20:30h

Otvaranje i FIST Produkcija – Mama!

Ciglana Klub Ljubitelja Teške Industrije

Kao da sam zaspao. Kao da sanjam košmar. Kao da će sve nestati.

8:30pm

Opening Ceremony and FIST Production – Mama!

Ciglana Klub Ljubitelja Teške Industrije

16h

Police 

Janáček Academy of Music and Performing Arts Brno, Češka

Predstava teatra apsurda zasnovana na citatu iz Baštenske zabave Vaclava Havela.
Police [češki: Regály] je predstava zasnovana na citatu iz predstave Vaclava Havela Baštenska zabava: „Svi mi u ova turbulentna vremena na neki način samo tražimo sopstveno stajalište.“ Police je predstava teatra apsurda koja se odvija u supermarketu budućnosti u društvu koje je pod totalnim nadzorom i u kom deluje kao da su razum, istina i empatija zaboravljeni. Danijela Samsonova je svojom autorskom predstavom Police osvojila nagradu za najbolju mini-predstavu na takmičenju koje je ove godine u Njujorku organizovala Fondacija biblioteke Vaclav Havel.

17:30h

Kanibali

Akademija za pozorište, radio, film i televiziju Ljubljana, Slovenija

Mrtvački ples

Kanibali su poetska drama jednog od najupečatljivijih i najekspresivnijih slovenačkih pesnika i dramskih pisaca Gregora Strniše. Podnaslov predstave je Mrtvački ples, čime autor oslikava svet koji počiva na beskrajnoj gladi i sveprisutnom strahu. Drugi svetski rat se bliži kraju, a jedna porodica siromašnih izbeglica je u potrazi za skloništem i krovom nad glavom. Konačno pronalaze utočište u napuštenoj kapeli koju im njen prior prepušta na korišćenje kako bi imali miran dom i spokojan san. Međutim, otac Pajot – koji je mesar i kobasičar – bogohulno zamenjuje ritual bogosluženja ritualom utoljavanja gladi, pa čak i ritualom neobuzdanog, profitabilnog privređivanja. Rat je ipak najisplativija delatnost. U praktično sakrivenoj kripti on pokreće svoj posao i pod izgovorom da se mora preživeti, on ubija, kolje, rasparčava, melje, prodaje i trguje – ljudskim mesom. Dva groteskna klovna, skoro gluvi Pajot i njegov saučesnik poluslepi kuvar Falac, zatekli su se u paklenom mehanizmu ubijanja, koje omogućava preživljavanje uz sarkastičnu kanibalističku logiku. Ono prehranjuje porodicu i obezbeđuje joj mir usred bombi i mitraljeske vatre, ali njihovi postupci ih istovremeno ubacuju u ples ironizovanog kanibalističkog karnevala klovnova, u kom su šake (i vratovi) plesača vođeni stomakom, izdajama, lažima, telesnim strastima i pohlepom.

21:00h

U raju nema rupa (trilogija)

1. Svete budale
2. Grobari
3. Kanibali iz detinjstva

University of Music, theatre and media Hannover, Germany

Fizički teatar na temu Rupa u tri epizode.

Svet je napravljen za sedam dana, a na svakih sedam dana izbacivali smo tri dela iz trilogije U raju nema rupa. Kao na poligonu mogućnosti, pokušali smo da ispitamo šta je sve moguće u trenutku ograničenja zbog korone.

4pm

Racks

Janáček Academy of Music and Performing Arts Brno, Czech Republic

Absurd drama based on a quote from Vaclav Havel’s play Garden Party.

Racks [Regály] is based on a quote from Vaclav Havel’s play Garden Party: “We all are only sort of searching in these tempestuous times for our particular standpoint.” The play Racks is an absurd drama taking place in a future supermarket in a society where everyone is under surveillance, and reason, truth and compassion are seemingly left behind. Daniela Samsonová with her author’s play Racks won annual contest for the best mini-drama organized by Vaclav Havel Library Foundation in New York, USA, this year (2021).

