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NAJBOLJI OD SVIH SVJETOVA Dragi/e posjetitelji/ke Festivala MESS, vjerujemo da je naš program u svom 53. izdanju zanimljiv i otvoren u potrazi za mnogim važnim pitanjima, kao što su sreća i nada. Pozorište nije mjesto koje može mijenjati stvarnost, ali može nas učiniti radoznalim i svježim u otkrivanju svijeta i životne radosti, optimizma koji je iščezao sa naših lica, ulica i gradova. Ovo je vrijeme kada se i umjetnošću ispituju sudbine generacija koje su odrasle u podijeljenim i izoliranim društvima, na „novim vrijednostima“ prodaje i kupovine svega što kida dušu i poeziju. Zato nam je MESS važan i ove godine, jer je to pozorišna poezija Slobode, filozofije koja obogaćuje naše živote osjećanjem za pravdu i saosjećanjem za druge. Vidjećemo intimne i emotivne predstave koje iskustveno vjeruju u istrajnost nade, razvijaju dijalog sa gledateljima/cama kao „igru“, sintezu pozorišne poetike riječi, pokreta i muzike sa poetikom postojanja, koja se ispoljava u različitim scenskim formama. Pred nama je još jedno teatarsko uzbuđenje, potraga za najboljim od svih svjetova; za takvo nešto treba nam intelektualne hrabrosti i odgovornosti – a MESS nam to uvijek donosi.

Dino Mustafić Direktor Internacionalnog teatarskog Festivala MESS


The Best of All Worlds Dear MESS Festival audience, we believe that the 53rd edition of our programme is interesting and open towards exploring numerous important issues, such as happiness and hope. Theatre is not the place to change reality, but it can make us curious and vigorous in uncovering the world and the joie de vivre, the optimism that has vanished from our faces, our streets and cities. This is a time when art too examines the fates of generations growing up in divided and isolated societies, with „new values“ of selling and buying everything that rips apart one’s soul and one’s poetry. That is why MESS is important again this year, because it is the theatrical poetry of Freedom – the philosophy that enriches our lives with a sense of justice and compassion for others. We will see intimate and emotional performances that believe experientially in the perseverance of hope, that build „play“ as dialogue with their audience, that synthetize the theatrical poetry of word, movement and music with the poetry of existence, expressed in different stage forms. We have before us yet another theatrical excitement, a quest for the best of all worlds; something like that requires of us both intellectual courage and responsibility – and that is what MESS always brings us. Dino Mustafić Director of the International Theater Festival MESS


53. INTERNACIONALNI TEATARSKI FESTIVAL MESS 2013 Sarajevo, Mostar, Goražde, Visoko 28.09.2013. / Subota

11.00 / Međunarodni centar za djecu i omladinu Novo Sarajevo JEDNO JUTRO SAM OTIŠLA… Režija: César ESPINOZA ARAYA / Ana GALLEGO / Ángel SÁNCHEZ Teatro de Ocasión ČILE 20.00 / Plato ispod Starog mosta / Mostar OSVAJANJE SREĆE Režija: Haris PAŠOVIĆ East West Centar Sarajevo / Prime Cut Productions Belfast / Slovensko mladinsko gledališče Ljubljana BOSNA I HERCEGOVINA, SJEVERNA IRSKA, SLOVENIJA

29.09.2013. / Nedjelja

11.00 / Pozorište mladih Sarajevo MALI MUK Režija: Darko KOVAČOVSKI Pozorište mladih Sarajevo BOSNA I HERCEGOVINA 19.30 / Narodno pozorište Sarajevo SVOJIM PORAZOM UČINIT ĆU TE NEPOBJEDIVOM Režija: Angélica LIDDELL Atra Bilis Teatro ŠPANIJA 20.00 / Plato ispod Starog mosta / Mostar OSVAJANJE SREĆE Režija: Haris PAŠOVIĆ East West Centar Sarajevo / Prime Cut Productions Belfast / Slovensko mladinsko gledališče Ljubljana BOSNA I HERCEGOVINA, SJEVERNA IRSKA, SLOVENIJA 22.00 / Kamerni teatar 55 Dževad Karahasan: KONCERT PTICA Režija: Aleš KURT Kamerni teatar 55 BOSNA I HERCEGOVINA

