánea de
Madrid, Alt Vigo, Bad Bilbao,TNT de
Terrassa, Escena Abierta de Burgos,
Ciclo Radicals Lliures Barcelona, Feria
de teatro y danza de Huesca, Poblenou
a Escena, Cena Contemporânea de
Brasilia and F.I.T de Dourados (Brasil),
AECID tour in Mexico, Guatemala and
El Salvador, and in many teatres and
spaces from the contemporary spanish
scene (Centro Parraga Murcia, la
Fundición Bilbao, Manantiales Valencia,
Casa Encendida Madrid, Antic Teatre
Barcelona, CAS Endanza Sevilla, Circuito
de la Red teatros Alternativos…)
Ton i muzika / Sound and
Music:
Santos Martinez
David Espinosa
Scenografija / Stage Design:
David Espinosa
Air Models and
Architecture Projects
Fotografija / Photography:
DAVID ESPINOSA
Produkcija / Production:
El Local E.C. / C.A.E.T.
U saradnji sa Odjelom
za kulturu Vlade
autonomne pokrajine
Katalonije i I.N.A.E.M. Ministarstva kulture /
In collaboration with
the Department of
Culture of the
Generalitat de
Catalunya and I.N.A.E.M.
– Ministerio de Cultura
Distribucija / Distribution:
M.O.M. – El Vivero
Projekat podržan
od strane Programa
Umjetnici/e u rezidenciji
Bilbaoeszena. /
Project grant
from the Artists in
Residence Program of
Bilbaoeszena.
WORLD MESS
Tekst i režija / Script and
Direction:
David Espinosa
10/10/14
Narodno pozorište Sarajevo 20.00
National Theater Sarajevo
Trajanje / Running time: 65 min.
Kalle Nio je mađioničar i vizeulni umjetnik iz Helsinkija. Njegov rad temelji se na
istraživanju različitih ekspresivnih mogućnosti videa i njegovih kapaciteta kad su u
pitanju vrijeme i prostor. U fokusu njegovog rada je veza između magije, kinematografije
i pozorišta. Diplomirao je na finskoj akademiji primjenjenih umjetnosti. Kao mađioničar,
Nio se specijalizirao za osmišljavanje novih trikova i novih vrsta magije. Njegovi izumi
objavljivani su u najznačajnijim stručnim mađioničarskim časopisima (npr. MAGICMagazine). 2000. godine osvojio je treće mjesto na svjetskom prvenstvu mađioničara
(FISM) u kategoriji inovacija. Pored svog mađioničarskog angažmana, Nio radi i kao
reditelj, animator i urednik televizijskih programa, reklama i kratkih filmova.
Igraju / Cast:
Kalle Nio
Vera Selene Tegelman
Koreografija / Choreography:
Vera Selene Tegelman
Kalle Nio
Kostimografija / Costume
Design:
Mila Moisio
Kaisa Rissanen
Muzika i dizajn zvuka / Music
and Sound Design:
Samuli Kosminen
Dizajn svjetla / Light Design:
Jere Mönkkönen
DIRECTOR
Finska / Finland
Kalle Nio is a magician and a visual artist from Helsinki. In his work he examines the
different kinds of expression possibilities provided by video image and its capacities
related to time and space. His work deals often with the connections between magic,
cinema and theatre. He has graduated from The Finnish Academy of Fine Arts. As a
magician Nio has specialised in developing new tricks and new kinds of magic. His
inventions have been published in the most important professional magic publications
such as the MAGIC-Magazine. Year 2000 he won third price in the world championships
of magic (FISM) in the Inventions category. In addition to his work as a magician, Nio has
worked as a director, editor and animator in TV programs, commercials and short films.
ODLAZAK
Jezik / Language: no problem
U ovoj predstavi se radi o ženi i muškarcu koji imaju
zamršen odnos. Zbunjeni, oni stoje na sceni okruženi
odjećom. Osjećanja i misli pokazuju se kretnjama
tijela, ali i pomjeranjem odjeće koja vodi svoj
sopstveni život. “Odlazak” je najnovije ostvarenje
vizuelnog pozorišta i cirkuske kompanije WHS. U
režiji mađioničara i vizuelnog umjetnika Kalle Nio-a,
predstava daje sliku para koji se udaljio i koji sada
pluta u snoviđenjima i iluzijama. Inspirirana scenskim
iluzijama mađioničara 19. stoljeća, ova predstava
stvara jednu tajanstvenu atmosferu u kojoj se
međusobno prepliću apsurdni humor i tragedija. Ovaj
komad nam nudi jedinstveno teatarsko iskustvo u
kojem se stapaju cirkus, magija, ples, modni dizajn i
vizuelna umjetnost.
Scenski tehničari / Stage
Technicians:
Mila Moisio
Kaisa Rissanen
Fotografija / Photography:
Tom Hakala
Produkcija / Production:
WHS
Podržali / Supported by:
Les Migrateurs /
Associés pour les Arts
du Cirque
The Finnish National
Theatre
Kone Foundation
The Finnish Cultural
Foundation
Arts Promotion Centre
Finland and Alfred
Kordelin Foundation
DEPARTURE
PREDSTAVA
Video:
Matias Boettge
Kalle Nio
PERFORMANCE
There is a woman and a man, who have a complicated
relationship. Confused, they stand on a stage,
surrounded by clothes. Feelings and thoughts are
expressed through the movement of their bodies – and
the movement of the clothes, which have a life of their
own. “Departure” is the latest production of visual
theatre & circus company WHS. Directed by magician
and visual artist Kalle Nio, the performance brings to
the stage a couple that has drifted apart from each
other and is now floating in the middle of dreamlike
imagery and illusions. Inspired by the work of 19th
century magicians’ stage illusions, the performance
creates a mysterious atmosphere where absurd humor
and tragedy alternate. The piece will provide a unique
theatre experience in which circus, magic, dance,
clothing design and visual arts merge.
PRODUKCIJA
WHS je vizuelno pozorište / savremena
cirkuska skupina iz Finske. Produkcije
ove grupe dale su ključni doprinos
usponu novog finskog cirkusa koji
je zabilježen u posljednjih deset
godina. U predstavama ove grupe novi
cirkus je postao moderna, nezavisna
i promjenjiva ekspresivna forma koju
druge umjetnosti, posebno video,
upotpunjuju. U medijima su izvedbe
grupe WHS nazivane avangardnim
također i u širem kontekstu pozorišta i
umjetnosti uopće. Te izvedbe su uvijek
na samom rubu najnovijih teatarskih, ali
i cirkuskih tekovina. Grupa je sa svojim
predstavama posjetila više od trideset
zemalja, učestvovavši na više od stotinu
svjetski poznatih festivala i nastupivši
u jednako toliko cirkusa, pozorišta i
lutkarskih pozorišta diljem svijeta.
PRODUCTION
WHS is a visual theatre / contemporary
circus group from Finland. The
productions of the group have been
a crucial factor behind the rise of
Finnish new circus that has rapidly
occurred in the past decade. In the
performances of the group new
circus has become a very modern,
independent and continually changing
form of expression, that other arts,
especially video image, compliment. In
the press the performances have been
called avant-garde also in the larger
contexts of theatre and art in general.
The performances have been on the
sharp edge of the latest developments
of theatre as well as circus. The group
has taken their performances across
more than 30 countries, visiting over
a hundred world-famous festivals,
circuses, theatres and puppet theatres
around the globe.
WORLD MESS
Režija / Direction:
Kalle Nio
REDITELJ
10/10/14
Međunarodni centar za djecu i omladinu Novo Sarajevo 22.00
International Centre for Children and Youth Novo Sarajevo
Trajanje / Running time: 90 min.
REDITELJ
Rođen 1985. u Hokkaidu. Diplomirao pozorišnu umjetnost na koledžu slobodnih vještina
pri Univerzitetu J. F. Oberlin. 2007. godine osnovao je teatarsku grupu mum&gypsy za
koju piše i režira sav repertoar. U njegovim djelima simbolične scene ponavljaju se u vidu
“refrena” prikazanih iz različitih perspektiva likova, nalik tehnici brze izmjene scena na
filmu. Njegov stil obilježen je jednom novom metodologijom koja podrazumijeva da glumci/
ice, u fazi pripreme, svoje replike dobivaju fonetski, izravno, bez odštampanog teksta. Sa
samo 26 godina, Fujita je dobitnik 56. Kishida nagrade za trilogiju “Znak za povratak”,
“Očekivana večera” i “Svijet posut solju” koja je prikazivana u periodu od juna do augusta
2011. U januaru 2012. godine bio je koproducent drame “Zdravo školo, doviđenja” koju
su izveli srednjoškolci/ke iz Iwakija, Fukushima. Oktobar te iste godine proveo je u gradu
Kitakyushu u pokrajini Fukuoka gdje je režirao predstavu “KRAJO→LIK” u izvedbi lokalnih
glumaca/ica. U njegov opus mogu se još svrstati i radionice za sve uzraste bez obzira na
teatarsko iskustvo, koprodukcija manga stripa “mima-mo-no-gram” u saradnji sa Machiko
Kyom, te zbirka kratkih priča.
Japan
Međunarodni centar za djecu i omladinu Novo Sarajevo 22.00
International Centre for Children and Youth Novo Sarajevo
Trajanje / Running time: 90 min.
11/10/14
Tekst i režija / Text and
Direction:
Takahiro Fujita
Igraju / Cast:
Aya Ogiwara
Shintaro Onoshima
Ayumi Narita
Satoshi Hasatani
JitsukoMesuda
Satoko Yoshida
Muzika / Music:
Yoshio Otani
Dizajn svjetla / Light Design:
Kaori Minami
Dizajn zvuka / Sound Design:
Rie Tsunoda
Inspicijent / Stage Manager:
Susumu Kumaki
DIRECTOR
TAČKE, LINIJE I KOCKA. SVIJET I OSTALI
U KOCKI KOJA SIJA.
DOTS, LINES AND THE CUBE. A WORLD AND THE OTHERS IN THE
CUBE THAT SHINES.
Born in 1985 in Hokkaido. Majored in Theatre Arts in the Liberal Arts College of J.F.
Oberlin University. In 2007, he founded the theater company mum & gypsy and he has
written and directed all the works produced by the company. In his works, symbolic
scenes are repeated in the form of “refrains” that are presented from different
characters’perspectives, much like the technique of quickly shifting scenes in a movie. His
style has been characterized by a new methodology in which he delivers lines phonetically
and directly to the actors without a text at the beginning of the creation stage. Fujita
won the 56th Kishida Drama Award in his age of 26 years old with trilogy of “The Signs
to Return” , “Awaiting Dining Table”, “There, It is, The World to Throw Salt on” presented
from June to August in 2011. In January 2012, he co-produced “Hello School, Bye Bye”
with high school students in Iwaki, Fukushima. The same year in October, he stayed in
Kitakyushu city in Fukuoka for a month to create “LAND → SCAPE” with local actors and
staff. His recent diverse works include a workshop for all ages for with and without theatre
experiences, co-produced manga “mima-mo-no-gram” with Machiko Kyo and a series of
short novels.
Jezik: japanski sa bosanskim i engleskim prijevodom
Language: Japanese with Bosnian and English Subititles
PREDSTAVA
2001. godine u jednom gradiću, neki čovjek je navodno
ubio jednu djevojčicu. Tijelo su pronašli u jarku, a
vijest je odijeknula među lokalnom omladinom. Ovaj
komad daje živopisan prikaz tih dječaka i djevojčica
iz 2001, potom deset godina poslije 2011, a onda
i u 2013. godini, s ponekom viješću o toj minuloj
svjetskoj tragediji. Autor drastično, ali ipak izvrsno
reproducira događaje i sjećanja u jednom ispreturanom
hronološkom formatu služeći se brojnim, naglašenim
refrenima. Pomenuti refreni prizivaju i vaša sjećanja i
vraćaju vas u ono vrijeme u kojem će vam se ponovo
uspostaviti ideja o odnosu između pozorišta i publike.
PERFORMANCE
In a small town in 2001, a man was reported to kill a
little girl. The body was found in a ditch and the news
had repercussions on local young generation. This
piece lively presents those boys and girls of 2001, ten
years later in 2011 and in their lives of 2013 with some
news of the past world tragedy. The author drastically
yet exquisitely reproduces characters’ memories and
events in a mixed chronological format using number
of conspicuous refrains. This refrains would also call
your memory and bring you back to those period
of time which is promised to rebuild your idea of
relationship between theatre and the audience.
PRODUKCIJA
mum& gypsy je teatarska grupa koja
je osnovana 2007. godine za koju
Takahiro Fujita piše i režira sve komade.
Kinematografske metode kojima se
pribjeglo u predstavi “Shabon na Koro”, a
koje su imale za cilj prikazati simbolične
scene sa refrenima i iz različitih uglova,
privukle su dosta pažnje. Grupa je dobitnica
56. Kishida Kunio nagrade za predstavu
“Svijet posut solju” koja je premijerno
izvedena 2011. godine. Predstava “Tačke,
linije i kocka. Svijet i ostali u kocki koja
sija” 2013. godine je imala uspješnu turneju
u Japanu, Italiji i Čileu.
PRODUCTION
mum & gypsy is a theatre group formed in
2007, and Takahiro Fujita writes and directs
all its pieces. Using cinematic methods
to show symbolic scenes with refrains
and from different angles for “Shabon no
Koro”, the unique directing method drew
attention. Won the 56th Kishida Kunio
Drama Award with “The World to Throw
Salt” on that was premiered in 2011.
Performance “Dots, Lines and the Cube.
A World and the Others in the Cube That
Shines” had a successful world tour in 2013
in Japan, Italy and Chile.
Menadžer turneje i operater
titlova / Tour Manager and
Subtitle Operator:
Miwa Monden
Menadžer trupe / Company
Manager:
Kana Hayashi
Fotografija / Photography:
Kohichi Iida
Produkcija / Production:
mum&gypsy
Koprodukcija / Coproduction:
Steep Slope Studio
WORLD MESS
10/10/14
Sarajevski ratni teatar 20.00
Sarajevo War Theater
Trajanje / Running time: 100 min.
Hans-Werner Kroesinger rođen je u Bonu 1962. Od 1983. do 1988. studira dramaturgiju,
teatarsku umjetnost i medije na Institutu za primijenjenu dramsku umjetnost u Giesenu sa
Andrzej Wirthom i Hans-Thies Lehmannom. Tokom studija radi kao dramaturg i asistent
Robert Wilsonu. Angažovan je na Wilsonovom “Hamletmaschine” u New Yorku, “Salome”
u Mailandu i “The Forest” u Berlinu. Godine 1989. postaje umjetnički saradnik Heinera
Müllera na produkciji “Hamlet/Hamletmaschine” u pozorištu Deutsche Theater Berlin.
Njegove produkcije prikazane su u velikom broju pozorišta od 1993. pa nadalje: Berliner
Ensemble, Staatstheater Stuttgart, Bayrische Staatschauspiel i Maxim Gorki Theater
Berlin. Kroesingerove predstave odigrane su i na mnogim nezavisnim scenama kao što
su: HAU Hebbel am Ufer, Sophiensaelen, Radialsystem, Staatsbank i Podewil Berlin, FFT
Düsseldorf, Festspielhaus Dresden-Hellerau i Theaterhaus Gessnerallee Zürich. Njegova
djela izvedena su na poznatim nacionalnim i internacionalnim festivalima poput Politik
im freien Theater (Hamburg 2003), Cultura Nova (Herleen 2008) i Impulse (NRW 2009).
Godine 2007. osvaja nagradu Brüder-Grimm-Preis des Landes Berlin za svoju predstavu
namijenjenu omladini “Kindertransporte” u Berliner Theater an der Parkaue, a 2012.
radi kao gostujući predavač na Univerzitetu Ruhr Bochum na predmetu scensko pisanje.
