10.05. petak

20:30
70 min
Zvezdara teatar, Nova scena

„So na rane“ / “Touch a Sore Spot”

Faculty of Dramatic Arts, University of Arts Belgrade
Belgrade, Serbia

Reditelj / Director: Rastislav Ćopić
Autor teksta / Author : Tea Matanović
Glumci / Actors: Dobrila Stojnić, Miodrag Miša Gajić, Bojana Stojković, Marko Mak Pantelić,
Milan Bobić
Dramaturgija / Dramaturgy: Vida Davidović
Scenografija / Scenography: Dunja Kostić

Opis predstave: Kako gubitak društvene svesti definiše sudbinu jednog društva i porodice? Jesmo li dovoljno hrabri da se prvo suočimo sa svojim odrazom u ogledalu? Imamo li i sami udela u narušavanju ravnoteže? Da li je hrabrost ili kukavičluk izložiti narušenu porodičnu intimu svetu?

Description of the performance : The loss of social conscience and how is the lack of it defining the destiny of a society and a family? Can we be brave enough and say that we can face our own reflection in the mirror? Are we the ones taking part in wrecking the balance? The question is to determine whether its bravery or cowardice exposing this crooked family intimacy to the world.

11.05. subota

21:00
110 min
Beogradsko dramsko pozorište, Scena „Rade Marković”

„Moć deci” / “Power to the Children”

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

Reditelj / Director: Luka Marcen
Glumci / Actors: Luka Bokšan, Žan Brelihhatunić,  Andraž Harauer, Martin Mlakar, Gal Oblak, Lana Bučevec, Lara Fortuna, Julija Klavžar, Gaja Filač, Lara Wolf
Dramaturgija / Dramaturgy: Tery Žeželj
Scenografija / Scenography: Nika Curk
Dizajn svetla / Light designer: Nastja Miheljak
Kostimografija / Costume designer:Ana Janc
Muzičar / Musician: Martin Vogrin

Opis predstave : Performans Snaga deci sastoji se od kolaža dve predstave sa potpuno drugačijim društvenim, kulturnmi i političkim kontekstom, ali sa istim ciljem i sličnim uticajem na društvo njihovog vremena. Predstava Rodžera Vitrac Viktora ili Power to the Children (1928) može se protumačiti kao napad na etiku i malograđansko društvo. Druga predstava, predstava Dušana Jovanovića Viktora ili Dan mladosti(1988) može se shvatiti kao odbacivanje generacije u vreme raspada Jugoslavije, sa kritikom i ironijom prema sistemu. Predstava pokušava da obe predstave stavi u zajednički kontekst. Porodica ima rođendansku zabavu gde se svi odlično zabavljaju. S druge strane, počinjemo da primećujemo devijacije ljudi i njihovih odnosa, koji nisu sposobni za zajednički život. Povrh toga, predstava želi da kritikuje moderno društvo, nedostatak vrednosti, ovde i sada, u slovenačkom društvu 2019. godine, gde je glavni moto: Uživajte! Zabavi se! U predstavi imamo dva brata, Viktor, anarhista, koji donosi revoluciju i njegovog brata blizanca Zmaga, koji otkriva besmisao svog postojanja Viktorovim dolaskom. Predstava pokušava da sruši svet licemerja i nažalost jedini ishod je haos. Razotkrivaju se laži i ne dolazi spasenje za porodicu koja je spremna da ubije Smrt samo zato što ne želite da napustite žurku!

Description of the performance : Performance Power to the Children (Otroci na oblasti) is a collage of two plays with completely different social, cultural and political contexts, but with the same prospect and similar effect on society of their time. The play by Roger Vitrac Victor or Power to the Children (1928) can be interpreted as an attack on ethics and petty bourgeois society. The second play, the play by Dušan Jovanović Viktor ili Dan mladosti (1988) can be understood as an deposition of a generation in times of Yugoslav disintegration, with criticism and irony towards the system, which is collapsing before their eyes. The performance aims to put both plays in context of a family having a birthday party, with everybody having their best time. On the other hand, we start to see deviations of people and their relationships, not capable to coexist. Through this, the performance wishes to criticize modern society, lack of values, here and now, within Slovenian society in 2019, where the main moto is: Enjoy! Have fun! In the play, there are two brothers, Viktor, the anarchist, who brings the revolution and his twin brother Zmago, who uncovers the nonsense of his existence with Viktor’s arrival. The play is trying to demolish the world of hypocrisy, though sadly the sole outcome is chaos. The events expose lies and do not bring the alternative nor salvation to the family that is willing to even kill the Death because they don’t want to quit partyin