30.09.2013. / Ponedjeljak

13.00 / Muzej književnosti i pozorišne umjetnosti BiH Razgovor s Dževadom Karahasanom 19.00 / Kamerni teatar 55 SOLFATARA Režija: Albert Pérez HIDALGO / Miquel SEGOVIA / Mònica ALMIRALL ATRESBANDES ŠPANIJA 20.00 / Sarajevski ratni teatar TAJNA DŽEMA OD MALINA Režija: Selma SPAHIĆ Sarajevski ratni teatar BOSNA I HERCEGOVINA

01.10.2013. / Utorak

19.30 / Narodno pozorište Sarajevo PLJAČKA PLIJENA Koreografija: Wim VANDEKEYBUS Ultima Vez BELGIJA 22.00 / Kamerni teatar 55 ŽUTA CRTA Režija: Ivica BULJAN Zagrebačko kazalište mladih HRVATSKA

02.10.2013. / Srijeda

17.00 / Narodno pozorište Sarajevo GALEB Režija: Tomi JANEŽIČ Srpsko narodno pozorište Novi Sad SRBIJA

03.10.2013. / Četvrtak

18.00 / Narodno pozorište Sarajevo Doruntina Basha: PRST Režija: Ana TOMOVIĆ Hartefakt / BITEF SRBIJA 20.00 / Kamerni teatar 55 BOŽANSTVENA Koreografija: Daniel LARRIEU Režija: Gloria PARIS Cie Daniel Larrieu-Astrakan FRANCUSKA 22.00 / Sarajevski ratni teatar TOMORROW’S PARTIES Režija: Tim ETCHELLS Forced Entertainment VELIKA BRITANIJA


04.10.2013. / Petak

13.00 / Muzej književnosti i pozorišne umjetnosti BiH Razgovor s Doruntinom Bashom 17.00 / Kamerni teatar 55 Ronald Rand: NEKA BUDE UMJETNOST! Režija: Gregory ABELS SAD 17.00 / Muzej književnosti i pozorišne umjetnosti BiH Scensko čitanje drama Srđana Sandića i razgovor s autorom 19.30 / Narodno pozorište Sarajevo Tanja Šljivar: GREBANJE ILI KAKO SE UBILA MOJA BAKA Režija: Selma SPAHIĆ Bosansko narodno pozorište Zenica BOSNA I HERCEGOVINA 22.00 / Sarajevski ratni teatar TOMORROW’S PARTIES Režija: Tim ETCHELLS Forced Entertainment VELIKA BRITANIJA

05.10.2013. / Subota

11.00 i 13.00 / Međunarodni centar za djecu i omladinu Novo Sarajevo KORALL KORAL Režija: Hanne DIESERUD / Christina LINDGREN Baby Opera NORVEŠKA 13.00 / Muzej književnosti i pozorišne umjetnosti BiH Razgovor s Tanjom Šljivar 15.00 / Narodno pozorište Sarajevo INTELEKTUALNI AUTOR Režija: Jorge Hugo MARíN La Maldita Vanidad KOLUMBIJA

22.00 / Sarajevski ratni teatar L.I. LINGUA IMPERII Autori/ce: Anagoor Anagoor ITALIJA