Njegove najnovije produkcije u HAU su “Feldpost 2012”, “Wellenartillerie Telefunken”,
“Darfur – Mission Incomplete”, “CAPITALPolitics” i “Ruanda Revisited”.
Njemačka, Bosna i Hercegovina, Srbija, Turska / Germany, Bosnia and Herzegovina, Serbia, Turkey
BATTLEFIELD MEMORY
Jezik: bosanski, njemački, engleski i srpski
Language: Bosnian, German, English and Serbian
PREDSTAVA
Kada neko pomisli na Prvi svjetski rat u Njemačkoj,
referentne tačke su prvenstveno bojna polja zapadnog
fronta. Schlachtfeld Erinnerung 1914/2014 (Bojno polje
sjećanja 1914/2014) mijenja ovu perspektivu i istražuje
različite nacionalne historiografije u Jugoslaviji, kasnije
u Srbiji i Bosni i Hercegovini, kao i u Turskoj, Njemačkoj
i Austriji. Šta je to što ostaje upamćeno, i gdje i kako?
Kakve se slike neprijatelja konstruišu, a sa kakvim se
likovima identifikuje? Koje su uloge odigrali u nedavnom
ratu u bivšoj Jugoslaviji? Režiser Hans-Werner Kroesinger
i filmska stvarateljka Regine Dura proveli su istraživanje
koje je finansirao Goethe-Institut u Beogradu, Istanbulu
i Sarajevu. Svjetska premijera u teatru HAU Hebbel
am Ufer uspoređuje tekstove pronađene u sklopu ovog
istraživanja u Sarajevu, Beogradu i Istanbulu: historijske
novinske članke, vojne izvještaje, putne vodiče, lična
sjećanja. Izvođači iz gore pobrojanih stanica se pojavljuju
u ulozi trgovačkih putnika međusobno se natječući u
nuđenju različitih historijskih tumačenja. Da li je napad na
prijestolonasljednika Austro-Ugarske Franz Ferdinanda
bio teroristički ili revolucionaran čin? I da li je napadač
Gavrilo Princip ekstremista ili heroj? Koji je istinski cilj
saveza između Njemačke i Osmanskog carstva? Na osnovu
svojih iskustava nastalih u prezentacijama radionica
režiser, režiserka i izvođači postavljaju i druga pitanja: na
koji način kontekst mijenja značenje dokumenta? Šta nam
različite verzije historije govore o sadašnjosti? Koja je
svrha ovih različitih priča?
PERFORMANCE
When one thinks about the First World War in Germany,
the reference points are primarily the battlefields on
the Western Front. Schlachtfeld Erinnerung 1914/2014
(Battlefield of Memory 1914/2014) changes the viewpoint,
examining the different national historiographies in
Yugoslavia, later Serbia, Bosnia and Herzegovina, as well
as in Turkey, Germany and Austria. What is remembered
where and how? What images of the enemy get
constructed, and what figures of identification? What role
did these play in the recent way in the former Yugoslavia?
Director Hans-Werner Kroesinger and filmmaker Regine
Dura conducted research commissioned by the Goethe
Institutes in Belgrade, Istanbul and Sarajevo. The world
premiere at HAU Hebbel am Ufer compares the research
materials acquired in Sarajevo, Belgrade and Istanbul
with one another–historical newspaper articles, military
reports, travel guides, person memories. The performers
from the previous stations appear as competing traveling
salespeople in matters of historical interpretation. Is
the attack on the Austro-Hungarian heir apparent Franz
Ferdinand viewed as a terrorist act or as a revolutionary
one? And is the attacker Gavrilo Princip an extremist
or a hero? What was the real purpose of the alliance
between Germany and the Ottoman Empire? Based on
their experiences in workshop performances, directors and
performers ask other questions: How does the context
alter the meaning of a document? What do the various
versions of history say about the present? What is the
objective behind each of the narratives?
Hans-Werner Kroesinger was born in Bonn in 1962 and studied Drama, Theater and
Media from 1983 until 1988 at the Institute for Applied Drama in Gießen with Andrzej
Wirth and Hans-Thies Lehmann. During his studies he worked as Robert Wilson’s
assistant and dramaturg for two years. He was involved in Wilson’s “Hamletmaschine”
in New York, “Salome” in Mailand and “The Forest” in Berlin. In 1989 he became the
artistic collaborator of Heiner Müller for the production “Hamlet/Hamletmaschine”
at the Deutsche Theater Berlin. His own productions have been shown in numerous
theatres since 1993, for example the Berliner Ensemble, the Staatstheater Stuttgart,
the Bayrische Staatschauspiel or the Maxim Gorki Theater Berlin. Kroesinger’s plays
have also been shown on many stages of the free scene such as the HAU Hebbel am Ufer,
the Sophiensaelen, at the Radialsystem, at theStaatsbank and at Podewil Berlin, at the
FFT Düsseldorf, at Festspielhaus Dresden-Hellerau and the Theaterhaus Gessnerallee
Zürich. His works have been invited to renowned national and international festivals such
as Politik im freien Theater (Hamburg 2003), Cultura Nova (Herleen 2008) or Impulse
(NRW 2009). In 2007 he obtained the Brüder-Grimm-Preis des Landes Berlin for his youth
play “Kindertransporte” at the Berliner Theater an der Parkaue. In 2012 he was a guest
lecturer at the Ruhr University Bochum for “Scenic Writing”. His latest productions at
HAU were: “Feldpost 2012”, “Wellenartillerie Telefunken”, “Darfur – Mission Incomplete”,
“CAPITALPolitics” and “Ruanda Revisited”.
PRODUKCIJA
Sa svoje tri pozornice, HAU1, HAU2 i
HAU3, HAU Hebbel am Ufer predstavlja
savremene umjetničke tokove na
raskršću teatra, plesa i performansa.
Pored toga, ključni dio programa su
također i muzika, vizualna umjetnost
i javne diskusije. U nacionalnom
i internacionalnom kontekstu,
HAU – pod umjetničkim vodstvom
Annemie Vanackare, koja vodi teatar
od septembra 2012 – je jedna od
najvažnijih pozornica za međunarodne
koprodukcije i putujuće pozorišne
trupe, kao i za projekte lokalne i (inter)
nacionalne plesne i teatarske scene.
Njeguje se redovna i dugoročna saradnja
koreografa/kinja iz Berlina i svih
dijelova svijeta. HAU Hebbel am Ufer
je dio evropske mreže House on Fire i
DÉPARTS. Nadalje, HAU svake godine
organizuje Tanz im August, koji je jedan
od najpoznatijih plesnih festivala u
Evropi.
Igraju / Cast:
Benjamin Bajramović
Damjan Kecojević
Lajos Talamonti
Armin Wieser
Dramaturgija i “Otvoreni
prostori” / Dramaturgy and
“Open Spaces”:
Regine Dura
Scenografija i kostimografija /
Stage and Costume Design:
Valerie von Stillfried
Izložba i scenografija /
Exhibition and Stage Design:
Dominik von Stillfried
Zvuk / Sound:
Daniel Dorsch
DIRECTOR
BOJNO POLJE SJEĆANJA
Režija / Direction:
Hans-Werner
Kroesinger
WORLD MESS
REDITELJ
11/10/14
Dizajn svjetla / Light Design:
Thomas Schmidt
Asistent reditelja / Assistant
Director:
Gregor Schuster
Pomoćnica za opremu /
Equipment Assistant:
Doreen Back
Fotografija / Photography:
David Baltzer / Zenit
Produkcija / Production:
David Baltzer / Zenit
Koprodukcija / Coproduction:
Goethe-Institut
HAU Hebbel am Ufer
Centar za kulturnu
dekontaminaciju
SARTR
PRODUCTION
With its three stages, HAU1, HAU2 and
HAU3, HAU Hebbel am Ufer stands for
current artistic positions at the interface
of theatre, dance and performance.
Additionally, music, visual arts, and
public discussions are also essential
components oft the programme. Both
in national and international contexts,
HAU – under the artistic direction of
Annemie Vanackere since September
2012 – is one of the most significant
stages for international co-productions
and touring companies as well as
projects by the local and (inter)national
dance and theatre scene. Long-term and
regular collaboration is fostered with
both Berliners and choreographers from
all over the world. HAU Hebbel am Ufer
is part of the European networks House
on Fire and DÉPARTS. Furthermore, HAU
annually organises Tanz im August, one
of the most renowned dance festivals in
Europe.
1914
Akademija scenskih umjetnosti 16.00
Academy of Performing Arts
Trajanje / Running time: cca 60 min.
Rođen je u Splitu 1984. godine. Godine 2003. upisao je dramaturgiju na Akademiji dramske
umjetnosti u Zagrebu. Od 2005. radi kao dramaturg i autor adaptacija na produkcijama u
Dječjem kazalištu Dubrava, kazališu Mala scena, Teatru &TD, na Eurokazu, na Riječkim
ljetnim noćima i u ZKM-u. Često surađuje s Hrvatskim radijem u čijem su dramskom
programu izvedene sve njegove drame. Godine 2005. dobija nagradu Marin Držić
Ministarstva kulture Republike Hrvatske za dramu “Jednostavno: (nesretni)”. Za dramu
“Ovdje piše naslov drame o Anti” dobio nagradu Fabrique et Croatie društva REZ i nagradu
Mali Marulić Festivala hrvatske drame za djecu. Drama je praizvedena u Gradskom
kazalištu mladih u Splitu u režiji Ivice Šimića u svibnju 2009. “Drama o Mirjani i ovima oko
nje” praizvedena je u febrauru 2010. u Jugoslovenskom dramskom pozorištu u režiji Ive
Milošević. Ista drama postavljena je i u Mestnom gledališču ljubljanskom u režiji Dušana
Jovanovića i Hrvatskom narodnom kazalištu u režiji Anje Maksić Japundžić. Drame su mu
prevedene na engleski, francuski, njemački, bugarski, norveški, portugalski, slovenski,
italijanski i španjolski jezik, a neki od prijevoda su i objavljeni. Jedan je od osnivača web
portala hrvatske drame Drame.hr. U sezoni 2010/11. u Zagrebačkom kazalištu mladih je
napravio adaptaciju bajke “Ružno pače” H.C. Andersena za istoimenu produkciju, u režiji
Roberta Waltla.
Bosna i Hercegovina / Bosnia and Herzegovina
AUTHOR
IVOR MARTINIĆ
DRAMA O MIRJANI I OVIMA OKO NJE
A PLAY ABOUT MIRJANA AND THOSE AROUND HER
Jezik: bosanski sa engleskim prijevodom
Language: Bosnian with English translation
PREDSTAVA
“Drama o Mirjani i ovima oko nje” je ispitna predstava
studenata/tica treće godine glume u klasi profesora
Ermina Brave i više asistentice Džane Pinjo. Autor
drame Ivor Martinić kaže da se drama bavi pitanjima:
“Ko smo mi? Jesmo li mi samo ono što smo u odnosu
s drugim ljudima, a onda smo mi ono što su ti ljudi
oko nas.” Mirjana je, kao i svi oko nje, utopljena u
apatičnost i rutinu svakodnevnog života. Svi se bave
stvaranjem slike o životu, a niko ga zapravo ne živi.
Žive u zajednici, ali ipak svako za sebe. Od suočavanja
sa svojim životima bježe. Pristaju na mehanizaciju
svakodnevnog niza rituala po ustaljenom i
nametnutom rasporedu, koje obavljaju tek da bi se
smatrali živima, a što za posljedicu ima zaboravljanje
umijeća komunikacije sa dragim bićima. Upoznajemo
Mirjanu i ljude iz njenog života. Međusobno ih veže
osjećaj nedostatka suštinskog, više nego međusobne
veze. Mjesto radnje predstave je kupatilo, gdje smo
svi obično najinitmniji i najranjiviji. Gledatelji/ce svoja
privatna osjećanja zebnje i nedostaka nečeg bitnog iz
svojih života mogu lako projektovati u junake/inje i
tako izvući na površinu ono skriveno.
PERFORMANCE
“A Play about Mirjana and Those around Her” is an
exam performance for the third year students in the
class of Ermin Bravo, Associate Professor and Džana
Pinjo, Senior Assistant. The author of the play, Ivor
Martinić, says that it deals with the following questions:
“Who are we? Are we only what we are in relationship
with other people? If so, we are what people around us
are.” Mirjana is like everyone else around her: drowned
in the apathy and the rutine of everyday life. Everyone
is trying to make an image of life and no one is actually
living it. They live in a community, but in reality, they
live for themselves only. They escape facing their lives.
They are fine with the mechanical everyday rituals
played according to the settled, imposed schedule, only
to be formally alive, which results in losing the ability
to communicate with their loved ones. We meet Mirjana
and the people in her life. They all feel the lack of
something quintessential, rather than the relationship
between them. The play takes place in a bathroom, that
place where we are most intimate and most vulnerable.
The audience can easily project their feelings of anxiety
and of missing something important on life on the play’s
characters and find out the missing pieces of the puzzle.
Born in Split in 1984. In 2003 he enrolled at the Academy of Dramatic Arts in Zagreb
to study dramaturgy. Since 2005 has been working as a dramaturge and author of
adaptations for productions at the Children’s Theatre Dubrava, Little Stage Theatre,
Theatre & TD, Eurokaz, at the Summer Nights in Rijeka and in ZKM. Often collaborates
with the Croatian Radio, in whose dramatic programmes all his plays have been performed.
In 2005 he received the Marin Držić award for the play “Simply: (Unhappy)”. For the play
“Here Stands Title of the Play about Ante” he received the Fabriqué et Croatie award
from the society REZ, and the Mali Marulić award at the Festival of Croatian Drama for
the Children. The play pre-premiered at the Split Youth City Theatre in May in 2009, and
was directed by Ivica Šimić. “The Play About Mirjana and Those Around Her” premiered
at the Yugoslav Drama Theatre, directed by Iva Milošević (the performance was shown in
the competitive selection of Sterijino Pozorje 2010). This text was staged at the Ljubljana
City Theatre, under the direction of Dušan Jovanović, and at the Croatian National Theatre
in Zagreb, under the direction of Anja Maksić Japundžić. Martinić’s plays have been
translated to English, French, German, Bulgarian, Norwegian, Portuguese, Slovenian,
Italian and Spanish, and some of those translations have been published. He is one of the
founders of the Croatian drama web site Drame.hr. In the 2010-2011 season at the Zagreb
Youth Theater he adapted the H.C. Andersen fairy tale “The Ugly Duckling”, directed by
Robert Waltl.
PRODUKCIJA
Akademija scenskih umjetnosti
Sarajevo je počela sa radom 1981.
godine, kada je upisala prvu generaciju
studenata/ica na Odsjeku za glumu.
Potom je uslijedilo otvaranje Odsjeka
za režiju (1989), a u ratnoj 1994. godini
pokrenut je Odsjek za dramaturgiju.
Bitan segment rada Akademije ostvaruje
se na Otvorenoj sceni Obala, kultnom
sarajevskom pozorištu, gdje se studenti/
ice predstavljaju svojim radovima, ali
gdje i profesionalni glumci/ce, reditelji/
ce i pisci/spisateljice svojim radom
obogaćuju teatarski život Sarajeva i
Bosne i Hercegovine.
PRODUCTION
Academy of Performing Arts Sarajevo
began its work in 1981, when the first
generation of students enrolled in the
Department of Acting. This was followed
by the opening of the Department of
Directing (1989), and in 1994, during
the war, the Department of Dramaturgy
was created. An important segment of
the Academy’s work is staged on the
Obala Open Scene, a legendary Sarajevo
theater, where students present their
work, and where professional actors,
directors, and writers, through their
work, enrich the theatrical life of
Sarajevo and Bosnia and Herzegovina.