12.05. nedelja

18:00
40 min
Studentski kulturni centar

„Antigona” / “Antigone”

Academy of Arts, University of Banja Luka
Banja Luka,  Republic of Srpska

Reditelj / Director: Velimir Blanić
Glumci / Actors: Aleksandra Plahin, Bojana Supić, Marko Radojević, Milica Glogovac, Nadežda Kostić, Ognjen Todorović, Miroslav Sinkić, Petar Miljuš

Opis predstave: Autorski projekat „Antigona” je ispitna predstava studenata četvrte godine glume na Akademiji umjetnosti iz Banja Luke u klasi docenta Velimira Blanića. Tema treće godine studija bila žanr, te su se tim pvodom odlučili da u vidu eksperimenta postave tekst Antigona po motivima antičke tragedije, protkan plesom, scenskom borbom I stilizovanim scenskim pokretom. Predstava je postavljena sa svega nekoliko rečenica što ne stvara bilo kakvu jezičku barijeru. U predstavi igra osam studenata i svako od njih glumi nekoliko različitih likova.

Description of the performance: Original production of “Antigone” is the final project of the students of the final year at the Academy of Arts in Banja Luka, class of docent Velimir Blanić. General topic of the last academic year was genre, so they opted for experimental direction of Antigone based on motives of ancient tragedy, with dance, stage combat and expressive stage movement. The play uses only a couple of verbally expressed lines so that it doesn’t create any sort of language barrier. There are eight students acting in the play and all of them portrait a couple of different characters.

21:00
30 min
Dom omladine Beograd, Scena „Amerikana”

„Gejevi u svemiru” / “Gays in Space”

University of Roehampton
Roehampton, London, United Kingdom

Reditelj / Director: Grupna režija / Devised and directed by group
Glumci / Actors: Jay Stewart, Mia Battle-Welch, Stanley Miles, Kai Davis, Rhiannon Kay, Cameron Turner

Opis predstave : Čujte i počujte! U gradu je najseksi gej šou u univerzumu!
Gays in Space je performans koji je osmislila, producirala, režirala, i koji izvodi mala grupa studenata Univerziteta Roehampton iz Velike Britanije. Rad im je anarhičan po stilu i strukturi – kolektivno su stvarali svaki deo predstave. Pomeraju granice dekora, narativa I konvencionalnosti. Ako je pozornica ogledalo stvarnosti, ova predstava daje nestvarnu i duhovitu sliku identiteta i rodnih uloga u savremenom društvu koristeći kombinaciju muzike, plesa I hrane. Gurajući granice konvencionalnog pozorišta, ova predstava ne koristi bekstejdž već su glumci i glumice na sceni tokom cele predstave, a publika je blizu scene rizikujući da svakog časa bude isprskana.

Description of the performance : Come one, come all, to the gayest, sexiest, spaciest show in town!
Gays in Space is an original performance imagined, devised, produced and performed by a small group of undergraduate students from the University of Roehampton. The work is anarchic in style and structure. There is no one writer nor one sole director. The group works collectively. The show pushes at the boundaries of decorum, narrative and acceptability. If the stage is a mirror to reality, then this play offers a surreal and hilarious reflection of identity, sex, and gender roles in our contemporary world using a mix of music, dancing and food. Pushing at the boundaries of conventional theatre, in this play there is no backstage and the actors remain on stage at all time. The audience sit amongst cushions and chairs close to the action with the front row in danger of getting “splashed”. The show has been performed in public twice already and has been shortlisted to appear at the National Student Drama Festival in UK this year.