06.10.2013. / Nedjelja

11.00 / Kamerni teatar 55 KRALJICA VEŠMAŠINA Režija: Jelena KOVAČIĆ Bosansko narodno pozorište Zenica BOSNA I HERCEGOVINA 11.00 i 13.00 / Međunarodni centar za djecu i omladinu Novo Sarajevo KORALL KORAL Režija: Hanne DIESERUD / Christina LINDGREN Baby Opera NORVEŠKA 18.00 / Željeznička stanica Sarajevo Adnan Lugonić / Asja Krsmanović: TRAMVAJ Režija: Senad ALIHODŽIĆ Fercera BOSNA I HERCEGOVINA 19.30 / Narodno pozorište Sarajevo HAMLET, OD ANDA Režija: Diego ARAMBURO Teatro de los Andes BOLIVIJA 22.00 / Sarajevski ratni teatar HINKEMAN: ŠTA MORA NEKA BUDE Režija: Andrej NOSOV Jugoslovensko dramsko pozorište SRBIJA

07.10.2013. / Ponedjeljak

13.00 / Muzej književnosti i pozorišne umjetnosti BiH Razgovor s Adnanom Lugonićem / Asjom Krsmanović / Vukom Boškovićem / Dariom Bevandom / Bojanom Vidosavljević

17.00 / Narodno pozorište Sarajevo MATERIJALNI AUTORI Režija: Jorge Hugo MARíN La Maldita Vanidad KOLUMBIJA

19.30 / Narodno pozorište Sarajevo KING SIZE Režija: Christoph MARTHALER Theater Basel ŠVICARSKA

18.00 / Kamerni teatar 55 frei.wild: IN THE MIX Autori/ce: frei.wild NJEMAČKA

22.00 / Sarajevski ratni teatar L’INNOCENTE Režija: Diego DE BREA Slovensko mladinsko gledališče Ljubljana SLOVENIJA

19.00 / Narodno pozorište Sarajevo KAKO ŽELIŠ DA TE ŽELIM Režija: Jorge Hugo MARíN La Maldita Vanidad KOLUMBIJA


53. INTERNATIONAL THEATER FESTIVAL MESS 2013 Sarajevo, Mostar, Goražde, Visoko 28.09.2013 / SATURDAY

11:00 / International Center for Children and Youth Novo Sarajevo ONE MORNING I LEFT… Directors: César ESPINOZA ARAYA / Ana GALLEGO / Ángel SÁNCHEZ Teatro de Ocasión CHILE 20:00 / Plateau under the Old Bridge / Mostar CONQUEST OF HAPPINESS Director: Haris PAŠOVIĆ East West Centre Sarajevo / Prime Cut Productions Belfast / Slovensko mladinsko gledališče Ljubljana BOSNIA AND HERZEGOVINA, NORTHERN IRELAND, SLOVENIA

29.09.2013 / SUNDAY

11:00 / Youth Theater Sarajevo LITTLE MUK Director: Darko KOVAČOVSKI Youth Theater Sarajevo BOSNIA AND HERZEGOVINA 19:30 / National Theater Sarajevo I WILL MAKE YOU INVINCIBLE WITH MY OWN DEFEAT Director: Angélica LIDDELL Atra Bilis Teatro SPAIN 20:00 / Plateau under the Old Bridge / Mostar CONQUEST OF HAPPINESS Director: Haris PAŠOVIĆ East West Centre Sarajevo / Prime Cut Productions Belfast / Slovensko mladinsko gledališče Ljubljana BOSNIA AND HERZEGOVINA, NORTHERN IRELAND, SLOVENIA 22:00 / Chamber Theater 55 Dževad Karahasan: THE CONCERT OF BIRDS Director: Aleš KURT Chamber Theater 55 BOSNIA AND HERZEGOVINA

30.09.2013 / MONDAY

13:00 / Museum of Literature and Performing Arts of B&H Discussion with Dževad Karahasan 19:00 / Chamber Theater 55 SOLFATARA Directors: Albert Pérez HIDALGO / Miquel SEGOVIA / Mònica ALMIRALL ATRESBANDES SPAIN 20:00 / Sarajevo War Theater THE SECRET OF RASPBERRY JAM Director: Selma SPAHIĆ Sarajevo War Theater BOSNIA AND HERZEGOVINA