Tekst / Text:
IVOR MARTINIĆ
Mentor/ica / Mentors:
ERMIN BRAVO
DŽANA PINJO
Igraju / Cast:
Dina Mušanović
Anđela Kusić
Mirjana Đan
Dino Sarija
Nadia Cvitanović
Aleš Kranjec
Mia Čotić
Marko Braić
Dizajn svjetla / Light Design:
OSMAN ARSLANAGIĆ
Tehničari svjetla i zvuka /
Light and Sound Tehnicians:
RUSMIR EFENDIĆ
adMIR šatara
Dizajn plakata / Poster
Design:
NIRVANA ŽIŠKO
Produkcija / Production:
Akademija scenskih
umjetnosti Sarajevo
FUTURE MESS IYMT / BALKAN (CON)TEXT
AUTOR
12/10/14
Sarajevski ratni teatar 18.00
Sarajevo War Theater
Trajanje / Running time: 75 min.
Michael Pinchbeck je pisac, live artist i teatarski autor koji živi u Nottinghamu (UK). Posvećen
je osobnim i snažnim pričama. Uvijek pokušava pronaći inovativne strukture za oblikovanje
originalnih i riskantnih naracija. Priča priče koje spajaju razna vremena i mjesta, uvezujući ih
u jednu dinamičnu naraciju. Michael je studirao teatar i kreativno pisanje na Univerzitetu u
Lancasteru. Suosnivač je teatarske skupine Metro-Boulot-Dodo 1996. godine. Napisao je dvije
predstave za Nottingham Playhouse: “Bijeli album” (2006) i “Pepeo” (2011). 2012. godine bio je
kreativni ambasador festivala World Event Young Artists u Nottinghamu. Michael je trenutačno
na turneji trilogije izvedbi inspiriranih Shakespeareovim dramama: “Početak”, “Sredina” i
“Kraj”. Njegova djela su tri puta odabrana za Edinburgh Showcase British Council-a. Michael
Pinchbeck je završio magistarske studije iz scenske umjetnosti i live art-a na Nottingham Trent
Univerzitetu, a na Loughborough Univerzitetu trenutno privodi kraju doktorski studij u sklopu
kojeg istražuje ulogu dramaturga u suvremenom teatru. Michael je jedan od direktora Hatch-a,
live art platforme za regiju East Midlands. Predaje dramu na Univerzitetu u Lincolnu. Pisao je
o dramaturgiji za Dance Theatre Journal, Studies in Theatre and Performance i Contemporary
Theatre Review.
*Ovaj naziv ne dovodi u pitanje status Kosova i u skladu je s Rezolucijom 1244 i odlukom ICC-a o kosovskoj Deklaraciji o neovisnosti
*This label does not prejudge the status of Kosovo and is in accordance with Resolution 1244 an the opinion of ICJ on Kosovo’s declaration of independence
Ujedinjeno Kraljevstvo, Bosna i Hercegovina, *Kosovo / United Kingdom, Bosnia and Herzegovina, *Kosovo
Michael Pinchbeck is a writer, live artist and theatre maker based in Nottingham (UK). He
is committed to telling stories that are personal and powerful. He aims to find innovative
structures to scaffold those stories that are original and risk-taking. He tells stories that
take place across time and space and weaves together these different threads into a dynamic
narrative. Michael studied Theatre and Creative Writing at Lancaster University and co-founded
Metro-Boulot-Dodo Theatre Company in 1996. He has written two plays for Nottingham
Playhouse: “The White Album” (2006) and “The Ashes” (2011). In 2012, he was a creative
ambassador for World Event Young Artists in Nottingham. Michael is currently touring a trilogy
of devised performances inspired by Shakespeare plays: “The Beginning”, “The Middle” and
“The End”. His devised work has been selected for the British Council’s Edinburgh Showcase
three times. He has an MA in Performance and Live Art from Nottingham Trent University and
is currently finishing a PhD at Loughborough University exploring the role of the dramaturge
in contemporary performance. Michael is a co-director of Hatch, a live art platform in the East
Midlands, and lectures in drama at the University of Lincoln. He has written on dramaturgy for
Dance Theatre Journal, Studies in Theatre and Performance and Contemporary Theatre Review.
PRODUKCIJA
Jezik: bosanski i engleski sa bosanskim i engleskim prijevodom
Language: Bosnian and English with Bosnian and English subtitles
PREDSTAVA
“Bolero” je realiziran u koprodukciji Sarajevskog ratnog
teatra, Nottingham Playhouse-a iz Nottinghama i Oda
Teatra iz Prištine. Originalni koncept projekta potpisuje
Michael Pinchbeck, pisac, live artist i umjetnik performansa
iz Nottinghama, koji je na ovom projektu okupio
internacionalnu ekipu. Partner projekta je British Council
Bosne i Hercegovine. Ovaj projekat finansira Evropska
unija. Francuski kompozitor Maurice Ravel je 1928. godine
u Parizu napisao orkestarsko djelo “Bolero”. 1984. godine
britanski olimpijci u umjetničkom klizanju Jayne Torvill i
Christopher Dean su izveli svoju tačku plešući uz muziku
“Bolera” na Zimskim olimpijskim igrama u Sarajevu. Jayne i
Christopher su upravo u Sarajevu postali klizački par koji je
dobio najveće ocjene u historiji umjetničkog klizanja. Osam
godina kasnije sportska dvorana u kojoj su nastupali je
granatirana. Radeći sa muzikom kao mostom koji povezuje
ove dvije priče, Michael Pinchbeck polazi na put od Pariza
do Sarajeva, od 1928. do 1984, od Zimskih olimpijskih
igara do bosanskog rata. “Bolero” istražuje stvaranje
muzike i stvaranje historije uz tu muziku, sa osvrtom na
to kako je u Sarajevu olimpijska slava nekoliko godina
kasnije prekrivena krvlju. Radi se o zaplitanju i rasplitanju
kulturne i političke historije koja nikoga ne može ostaviti
ravnodušnim. Projekat polazi na konceptualno putovanje
od kreativnosti do propadanja, od kompozicije do konflikta,
da bi odgovorio na strukturu Ravelove muzike i koreografiju
plesne tačke na ledu.
PERFORMANCE
“Bolero” is realized in co-production of the Sarajevo
War Theatre, Nottingham Playhouse from Nottingham,
and ODA Theatre in Pristina. The author of the project’s
original concept is Michael Pinchbeck, a writer, and live
and performance artist from Nottingham, who brought
together an international team for this project. Project
partner is the British Council in Bosnia and Herzegovina.
In 1928 in Paris, French composer Maurice Ravel wrote
the orchestral piece “Bolero”. At the Winter Olympics
in Sarajevo in 1984, British Olympians in figure skating,
Jayne Torvill and Christopher Dean, performed their set
dancing to the music of “Bolero”. In Sarajevo, Jayne and
Christopher became the highest scoring duo in the history
of figure skating. Eight years later, the sports hall in which
they performed was shelled. Working with music as the
bridge that connects these two stories, Michael Pinchbeck
departs on a journey from Paris to Sarajevo, from 1928 to
1984, to Winter Olympics, to the Bosnian War. “Bolero”
explores the creation of music and making history with
this music, looking back on how the glory of the Sarajevo
Olympics was covered in blood a few years later. It is about
the intertwining and unfolding of cultural and political
history that leaves no one indifferent. The project embarks
on a conceptual journey from creativity to deterioration,
from the composition to the conflict, in order to respond to
the structure of Ravel’s music and the choreography of the
dance numbers on ice.
Smješten u samom srcu Nottinghama, teatar Nottingham
Playhouse nudi širok repertoar drama, muzike, plesa,
komedije, i naravno, legendarne Nottingham Playhouse
pantomime. Od svog osnivanja 1948. godine, Nottingham
Playhouse jedna je od vodećih teatarskih kuća u
Ujedinjenom Kraljevstvu. Iako sa svojim predstavama
nastupa u zemlji i inostranstvu, Playhouse ostaje
duboko ukorijenjen u svom treptavom, rodnom gradu u
kojem njegova prostrana, modernistička zgrada u čijem
predvorju se nalazi “Nebesko ogledalo” Anisha Kapoora,
predstavlja jednu od najpopularnijih znamenitosti regije.
Pod vodstvom umjetničkog direktora Gilesa Crofta i
generalne direktorice Stephanie Sirr, Playhouse uživa
međunarodnu reputaciju.
Nezavisni teatar ODA osnovan je krajem 2002. godine
na inicijativu glumca Liraka Çelaja i reditelja Florenta
Mehmetija. 1. marta 2003. teatar se prvi put predstavio
predstavom “Vaginini monolozi”. 5. januara 2004. godine
ODA teatar otvorio je vrata svoje zgrade (jedini teatar
ove vrste na Kosovu), u kojoj do danas radi. ODA teatar
je jedini nezavisni teatar na Kosovu koji ima vlastite
prostorije. Pored sopstvenih produkcija, na sceni ODA
teatra nastupaju i gostujuće kompanije, ne samo sa
Kosova, već i iz Albanije, Makedonije i ostalih zemalja
Balkana, Evrope i Sjedinjenih Američkih Država. ODA je
nezavisna organizacja posvećena profesionalnom razvoju
teatarske umjetnosti koja podstiče stvaranje veza sa
ostalim vidovima umjetnosti i gradi jake umjetničke i
kulturne temelje za buduće generacije. ODA teatar je
odlučan u svojoj namjeri da da svoj doprinos u jačanju
kulturnog sektora u društvu i da snažno utječe na
izgradnju demokratskog i otvorenog Kosova.
Sarajevski ratni teatar SARTR utemeljen je 17. maja
1992. godine na inicijativu reditelja Dubravka Bibanovića
i Gradimira Gojera, ing. Đorđa Mačkića i pisca Safeta
Plakala, a okupio je glumce/ice i ine saradnike/ce iz tri
profesionalna sarajevska teatra koja su, zbog agresije
na Bosnu i Hercegovinu, morala obustaviti svoj rad. U
augustu 1992. SARTR je konstituiran kao vojna jedinica
pri Regionalnom štabu Oružanih snaga BiH Sarajevo, a
12. januara 1993. godine Odlukom Ratnog Predsjedništva
Skupštine grada Sarajeva kao javna ustanova iz
oblasti kulture od posebnog interesa za odbranu grada.
Odlukom Skupštine Kantona Sarajevo od 24. jula 1997.
ulogu osnivača SARTR-a preuzeo je Kanton Sarajevo.
Godine 2003. Sarajevski ratni teatar SARTR je dobio
Šestoaprilsku nagradu Grada Sarajeva. Predstave
SARTR-a su višestruko nagrađivane.
Dramaturgija / Dramaturgy:
Florent Mehmeti
Inspicijentica / Stage
Manager:
Anneke van de STEGE
Fotografija / Photography:
VELIJA HASANBEGOVIĆ
DIRECTOR
BOLERO
Razvili i igraju / Developed by
and Cast:
Michael Pinchbeck
Vera Molitor
Nicki Hobday
Ollie Smith
Benjamin Bajramović
Jasenko Pašić
Amila Terzimehić
PRODUCTION
Situated in Nottingham city centre, Nottingham
Playhouse puts on a wide variety of drama, music,
dance, comedy and, of course, the legendary Nottingham
Playhouse pantomime. Nottingham Playhouse has been
one of the United Kingdom’s leading producing theatres
since its foundation in 1948. Touring work nationally and
internationally, the Playhouse remains firmly rooted in its
vibrant home city, where its spacious modernist building
– fronted by Anish Kapoor’s “Sky Mirror” – is one of the
region’s most popular landmarks. Under the leadership of
Artistic Director Giles Croft and Chief Executive Stephanie
Sirr, the Playhouse enjoys an international profile.
The Independent ODA Theatre was founded at the
end of 2002 through the initiative of actor Lirak Çelaj
and director Florent Mehmeti. On March 1st, 2003,
it was promoted through its first play, the “Vagina
Monologues”. On January 5th, 2004, ODA Theatre
promoted its facilities (the only of its kind in Kosovo),
where it continues to work today. ODA Theatre is the only
independent theatre in Kosovo with its own space. Beside
its own productions, ODA Theatre has had, and will
continue to have on its stage guest theatre companies,
not only from Kosovo, but also from Albania, Macedonia,
and other Balkan countries, Europe, and USA. ODA is
an independent organization committed to professional
development of the theatrical art, encouraging interrelations with other arts, building strong arts and culture
foundations for coming generations. ODA is determined
to play its role in strengthening the cultural sector in the
society and powerfully influence building of a democratic
and open Kosovo.
Sarajevo War Theatre SARTR was established on 17
May 1992 at the initiative of the directors Dubravka
Bibanović and Gradimir Gojer, eng. Đorđe Mačkić, and
writer Safet Plakalo, bringing together actors and various
associates of three professional Sarajevo theatres
which, because of the aggression against Bosnia and
Herzegovina, had to suspend their work. In August
1992, SARTR was constituted as a military unit at the
Regional Headquarters of the Armed Forces of Bosnia
and Herzegovina in Sarajevo, and on January 12th, 1993,
by a Decree of the War Presidency of the Assembly of
Sarajevo, it was instated as a public institution in the
field of culture of particular interest to the defence of the
city. By the Decision of the Sarajevo Canton Assembly on
July 24th, 1997, the Sarajevo Canton assumed the role
of the founder of SARTR. In 2003, Sarajevo War Theatre
SARTR received the Sixth of April Award. SARTR’s
performances won multiple awards.
Bolero je dio Connecting
Creatively – Connecting
Theatres projekta. Ovaj
projekt implementira
British Council u
suradnji s lokalnim
i međunarodnim
partnerima, a finanSira
Europska unija unutar
Fondacije “Sarajevo,
Srce EVrope” u
sklopu obilježavanja
stogodišnjice početka
Prvog svjetskog rata.
Bolero is a part of the
Connecting Creatively
– Connecting Theatres
project. This project
is implemented by
the British Council in
cooperation with local
and international
partners and supported
by the European Union
within the “Sarajevo,
Heart of Europe”
foundation marking
the centenary of the
beginning of World War I.
This project is funded by the
European Union.
Ovaj projekt financira
Europska unija.
The contents of this publication are the
sole responsibility of MESS Festival and
can in no way be taken to reflect the
views of the European Union.
Sadržaj ove publikacije je isključiva
odgovornost festivala MESS i ni u
kom slučaju ne predstavlja stanovišta
Europske unije.
FUTURE MESS IYMT
Režija / Direction:
Michael Pinchbeck
REDITELJ
12/10/14
Narodno pozorište Sarajevo 20.00
National Theater Sarajevo
Trajanje / Running time: cca 120 min.
REDITELJ
Jan Lauwers (Antwerp, 1957) je umjetnik koji djeluje u skoro svakom mediju. U
posljednjih dvadeset godina najviše se proslavio svojim scenskim radom za teatarsku
kuću Needcompany koja je osnovana u Briselu 1986. godine. Od 2009. godine, umjetnička
rezidencija grupe Needcompany je pozorište Burgtheater u Beču. Vremenom je Lauwers
prikupio i značajan opus umjetničkih djela koja su bila izložena u BOZAR centru 2007.
godine. Jan Lauwers nosilac je “Zlatnog ordena časti za zasluge prema Republici Austriji”
(2012). Jan Lauwers studirao je slikarstvo na Umjetničkoj akademiji u Gentu. Krajem
1979. godine oko sebe je okupio nekolicinu ljudi i osnovao grupu Epigonenensamble. Ova
grupa je 1981. godine preimenovana u Epigonentheater zlv, a pozorišni svijet je osvojila sa
svojih šest predstava. Tako je Jan Lauwers početkom osamdesetih zauzeo svoje mjesto u
pokretu za radikalne promjene u Flandriji i dospio na međunarodnu scenu. Epigonentheater
zlv zagovara jedan direktan, konkretan i izrazito vizuelan teatar koji muziku i jezik
koristi kao svoje strukturalne elemente. Jan Lauwers je raspustio ovu grupu i osnovao
Needcompany 1986. godine.