5:30pm

Cannibals

Academy of Theatre, Radio, Film and Television Ljubljana, Slovenia

A Dance macabre.

Cannibals are a poetic drama by one of the most unique and expressive Slovenian poets and playwrights, Gregor Strniša. The author subtitled the play as A Dance macabre and through it, thus sketching a world perpetuated by endless hunger and omnipresent fear. The Second World War is drawing to an end and a family of poor refugees is in search of a hiding place and shelter. They finally take refuge in an abandoned chapel, which its prior lets them use for a peaceful home, serene sleep. But Pajot, the father, also a butcher and a sausage maker, sacrilegiously replaces the ritual of worship with the ritual of patching his hunger and even the ritual of wild, profitable business. There’s no business like war business, after all. In a handily hidden crypt he sets up his workshop and with the excuse that one must survive, kills, slaughters, dismembers, grinds, sells and trades – human flesh. Two grotesque clowns, the almost deaf Pajot and his accomplice, the half-blind cook Falac, are caught up in the hellish mechanism of killing, which enables survival using the sarcastic cannibalistic logic. It feeds the family and provides it with peace amidst the bombs and machine-gun fire, but at the same time their actions spin them in the dance of the ironized cannibalistic clown carnival, where dancers’ hands (and necks) are held by the needs of full bellies, betrayals, lies, carnal desire and greed.

9:00pm

There are no holes in paradise (a trilogy)

1. The holy fools
2. The gravediggers
3. Cannibals off childhood

University of Music, theatre and media Hannover, Germany

Pysical theatre about the theme “The hole” in three episodes.

In seven days the world was created and each seven days we threw out the three parts off the trilogy “There are no holes in paradise” like in a playground of possibilities we tried to explore what is possible at the moment of corona restrictions.

14:30h

Jezero  

Akademija scenskih umjetnosti Sarajevo, BiH

Poenta su sećanja koja su obeležila svakog od likova, pa na svojevrstan način obrazlažu i opravdavaju njihovo ponašanje i tako gledaocima pružaju uvid u njihove traume, bol, gubitke, greške, želje, nade i nastojanja.

Bračni par Alisa i Anton dolaze na roštilj kod drugog bračnog para – Aljone i Andreja koji žive van grada, pored jezera, okruženi borovima. Pozovu i zajedničkog prijatelja autističnog Nikolaja i Aljoninu prijateljicu sa kursa slikarstva Ninu, sa namerom da ih spoje. Na roštilj upada Viktor, Aljonin i Andrejev komšija. Radnja koju pratimo na roštilju je isprekidana sećanjima koja se pojavljuju zbog asocijacija na roštilju.

16:30h

Kuga

Musik und Kunst Privatuniversität der Stadt Wien (MUK), Austria

Predstava o izolaciji, odgovornosti, očajanju i prevazilaženju u vreme epidemije, inspirisana našim iskustvima tokom pandemije virusa korona i romanom Albera Kamija Kuga.

U zatvorenom. Na otvorenom. 2020.

Prvi put u životu smo se susreli sa osećajem odsečenosti od privilegija koje smo ranije uzimali zdravo za gotovo. Kakav je osećaj izolacije? Kako da se nosimo sa tim?

KUGA je proizvod naših borbi tokom pandemije virusa korona pomešanih sa zapanjujućim

sličnostima sa epidemijom prikazanom u romanu Albera Kamija Kuga. Pronašli smo način da iznova organizujemo scenografiju, osvetljenje, šminku i rekvizite. Želja da ne izneverimo sebe i da pronađemo način da se izrazimo dovela nas je do naše prve onlajn pozorišne predstave.