01.10.2013 / TUESDAY

19:30 / National Theater Sarajevo BOOTY LOOTING Choreographer: Wim VANDEKEYBUS Ultima Vez BELGIUM 22:00 / Chamber Theater 55 YELLOW LINE Director: Ivica BULJAN Zagreb Youth Theater CROATIA

02.10.2013 / WEDNESDAY

17:00 / National Theater Sarajevo THE SEAGULL Director: Tomi JANEŽIČ Serbian National Theater Novi Sad SERBIA

03.10.2013 / THURSDAY

18:00 / National Theater Sarajevo Doruntina Basha: The Finger Director: Ana TOMOVIĆ Heartefact / BITEF SERBIA 20:00 / Chamber Theater 55 DIVINE Choreographer: Daniel LARRIEU Director: Gloria PARIS Cie Daniel Larrieu-Astrakan FRANCE 22:00 / Sarajevo War Theater TOMORROW’S PARTIES Director: Tim ETCHELLS Forced Entertainment UNITED KINGDOM


04.10.2013 / FRIDAY

13:00 / Museum of Literature and Performing Arts of B&H Discussion with Doruntina Basha 17:00 / Chamber Theater 55 Ronald Rand: LET IT BE ART! Director: Gregory ABELS USA 17:00 / Museum of Literature and Performing Arts of B&H Staged Reading of Srđan Sandić’s plays and discussion with the author

22:00 / Sarajevo War Theater L.I. LINGUA IMPERII Authors: Anagoor Anagoor ITALY

06.10.2013 / SUNDAY 11:00 / Chamber Theater 55

LAUNDRY WASHER, THE QUEEN Director: Jelena KOVAČIĆ Bosnian National Theater Zenica BOSNIA AND HERZEGOVINA

19:30 / National Theater Sarajevo Tanja Šljivar: SCRATCHING OR HOW MY GRANDMOTHER KILLED HERSELF Director: Selma SPAHIĆ Bosnian National Theater Zenica BOSNIA AND HERZEGOVINA

11:00 and13:00 / International Center for Children and Youth Novo Sarajevo KORALL KORAL Directors: Hanne DIESERUD / Christina LINDGREN Baby Opera NORWAY

22:00 / Sarajevo War Theater TOMORROW’S PARTIES Director: Tim ETCHELLS Forced Entertainment UNITED KINGDOM

18:00 / Railway Station Sarajevo Adnan Lugonić / Asja Krsmanović: TRAM Director: Senad ALIHODŽIĆ Fercera BOSNIA AND HERZEGOVINA

05.10.2013 / SATURDAY

11:00 and13:00 / International Center for Children and Youth Novo Sarajevo KORALL KORAL Directors: Hanne DIESERUD / Christina LINDGREN Baby Opera NORWAY 13:00 / Museum of Literature and Performing Arts of B&H Discussion with Tanja Šljivar 15:00 / National Theater Sarajevo INTELLECTUAL AUTHOR Director: Jorge Hugo MARíN La Maldita Vanidad COLUMBIA 17:00 / National Theater Sarajevo MATERIAL AUTHORS Director: Jorge Hugo MARíN La Maldita Vanidad COLUMBIA 18:00 / Chamber Theater 55 frei.wild: IN THE MIX Authors: frei.wild GERMANY 19:00 / National Theater Sarajevo HOW DO YOU WANT ME TO WANT YOU Director: Jorge Hugo MARíN La Maldita Vanidad COLUMBIA

19:30 / National Theater Sarajevo HAMLET, OF THE ANDES Director: Diego ARAMBURO Teatro de los Andes BOLIVIA 22:00 / Sarajevo War Theater HINKEMAN: MAY THERE BE, WHAT HAS TO BE Director: Andrej NOSOV Yugoslav Drama Theater SERBIA

07.10.2013 / MONDAY

13:00 / Museum of Literature and Performing Arts of B&H Discussion with Adnan Lugonić / Asja Krsmanović / Vuk Bošković / Dario Bevanda / Bojana Vidosavljević 19:30 / National Theater Sarajevo KING SIZE Director: Christoph MARTHALER Theater Basel SWITZERLAND 22:00 / Sarajevo War Theater L’INNOCENTE Director: Diego DE BREA Slovensko mladinsko gledališče Ljubljana SLOVENIA


Bosna i Hercegovina, Sjeverna Irska, Slovenija / Bosnia and Herzegovina, Northern Ireland, Slovenia

Plato ispod Starog mosta – Mostar 20.00 Plateau under the Old Bridge – Mostar Trajanje / Running time: 100 min.