Belgija / Belgium
JUST FOR SARAJEVO
(THE TIME BETWEEN TWO MISTAKES)
Jan Lauwers (Antwerp, 1957) is an artist who works in just about every medium. Over the
last twenty years he has become best known for his pioneering work for the stage with
Needcompany, which was founded in Brussels in 1986. Needcompany has been artist-inresidence at the Burgtheater in Vienna since 2009. Over the years he has also built up
a substantial body of art work which was shown in an exhibition at BOZAR (Brussels) in
2007. Jan Lauwers is awarded with the “Decoration of Honour in Gold for Services to the
Republic Austria” (2012). Jan Lauwers studied painting at the Academy of Art in Ghent. At
the end of 1979 he gathers round him a number of people to form the Epigonenensemble.
In 1981 this group is transformed into the Epigonentheater zlv collective which takes the
theatre-world by surprise with its six stage productions. In this way Jan Lauwers takes
his place in the movement for radical change in Flanders in the early ‘80, and makes his
international breakthrough. Epigonentheater zlv presents direct, concrete, highly visual
theatre that uses music and language as structuring elements. Jan Lauwers disbands this
collective and founds Needcompany in 1986.
Kultna (teatarska) kompanija Needcompany
prezentira predstavu posebno kreiranu za Festival
MESS. “Samo za Sarajevo (Vrijeme između dvije
greške)” naziv je jedinstvene predstave Grace Ellen
Barkey, Jana Lauwersa and Needcompany-a specijalno
kreiranu za zatvaranje festivala.
Od sredine osamdesetih godina, flamanski umjetnik
Jan Lauwers i Needcompany, čiji je Jan i osnivač,
razvili su jedinstveno estetsko istraživanje, koje
ukrštava izraze različitih disciplina: ples, teatar,
vizuelne umjetnosti, muziku i film. Ukoliko priroda
teži Kaosu, Umjetnost tada kreira protutezu ovom
entropičnom impulsu. “Poslije rata i kanibalizma,
umjetnost je najhisteričniji način civilizacijskog
izražaja”, riječi su Jana Lauwersa. Ljepota je davna
čežnja naših predaka, ružnoća je simptom siromašnih
misli. Sve ono što ne želimo podijeliti je bezvrijedno.
Prikazujemo slike koje nemaju neposredna
objašnjenja, zamišljene od grupe ljudi koji su sposobni
da kreiraju, dok drugi to nisu u stanju.
Ne znamo nikada kakav će biti konačni ishod, ili kakav
bi trebao biti. “Samo za Sarajevo (Vrijeme između dvije
greške)” je proslava, praznik sjećanja na proslavu,
jedan praznik beskrajno posvećen budućnosti.
Video:
Jan Lauwers
Benoît
Menadžer produkcije /
Production Manager:
Chris Vanneste
Direktorica tehnike /
Technical Manager:
Marjolein Demey
Zvuk / Sound:
Bart Aga
Fotografija / Photography:
Jan Lauwers
Produkcija / Production:
Needcompany
Jezik / Language: no problem
PREDSTAVA
Muzika / Music:
Maarten Seghers
Hans Petter Dahl
Rombout Willems
Kostimi / Costumes:
Lot Lemm
DIRECTOR
SAMO ZA SARAJEVO
(VRIJEME IZMEĐU DVIJE GREŠKE)
Sa / With:
Grace Ellen Barkey
Hans Petter Dahl
Benoît Gob
Anneke Bonnema
Maarten Seghers
Mohamed Toukabri
Jan Lauwers
Lot Lemm
Elke Janssens
Sung-Im Her
Julien Faure
Jules Beckman
Romy Louise Lauwers
Rombout Willems
et.al.
PERFORMANCE
A renowned (theatre) company Needcompany
presents a performance especially created for the
MESS Festival. “Just for Sarajevo (The Time between
Two Mistakes)” is the title of a unique evening by
Grace Ellen Barkey, Jan Lauwers and Needcompany,
specially conceived for the Festival’s closure. From
the mid-80’s onwards, Flemish artist Jan Lauwers
and Needcompany (Lauwers is a co-founder) have
developed a unique aesthetic research employing
different artistic forms - dance, theatre, visual
arts, music and film. Whereas nature aspires to
chaos, art aspires to counterbalance this entropic
impulse. “After war and cannibalism, art is the most
hysterical expression of civilisation. Beauty is a
pristine aspiration of our ancestors, ugliness is a
lack of thought. Anything we do not want to share
is worthless. We show images that do not explain
themselves and are made by a group of people who
do something that other groups of people are unable
to do. We never know what the final result will or
should be. “Just for Sarajevo (The Time between
Two Mistakes)” is a celebration, a celebration of the
memory of a celebration, an endless celebration of the
future.
PRODUKCIJA
Needcompany je umjetnička kompanija koju
su 1986. godine osnovali reditelj i umjetnik
Jan Lauwers i koreografkinja Grace Ellen
Barkey. Njih dvoje čine okosnicu kompanije
koja obuhvata sve njihove umjetničke napore:
teatar, ples, performans, vizuelnu umjetnost,
književnost, muziku, film itd. Od samog
početka, Needcompany se predstavlja kao
jedna međunarodna, višejezična, inovativna
i multidisciplinarna kompanija. Njena
svestranost najbolje se ogleda u samom
ansamblu kojeg u prosjeku sačinjavaju
umjetnici/e sedam različitih nacionalnosti.
PRODUCTION
Needcompany is an artists’ company set
up by the theatre-maker and artist Jan
Lauwers and the choreographer Grace Ellen
Barkey in 1986. They form the core of the
company, and it embraces all their artistic
work: theatre, dance, performance, visual
art, writing, music, film etc. Since the very
beginning, Needcompany has presented itself
as an international, multilingual, innovative
and multidisciplinary company. This diversity
is reflected best in the ensemble itself, in
which on average 7 different nationalities are
represented.
Uz podršku flamanskih
vlasti / With the
support of the Flemish
authorities
WORLD MESS
Koncept / Concept:
Grace Ellen Barkey
Jan Lauwers
12/10/14
Kamerni teatar ‘55 22.00
Chamber Theater ‘55
Trajanje / Running time: 70 min.
Ujedinjeno Kraljevstvo, Portugal / United Kingdom, Portugal
PRODUKCIJA
ŠTA SAM ČUO O SVIJETU
What I Heard About the World
“Ono što je izvanredno kod kompanije
Third Angel je to što nikad ne znate šta
ćete dobiti... Božanstveno.”
The Guardian
Jezik: engleski sa bosanskim prijevodom
Language: English with Bosnian translation
PREDSTAVA
Ima jedno mjesto gdje svoje grijehe ispovijedate govornoj
pošti.
Ima jedno mjesto gdje na CD-u možete kupiti lijek za
usamljenost.
Ima jedno mjesto gdje možete unajmiti strance/kinje da vam
plaču na sahrani.
Ima jedno mjesto gdje se sluša radio stanica koja emituje
tišinu.
Ima jedno mjesto gdje postoji samo pet zvaničnih muških
frizura.
Ima jedno mjesto gdje, ako su vam tatu poslali u vojsku,
pošalju vam njegovu izrezanu sliku u prirodnoj veličini da vam
pravi društvo.
Teatarski komad sa pjesmama od kojih je jedna originalna, a
jedna karaoke verzija. Pridružite se kompanijama Third Angel i
mala voadora u njihovom pokušaju da opišu svijet; u pokušaju
da zadrže tačnu sliku cijelog svijeta u svojim glavama. Svijeta
koji svakim danom postaje sve veći. Kako možete, za Boga
miloga, znati sva ona mjesta na kojima ste bili, a kamoli ona
na kojima niste?
“ovaj izvanredni teatarski komad... navodi vas da razmišljate
o svijetu, da mu se smijete; čini da se osjećate sretnim/om što
se i vi dio tog svijeta u svoj njegovoj ludosti.”
Total Theatre Review
“podsjetnik na ono najbolje i na ono najgore u ljudskom
ponašanju; na momente urnebesno smiješno i dirljivo”
Daily Telegraph
Third Angel je teatarska kompanija
sa sjedištem u Sheffieldu, UK, koja se
bavi produkcijom zabavnih i originalnih,
savremenih predstava koje se publici
obraćaju izravno, iskreno i angažirano.
Osnovana 1995. godine, kompanija se
bavi radom koji obuhvata performans,
teatar, live art, instalaciju, film, video
umjetnost, dokumentarac, fotografiju i
dizajn. Third Angel poseže za stilovima,
tehnikama i interesovanjima otkrivenim
u našem nešto eksperimentalnijem radu
za druge kuće kako bi kreirala jedan novi
teatar koji se poigrava konvencionalnim
formama, a istovremeno ostaje
pristupačan i konvencionalnoj publici.
Djela ove kompanije razvijaju, režiraju
i dizajniraju njena dva umjetnička
direktora i osnivača Rachael Walton i
Alexander Kelly, u saradnji sa glavnim
umjetnikom Chrisom Thorpeom i
umjetnicom Lucy Ellinson, te jednom
rastućom grupom umjetnika/ca koji
djeluju u nekoliko disciplina. Njeni
projekti gostuju diljem Evrope i šire,
noseći sa sobom niz utjecaja iz kultura
koje nas okružuju: vizualne umjetnosti,
tekućih pitanja, romana, časopisa,
stripova, filma, televizije, muzike,
radijskih kontakt emisija...
PERFORMANCE
There’s a place where you confess your sins to voicemail.
There’s a place where you can buy a cure for loneliness on CD.
There’s a place where you can rent strangers to cry at your
funeral.
There’s a place where they listen to a radio station that
broadcasts silence.
There’s a place where there are only five official haircuts for
men.
There’s a place where, if the army send your Dad overseas,
they give you a life-size cut-out version to keep you company.
A theatre piece with songs: one original, one karaoke. Join
Third Angel and mala voadora as they attempt to describe the
world. As they try to hold an accurate picture of the whole
world in their heads. A world that seems to get bigger by the
day. How on earth can you know all the places you’ve been, let
alone the places you haven’t?
“this gorgeous piece of theatre...makes you think about the
world, makes you laugh about the world, makes you glad to be
part of the world in all its madness.”
Total Theatre Review
“a reminder of the best and worst of human behaviour, by
turns hilarious and moving”
Daily Telegraph
“Dosljedno inovativni i izazovni...
izvanredne izvedbe.”
The Times
“Dosljedno odlični Third Angel”
MusicOHM.com
mala voadora je teatarska kompanija
čije sjedište se nalazi u Lisabonu.
Osnovana je 2003. godine, a osnivači su
njeni umjetnički direktori Jorge Andrade
i José Capela. Rad ove kompanije
usredsređen je na savremena pitanja,
neka od njih se bave socijalnim temama,
dok neka, opet, istražuju prirodu
teatralnosti i same “spektakularnosti”.
U svojoj umjetničkoj praksi, eksperimenti
kompanije vrte se oko odnosa između
prirode dramaturškog materijala
koji se uzima kao polazište za svako
djelo i postupaka koji obrazuju svaki
pojedinačni kreativni proces. Za svaki
određeni projekat formira se novi
umjetnički tim.
PRODUCTION
Third Angel is a theatre company based
in Sheffield, UK, making entertaining and
original contemporary performance that
speaks directly, honestly and engagingly
to its audience. Established 1995, the
company makes work that encompasses
performance, theatre, live art,
installation, film, video art, documentary,
photography and design. Third Angel
uses styles, techniques and interests
discovered in our more experimental
work for other spaces, to create new
theatre that plays with conventional
forms while remaining accessible to
a mainstream audience. The work is
devised, directed and designed by the
two Artistic Directors and founders,
Rachael Walton and Alexander Kelly,
in collaboration with core Artists
Chris Thorpe and Lucy Ellinson and an
expanding group of associated artists
from a range of disciplines. Projects tour
throughout Europe and further afield,
and carry a range of influences from the
culture around us: visual art, current
affairs, novels, magazines, comics, film,
television, music, radio chat shows.
“The great thing about Third Angel is
that you never know what you’re going
to get....Heavenly work.”
The Guardian
“Consistently innovative and
challenging... extraordinary
performances.”
The Times
“The consistently excellent Third Angel.”
MusicOHM.com
mala voadora is a Lisbon-based theatre
company founded in 2003 by its coartistic directors Jorge Andrade and
José Capela. The company’s work has
been focusing on contemporary issues,
some of which are concerned with social
themes, while others explore the nature
of theatricality and ‘spectacularity’
itself. In its artistic practice the
company’s experimentation has revolved
around the relationship between the
nature of the dramaturgical material
adopted as departure for each work and
the procedures that constitute each
individual creative process. For every
specific project a different artistic team
is created.
U saradnji sa /
In collaboration with:
José Capela
Rachael Walton
Istraživanje, video i
dokumentacija / Research,
Video & Documentation:
Lauren Stanley
Dramaturgija / Dramaturgy:
Johanna Wall
Dizajn svjetla / Light Design:
James Harrison
Direktor tehnike i rasvjeta/
Technical Manager & Relight:
Craig Davidson
Generalna menadžerica /
General Manager (Third
Angel):
Hilary Foster
Producent / Producer (mala
voadora):
Manuel Poças
Fotografija / Photography:
Craig Fleming
A co-production with
Sheffield Theatres &
Teatro Maria Matos
Lisbon
in association with
Worldmapper.org.
FUTURE MESS IYMT
Razvili, napisali i izvode
/ Devised, Written and
Performed by:
Jorge Andrade
Alexander Kelly
Chris Thorpe
12/10/14
Genijalni genije
The INGenial Genius
PLUMB BO-BO, ZU
JURI MURI PLEŠE U AFRICI
JURI MURI IN AFRICA DANCES
Kamerni teatar ‘55 12.00
Chamber Theater ‘55
Trajanje / Running time: 50 min.
Tamara Kučinović rođena je1984. u Zagrebu gdje je od malih nogu pohađala Dramski studio
Zagrebačkog kazališta mladih. Nakon završene Jezične gimnazije u Zagrebu, 2004. godine
upisuje Umjetničku akademiju u Osijeku (smjer gluma i lutkarstvo) na kojoj je diplomirala
2008. godine kao studentica prve generacije te akademije. Svoje školovanje nastavlja na
Akademiji pozorišne umjetnosti u St. Petersburgu u klasi Nikolaya Petrovicha Naumova
(smjer reditelj/ica kazališta lutaka) gdje je diplomirala 2012. godine predstavama “Dobri
doktor Jojboli” (Dječije kazalište Branka Mihaljevića u Osijeku) i “Kako se vjetar spustio
među ljude” (Gradsko kazalište lutaka Split). Nakon toga, svoj stvaralački rad nastavlja
predstavama “Zmrdek in Zmrdica” u Lutkovnom gledališću Maribor, “Grga Čvarak” (Dječije
kazalište Branka Mihaljevića u Osijeku ), “Kućni duhovi ili nevidljivi recept za sreću”
(Dječije kazalište Dubrava u koprodukciji sa pozorišnom družinom Pinklec), te “Maček
z vrečo opotečo” (Lutkovno gledališće Maribor). Od 2013. godine radi na Umjetničkoj
akademiji u Osijeku u zvanju asistentice na Odsjeku glume i lutkarstva.