13.05. ponedeljak

18:00
60 min
Bitef teatar

„Dijete od pijeska“ / “Sand Child”

Arts Academy, University of Split
Split, Croatia

Reditelj / Director: Anja Ostojić
Reditelj / Director, dramaturg / dramatist, gluma / acting: Anja Ostojić
Mentor: Bruna Bebić, izv. prof. art.
Muzika / Music: Davor Gazde, Mišo Komenda
Dizajn svetla / Light designer: Siniša Jakovčević
Saradnice za pokret / Stage movement: Antonia Kuzmanić, Dora Popić i Antonia Vuletić

Opis predstave: „Dijete od pijeska” je glumačko-fizička predstava Anje Ostojić nastala prema istoimenom romanu marokanskog pisca Tahar Ben Jellouna, nominiranog za Nobelovu nagradu za književnost. Kao i knjiga, predstava se bavi položajem žena u islamskoj kulturi, kritici tradicionalnog islama i marokanskih morala. U pitanju je autorski projekat autorski je projekat nastao kao diplomska ispitna produkcija na Umetničkoj akademiji u Splitu, pri odseku za pozorišnu umetnost, smer gluma, pod mentorstvom profesorke Brune Bebić. Dramaturški prilagođen tekst prati najdublje unutrašnje emocije i misli jedne žene kojoj je sudbina nametnula život muškarca. Osnovni motiv predstave je sloboda i put koji mora proći jedna žena u islamskoj kulturi da bi bila slobodna. Koristeći glumačke tehnike i kombinujući ih sa cirkuskim tehnikama – akrobatska tkanina, kontorcionizam – Anja Ostojić prikazuje unutarnje stanje lika koji kroz celu predstavu pokušava upoznati samog/samu sebe i odgonetnuti ko je on/ona zapravo? Predstava je premijerno izvedena 12. februara 2019. u Amfiteatru Doma mladih u Splitu. Predstava je nastala u koprodukciji Umetničke akademije u Splitu i performativnog kolektiva ROOM 100.

Description od the performance: Sand Child is a play by Anja Ostojić, a dramatisation of the novel of the same name by Moroccan writer Tahat Ben Jelloun, nominated for the Nobel Price in Literature. Just like the book, the play also deals with woman’s position in Islam culture, the critic of traditional Islam and Moroccan morale. The play was originally created as a graduation project at the Academy of Arts in Split, dramatic department, under the mentorship of professor Bruna Bebić. Dramatically adapted text follows deepest emotions and reflections of a woman living with a man’s destiny. Main motif of the play is freedom and the path a woman in Islam culture has to follow to truly be free. Using various acting techniques and combining them with those of circus (acrobatic technique, contortion), Anja Ostojć shows inner state of a character who is trying to meet herself/himself and discover who she/he actually is the entire time.

The play originally premiered on 12th of February 2019 in the amphitheatre of Split Youth Centre. It was created as a coproduction of the Academy of Arts in Split and the performing collective ROOM 100.

20:30
40 min
Jugoslovensko dramsko pozorište, Scena Studio

„Elektra” / “Electra”

Academy of Performing Arts, University of Sarajevo
Sarajevo,  Bosnia and Herzegovina

Reditelj / Director: Amila Terzimehić i Fatima Кazazić
Glumci / Actors: Amila Terzimehić i Fatima Кazazić

Opis predstave: Predstava fizičkog teatra „Elektra“ rađena prema motivima mita o Elektri, a u kojoj koreografiju potpisuju Amila Terzimehić i Fatima Кazazić. Elektra je predstava fizičkog teatra koja objedinjuje i ples i pokret i različite borilačke veštine kao i različite plesne i glumačke tehnike. Priča je fokusirana na odnos između majke i kćerke, koje se pretvaraju jedna u drugu a da toga nisu ni svesne. Predstava govori o jačini ženskog tela, o njegovoj moći, o zverskoj snazi ženskog tela, pokretačkoj snazi njene volje, mogućnostima i stalnoj borbi suprotstavljanja patrijarhatu.

Description of the performance : This is a play of physical theatre, directed according to the motives of the myth about Electra, and choreographed by Amila Terzimehić and Fatima Kazazić. The play combines dancing, movement and various martial arts, as well as different dancing and acting techniques. The story focuses on the relationship between mother and daughter, who are turning into one another without realizing it. It tells a story of the strength of a woman’s body, its power, willpower, possibilities and a constant battle against patriarchy.