18:00h

ZEMLJA BEZ SNOVA

Theatre Academy in Rome “SOFIA AMENDOLEA”, Italy

„…na ovoj bolesnoj zemlji bez snova niko se ne rađa ni divan ni užasan – Nesreća je ono što nas menja.“

(Inspirisano Dobrim čovekom iz Sečuana Bertolta Brehta)

Svet je na lošem putu: korupcija je svuda, i u ljudima i oko njih. ZEMLJA BEZ SNOVA je zemlja u kojoj su dobri slabi, a život uz poštovanje zapovesti Bogova deluje nemoguće. Iz tog razloga, dva Visoka Božanstva – Pravda i Ljubav – dolaze na Zemlju u potrazi za postojanjem barem jednog dobrog čoveka: nekoga ko kao dobra osoba može i da vodi dobar život. Ali deluje da to nije tako lako… REŽIJA: Scena je potpuno prazna, ispunjena je telima glumaca i svetlima. U monohromnom svetu, kao u živoj staroj razglednici, likovi su i zveri i ljudi – bore se za preživljavanje dok su zveri, a pretvaraju se da su dobri ljudi kada su ljudska bića. Glasovi postaju jezive pesme koje podsećaju na izgubljena detinjstva; njihova tela su lutke od mesa i istovremeno scenografski predmeti. Zemlja bez snova je vlažna, prazna pozornica gde – uprkos neprirodnoj praznini – ne postoji prostor za život.

20:30h

U potrazi za Hakamadareom

TOHO GAKUEN College of Drama and Music Tokyo, Japan

Kako pronaći Hakamadarea kad nikad ne dođe kad je potreban?

Junaci predstave Jošijukija Fukude su jako siromašni japanski seljaci koji su navikli da se mole i nadaju se da će bog ili poznati robinhudovski lopov Hakamadare ublažiti teškoće i ispraviti nepravdu. Čovek ništa ne može sam da uradi.  Međutim, situacija se promenila i seljaci su primorani da sami nešto urade kako ne bi bili ubijeni. Odlučuju da počnu da žive kao grupa „lažnih“ Hakamadarea u planinama i da potraže pravog Hakamadarea kako bi ga sledili. Da li će ga pronaći?

2:30pm

The Lake

Academy of Performing Arts Sarajevo, Bosnia and Herzegovina

The memories every character has are what we call the main point, in a distinctive way they are used to explain and excuse for their behavior while giving an audience an insight into their worst (being trauma, loss, grief and mistakes) and best sides (hope, wishes and their efforts).

Married couple Alis and Anton are going to a barbaque hosted by other married couple, Aljon and Andrej who live on the outside of the city, near a lake that is surrounded by pine trees. They have invited Nikolaj their autistic friend and  Aljona’s friend from painting course Nina, with the sole intention of setting them up. The barbaque has been interrupted by Viktor, Aljona’s and Andrej’s neighbor. 

The plot we follow is a mix of scattered memories that are triggered by the barbaque.

4:30pm

The Plague

Musik und Kunst Privatuniversität der Stadt Wien (MUK), Austria

A play about isolation, responsibility, despair and overcoming in the times of an epidemic, inspired by our experiences during the COVID-19 pandemic and the novel “The plague” by Albert Camus.

Locked in. Locked out. 2020.

For the first time in our lives did we come across the feeling of being cut from the privileges we used to take for granted. What does isolation feel like? How should we handle it?

THE PLAGUE is the product of our individual struggles during the COVID-19 pandemic mixed with the astonishing similarities to the epidemic pictured in the novel “The plague” by Albert Camus. We found a way to manage our own set design, light instructions, make up and props over and over again. Not letting ourselves down but finding a way to express ourselves was the drive that let us to our very first online theater play.

6:00pm

DREAMLESSLAND

Theatre Academy in Rome “Sofia Amendolea”, Italy

“…on this sick dreamless land, no one is born beautiful or horrible: it’s the Misery that changes us.”

(Freely inspired to The Good Person of Szechwan by Bertolt Brecht)

The World is going adrift: Corruption is everywhere, inside the men, and outside of them.