Igraju / Cast:
Sanja Zalović
Paola Slavica
Robert Košta
Dramaturgija / Dramaturgy:
Nina Horvat
Grafički dizajn / Graphic
Design:
Guljnaz Fatihova
Muzika / Music:
Hrvoje Radnić
Dizajn svjetla / Light Design:
Ivo Nižić
Frane Papić
Inspicijentica / Stage
Manager:
Radojka Kozulić
Hrvatska / Croatia
DIRECTOR
Tamara Kučinović was born in 1984 in Zagreb, where she joined the Drama Studio of the
Zagreb Youth Theatre when she was little. After graduating from the Language Gymnasium
in Zagreb, in 2004 she enrolled at the Academy of Art in Osijek (at the department
of acting and puppetry), from which she graduated in 2008 as a student of the first
generation at the Academy. She continued her studies at the Academy of Theatre Arts in
u St. Petersburg, in the class of Nikolay Petrovich Naumov (at the department of directing
at the puppet theatre), where she graduated in 2012 with the plays “The Good Doctor
Ouch” (Children’s Theatre Branko Mihaljević in Osijek) and “How the Wind Came Down
Among the People” (City Puppet Theatre in Split). After that, she continued creating, with
the plays “Mr. and Mrs. Stinky” at the Puppet Theatre in Maribor, “Grga Čvarak” (Children
Theatre Branko Mihaljević in Osijek), “House Ghosts or the Invisible Recipe for Happiness”
(Children Theatre Dubrava in coproduction with the theatre troupe Pinklec), and “The Cat
with the Fickle Bag” (Puppet Theatre Maribor). Since 2013, she works at the Academy of
Art in Osijek as the Assistant at the Department of Acting and puppetry.
Genijalni genije
The INGenial Genius
Jezik: hrvatski
Language: Croatian
PREDSTAVA
Voditelj tona / Sound
Manager:
Mate Petričević
Voditelj svjetla / Light
Manager:
Frane Papić
Kostimi / Costumes:
Nataša Perović
Izrada scenografije i lutaka
/ Creation of Scenery and
Puppets:
Guljnaz Fatihova
Tamara Kučinović
Darko Petković
Robert Košta
Marijan Nižić
Dragan Sinovčić
Fotografija / Photography:
Iva Perinčić
PERFORMANCE
“Leonardo da Vinci jedan je od najbriljantnijih i
najsvestranijih umova koji su ikada živjeli. Iako
većinu svojih izuma nikada nije proveo u djelo, neki
od njih izrađeni su stoljećima kasnije - među njima i
automobil, tenk, strojnica, ronilačko odijelo.... U našoj
je verziji neshvaćeni genije često sam sebi najveći
neprijatelj jer dopušta svojim sumnjama i strahovima
da preuzmu kontrolu. Oni su na sceni utjelovljeni u
Ljudima – okolini koja ne shvaća ni njega ni njegove
izume. Iako su Ljudi samo u njegovoj glavi, to ne znači
da za njega nisu stvarna prijetnja. Za Leonarda su on
i njegov vjerni pomoćnik Francesco sami protiv cijelog
svijeta. No na kraju se sa svojim strahovima ipak
hvata u koštac...”
“Leonardo da Vinci is the one of the most brilliant and
most versatile minds that ever lived. Although most
of his inventions were never implemented in practice,
some of them were made centuries later – such as a
car, tank, machine gun, diver’s suit... In our version,
the misunderstood genius is often his own worst
enemy because he allows his doubts and fears to take
over the control. On the scene, they are represented as
People – the environment that fails to understand both
him and his inventions. Although the People are only
in his head, this does not mean that they are not a
threat to him. For Leonardo, he and his loyal assistant
Francesco are alone against the whole world. But at
the end, he grapples with his fears after all...”
Nina Horvat
Nina Horvat
Uzrast: 4-9
Age Limit: 4-9
PRODUKCIJA
Kazalište lutaka Zadar osnovano je
1951. godine, a profesionalni status
dobilo je 1960. godine. U više od
šezdeset godina svog profesionalnog
rada Kazalište lutaka Zadar ostavilo je
trajan pečat u hrvatskom lutkarstvu.
Brojne nagrade za režiju, likovne
kreacije i animaciju dobile su predstave
koje svojom umjetničkom razinom
autoritativno predstavljaju djela hrvatske
baštine i savremenu hrvatsku kulturu.
Izvedeno je više od 300 naslova domaćih
i stranih autora/ica, predstave su obišle
brojne festivale u zemlji i inozemstvu.
Kazalište lutaka Zadar svoj rad temelji
prije svega na kvalitetnim lutkarskim
predstavama i saradnji sa različitim
autorima/cama i umjetnicima/ama iz
mnogih područja. Njeguje raznovrsne
tipove lutkarskih tehnika, kao i pozorište
živog glumca, te predstave za djecu i
mlade. Posebna pozornost posvećena
je produkciji lutkarskih predstava za
odrasle nastalih prema djelima starije
hrvatske književne baštine.
PRODUCTION
Zadar Puppet Theatre was founded in
December 1951, and was established as
a professional institution in 1960. In more
than sixty years of existence, the Zadar
Puppet Theatre has left a permanent
mark on Croatian puppetry. Numerous
prizes for direction, visual art creations,
and animation have been awarded to
productions whose artistic level has
authoritatively presented the works from
Croatian heritage and contemporary
Croatian culture. More than 300 titles by
domestic and writers from abroad have
been performed, and the Theatre’s shows
have participated in numerous festivals,
both in Croatia and outside its borders.
Zadar Puppet Theatre bases its work
primarily on the production of quality
puppet and theatre performances, and its
co-operation with artists from different
artistic environments. The Theatre
fosters various types of techniques in
puppeteering, as well as live theatre, and
plays for children and youth. Special care
is given to the production of puppet plays
for adults based on the works of older
Croatian literary heritage.
CHILDREN MESS
Režija / Direction:
Tamara Kučinović
REDITELJICA
11/10/14
Gradsko kino Visoko 17.00
City Cinema Visoko
Trajanje / Running time: 30 + 40 min.
REDITELJICA
Belma Lizde-Kurt rođena je u Sarajevu gdje završava Akademiju scenskih umjetnosti, Odsjek za glumu
u klasi prof. Miralema Zubčevića i Aleksandra Jevđevića. Pored veoma uspješne glumačke karijere
u zadnjih nekoliko godina, bavi se i ostalim aspektima teatarske umjetnosti: režija, scenografija,
kostimografija i koreografija.
Važnije uloge:
- “Leonce i Lena”, režija Manfred Weber, produkcija Narodno pozorište Sarajevo
- “Die Verlobung von San Domingo”, režija Manfred Weber, produkcija Kleisttheater, Frankfurt na Odri
- “Woyzek”, režija Manfred Weber, produkcija Narodno pozorište Sarajevo
- “Babylon”, režija Herbert Gantschacher, produkcija ARBOS Klagenfurt
- “Magbeth”, režija Dino Mustafić, produkcija MESS, Sarajevo
- “Košmar o Bosni”, režija Faruk Lončarević, Pozorište mladih Sarajevo
- “Mjera za mjeru”, režija Aleš Kurt, Narodno pozorište Sarajevo
- “Revizor”, režija Dritero Kasapi, produkcija Narodno pozorište Sarajevo
- “Trg ratnika”, režija Dino Mustafić, Pozorište mladih Sarajevo
- “Bog, Rat i ostalo”, režija Aleš Kurt, SARTR
- “Muholovac”, režija Aleš Kurt, Kamerni teatar ‘55
Režija:
- “Pinokio u nevolji”, adaptacija A.Kurt, produkcija Aparat teatar (2010)
- “Plumb BO-BO, ZU”, režija i koncept, scenografija i kostimografija, koprodukcija Aparat teatar /
SARTR (2014)
- “Zaljubljeni vuk”, koprodukcija Edus / Aparat teatar / SARTR (2014)
Centar za kulturu Sarajevo 11.00
Cultural Center Sarajevo
12/10/14
13/10/14
Bosna i Hercegovina / Bosnia and Herzegovina
Centar za kulturu Goražde 12.00
Goražde Center for Culture
DIRECTOR
Belma Lizde-Kurt was born in Sarajevo, where she graduated from the Academy of Dramatic Arts,
department of acting, under the tutelage of prof. Miralem Zubčević and prof. Alexander Jevđević.
In addition to a very successful acting career, in the recent years she worked on the other aspects of
theater: directing, set design, costume design, and choreography.
Important roles:
- “Leonce and Lena”, directed by Manfred Weber, produced by the National Theatre Sarajevo
- “Die Verlobung von San Domingo”, directed by Manfred Weber, produced by the Kleisttheater,
Frankfurt an der Oder
- “Woyzek”, directed by Manfred Weber, produced by the National Theatre Sarajevo
- “Babylon”, directed by Herbert Gantschacher, produced by ARBOS Klagenfurt
- “Macbeth”, directed by Dino Mustafić, produced by MESS, Sarajevo
- “A Nightmare about Bosnia”, directed by Faruk Lončarević, Youth Theatre Sarajevo
- “Measure for Measure”, directed by Aleš Kurt, National Theatre Sarajevo
- “Auditor”, directed by Dritero Slashing, production National Theatre Sarajevo
- “Warrior Square”, directed by Dino Mustafić, Youth Theatre Sarajevo
- “God, War, and the Other Things”, directed by Aleš Kurt, SARTR
- “Flycatcher”, directed by Aleš Kurt Chamber Theatre ‘55
Directing:
- “Pinocchio in Trouble”, Adaptation A.Kurt, production Aparat Theatre (2010)
- “Plumb BO-BO, ZU”, concept and directing, set design and costume design, co-production Aparat
Theatre / SARTR (2014)
- “The Wolf in Love”, co-production Edus / Aparat Theatre / SARTR (2014)
PLUMB BO-BO, ZU
Jezik / Language: no problem
PREDSTAVA
“Plumb BO-BO, ZU” je predstava za djecu uzrasta od 0
do 3 godine, za trudnice, roditelje i sve zainteresirane.
Nikad nije prerano početi sa edukacijom djece, osjećaj
i potreba prema umjetnosti se razvijaju još dok je
dijete u stomaku. Predstava “Plumb BO-BO, ZU” se
bavi smiješnim i tužnim, pokretom i zvukom, oblikom
i bojom. Aparat teatar traži način da komunicira sa
publikom koja još “ne govori”. Pri tome se oslanjaju na
sposobnosti teatra kao žive umjetnosti da bez ikakvih
tehničkih efekata zainteresira publiku. Ova predstava
pomaže odraslima da progovore jezikom djece. I ne
znamo koliko toga nam najmlađi/e mogu reći na “svom
jeziku”! Aparat teatar želi obratiti pažnju na bebe koje
imaju svoje potrebe i te potrebe nikada nije prerano
ispuniti. Prepuštaju se eksperimentu otvorenog
srca. Potruditi će se da nikog ne prepadnu, malo će
da sviraju, malo će da plešu i da se služe prastarim
trikovima klaunovske igre. Ono što je u teatru posebno
lijepo je da mi rastemo zajedno sa našom publikom,
učeći se uzajamno novim pravilima.
Moto Aparat teatra jeste: Samo jednom se prvi put ide
u pozorište!
Uzrast: 0-3
PERFORMANCE
“Plumb BO-BO, ZU” is a play for children between the
ages of zero and three, for pregnant women, parents,
and all interested parties. It is never too early to start
educating children, as the feeling and the need for art
start developing while the child is still in the womb.
The play “Plumb BO-BO, ZU” deals with the funny and
sad, movement and sound, shape and color. Aparat
theater is looking for a way to communicate with an
audience that is still “non-verbal”. In doing so, they
rely on the ability of theater as a living art to intrigue
the audience without any technical effects. This play
helps adults to speak the language of children. We still
do not know how much the youngest among us can tell
us using “their language”! Aparat Theater wants to
give attention to the babies who have their own needs
and it is never too early to attend to these needs. They
give theirselves in to the experiment with an open
heart. They will make sure not to scare anybody, they
are going to play a little bit of music, they will dance a
little, and they will use the age-old clown tricks. What
is especially nice in theater is that we grow along with
our audience, we teach each other new rules.
The motto of the Aparat Theater is: You can go to the
theater for the first time only once!
Age Limit: 0-3
PRODUKCIJA
Aparat teatar je nastao prije par godina na
incijativu grupe umjetnika/ca s jakom željom da
nešto nabolje promijene u teatru, i da ga učine
socijalno angažiranijim. Pored Belme Lizde-Kurt
(rediteljice, kostimografkinje i scenografkinje) i
Aleš Kurta (reditelja i pisca), dio Aparat teatra
su ostali stalni saradnici/e: glumica Maja
Zećo, kompozitor i performer Dušan Vranić,
koreograf Branko Potočan i mnogi drugi. U
okviru svog angažmana, kreiraju predstave, rade
profesionalne teatarske radionice, te radionice
sa ranjivim socijalnim grupama. Aparat teatar
je producirao “Pinokia u nevolji”, provokativnu
predstavu, koja provocira razgovor između
odraslih i djece o osjetljivim temama. Ova
predstava je odigrana diljem BiH, i postigla je
veliki uspjeh kod gledatelja/ica i kritike. Kreirali
smo radionicu “How to fly in Europe”, koja
se bavi unaprijeđenjem glumačkog pokreta, i
razvija scenske mogućnosti glumaca/ica u novim
pravcima. Posebna predstava je urađena tokom
prošle sezone u suradnji sa SARTR-om i EDUS-om,
a to je projekat socijalne inkluzije “Zaljubljeni
Vuk”. U ovoj predstavi su igrala djeca iz jedne
sarajevske osnovne škole zajedno sa djecom sa
poteškoćama u razvoju iz EDUS-ovog obrazovnog
programa. “Plum BO-BO, ZU” je prva predstava za
bebe u BiH. Pored ovog kompleksnog zadatka, ona
je i veoma zabavna predstava za svu teatarsku
publiku koja voli neverbalni teatar.
PRODUCTION
Aparat Theatre was created a few years ago, at
the initiative of a group of artists with a strong
desire to change something for the better in
theater, and to make it more socially engaged. In
addition to Belma Lizde-Kurt (director, costume
designer, and set designer) and Aleš Kurt (director
and writer), a part of the Aparat Theatre are
its other permanent contributors: actress Maja
Zećo, composer and performer Dušan Vranić,
choreographer Branko Potočan, and many others.
Within the scope of their activities, they create
plays, and do professional theater workshops,
as well as workshops with vulnerable social
groups. Aparat Theatre has produced “Pinocchio
in Trouble”, a provocative play that provokes
conversation between adults and children about
sensitive topics. This performance was played
throughout BiH, and has achieved great success
with the viewers and critics. They have created
a workshop, “How to Fly in Europe”, which
deals with improving the actor’s movements,
and develops theatrical possibilities of actors
in new directions. A special play was staged
in the last season, in collaboration with the PI
SARTR, and EDUS, and that was a project of
social inclusion titled “The Wolf in Love”. In this
play, children from a Sarajevo elementary school
acted alongside children with developmental
disabilities, from EDUS’s educational program.
“Plumb BO-BO, ZU” is the first play for babies in
BiH. In addition to this complex task, it is also
a very fun play for theatre audiences who enjoy
non-verbal theatre.
Režija i koncept / Direction
and Concept:
Belma Lizde-Kurt
Igraju / Cast:
Maja Zećo
Dušan Vranić
Muzika / Music:
Dušan Vranić-Duco
Scenografija i kostimografija /
Stage and Costume Design:
Belma Lizde-Kurt
Dizajn / Design:
Bojan Mustur
Fotografija / Photography:
VELIJA HASANBEGOVIĆ
BOJAN MUSTUR
CHILDREN MESS
11/10/14
Slovenija / Slovenia
Međunarodni centar za djecu i omladinu Novo Sarajevo 12.00
International Centre for Children and Youth Novo Sarajevo
Trajanje / Running time: 45-55 min.
Ivana Djilas je pozorišna rediteljica koja je režirala preko četrdeset predstava u svim
profesionalnim slovenačkim pozorištima. Većinom su to izvedbe za djecu i omladinu.