14.05. utorak

18:00
85 min
Narodno pozorište, Scena Raša Plaović”

„Ona je samo došla telefonirati” / “She Only Came to Use the Telephone”

Academy of Dramatic Art, University of Zagreb
Zagreb, Croatia

Reditelj / Director: Rajna Racz
Glumci / Actors: Iva Кraljević, Tena Belčić, Iva Jerković, Petra Svrtan, Maruška Aras, Filip Mayer, Rok Juričić
Produkcija / Production: Veronika Milinović, Antonio Grozdanoski
Koreografija / Choreography: Nikolina Medak
Scenografija / Scenography:  Vanja Magić, Ivo Brozina, Ivan Škugor
Kostimograf / Costume designer: Luiza Serblin
Dizajn svetla / Light designers: Ivan Lušičić, Dina Marijanović
Dizajn zvuka / Sound designer: Luka Gamulin

Opis predstave: Predstava „Ona je samo došla telefonirati“ prikazuje ljude koji su toliko silno želeli da žive, da su na kraju izgoreli od želje za životom. Okvir predstave čini pripovetka Došla sam samo telefonirati iz Markesove zbirke 12 hodočasnika. Publika prati Mariju, mladu ženu, kojoj se u povratku kući pokvari automobil. Nalazi se u pustinji, usred ničega. Želi se javiti svom mužu Saturnu i javiti mu šta se dogodilo. Ona stopira sve dok je ne pokupi autobus pun žena, koji ih odvozi u ludnicu. Maria samo želi telefonirati, ali završava na psihijatrijskom odeljenju gde susreće tri žene: Staru Кurtizanu, Majku i Ženu koja iznajmljuje svoje snove. U predstavi upoznajemo sudbine različitih žena koje su marginalno živele i beskompromisno volele. U markesovskom svetu, likove koji odstupaju od proseka, koji su posebni i drugačiji, društvo proglašava ludima. Maria se ogleda u sudbinama drugih žena. „Mi smo sve iste. Majka. Кurva. Ljubavnica. Proročica. Maria Dos Prazeres je iznajmljivala svoje telo. Maria Dolores svoju ljubav. Ti svoju strast. A ja svoje snove“. Markesovski svijet, koji smo stvorili na sceni , je svet magijskog realizma: svet u kojem je „ljubav večna dok traje“, u kojem se snovi iznajmljuju, prostitutke su pravedne i zaljubljuju se u smrt, Bog je na godišnjem odmoru, a „svetlost je kao voda, otvori se slavina i ona izlazi“.

Description of the performance : Performance “She just came to use the telephone” shows us people who wanted to live so much that they’ve burnt in the desire to do so. It is based on a story by Gabriel García Márquez from his book Strange Pilgrims: Twelve Stories.

The audience follows a path of Maria, a young woman whose car breaks down on her way to home in the middle of nowhere, in a desert. She wants to contact her husband, Saturn. As she is hitchhiking, a bus full of women stops and takes them to a mental institution.  Maria just wants to use the telephone, but she ends up in a psychiatric department where she meets three women: Old Courtesan, Mother and a Woman who rents her dreams. In this show we get to see the destinies of different women who lived on the margins and loved unconditionally. In the world of Marquez society rejects and proclaims crazy ones who are special, different or in any way above average. Maria reflects in the destinies of other women. “We are all the same. Mother. Whore. Lover. Prophetess. Maria Dos Prazeres was renting her body. Maria Dolores her love. You – your passion. And I rent my dreams”.

Marquezian world that we created on the stage is a world of magical realism: world where “love is everlasting while it lasts “, where dreams are being rented, prostitutes are justful and fall in love with death, God is on a vacation and “light is like water, open the tap and it will just flow”.

21:00
90 min
Pozorište na Terazijama

„Mala šuma” / “The Little Forest”

Academy of Arts in Banská Bystrica
Banská Bystrica,  Slovakia

Reditelj / Director: Richard Sanitra
Glumci / Actors: Ladislav Brandobur, Samuel Gáfrik, Nikola Gánovská, Matúš Hollý, Nikola Kozáková, Anna Kvašňovská, Peter Magurský, Patrícia Marikovská, Katarína Sačková, Martin Stolár, Michaela Trávničková, Eduard Valašík

Opis predstave: Ovu priču pratimo iz ugla veoma mladih likova isključivo iako je autor striktno zabranio da u njenoj realizaciji učestvuju deca. Ipak, može se videti jasno kako deca komentarišu, reaguju i/ili oponašaju ono što odrasli rade. Svet odraslih je često hladan i grub. Ovo delo se bavi i problemima na koje smo navikli samo jer ih proživljavamo svakodnevno – nasilje među odraslima, a posebno svaki oblik nasilja nad decom.