DREAMLASSLAND is a Land where the good ones are weak, and it seems to be impossible to live observing the precepts of the Gods. For this reason, the two High Divinities, ‘Justice’ and ‘Love’, come on Eart looking for the presence of at least One Good Person: somebody who is able, being a good person, to have a good life too. But it seems not to be so easy…

THE DIRECTING: the stage is totally empty, just filled by the bodies of the actors and from the lights. In a monochrome world, like in a living dated postcard, the characters are both ‘beasts’ and ‘people’: fighting for their surviving while they are beasts, and pretending to be ‘good people’ when they are humans. The voices become creepy songs reminding lost childhoods; their bodies are flesh puppets and, in the same time, scenographic objects. Dreamlassland is a wet, empty stage where, despite is own innatural emptyness, there is no space for living in.

8:30pm

Find Hakamadare!

TOHO GAKUEN College of Drama and Music Tokyo, Japan

How do you find Hakamadare when he never comes when you need him?

The heroes of the play by Yoshiyuki Fukuda are very poor Japanese peasants who are

used to pray and hope that a god or a famous figure like the “Robin Hood” – like thief Hakamadare will alleviate the hardship and avenge the injustice. Nothing can be done by oneself.  However, due to a change in the situation, the peasants are forced to do something themselves if they do not want to be killed. They decide to live as a group of “fake” Hakamadares in the mountains and search for the real Hakamadare to follow. Will they find Hakamadare?

14:00h

Budućnost pozorišne umetnosti: perspektiva mladih pozorišnih stvaralaca

Panel diskusija

U okviru poljskog dana na 16. FIST festivalu, 24. maja u 14h, održaće se panel diskusija sa temom Budućnost pozorišne umetnosti: perspektiva mladih pozorišnih stvaralaca. Učesnice panela biće Zuzanna Berus, studentkinja treće godine pozorišnih studija na Nacionalnoj Akademiji Dramske Umetnosti Aleksander Zelwerovicz u Varšavi, Julia Bochenek iz Nacionalne Akademije za Pozorišnu umetnost u Krakovu – ogranak u Vroclavu i  Justyna Litwic iz Poljske Nacionalne Škole za Film, Televiziju i Pozorište u Lođu.  Moderatorka panela će biti Jovana Djokić, studentkinja četvrte godine Katedre za menadžment i produkciju pozorišta, radija i kulture Fakulteta dramskih umetnosti u Beogradu. Panel će moći da se prati na YouTube platformi FIST festivala. Razgovor će se voditi na engleskom jeziku i trajaće oko sat vremena.

Neophodno je čuti mišljenje i mladih pozorišnih stvaralaca o tome gde se sada nalazi i kuda ide pozorišna umetnost. Mladi retko imaju priliku da izraze svoje mišljenje i da se uključe u medjunarodne dijaloge ovakvog karaktera, koji bi trebalo da daju određene rezultate, a FIST festival je platforma koja pruža ovu šansu.

Trenutak u kome se nalazimo je veoma izazovan, ali otvara mogućnosti za promenu, inovacije, razvoj i borbu!

16:00h

MOMIK

The Aleksander Zelwerowicz National Academy of Dramatic Art in Warsaw, Poland

Priča o čoveku u intimnoj šetnji modernim gradom koji – uz malu pomoć aveti – traži istinu o svojoj prošlosti i identitetu svoje otadžbine kako bi prevazišao traume iz detinjstva, zalečio sadašnjost i zamislio budućnost.

Za izgradnju zajedničke budućnosti potrebna nam je nacionalna svest koja ne negira prošlost. Društvo koje ne traži istinu o sebi lažira svoj identitet i postaje beživotno.