Studirala je pozorišnu režiju na Fakultetu dramskih umjetnosti u Beogradu, a zatim
magistrirala na Akademiji za pozorište, radio, film i televiziju u Ljubljani. Trenutno radi
doktorat na Fakultetu za obrazovanje u Ljubljani. Njen rad je veoma raznolik, i uključuje
klasični teatar, lutkarske predstave, muziku i plesno pozorište, ali uvijek sadrži osobitu
poetiku rediteljice, čiji je rukopis lako prepoznatljiv. Ona je ljubiteljica savremene drame,
slovenačke i strane, ali ne režira uvijek prema dramskom tekstu, već radi i adaptacije
romana, slikovnica, poezije, pa čak i novinskih članaka. Njena velika ljubav su predstave
za djecu. Osvojila je važne nagrade za svoj rad uključujući Borštnikovu nagradu za režiju
predstave “Zasebno življenje” u SNG Drama Ljubljana (2010).
JURI MURI IN AFRICA DANCES
Ivana Djilas is a theatre director who directed more than forty plays in all Slovenian
professional theatres. More than half of those are performances for children and youth.
She studied theatre directing at the Faculty of drama arts in Belgrade, obtained her
master’s degree at the Academy for theatre, radio, film and television in Ljubljana,
currently she is working on her PhD at the Faculty of Education in Ljubljana. Her work is
very diverse, from classical theatre, puppet shows, music, to dance theatre as well
but always with a distinctive poetics of a director, whose handwriting is clearly
identifiable. She likes modern drama, Slovenian and foreign but she does not direct
performances always from dramatic proposal, but also adaptations of novels, picture
books, poetry, she also dramatized a column from a newspaper. Performances for children
have always been her great love. She has received important awards for her work
including the Maribor Theatre Borštnik Award for directing the performance “The Private
Life” at SNG Drama Ljubljana (2010).
Jezik / Language: no problem
PREDSTAVA
Ko još ne zna priču o Juri Muri, dječaku koji je pao sa
kruške, mora da je previše mlad, ali evo prilike da je
čuje. Juri Muri se ne želi kupati te pobjegne u Afriku
gdje shvati da čovjek “... može naići na gostoljubive
i otvorene ljude koji će ga prihvatiti i naučiti šta je
u životu ispravno, a šta pogrešno, šta je zabluda, a
šta predrasuda, i koliko je u konačnici važno biti uzor
čistoće, ne samo tjelesne, već i one unutrašnje čistoće
koja stvara istinske prijateljske veze”, riječi su Saše
Pavček o očevoj priči. Uz pomoć afričkih ritmova,
muzike uživo, lutaka neobične veličine i mnogo plesa,
reći će vam nešto o geografiji, bojama i razlikama ovog
svijeta.
Uzrast: 4-9
Muzika / Music:
BLAŽ CELAREC
Maske i kostimografija /
Masks and Costume Design:
JELENA PROKOVIĆ
Sukreatori i izvođači / Cocreators and Performers:
BLAŽ CELAREC
JOSE–JOSEPH
NZOBANDORA
MAŠA KAGAO KNEZ
VITO WEIS
Savjetnik za lutkarsku
animaciju / Puppet Animation
Advisor:
NINA SKRBINŠEK
DIRECTOR
JURI MURI PLEŠE U AFRICI
Koreografija / Choreography:
MAŠA KAGAO KNEZ
Dizajn svjetla / Light Design:
JANKO OVEN
Scenografija / Stage Design:
ZORAN SRDIĆ
JERNEJ REMŠE
Izrada maski, lutaka i
kostima / Mask, Puppet and
Costume Make:
ZORAN SRDIĆ
ZALA KALAN
MARJETKA VALJAVEC
Muzičari na snimci /
Musicians on the Recording:
ANDRAŽ MAZI
NINO DE GLERIA
BLAŽ CELAREC
Fotografija / Photography:
Luka Gorjup
PERFORMANCE
Anyone who does not already know the story about
Juri Muri, about a boy who fell from a pear tree, is
too young and will soon learn about it. Juri Muri does
not want to bathe and escapes to Africa, where he
realizes that a man “... can find a hospitable and open
people who accepts him and teaches him what in life
is right and what is wrong, what is delusion and what
prejudice, and ultimately how important it is to be
a role model of cleanliness, not only the bodily, but
as well that inner cleanliness which weaves the true
bonds of friendship.” says Saša Pavček about the story
by her father.
With the help of African rhythms, live music, puppets
of unusual size, and a lot of dancing they’ll tell you
a bit about geography, colors and differences in this
world.
Age Limit: 4-9
PRODUKCIJA
Plesno pozorište Ljubljana (PTL)
osnovala je Ksenija Hribar 1984. kao
prvi profesionalni plesni ansambl u
bivšoj zajedničkoj državi Jugoslaviji.
Krajem devedesetih PTL otvara vrata
prvog pozorišta za savremeni ples u
glavnom gradu i prerasta u središnji
NVO za savremenu plesnu umjetnost.
Većina današnjih koreografa/kinja
savremenog plesa ili potječu iz ili
sarađuju sa PTL-om. U svom pozorištu
PTL publici predstavlja raznolik program
odabranog slovenačkog i međunarodnog
savremenog plesa. PTL također sarađuje
i pokreće koprodukcije sa umjetnicima/
ama, festivalima i pozorištima iz svih
dijelova svijeta.
PRODUCTION
Dance Theater Ljubljana, also known
as PTL, was founded in 1984 by
Ksenija Hribar as the first professional
contemporary dance company in our
former common state Yugoslavia. At
the end of the nineties PTL opened
the doors of the first theater venue
for contemporary dance in the capital
and outgrew into the central NGO for
contemporary dance art. Most of today’s
contemporary dance choreographers in
Slovenia emerged from or collaborated
with PTL. In its theater venue PTL
presents to the public a diverse
programme of selected Slovenian
and international contemporary
dance creativity. PTL also enters in
international collaborations and coproductions with artists, festivals and
theaters.
Producentica / Producer:
KATJA SOMRAK
Produkcija / Production:
PLESNI TEATER LJUBLJANA
U saradnji sa / In
Collaboration with:
LUTKOVNO GLEDALIŠČE
LJUBLJANA
CHILDREN MESS
Režija / Direction:
IVANA DJILAS
REDITELJICA
12/10/14
PROJEKAT / PROJECT
KOLEKCIJA BUDUĆEG NASLJEĐA
FUTURE HERITAGE COLLECTION
IZLOŽBA / EXHIBITION
OTVORENI PROSTORI
OPEN SPACES
FEMINISTIČKI RAZGOVORI / FEMINIST TALKS
Žene Bosne i Hercegovine u
(post)jugoslovenskom
vremeplovu
Women in Bosnia and Herzegovina in
(Post)Yugoslav Time Machine
06-13
/10/14
Austrija, Bosna i Hercegovina / Austria, Bosnia and Herzegovina
Muzej književnosti i pozorišne umjetnosti BiH 18.00
Museum of Literature and Performing Arts of B&H
Galerija Java 12.00-20.00
Java Gallery
03-12
/10/14
KOLEKCIJA BUDUĆEG NASLJEĐA
OTVORENI PROSTORI
FUTURE HERITAGE COLLECTION
Šta je za vas lično važan dio kulturnog nasljeđa Bosne i
Hercegovine? Donesite taj predmet u kancelariju “Kolekcije
budućeg nasljeđa”!
Zašto trebamo sačuvati kulturno nasljeđe? U mnogim
se gradovima i zemljama svijeta prikuplja i čuva njihovo
kulturno nasljeđe. U prvom redu da bi se kulturni razvoj u
određenoj sredini učinio razumljivim za buduće generacije,
te da se sačuva ono što su njihovi preci smatrali važnim.
Ali, šta se može učiniti kad kulturne institucije grada,
regiona i zemlje više nisu u mogućnosti sistemski prikupljati
i zaštititi kulturno nasljeđe?
Pozivamo građane/ke Bosne i Hercegovine, kao i građane/
ke Evrope i svijeta koji trenutno posjećuju Sarajevo da
učestvuju u stvaranju “Kolekcije budućeg nasljeđa”. Zbog
toga nam je neophodno aktivno učešće građana/ki koji
žele postati kolekcionari/ke svog kulturnog nasljeđa i
pozivamo ih da donesu svoje priloge “Kolekciji budućeg
nasljeđa”, kolekciji bez političkog ili nacionalnog filtera.
Svi mogu pridonijeti Kolekciji donoseći predmete kao što
su: umjetnička djela, predmeti iz svakodnevnog života,
iz domaćinstva, dijelovi namještaja, odijevni predmeti,
ručni radovi, knjige, pjesme… Predmeti će biti sakupljeni,
izloženi, fotografisani i katalogizirani za vrijeme trajanja
Internacionalnog teatarskog festivala MESS i zatim vraćeni
vlasnicima/ama. “Kolekcija budućeg nasljeđa” će biti
dostupna u formi arhiva na web stranici
http://www.futureheritagecollection.net/
“KOLEKCIJA BUDUĆEG NASLJEĐA” je projekt umjetnice
Azre Akšamije (Boston/Graz) u saradnji sa Lejlom
Hodžić (Sarajevo), Margarethe Makovec (Graz), Antonom
Ledererom (Graz), Internacionalnim teatarskim festivalom
MESS (Sarajevo) i Centrom za savremenu umjetnost
<ROTOR> (Graz).
Finansijska podrška: Kancelarija regionalne vlade Štajerske,
Odjel za kulturu, Evropu i međunarodne poslove (Austrija).
What is an important part of the cultural heritage of Bosnia
and -Herzegovina for you personally? Bring it to the office of
the “Future Heritage Collection”!
What is the need for cultural heritage preservation?
Many municipalities and countries of the world collect
and preserve their cultural heritage, primarily in order
to make cultural developments in a particular area more
understandable for future generations, and to preserve
what our ancestors considered to be important.
But, what is to be done, when cultural institutions of a city,
region, or a country are no longer able to systematically
gather and protect cultural heritage?
Citizens of Bosnia and Herzegovina, as well as the
citizens of Europe and the world who are currently visiting
Sarajevo, are invited to participate in the creation of the
“Future Heritage Collection”. Therefore, we need the
active participation of citizens who are willing to become
collectors of their own cultural heritage and to bring us
their contributions for the “Future Heritage Collection”, a
collection without political or national filter. Anyone can
contribute to the collection and bring in objects: these
could be recognisable objects of art and culture, but also
objects of everyday life, household goods, furniture, items
of clothing, handicraft, books, poems… These items will be
collected, displayed, photographed, and catalogued during
the International Theater Festival MESS, and then returned
to their owners. “Future Heritage Collection” will be made
available as an archive at the web page
http://www.futureheritagecollection.net/
“FUTURE HERITAGE COLLECTION” is a project by the
artist Azra Akšamija (Boston/Graz) in collaboration with
Lejla Hodžić (Sarajevo), Margarethe Makovec (Graz),
Anton Lederer (Graz), International Theater Festival MESS
(Sarajevo), and <ROTOR> Center for Contemporary Art
(Graz).
Financial Support: Office of the regional government of
Styria, Department Culture, Europe and International
Affairs (Austria).
OPEN SPACES
Izložba “Otvoreni prostori” sastavni je dio predstave
“Bojno polje sjećanja 1914/2014”, projekta koji
govori o Prvom svjetskom ratu u Jugoistočnoj Evropi
(projekat Goethe-Instituta u Atini), u sklopu kojeg
su reditelj dokumentarnog teatra Hans-Werner
Kroesinger i rediteljica dokumentarnih filmova Regine
Dura krenuli tragom Velikog rata u Sarajevu, Beogradu
i Istanbulu i vodili se različitim historijskim narativima
koji se dovode u vezu sa nacionalnim historijama ovih
zemalja.
Izložba predstavlja kolekciju istraženog materijala,
fotografija, video zapisa, audio intervjua i dokumenata,
i stavlja ih u dijalog sa radovima učesnika/ca na
radionicama “NARRATING WAR” održanim u Istanbulu
i Sarajevu u martu i septembru 2014. godine.
Koncept izložbe / video zapisi: Regine Dura
Dizajn izložbe: Dominik von Stillfried
Dizajn zvuka: Daniel Dorsch
Fotografija: David Baltzer
The “Open Spaces” are part of the “Battlefield Memory
1914/2014” performance project on World War 1 in
South Eastern Europe (initiated by Goethe-Institute
Athens) where documentary theatre director HansWerner Kroesinger and documentary filmmaker Regine
Dura have been researching traces of the Great War in
Sarajevo, Belgrade and Istanbul following the differing
historical narratives linked to national histories.
The exhibition brings together research material,
photos, video and audio interviews and documents,
and puts it into dialogue with the works of participants
of the workshops “NARRATING WAR” in Istanbul and
Sarajevo in March and September 2014.
Exhibition Concept / Videos: Regine Dura
Exhibition Design: Dominik von Stillfried
Sound Design: Daniel Dorsch
Photography: David Baltzer
Hotel Europe 10.30-14.30
11/10/14
FEMINISTIČKI RAZGOVORI / FEMINIST TALKS
PROGRAM
Bosna i Hercegovina / Bosnia and Herzegovina
10.30 -11.00
Žene Bosne i Hercegovine u
(post)jugoslovenskom vremeplovu
Registracija / Registration
Dominantni obrasci i subverzivni iskoraci u (popularnoj) kulturi /
The Dominant Patterns and the Subversive Moves in the (Popular) Culture
11.00 -12.30
Women in Bosnia and Herzegovina in
(Post)Yugoslav Time Machine
Učesnice / Participants:
• Svetlana Slapšak (antropologinja / Antrophologist; Ljubljana)
• Šejla Šehabović (spisateljica / Writer; Sarajevo)
• Danijela Majstorović (teoretičarka kulture / Cultural Theoretician; Banja
Luka)
Akcije solidarnosti i postajanje feministkinjom u ratu / Solidarity Actions
and Becoming a Feminist in War
Feministički razgovori o kulturi i aktivizmu žena Bosne
i Hercegovine kroz (post)jugoslovenski vremeplov
jesu poziv na kritičko promišljanje sjećanja. U okviru
prvog panela, teoretičarke i umjetnice razgovaraju
o dominantnim ideološkim obrascima i primjerima
kreativnih izbjegavanja nametnutih praksi kulturne
produkcije jugoslovenskog perioda u BiH. U drugom
panelu, aktivistkinje i teoretičarke razgovaraju o
ženskim reakcijama na rat u BiH, o pravljenju mreža
solidarnosti i sopstvenom iskustvu postajanja
feministkinjom. Feminističke razgovore vode:
Svetlana Slapšak, antropologinja i književnica iz
Ljubljane, Šejla Šehabović, književnica iz Sarajeva,
Danijela Majstorović, teoretičarka kulture iz Banje
Luke, Stanojka Cana Tešić, aktivistkinja iz Bratunca,
Jadranka Miličević, aktivistkinja iz Sarajeva, Jasmina
Husanović, aktivistkinja i teoretičarka kulture iz Tuzle
i Ana Miškovska Kajevska, sociologinja iz Skoplja.
The Feminist Talks about culture and activism of
women in Bosnia and Herzegovina through the (post)
Yugoslav time machine are an invitation to critically
rethink memories. Within the first panel, theoreticians
and artists will talk about the dominant ideological
patterns and examples of creative circumvention of
imposed cultural production practices of the Yugoslav
period in Bosnia and Herzegovina. In the second panel,
activists and theoreticians will discuss women’s
reactions to the war in Bosnia and Herzegovina,
creation of solidarity networks and their personal
experience of becoming feminists. The Feminist Talks
will involve: Svetlana Slapšak, an anthropologist and
writer from Ljubljana, Šejla Šehabović, an author from
Sarajevo, Danijela Majstorović, a cultural theoretician
from Banja Luka, Stanojka Cana Tešić, an activist
from Bratunac, Jadranka Miličević, an activist from
Sarajevo, Jasmina Husanović, an activist and cultural
theoretician from Tuzla, and Ana Miškovska Kajevska,
a sociologist from Skopje.