Description of the performance: The storyline is being portrayed by characters of young age exclusively, although the author himself strictly prohibit this play to feature any actual children. However, you can see how children comment, react and/or copy the behavior of adults. The world of adults is often very cold and rough. The story also deals with problems to which we got used to, since they happen on daily basis – violence between adults, especially violence to children in any way. This play has never been shown in Slovakia before.

15.05. sreda

18:00
50 min
Ustanova kulture Vuk Stefanović Karadžić”, Velika scena

„Eskurijal” / “Escurial”

Ekaterinburg State Theatre Institute
Ekaterinburg, Russia

Reditelj / Director  Alexandrer Alexandrovich Blinov
Glumci / Actors: Ioann Kalipov, Anastasia Koren, Stefan Petrov, Alexandrer Alexandrovich Blinov, Alexander Vasin

Opis predstave: U kraljevstvu kojim upravljaju ludilo i okrutnost kralja, odigrava se jeziva farsa. Sumnja se u neverstvo kraljice sa dvorskom ludom pa ljubomorni kralj ubrzo truje svoju ženu. Stalna podsećanja na kraljičinu nedavnu smrt konstantno su u pozadini ove strašne komedije u kojoj nijedan službenik ne može da se suprotstavi kraljevoj tiraniji čiji je jedini verni sluga dželat.

Čovek bez imalo osećaja za humanost ili pravdu postaje vladar i božanski sudija.  Licemjerje, obmana i prevare su njegova navika i nikada nisu kažnjeni.

Podseća na rimskog Cezara, koji je uzurpirao tron u nekada demokratskoj zemlji, čineći nasilna dela koja su ostavila trag na svetsku istoriju.

De Gelderodov kralj sigurno prati taj put, otelovljući suštinu moći – okrtunost i nemilosrđe.

Prostor radnje je jedna od dvorana u palati – najverovatnije tronska soba, zastrašujuća u svojoj mračnoj lepoti. Stepenice vode visoko do trona I tron je jedino što tamo postoji. Dvorana koja je videla desetine ubistava i atentata vekovima nije očišćena. Nije čistota ključ uspeha I moći već nešto drugo. Postajemo posmatrači jedne beskonačne i okrutne farse.

Kralj, svestan da ga je žena prevarila sa dvorskom ludom, njegovom najpouzdanijom osobom, započinje izuzeno čudnu istragu koja podseća na Hamletovu Mišolovku.

Gelderodov kralj zamenjuje odeću (kao i simbole) sa dvorskom ludom i saznaje iskrena mišljenja svih ljudi o sebi, o njegovom odnosu sa kraljicom, načinu vođenja kraljevstva – naizgled bezgraničan ali tako beznačajan i sitan, kako se ispostavlja. Niko ga ne voli – ni kraljica, ni sveštenik ni luda, nego samo nemarni dželat, uvek misteriozno lutajući u blizini, ostajući blizu, ali čuvajući ga nevidljivo, na dužnosti i spreman da se povinuje svakom kraljevom naređenju.

Description of the performance : In a kingdom, driven by madness and cruelty of the King, a horrific farce is happening. The Queen is suspected of an infidelity with a court jester, and

the jealous King is shortly after poisoning his wife. Constant reminders of the Queen’s imminent death pass on the background of a dreadful comedy, where no cleric can oppose the tyranny and the only loyal servant to the King happens to be the executioner. performed. A man lacking any but all sense of humaneness or righteousness becomes the ruler and the divine judge. Hypocrisy, deception and deceit are in his habit, though never punished. Such a character resembles roman Caesars, who usurped the throne in once democratic country, making violent acts that made a mark on the world history. De Ghelderode’s King surely follows up their trail, embodying the very sense of power – cruelty and ruthlessness.