Momik je poljski Jevrejin koji je odrastao u Izraelu. Celo njegovo detinjstvo obeleženo je ratnim traumama. On nije razumeo strah koji je proždirao njegovu porodicu, ali bio je potpuno okružen njime. U glavi je uporno gradio sliku zemlje „tamo“, zemlje koju je u detinjstvu zamišljao kao prelepo mesto koje teroriše surova zver. Postaje opsednut potragom za tragovima prošlosti i pokušajima da je razume. Momik dolazi u Poljsku da se suoči sa avetima koje ga opsedaju. Traga za šest miliona Jevreja, u getu od kog je jedva nešto ostalo. Zajedno sa avetima on započinje putovanje na koje pozivamo publiku i prolaznike. Šetnja je intimno iskustvo – svaki učesnik dobija link za audio-snimak pre početka. Pomoću svog telefona i slušalica mogu da slušaju snimak koji ih vodi kroz predstavu i da istovremeno gledaju šta glumci rade. Gledaoci mogu da odluče kako će uroniti u priču o glavnom junaku, mogu da prate samo glasove ili da pomešaju stvarnost naše predstave sa stvarnošću savremenog grada. Preispitujemo sećanje na odabrana mesta, spoj onoga što su nekada bili i onoga što su postali. Tražimo tragove nejasnog identiteta, i nacionalnog i individualnog. Tražimo nedostajući element koji je neophodan da bismo postali koherentno ljudsko biće.

17:30h

WROCLAW.ESCAPE ROOM

National Academy of Theatre Arts in Krakow branch in Wrocław, Poland

Normalni podzemni život.

Pozorište kao igra, pozorište u igri. Svet prestaje da postoji. Svet koji smo poznavali više ne postoji, katastrofa je došla iznenada, ne onako kako je najavljena, za četrdeset ili pedeset godina, već poput lopova, od četvrtka do petka. Bez upozorenja. Elektronski teroristički napad.  Cikloni. Uragani. Kuga. Krčenje šuma. Depopulacija. Najezda pacova. Smog. Policiklični aromatični hidrougljenični izduvni gasovi i političari. Vreme je za bežanje, niz stepenice, pravo napred, što je dalje moguće, dole u gradsko podzemlje. Alternativni Vroclav. Istorijski Vroclav. Grad koji ne postoji. Legenda koja traje. Poljski. Nemački. Zaboravljeni. Možda hodamo po njemu, po njima. Likovima koji su živeli pre nas. Pre dvadeset, trideset, pedeset, sto godina: Klara Imervar, Zbižek Cibulski, Zofija Gostomska–Zarzicka, Manfred fon Rihtofen, Edit Štajn, Karl Denke, Majka Božija. Svetica, ubica, ratni heroj, glumac, supruga, majka, bibliotekar. Šta ih povezuje? Šta pokušavaju da nam kažu? Na šta nas upozoravaju? Dobrodošli u igru. Pravila su jednostavna. Morate da preživite. Da biste spasili svet. Upoznajte Ljude. Steknite Mudrost. Spokoj. I Sreću. Idite pravo ka svetlosti i radite onako kako mislite da je ispravno. Tamo se nastavlja normalni život. Normalni podzemni život.

20:00h

Galeb

The Polish National Film, Television and Theatre School Lodz, Poland

O pozorištu i glumcima, o umetnosti, o životu i njegovoj neizbežnoj prolaznosti, o neostvarenim snovima, o nama samima.

O pozorištu i glumcima, o umetnosti, o životu i njegovoj neizbežnoj prolaznosti, o

neostvarenim snovima, o nama samima. Čehovljeva najteatralnija i najličnija drama je vanvremenska, univerzalna priča o sudaru brutalne, samo naizgled banalne proze života i snova o lepoti, umetnosti, sreći i ljubavi. Grzegorz Visnijevski predstavlja besmrtni sukob generacija, sučeljava stare i nove forme u pozorištu. Ne postoji bolja drama za diplomski nastup mladih studenata glume!

2:00pm

The future of theatrical arts: the perspective of young theatre professionals

Panel discussion

As  a part of the Polish day of the 16th FIST Festival, on May 24th  at 2pm, a panel discussion with the following topic – The future of theater art: the perspective of young theater professionals, will be held. The participants of the panel will be Zuzanna Berus, a third year student of Theatre Studies at The Aleksander Zelwerowicz National Academy of Dramatic Art in Warsaw, Julia Bochenek from the National Academy of Theater Arts in Krakow – branch in Wroclaw and Justyna Litwic from The Polish National Film, Television and Theater School in Lodz – will participate in the panel. The moderator of the panel will be Jovana Djokić, a fourth-year student at the Department of Management and Production of Theater, Radio and Culture at the Faculty of Dramatic Arts in Belgrade. The panel will be streamed on FIST festival’s YouTube platform. The conversation will be in English and will last about an hour.