13.00 -14.30
Učesnice / Participants:
• Stanojka Cana Tešić (Forum žena, Bratunac)
• Jadranka Miličević (CURE Foundation, Sarajevo)
• Jasmina Husanović (aktivistkinja i teoretičarka kulture / Activist and Cultural Theoretician, Tuzla)
• Ana Miškovska Kajevska (sociološkinja / Sociologist, Skoplje)
RAZGOVOR SA UMJETNIKOM PAOLOM MAGELLIJEM
ZA TEATARSKE PROFESIONALCE/KE, STUDENTE/ICE
UMJETNIČKIH AKADEMIJA, GOSTE I GOŠĆE FESTIVALA
ARTIST TALK WITH PAOLO MAGELLI
MASTER CLASS FOR THEATRE PROFESSIONALS, STUDENTS OF ARTS ACADEMIES,
GUESTS OF THE FESTIVAL
Osmišljavanje pomoću autobiografije i
istraživanja
RADIONICA za glumce/ice, reditelje/ice, studente/
ice režije i glume, DRAMSKE PISCE/SPISATELJICE
Devising from Autobiography and Research
workshop FOR ACTORS / ACTRESSES, DIRECTORS, DIRECTING AND
ACTING STUDENTS, PLAYWRIGHTS
RAZGOVOR SA UMJETNIKOM JANOM LAUWERSOM
ZA TEATARSKE PROFESIONALCE/KE, STUDENTE/ICE
UMJETNIČKIH AKADEMIJA, GOSTE I GOŠĆE FESTIVALA
ARTIST TALK WITH JAN LAUWERS
MASTER CLASS FOR THEATRE PROFESSIONALS, STUDENTS OF ARTS ACADEMIES,
GUESTS OF THE FESTIVAL
HOD I POKRET
RADIONICA za teatarske reditelje/ice, glumce/
ice, performere/ke, studente/ice režije i glume
Walking and Movement
workshop FOR THEATRE DIRECTORS, ACTORS / ACTRESSES, PERFORMERS,
DIRECTING AND ACTING STUDENTS
RAZGOVOR SA UMJETNIKOM PAOLOM MAGELLIJEM / Teatro Metastasio
ZA TEATARSKE PROFESIONALCE/KE, STUDENTE/ICE UMJETNIČKIH AKADEMIJA,
GOSTE I GOŠĆE FESTIVALA
Osmišljavanje pomoću autobiografije i istraživanja
RADIONICA za glumce/ice, reditelje/ice, studente/ice režije i glume,
DRAMSKE PISCE/SPISATELJICE
Predavači: Alexander Kelly / Jorge Andrade
Alexander Kelly je umjetnički direktor teatarske kompanije Third Angel čije je sjedište
u Sheffieldu, u čijem okrilju osmišljava, režira, piše, dizajnira i izvodi. Kompanija u
svom radu nastoji povezati domen teatra, live art-a, instalacije, filma, video-zapisa,
fotografije, digitalnih i online medija, a svoje predstave izvodi diljem Britanije,
kontinentalne Evrope i šire. Alex je iskusan edukator i viši je predavač na predmetu
Izvedbena praksa na Leeds Beckett univerzitetu. Često je i mentor drugim umjetnicima/
ama i kompanijama, kako posredstvom kompanije Third Angel, tako i zahvaljujući svom
angažmanu u Leedsu. Među značajnije pothvate ubraja se njegova nedavna saradnja
sa teatrom RashDash, Danielom Byeom i kompanijom Action Hero, a radio je i na
osmišljavanju predstave “Čaj je večera” zajedno sa Faye Draper/Northern Stage, te
osmišljavanju i režiji predstave “Razgovor s ocem” sa Hannom Nicklin. Alex je nedavno
objavio svoje tekstove i crteže o radu kompanije Third Angel, objedinivši ih u priručniku
DIY (Uradi sam), u tomovima zbornika Performance Research pod nazivom “On Value”
(2013) i “On Foot” (2012), u zbornicima “Journal of Writing in Creative Practice”,
Contemporary Theatre Review i SIBMAS Conference Proceedings, a također je jedan od
tvoraca knjige “Arhiv prašine” zajedno sa Annie Lloyd.
Paolo Magelli rođen je u Pratu. Sa nepunih dvadeset godina postao je direktor teatra
Teatro Studio Metastasio. Sarađivao je sa Giorgiom Strehlerom na nacrtu svoje sada
već slavne reforme teatra u Toscani, a zatim i italijanskog teatra – dva prijedloga
koja su bila osuđena na propast, nakon čega, sredinom 70-tih godina, napušta Prato.
1974. godine u Beogradu, Magelli je započeo projekat koji će mu omogućiti saradnju
sa svim velikim centrima bivše Jugoslavije i donijeti mu brojne nagrade. 1985. seli se
u Zagreb gdje je bio umjetnički direktor ZKM teatra. 1989. godine pozvan je na trajnu
saradnju kao reditelj u Wuppertaler Bühnen u teatru Pine Bausch gdje je ostao do
1995. Početak rata ga je zatekao u Zagrebu gdje je radio na Horvathovom komadu
“Vjera, ljubav, nada”. Veoma brzo je došao u sukob s Tuđmanovim režimom i bio mu je
zabranjen pristup hrvatskim teatrima. 1995. godine (nakon tri godine zabrane) vratio se
na zagrebačku scenu i sam finansirao predstavu “Višnjik” u djelimično uništenom foajeu
teatra Gavella. 2000. godine radi sa Palestinskim narodnim pozorištem u Ramallahu i
izraelskim pozorištima u Tel Avivu, Akkou i Haifi. 2003. godine seli u Dresden, gdje radi
do 2009. u teatru Staatschauspiel. 2010. godine postao je reditelj u teatru Metastasio
Stabile della Toscana u sklopu kojeg nastavlja saradnju sa teatrima u Srbiji, Hrvatskoj
i Njemačkoj.
Jorge Andrade diplomant je lisabonske Visoke škole teatra i kinematografije (Escola
Superior de Teatro e Cinema) na kojoj je neko vrijeme i predavao. 2004. godine upisao
se na kurs teatarske režije kompanije Third Angel pri fondaciji Fundação Calouste
Gulbenkian (Kurs kreativnosti i umjetničke kreacije). 2002. godine, Jorge Andrade je sa
Joseom Capelom osnovao kompaniju mala voadora. Rad ove kompanije usredsređen
je na savremena pitanja, a neka od njih se bave društvenim temama, dok neka, opet,
istražuju prirodu teatralnosti i same “spektakularnosti”. Žiri za dodjelu nagrade
Maria Madalena de Azeredo Perdigão dodijelio mu je časnu spomenicu za predstavu
“Pravedni”. 2007. godine, pozvan je da režira predstavu za kulturni forum “O Estado
do Mundo”, kao sastavni dio programa obilježavanja 50. godišnjice fondacije Fundação
Calouste Gulbenkian. 2012. godine, predstava “Overdrama” nominirana je za SPA/
RTP nagradu u kategoriji najbolje predstave. Te iste godine, predstava “Šta sam čuo o
svijetu”, koja je rezultat saradnje kompanije mala voadora i britanske kompanije Third
Angel, nominirana je za prestižnu nagradu Total Theatre Award za inovacije.
ARTIST TALK WITH PAOLO MAGELLI / Teatro Metastasio
MASTER CLASS FOR THEATRE PROFESSIONALS, STUDENTS OF ARTS ACADEMIES,
GUESTS OF THE FESTIVAL
Paolo Magelli was born in Prato. Not yet twenty-year-old, he became Director of Teatro Studio of Metastasio. He worked
with Giorgio Strehler in drafting his now famous reform of Tuscan theatre, first, and Italian theatre later – two proposals
doomed to be “buried”, then he left Prato in the mid 70’s. In 1974 in Belgrade Magelli started a job that will take him to
collaborate with all the big centres of Ex-Yugoslavia, earning innumerable prizes. In 1985 he moved to Zagreb to become
artistic director of the theatre ZKM. In 1989 he was invited to collaborate on a permanent basis as a director at the
Wuppertaler Bühnen of Pina Bausch where he stayed until 1995. The breakout of the war took him by surprise. He was
in Zagreb working on “Faith, Hope, and Charity” by Horvath. Very soon he came into conflict with the Tuđman regime and
he was banned from Croatian theatre. In 1995 (after three years of being banned) he put back onto the scene in Zagreb,
self-funding “The Cherry Orchard”, in the partially destroyed foyer of the Gavella theatre. In 2000 he worked with the
Palestinian National Theatre of Ramallah and with the Israeli theatres of Tel Aviv, Akko and Haifa. In the 2003 he moved
to Dresda, where he will work stably until 2009 to the Staatschauspiel. In 2010 he became Director of Teatro Metastasio
Stabile della Toscana continuing to collaborate with theatres in Serbia, Croatia and Germany.
10/10/14
11/10/14
O RADIONICI
Umjetnički direktori kompanija Third Angel (Alexander Kelly) i mala voadora (Jorge Andrade) održat će radionicu
na kojoj će ispitivati mogućnosti vježbi korištenih u stvaranju njihove uspješne predstave “Šta sam čuo o svijetu”,
ali i svoju širu praksu. Predstavit će igre osmišljavanja utemeljene na određenim pravilima, prepričavanje, male
istraživačke projekte i vježbe koje polučuju tekst, radnju i interakciju.
Devising from Autobiography and Research
workshop FOR ACTORS / ACTRESSES, DIRECTORS, DIRECTING AND
ACTING STUDENTS, PLAYWRIGHTS
Teachers: Alexander Kelly / Jorge Andrade
Alexander Kelly is Co-Artistic Director of the Sheffield-based theatre company Third Angel, with whom he devises,
directs, writes, designs and performs. The company makes a range of work connecting the territories of theatre,
live art, installation, film, video, photography and digital & online media, which tours throughout Britain, mainland
Europe and beyond. Alex is an experienced educator, and is Senior Lecturer in Performance Practice at Leeds
Beckett University. He regularly mentors other artists and companies with Third Angel and through his role at
Leeds. Recently this has included working with RashDash, Daniel Bye and Action Hero, co-devising “Tea Is An
Evening Meal” with Faye Draper/Northern Stage, and devising and directing “A Conversation With My Father” with
Hannah Nicklin. Alex has recently published writing and drawing about Third Angel’s work in the handbook DIY, in
Performance Research journal volumes “On Value” (2013) and “On Foot” (2012), “Journal of Writing in Creative
Practice”, Contemporary Theatre Review and the SIBMAS Conference Proceedings as well as co-creating the
artists’ book “The Dust Archive” with Annie Lloyd.
Jorge Andrade is a graduate of Lisbon’s Escola Superior de Teatro e Cinema, where he has also teached. In 2004 he
undertook Third Angel’s theatre director course at Fundação CalousteGulbenkian (Criativity and Artistic Creation
course). In 2002 Jorge Andrade created mala voadora with José Capela. The company’s work has been focusing
on contemporary issues, some of which are concerned with social themes, while others explore the nature of
theatricality and “spectacularity” itself. He was distinguished with an honorable mention by the jury of the Maria
Madalena de Azeredo Perdigão award for the staging of “The Justs”. In 2007 was invited to stage a show for “O
Estado do Mundo”, as part of of the celebratory program of Fundação Calouste Gulbenkian’s 50 year anniversary.
In 2012 the show “Overdrama” was nominated for the SPA/RTP awards in the best show category. Also in 2012 the
show “What I heard about the world”, a co-creation between mala voadora and British company Third Angel, was
nominated for a prestigious Total Theatre Award for Innovation.
ABOUT THE workshop
Co-artistic Directors of Third Angel (Alexander Kelly) and mala voadora (Jorge Andrade) present a workshop
exploring the type of exercises utilised in the creation of their acclaimed show “What I Heard About the World”,
and their wider practice. Rule-based devising games, story-telling, mini-research projects and exercises that
generate text, action and interaction.
Velika koncertna dvorana Bosanskog kulturnog centra Sarajevo 10.00-16.00
Big Concert Hall of the Bosnian Cultural Center Sarajevo
ART DEPO ARS AEVI - Centar Skenderija 13.00
03/10/14
RAZGOVOR SA UMJETNIKOM JANOM LAUWERSOM / Needcompany
ZA TEATARSKE PROFESIONALCE/KE, STUDENTE/ICE UMJETNIČKIH AKADEMIJA,
GOSTE I GOŠĆE FESTIVALA
Jan Lauwers (Antwerp, 1957) je umjetnik koji djeluje u skoro svakom mediju.
U posljednjih dvadeset godina najviše se proslavio svojim scenskim radom za
teatarsku kuću Needcompany koja je osnovana u Briselu 1986. godine. Od 2009.
godine, umjetnička rezidencija grupe Needcompany je pozorište Burgtheater
u Beču. Vremenom je Lauwers prikupio i značajan opus umjetničkih djela koja
su bila izložena u BOZAR centru 2007. godine. Jan Lauwers nosilac je “Zlatnog
ordena časti za zasluge prema Republici Austriji” (2012). Jan Lauwers studirao
je slikarstvo na Umjetničkoj akademiji u Gentu. Krajem 1979. godine oko sebe je
okupio nekolicinu ljudi i osnovao grupu Epigonenensamble. Ova grupa je 1981.
godine preimenovana u Epigonentheater zlv, a pozorišni svijet je osvojila sa
svojih šest predstava. Tako je Jan Lauwers početkom osamdesetih zauzeo svoje
mjesto u pokretu za radikalne promjene u Flandriji i dospio na međunarodnu
scenu. Epigonentheater zlv zagovara jedan direktan, konkretan i izrazito vizuelan
teatar koji muziku i jezik koristi kao svoje strukturalne elemente. Jan Lauwers je
raspustio ovu grupu i osnovao Needcompany 1986. godine.
ARTIST TALK WITH JAN LAUWERS / Needcompany
MASTER CLASS FOR THEATRE PROFESSIONALS, STUDENTS OF ARTS ACADEMIES,
GUESTS OF THE FESTIVAL
Predavač: Takahiro Fujita
Rođen 1985. u Hokkaidu. Diplomirao pozorišnu umjetnost na koledžu slobodnih
vještina pri Univerzitetu J. F. Oberlin. 2007. godine osnovao je teatarsku grupu
mum&gypsy za koju piše i režira sav repertoar. U njegovim djelima simbolične
scene ponavljaju se u vidu “refrena” prikazanih iz različitih perspektiva likova,
nalik tehnici brze izmjene scena na filmu. Njegov stil obilježen je jednom novom
metodologijom koja podrazumijeva da glumci/ice, u fazi pripreme, svoje replike
dobivaju fonetski, izravno, bez odštampanog teksta. Sa samo 26 godina, Fujita je
dobitnik 56. Kishida nagrade za trilogiju “Znak za povratak”, “Očekivana večera”
i “Svijet posut solju” koja je prikazivana u periodu od juna do avgusta 2011. U
januaru 2012. godine bio je koproducent drame “Zdravo školo, doviđenja” koju su
izveli srednjoškolci/ke iz Iwakija, Fukushima. Oktobar te iste godine proveo je u
gradu Kitakyushu u pokrajini Fukuoka gdje je režirao predstavu “KRAJO→LIK” u
izvedbi lokalnih glumaca/ica. U njegov opus mogu se još svrstati i radionice za sve
uzraste bez obzira na teatarsko iskustvo, koprodukcija manga stripa “mima-mono-gram” u saradnji sa Machiko Kyom, te zbirka kratkih priča.