The setting is one of the halls in the palace – most likely, it is the throne-room, daunting in its somber beauty. Stairs lead high to the throne, and it is the only thing inside. The hall has seen dozens of assassinations and manslaughters, and for centuries it has never been cleaned up. Not the cleanliness here is the key to power, but something else. We start to observe an endless cruel farce. The King, being aware of his wife’s infidelity with the jester, the most trusted person for him, starts a very weird investigation, which reminds of a Hamlet’s one, where the hired actors were to reproduce the scene of Hamlet’s father being killed by Claudius. Ghelderode’s King changes clothes (and symbols as well) with the jester and finds out all the truth about the attitudes of people to himself, to his relationships with the Queen, to his manner of ruling the kingdom, so seemingly limitless and unrestricted, but so paltry and trifling, as it turns out. Nobody really likes him – neither the Queen, nor the cleric or the jester himself, but only the speechless Executioner, always mysteriously wandering nearby, staying close but keeping invisible, is on duty and ready to obey any King’s order.

21:00
50 min
Bitef teatar

„Nije me briga” / “I don't care”

Piccola Compagnia Impertinente
Foggia, Italy

Reditelj / Director: Pierluigi Bevilacqua
Glumci / Actors: Asia Correra, Michele Correra, Simona Bordasco, Giammarco Pignatiello, Giulia Palumbo, Mario Mignogna, Martina Miticocchio

Opis predstave: „Nije me briga” je perfomativni umetnički projekat koji je nastao iz potrebe da razumemo evoluciju međuljudskih odnosa u eri komunikacije putem društvenih mreža. Ova predstava želi da pokaže fragmentarnost (izazvanu digitalnom revolucijom) u ,,teatru” ili ,,priči” običnih dana. Fenomen koji je prisutan u najpopularnijoj savremenoj mreži – Fejsbuku. Na početnim stranama na Fejsbuku ispričane su lične, intimne priče, ali se na našim ekranima pojavljuju i hronične vesti, nasilne misli, mile izjave: sve se razvija bez ikakvog planiranog rešenja. Stvorena je entropija koju je nemoguće kontrolisati. U prvom činu ove predstave kostimi i scenski objekti su potpuno crni, uključujući helanke i rukavice, kako bi glumci mogli da mutiraju u prave avatare. Anonimnost nam često dozvoli da podcenimo stvarne posledice nekih naših izjava. Izvođači na sceni projektuju slike koje su stvorene korišćenjem mobilnih telefona koji su u rukama izvođača tokom cele predstave. Ova predstava može da stvori osećaj anksioznosti, odvratan osećaj snažne nelagode koji društvene mreže mogu da pobude. Ovu patološku naviku najčešće stvaraju sami korisnici. Zbog toga će protagonista pokušati da “ubije mrežu” kako bi svi mogli da budu ponovo rođeni u novom postojanju. Nakon apsolutnog gubitka kontrole sopstvenih emocija, protagonist pokušavaju svom svojom snagom da počnu ispočetka. Nedostatak povezanosti tera ih da tragaju za nečim drugačijim, izvan granica vidljivog. Pokušavaju da iskoriste fragmente svojih priča kako bi započeli novi život, kako bi ispričali svoju priču.

Description of the performance : I don’t care is a performing art project that has taken life from the necessity of understanding the evolution in human relationships during the era of social networking communication. I don’t care wants to show the fragmentariness (caused by digital revolution) in the “theatre” or “the story” of ordinary days. A phenomenon, according to us, that is particularly present inside of the most popular social network nowadays: Facebook.

On front pages in Facebook pieces of personal, intimal stories are told, but also chronicle news, violent thoughts, sweet statements appear on our screens: everything is developed without any continuous solution. It is affirmed everything along with its precise contrary in few seconds time. It has already been created an entropy, almost out of control. During the first act of the performance costumes and scene-objects are completely black, including gloves and tights, so that actors can mutate into real avatars.

Anonymity itself often brings us to underestimate real consequences of some of our strong statements. On stage performers project speedy images that are made by lights and visual effects, exclusively produced by smartphones that are always in performers’ hands for all the duration of the play. This show has the prerogative of creating that anxiety, that terrible sense of vivid anguish that social networks are able to awake. This pathological habit is mostly caused by the abuse of users themselves. That’s why the protagonists will try to “kill the web”, so that they can be reborn to new existence. After the absolute loss of control of proper inner emotions, the protagonists try, indeed with all the strength they have, to start over. The lack of connection forces them to search for something different, beyond a veil. They try to take the fragments of their own stories, in order to start with a new beginning, in order to tell a their own story.