It is necessary to hear the opinion of young theater creators about where the theater art is now and where it is going. Young people rarely have the opportunity to express their opinion and get involved in international dialogues of this nature, which should give certain results, and the FIST festival is a platform that offers this chance.

The moment we are in is very challenging, but it opens up opportunities for change, innovation, development and fight!

4:00pm

MOMIK

The Aleksander Zelwerowicz National Academy of Dramatic Art in Warsaw, Poland

A story of a man on an intimate walk through a modern city, who, with a little help of some spectres, seeks the truth about his past and the identity of his homeland to overcome his childhood traumas, heal the present and imagine a future.
To build a common future we need a kind of a national consciousness that does not deny the past. A society that does not seek the truth about itself falsifies its identity and becomes lifeless.
Momik is a Polish Jew raised in Israel. His entire childhood was marked by the trauma of war. He didn’t understand the fear devouring his family, but he was drenched in it. In his head he was persistently building the image of the country “there”, a country that as a child he used to imagine was a beautiful place haunted by a cruel beast. Looking for traces of the past and trying to understand it became his obsession. Momik comes to Poland to confront the spectres possessing him. He is looking for six million Jews, a ghetto of which there is barely anything left. Together with the spectres he starts a journey to which we are inviting our audience and passers-by. The walk is an intimate experience – each participant gets a link to the audio track before the start. Using their own telephone and headphones they get the opportunity to listen to the recording leading them through the performance, and at the same time observe the actions of the actors. The spectators can decide how to immerse in the story of the main character, they can follow the voices alone, or mix the reality of our performance with the reality of the contemporary city. We are examining the memory of selected places, the fusion of what they used to be and what they have become. We are looking for traces of blurred identity, national and individual. We are looking for the missing element which is necessary to become a coherent human being.

5:30pm

WROCLAW.ESCAPE ROOM

National Academy of Theatre Arts in Krakow branch in Wrocław, Poland

Normal underground life.

Theater as a game , theater in a game. The world ceases to exist. The world we knew has gone, the catastrophe came suddenly, not as it had been announced, in forty or fifty years, but like a thief, from Thursday to Friday. Without notice. Electronic terrorist attack.  Cyclones. Hurricanes. Plague. Deforestation. Depopulation. Rat infestation. Smog. Polycyclic aromatic hydrocarbons exhaust fumes and politicians. Time to run away, down the stairs, straight ahead, as far as possible, down to the underground of the city. Alternative Wrocław. Historical Wrocław. The city that does not exist. The legend that lasts. Polish. German. Forgotten. Maybe we walk on it, on them. The characters who lived before us. Twenty, thirty, fifty, one hundred years ago: Clara Immerwahr, Zbyszek Cybulski, Zofia Gostomska-Zarzycka, Manfred von Richthofen, Edith Stein, Karl Denke, Mother of God. The saint, the murderer, the war hero, the actor, the wife, the mother,the librarian. What connects them? What are they trying to tell us? What to warn about? Welcome to the game. The rules are simple. You must survive. In order to save the world. Meet the People. Get Wisdom. Serenity. And Happiness. Go straight ahead to the light and do what you think is right. Normal life continues there. Normal underground life.

8:00pm

Seagull

The Polish National Film, Television and Theatre School Lodz, Poland

About theater and actors, about art, about life and its inevitable passing, about unfulfilled dreams, about ourselves.
About theater and actors, about art, about life and its inevitable passing, about unfulfilled dreams, about ourselves. The most theatrical and personal drama by Chekhov is a timeless, universal story about the clash of brutal, only seemingly banal prose of life with dreams of beauty, art, happiness and love. Grzegorz Wiśniewski presents the immortal conflict of generations, collides old and new forms in the theater. You cannot choose a better drama for a graduation performance for young actors – students!