O RADIONICI
12/10/14
Radionica će početi intervjuima koje će Fujita voditi sa svakim od učesnika/ca. Nakon što intervjuira sve učesnike/
ce, Fujita će osmisliti teatarski komad koji će se temeljiti na svakodnevnici učesnika/ca, onako kako su je
predstavili u intervjuu. Na kraju će učesnici/ce radionice izvesti kratku predstavu.
Walking and Movement
workshop FOR THEATRE DIRECTORS, ACTORS / ACTRESSES, PERFORMERS, DIRECTING
AND ACTING STUDENTS
Teacher: Takahiro Fujita
Born in 1985 in Hokkaido. Majored in Theater Arts in the Liberal Arts College of J.F. Oberlin University. In 2007,
he founded the theater company mum & gypsy and he has written and directed all the works produced by the
company. In his works, symbolic scenes are repeated in the form of “refrains” that are presented from different
characters’perspectives, much like the technique of quickly shifting scenes in a movie. His style has been
characterized by a new methodology which he delivers lines phonetically and directly to the actors without a text at
the beginning of the creation stage. Fujita won the 56th Kishida Drama Award in his age of 26 years old with trilogy
of “The Signs to Return”, “Awaiting Dining Table”, “There, It is, The World to Throw Salt on” presented from June
to August in 2011. In January 2012, he co-produced “Hello School, Bye Bye” with high school students in Iwaki,
Fukushima. The same year in October, he stayed in Kitakyushu city in Fukuoka for a month to create
“LAND → SCAPE” with local actors and staff. His recent diverse works include a workshop for all ages for with
and without theatre experiences, co-produced manga “mima-mo-no-gram” with Machiko Kyo and a series of short
novels.
ABOUT THE workshop
This workshop begins from the interviews for each participant by Fujita. After all interview of every participants, he
will make a theatrical piece based on the daily life of participants which was discovered by interview. At the end, a
small performance will be held by the participants.
13/10/14
Narodno pozorište Sarajevo - Mala scena 12.00-16.00
National Theater Sarajevo - Small Stage
Jan Lauwers (Antwerp, 1957) is an artist who works in just about every medium. Over the last twenty years he
has become best known for his pioneering work for the stage with Needcompany, which was founded in Brussels
in 1986. Needcompany has been artist-in-residence at the Burgtheater in Vienna since 2009. Over the years he
has also built up a substantial body of art work which was shown in an exhibition at BOZAR (Brussels) in 2007.
Jan Lauwers is awarded with the “Decoration of Honour in Gold for Services to the Republic Austria” (2012). Jan
Lauwers studied painting at the Academy of Art in Ghent. At the end of 1979 he gathers round him a number of
people to form the Epigonenensemble. In 1981 this group is transformed into the Epigonentheater zlv collective
which takes the theatre-world by surprise with its six stage productions. In this way Jan Lauwers takes his
place in the movement for radical change in Flanders in the early ‘80, and makes his international breakthrough.
Epigonentheater zlv presents direct, concrete, highly visual theatre that uses music and language as structuring
elements. Jan Lauwers disbands this collective and founds Needcompany in 1986.
HOD I POKRET
RADIONICA za teatarske reditelje/ice, glumce/ice, performere/ke,
studente/ice režije i glume
Narodno pozorište Sarajevo - Mala scena 13.00-19.00
National Theater Sarajevo - Small Stage
ART DEPO ARS AEVI - Centar Skenderija 13.00-14.30
11/10/14
Fotografija / Photography: Velija Hasanbegović
KRAJ IGRE
Endgame
U Beketovom pozorištu junaci nisu ti koji biraju, nešto bira za njih i oni
se nalaze u svijetu izvan svake mogućnosti izbora i situacije u kojoj se
nalaze. Tako nije bilo izbora pred opakom bolešću za preminulog reditelja
Sulejmana Kupusovića koji je esencijalno razumijevao avangardno
Beketovo pozorje ljudskog života. To je velika literatura zato što nas
primorava da do kraja shvatimo te posljednje i neizbježne istine o
našim životima. Kada je prije 40 godina na scenu Kamernog teatra ‘55
postavljen “Kraj igre”, bila je to antologijska režija Kupusovića, kritika
je sa ushićenjem najavila dolazak mladog reditelja koji će obilježiti više
epoha bh. teatra. Ta debitantska predstava biva višestruko nagrađivana
na mnogim nacionalnim festivalima, na MESS-u 1974. godine, a dobitnik
je i Grand Prix-a na festivalu Servantino u Meksiku 1976. godine. Ovom
tekstu Kupusović se vratio nakon 23 godine, na obnovljenom Festivalu
MESS, 1997. godine, sada u produkciji Pozorišta mladih iz Sarajeva.
I ponovo pravi veliku i važnu predstavu, sa nagrađenim Admirom
Glamočakom za najbolju mušku ulogu na Festivalu MESS 1997. godine.
Nisam imao privilegiju svjedočiti starijoj postavci ove predstave, ali su
se o njoj širile legende o briljantnoj glumi i režiji, sjajnom konceptu koji
je tragikomično upozoravao na otuđenje individualnosti sedamdesetih
godina 20. vijeka. Tako Ham i Klov iz 1997. godine traju svoje posljednje
dane u opustošenom svijetu, života opustošenih približavanjem smrti.
Sjećanje na predstavu je nekada skriveno u scenskom detalju, čijih se
značenja sjećamo kao slika naličja života. Niko nije mogao ni sanjati da
će Beket iz 1997. biti naša proživljena bliska prošlost opsade i rata, da
će to postati realističan komad. Nije slučajno Kupusović volio Beketa, to
je pisac velike dramske formule ljudske usamljenosti, u kojoj se nalazi
svaki reditelj nakon premijere i u svom umjetničkom životu. A Sulejman
Kupusović ih je imao na stotine, u raznim gradovima i na mnogim
scenama. Odlaskom pozorišnog čovjeka poput njega uvijek se pomjera
osjetljiva ravnoteža pozorišnog svijeta za jednu sredinu i kulturu kojoj je
posvetio mnogo toga. Zato ima značenjske podudarnosti u mom sjećanju
na “Kraj igre” iz 1997. godine, sa prikazom organskog raspadanja svijeta
vrijednosti u koji smo vjerovali i usamljenosti kao posljednje istine
našeg postojanja. Pozorišni život je često zamršen i natrpan svakojakim
sukobima, dilemama i stvaralačkim konvulzijama, iza kojih ipak ostaje
samo sjećanje koje nas stalno opsjeda i vraća se dok traju predstave.
A one traju kao slike pojedinih prizora koje ne možemo zaboraviti, jer
nam otkrivaju i nas same. Takve su bile predstave koje nas nikada neće
napustiti poput “Gamleta”, “Romana o Londonu”, “Bjesnila”,”Kralja
Lira”, “Braće Karamazovi” i nekih drugih, koje će ostati pod reflektorom
sjećanja na jedan dinamičan i smislen pozorišni život. Vrijeme, koje curi
kao u Beketa, stavlja stvari na svoje zasluženo mjesto.
In Beckett’s theatre, the characters are not the ones who make the
choice; something is making it for them, and they find themselves in
a world void of any choice, and outside of the situation they are in. In
the same manner, for the late director Sulejman Kupusović, there was
no choice to be made when he faced a terrible illness as he essentially
understood Beckett’s avant-garde theatre of human life. It is a grand
collection of literature because it forces us to fully understand those
final and inevitable truths about our lives. When “Endgame” was first
staged at the Chamber Theatre ‘55 forty years ago, and it was a part of
Kupusović’s directing anthology, the critics were thrilled to announce the
coming of a young director who will leave his mark on several epochs of
the BH theatre. The debut play was received numerous awards at many
national festival, including the MESS Festival in 1974, and also won
the Grand Prix at the Servantino Festival in Mexico in 1976. Kupusović
revisited this text after 23 years at the re-born MESS Festival in 1997,
now in the production of the Youth Theatre in Sarajevo. And yet again,
he created a grand and important play, with Admir Glamočak winning
the award for best male lead role at the MESS Festival ’97. I did not
have the chance to observe the previous ensemble of this play, but the
legends spread about the brilliant acting and superb directing, about its
magnificent concept which tragicomically warned of the estrangement of
individuality in 1970’s. Thus in 1997, Hamm and Clov spend their last days
in a devastated world, with their lives devastated by death’s imminent
approach. A recollection of a play is occasionally hidden in a detail of the
set, the meaning of which we recall as a picture of the flipside of life. No
one could even dream that Beckett from 1997 could reflect our recent
past of siege and war, that it will become a realistic play. Kupusović
liked Beckett, and not by chance; Beckett is the creator of a large drama
formula of human loneliness, which every director finds himself in after
the premiere, and throughout his artistic life. Sulejman Kupusović had
hundreds of these, in various cities, and on many stages. The loss of such
a man of theatre as Kupusović always shifts the delicate balance of the
theatre world in an environment and culture to which he devoted much
and more. That is why, in my memory, there are striking similarities of
the “Endgame” from 1997 with the depiction of the decomposition of the
organic world of values we believed in, and loneliness as the final truth
of our existence. Theatre life is often tangled and rife with all types of
conflicts, dilemmas, and creative convulsions, which leave behind them
only a memory, to haunt us for all eternity and resurface for the duration
of the plays. And they last as the images of certain scenes we cannot
forget, because they reveal ourselves to us, as well. Such were the
plays that will never leave us, like “Gamlet”, “A Novel About London”,
“Frenzy”, “King Lear”, “The Brothers Karamazov”, and other plays that
will forever remain under the spotlight of memory of a dynamic and
meaningful theatrical life. The time that flows like it does in Beckett’s
works, puts things in their rightful place.
Dino Mustafić, reditelj
Dino Mustafić, director
Sulejman Kupusović, rođen 7. aprila 1951. u Kladnju,
preminuo u Sarajevu 16. augusta 2014, bio je
bosanskohercegovački pozorišni i filmski reditelj.
Suleiman Kupusović, born on April 7th, 1951 in Kladanj, died
in Sarajevo on August 16th, 2014, was a Bosnian theatre and
film director.
Diplomirao je pozorišnu, filmsku, televizijsku i radio režiju
na Akademiji pozorišne i filmske umjetnosti u Zagrebu
1974. godine, a filozofiju i komparativnu književnost na
zagrebačkom Sveučilištu. Režirao je u pozorištima širom
bivše Jugoslavije, te u Rumuniji, Bugarskoj i Turskoj.
Njegove predstave su izvođene u Meksiku, Gvatemali,
Francuskoj, Njemačkoj, Španiji, Turskoj, Mađarskoj,
Rumuniji, Bugarskoj, Švedskoj, Italiji i Austriji. Režirao je i
prvu bošnjačku operu, “Hasanaginicu”, koja je premijerno
izvedena u Sarajevu 18. marta 2000. U naslovnoj ulozi
nastupila je primadona sarajevske Opere Amila Bakšić.
In 1974, he earned a degree in Theatre, Film, Television,
and Radio Directing at the Academy of Theatre and Film
Arts in Zagreb, and degrees in Philosophy and Comparative
Literature at the University of Zagreb. He has directed at
theatres throughout the former Yugoslavia and in Romania,
Bulgaria, and Turkey. His plays have been performed
in Mexico, Guatemala, France, Germany, Spain, Turkey,
Hungary, Romania, Bulgaria, Sweden, Italy, and Austria. He
also directed the first Bosniak opera, “Hasanaginica,” which
premiered in Sarajevo on March 18th, 2000. The lead role
was performed by the prima donna of the Sarajevo Opera,
Amila Bakšić.
Kupusovića će bh. publika pamtiti po predstavama koje
je režirao, kao što su: “Kralj Lear”, “Kraj igre”, “Gamlet”,
“Propercije”, “Bjesnilo”, “Braća Karamazovi”, “Veliki vezir”,
“Roman o Londonu”, “Hasanaginica”, “Kidaj od svoje žene”,
“Derviš i smrt”, “Hanka”, “Tvrđava”, “Legenda o Ali-paši”,
“Balada o Omeru i Merimi”, “Hamlet u selu Mrduša donja ili
Hamlet zna što narod ne zna”.
Dobitnik je mnogobrojnih nagrada na nacionalnim i
međunarodnim teatarskim i televizijskim festivalima.
Pored pozorišnih predstava, režirao je i nekoliko TV-drama,
TV-serija, dokumentarnih i muzičkih programa.
Kupusović will be remembered by the audience in Bosnia and
Herzegovina for the plays he directed, such as: “King Lear”,
“Endgame”, “Gamlet”, “Propertius”, “Frenzy”, “The Brothers
Karamazov”, “Grand Vizier”, “A Novel About London”,
“Hasanaginica”, “Run from Your Wife”, “Death and the
Dervish”, “Hanka”, “Fortress”, “The Legend of Ali Pasha”,
“The Ballad of Omer and Merima”, “Hamlet in the Village of
Mrduša Donja or Hamlet Knows What People Don’t”.
He had won numerous awards in national and international
theater and television festivals.
In addition to theater, he had directed several TV dramas, TV
series, documentaries, and music programs.
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SUORGANIZATORI FESTIVALA /
CO-ORGANIZERS
INTERNACIONALNI TEATARSKI FESTIVAL MESS 2014
INTERNATIONAL THEATER FESTIVAL MESS 2014
ŽIRI / JURY:
Nataša Matjašec-Rošker, predsjednica / President
Carmen Mehnert-Havekost
Nermin Hamzagić
SELEKTORI/ICE FESTIVALA
/ FESTIVAL PROGRAMMERS:
Giorgio Ursini Uršić
Dino Mustafić
Selma Spahić
Zala Dobovšek
DIREKCIJA / DIRECTORATE:
Una Bejtović
Dajana Gurda
Lejla Hasanbegović
Ira Isović
Belma Jusufović
Mirna Ler
Aida Mujković
Dino Mustafić
Bojan Mustur
Selma Spahić
Mirsada Škrijelj
SARADNICI/E / ASSOCIATES:
Irma Alimanović-Alihodžić
Maša Alihodžić
Nejra Babić
Almin Berbić
Zdenko Bevanda
Nikola Blagojević
Julija Ćeman
Jovan Eranović
Senada Ferušić
Velija Hasanbegović
Lejla Kadrispahić
Ognjen Martinović
Sandra Milanović
Emir Muhamedagić
Berin Mujković
Rasim Pavica
Antonija Putić
Edna Slipčević
Maja Zećo
VIZUELNI IDENTITET
FESTIVALA / FESTIVAL’S
VISUAL IDENTITY:
Fabrika
IZDAVAČ / PUBLISHER:
J.U. MES - Međunarodni
teatarski i filmski festival
Sarajevo
Public Institution MESInternational Theater and
Film Festival Sarajevo
ZA IZDAVAČA / FOR
PUBLISHER:
Dino Mustafić
UREDNICA / EDITOR:
Belma Jusufović
ADAPTACIJA TEKSTOVA /
TEXT ADAPTATIONS:
Nejra Babić
PRIJEVOD KATALOGA /
CATALOGUE TRANSLATION:
Merima Dervišić
Nedžla Idrizbegović
Amira Sadiković
D. Sarzinski
DIZAJN / DESIGN:
Fabrika
DTP:
Bojan Mustur
ŠTAMPA / PRINT:
Amosgraf
TIRAŽ / COPIES:
1.000
Maršala Tita 54/I, 71000 Sarajevo
Bosna i Hercegovina
Tel.: +387 33 200 392
Fax: +387 33 211 972
E-mail: [email protected]
www.mess.ba
MEĐUNARODNI TEATARSKI I FILMSKI FESTIVAL MESS SARAJEVO
INTERNATIONAL THEATER AND FILM FESTIVAL MESS SARAJEVO
Maršala Tita 54/1, 71000 Sarajevo, Bosna i Hercegovina
Tel.: +387 33 200 392, Fax: +387 33 211 972
E-mail: [email protected]
www.mess.ba
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