16.05. četvrtak

18:00
70 min
Dom kulture “Studentski grad”

„Shakespare Tribute Band / Shakespare Party”

Academy of Arts, University of Novi Sad
Novi Sad, Serbia

Reditelji / Directors: Kolektivni rad – Aleksa Pantić, Ružica Anja Tadić, Vladislav Velkovski, Ivan Vanja Alač
Glumci / Actors: Aleksa Pantić, Anica Petrović, Vladislav Velkovski, Darko Radojević, Đorđe Mitrović, Ivan Vanja Alač, Maja Čampar, Marija Feldeši, Miloš Macura, Nevena Nerandžić, Nenad Popović, Nikolina Vujević, Ognjen Nikola Radulović, Ružica Anja Tadić, Nebojša Badnjar, Filip Gotovac

Opis predstave: Predstava „SHAKESPEARE TRIBUTE BAND / SHAKESPEARE PARTY“ je nastala kao zadatak glumcima i rediteljima na drugoj godini studija, tačnije 3. semestru. Prevashodno je zadatak bio upoznati se sa delom Šekspira, savladati njegov jezik, upoznati se sa principima igre i režije njegovih komada i likova na jednom malom uzorku, kao što je scena i monolog. Ipak, glumci su imali zadatak da te likove posmatraju kroz prizmu današnjice, a reditelji da te probleme prepoznaju i danas, 500 godina kasnije. Zadatak je stoga bio da glumci kroz imitacije ljudi iz svoje okoline, bilo poznatih ličnosti, bilo svojih poznanika, dodju do likova Šekspirovih komada. Ovaj spoj, ili kako ga mi zovemo „most“ između imitacije i likova možda deluje nasilan ili eksplicitan, ali nudi mogućnost istraživanja i razmaštavanja. Tako su glumci tražili najbolji način da svoju sestru, profesora, poznatog pevača ili voditeljku „smeste“ u okvir neke Rozalinde, Fastalfa, Petručia; a reditelji da pronađu spojnicu koja čini jedinstvenu vezu, celinu, ovih „nespojivih“ likova i situacija.

Description of the performance : The performance „SHAKESPEARE TRIBUTE BAND / SHAKESPEARE PARTY“ was created as an assignment for actors and directors on their second year at the Academy. At first, the assignment was to get to know the work of Shakespeare, his language, to overcome principles of acting and directing his plays and characters on a small sample like a scene or a monologue. Still, they were assigned to act and direct through the prism of their own experience which is 500 years younger. They tried to get to the Shakespeare’s characters through imitation of people who surround them – celebrities, friends, family, etc.

This “bridge” as we call it, between imitation and character may seem aggressive and explicit but gives performers the option of exploring their imagination. The actors tried to find the best way to portray their sister, professor, singer or a TV presenter within a specific character such as Rosalind, Falstaff, Petruchio; and directors tried to find the connection that makes all these elements a whole complete play.

17.05. petak

20:00
80 min
Fakultet dramskih umetnosti, Scena “Mata Milošević”

„Leons i Lena” / “Leons and Lena”

Faculty of Dramatic Arts, University of Arts in Belgrade
Belgrade, Serbia

Reditelj / Director: Marko Čelebić
Glumci / Actors: Dragan Sekulić, Tamara Šustić, Miloš Lazarov, Vahid Džanković, Maja Nikolić, Milena Božić, Marko Pavlović
Dramaturg / Dramaturghy: Đorđe Kosić
Scenograf / Scenography: Katarina Šijačić