15:30h

Paklena pomorandža

Akademija dramske umjetnosti Zagreb, Hrvatska

„I, šta ćemo?“

Pomoću motiva iz Paklene pomorandže nasilje se prvo estetizuje, a onda i svodi na puku informaciju, preispituje se odnos društva prema mladim ljudima kao takvima, a tema slobode i lične odgovornosti pojedinca se dovodi u pitanje.

18:00h

www.zusammenstoß.dada

Akademie für Darstellende Kunst Baden Württemberg, Ludwigsburg, Germany

Digitalni kaleidoskop između početne stranice sajta i Zoom sastanka, ispunjen poslednjim minutima sadašnjosti.

Prema motivima Kurta Švitersa.

Kraj Zlatnih dvadesetih preti da se pretvori u kraj sveta u Sudaru Kurta Švitersa (1928, nem.: Der Zusammenstoß). Niotkuda se pojavljuje planeta 5G/‘Greegloh ili Zeleni globus i kreće se pravo ka Zemlji. Publika je pozvana da iskusi sudar ovog pozorišnog teksta starog devedeset godina sa ovde i sada – kao digitalni kaleidoskop između sajta i Zoom sastanka, ispunjen poslednjim minutima sadašnjosti.

20:00h

FIST Produkcija – Bruklin i mačke u kontejnerima

Bitef teatar

Ti ga voliš takva balava, takva balava, ne znaš koga voliš.

“Bruklin i mačke u kontejnerima” je priča o ženskoj traumi i nostalgiji za traumom. Glavna junakinja seća se svog “idiličnog” detinjstva koje je bilo oblikovano represivnim rodnim ulogama i mržnjom prema sostvenom telu koje odrasta. Reč je o savremenoj bajci koja se ponajmanje bajkovito odvija. Priča razbija nostalgični mit koji idealizuje tradicionalne rodne uloge koje doprinose romantizaciji i pravdanju nasilja. Junaci se suočavaju sa svojom prošlošću i kroz to shvataju da imaju sasvim različite perspektive traume koja ih je sve manje ili više zadesila.

3:30pm

A Clockwork Orange

Academy of dramatic Art Zagreb, Croatia

“What’s it going to be then, eh?”

Using motives from “Clockwork orange”, violence is first aestheticized and then stripped-down to mere information, society´s attitude towards young people and youth as such is re-examined, and the topic of freedom and personal responsibility of the individual is called into question.

6:00pm

www.collision.dada

Akademie für Darstellende Kunst Baden Württemberg, Ludwigsburg, Germany

A digital caleidoscope between homepage and zoom-meeting, filled with the last minutes of the present.

Freely based on motives by Kurt Schwitters

The end of The Golden Twenties threatens to turn into the end of the world in Kurt Schwitters’ Der Zusammenstoß (1928, Engl. : The Collision). Out of nowhere appears the planet 5G/‘Greegloh or The Green Globe and is headed for collision with the Earth.

The audience is invited to experience the collision of this 90 year old theatrical text with the here and now: as a digital caleidoscope between Website and Zoom-Meeting, filled with the last minutes of the present.

8:00pm

FIST Production – Brooklyn and Cats in Dumpsters

Bitef theatre

Tell me that I’m not nice.

“Brooklyn and Cats in Dumpsters” is a story about women’s trauma and her nostalgia for trauma. The main heroine remembers her “idyllic” childhood, which was shaped by repressive gender roles and hatred towards her own growing body. It is a modern fairy tale that is at least fairytale-like. The story shatters a nostalgic myth that idealizes traditional gender roles that contribute to romanticizing and justifying violence. Our main characters face their past and through that, they realize that they have completely different perspectives on the trauma that more or less has affacted all of them.