Opis predstave: Polozaj dece i njihovo odrastanje u porodicama gde su roditelji, moćni – bogati, savremenom terminologijom definisani kao uspešni, na prvi pogled izgleda bezbrižno, iz razloga što se problem egzistencijalnog u materijalnom smislu ne dovodi u pitanje. Ono što u ovakvim okolnostima fali jeste sloboda izbora. Svedoci smo toga da biti slobodan i birati svoj put predstavlja iskušenje koje je još teže ostvariti ako se sa druge stane nalaze surovo ambiciozni autoriteti. Paradoks ovakve situacije, a svedoci smo činjenice da vremenom postaje sve učestalija pojava, je upravo u tome što deca koja imaju sve, češće bivaju ostavljena da se sama bore za svoj put (taj put je takodje egzistencijalni ali u ovom slučaju psihološke prirode) ili im se kako je slučaj u Leonsu i Lenu put nametne, bivaju prisiljeni i uslovljeni. I Leons i Lena beže od svoje kuće kako bi izbegli roditeljske naredbe tj. brak. Iako nam se na prvi pogled čini kako jedan mladi princ (princeza) treba da bude zahvalan zbog svog socijalnog statusa i blistave budućnosti njegova ličnost nije spremna na to. On se okreće filozofiji, sopstvenim idealima i metafizičkom pristupu životu pre nego materijalnom. Upravo pojava Valeria i njegova slobodarska filozifija načina života osnovni su pokretač Leosovog bega. Egzistencijalna situacija u kojoj su se našli Leons i Lena – neuspešno bekstvo od uloga koje su im nametnuli roditelji – izraz je zapravo mladalačke iluzije da je moguće samostalno upravljati svojim životom. Ta nemogućnost još je izraženija u porodicama gde deca odrastaju kao pioni, investicioni fondovi i promotivni materijal roditeljskih kampanja. S Hamletom smo se rastali u situaciji kada je on već uveliko, makar sa početka petog čina, odrastao, sazreo i pomirio se sa ovakvom premisom sopstvene egzistencije, te delao – prepustio se delanju – u skladu sa njegovom novom spoznajom. S Leonsom i Lenom se rastajemo u samom trenutku njihove spoznaje, a koja njihovu poziciju odredjuje kao tragičnu. Da li će oni steći zrelost i mudrost da kažu – biti spreman, to je sve- to ostaje kao otvoreno pitanje. I pored toga, neminovna činjenica je da je delanje njihovih roditelja bio uzrok njihove nesreće i traženja sopstvenog razumevanja. Vrhunac apsurdnosti i tragikomičnosti leži u paradoksu da su Leons i Lena istovremeno dobili ono što su hteli i nisu – venčali su se sa kim su hteli, ali nisu uspeli da se venčaju sa kim nisu hteli. Otvara se pitanje da li su oni slobodni ili nisu? – ostvarili su ljubav ali ne i slobodu, postigli bračno ispunjenje ali ne i identitetsko samoostvarenje, potvrdili su biće ali nisu strgli masku – jer su se u nju i zaljubili.

Description of the performance : The position of children and their growing up in families where parents are powerful – rich, People that would be defined as successful, at first glance this life looks carefree, just because the existential problem in the material sense does not call into question.

The circumstances of the matter are the freedom of choice. We are witnesses of a period when being free and choosing your way is a temptation that is even more difficult to achieve if on the other side of the table are grossly ambitious authoritative figures. We are witnessing the fact that over time it becomes more and more frequent.

The phenomenon is that children who have everything are more often left alone to struggle finding their own path (this path is also existential but in this case psychological nature) or they are as it is the case in Leons and Lena imposed on the road, they are forced and conditioned. Both Leons and Lena run away from their own houses to avoid parental commands (ie. Marriage).

Although at first glance it seems to us the young prince should be grateful for his social status and the glittering future but his personality is not ready for it. He turns to philosophy, his own ideals and metaphysical access to life rather than material. It is precisely the appearance of Valerio and his liberal philosophy lifestyles that are the main engines of Leo’s escape. Existential situation in which Leons and Lena found themselves – unsuccessful escape from the roles imposed by their parents – it actually shows us youthful illusions like that it is possible to manage their own lives independently. This impossibility is still more pronounced in families where children grow up as pioneers, investment funds and promotional material of their parents’ campaigns.  With Hamlet we broke up in a situation when he was already grown up, at least at the beginning of the fifth act, matured and reconciled with such a premise of one’s own existence, he worked for you – he abandoned himself – according to his new knowledge. With Leons and Lena we grow in the very moment of their knowledge, which determines their position as tragic. Will they acquire the maturity and wisdom to say – be ready, which is all-it remains an open question. In addition, the inevitable fact is that the actions of their parents were the cause of their misfortune and seeking their own understanding. The climax of absurdity and tragicomicity lies in the paradox that Leons and Lena received what they wanted at the same time but also did not – they were married with whom they wanted, but they did not manage to get married with whom they did not want. The question arises whether they are free or not? – They accomplished love but not freedom, they have achieved marital fulfillment, but not identity self-realization, they confirmed the creature but did not tear the mask – because they fell in love with it.