28/09/13 29/09/13

OSVAJANJE SREĆE CONQUEST OF HAPPINESS

Jezik: bosanski, engleski, španski, arapski, hebrejski, njemački, francuski s bosanskim prijevodom Language: Bosnian, English, Spanish, Arabian, Hebrew, German, French with Bosnian Subtitles

PREDSTAVA

Avangardna, odvažna i neočekivna predstava sa elementima teatra, plesa i žive muzike inspirisana tekstom Bertranda Rasela. Kako to da jedan od najznačajnijih umova dvadesetog vijeka, filozof, matematičar, mirovni aktivista i Nobelov laureat, smatra sreću temeljem ljudskog postojanja? Ko ima pravo na sreću? Amerikanci čija Deklaracija o nezavisnosti kaže da ljudi imaju neotuđivo pravo na život, slobodu i sreću? Da li stanovnici Bosne i Hercegovine i Sjeverne Irske imaju pravo na sreću? A šta je sa Slovenijom, Kambodžom, Belgijom, Sijera Leoneom, Čileom, Italijom… i, uostalom, sa svim ostalim ljudima na Zemlji? U predstavi Osvajanje sreće učestvuje hor djece i odraslih, te glumci/ice, plesači/ce i muzičari/ke iz raznih krajeva svijeta, što obećava jedinstveno pozorišno iskustvo od kog zastaje dah. Premijera je 20. septembra 2013. u gradu Deri-Londonderi, ovogodišnjoj britanskoj prijestolnici kulture. Turneja – Rijeka, Ljubljana, Novi Sad, Belfast: 30. septembar - 28. oktobar 2013.

PERFORMANCE

An avant-garde, daring and unexpected theatre, dance and live music show inspired by the writings of Bertrand Russell. How one of the most significant minds of the 20th century – a philosopher, mathematician, peace activist and a Nobel Prize Laurent – considered happiness as central to human existence? Who has right to be happy? The Americans whose Declaration of Independence stated that the people have the unalienable rights among which are: Life, Liberty and pursuit of Happiness? Do the people of Bosnia and Herzegovina and Northern Ireland have right to be happy? And how about Slovenians, Cambodians, Belgians, Sierra Leoneans, Chileans, Italians… actually, every person on Earth? Featuring a people’s choir of adults and children and an international cast of actors, dancers and musicians The Conquest of Happiness promises to be an aweinspiring breathtakingly unique theatrical experience. Opening night: September 20, 2013 Derry-Londonderry – UK City of Culture 2013 On Tour in Rijeka, Ljubljana, Novi Sad, Belfast: September 30 – October 28, 2013


Haris Pašović (51) je već više od dvije decenije jedan od vodećih teaterskih reditelja Jugoistočne Evrope. On je i umjetnički direktor East West Centra iz Sarajeva, kao i profesor režije na Akademiji scenskih umjetnosti u Sarajevu i na IEDC Poslovnoj školi na Bledu. Pašovićeve predstave Wedekindovog Buđenja proljeća i Dozivanja ptica prema Aristofanovim Pticama (obje u Jugoslovenskom dramskom pozorištu u Beogradu, 1987/1990) su obilježile teatar bivše Jugoslavije. Tokom opsade Sarajeva (1992-1996) Pašović je bio direktor Međunarodnog teatarskog festivala MESS. Producirao je nekoliko predstava, među njima i Čekajući Godoa u režiji Susan Sontag. 1993, dok je Sarajevo još uvijek bilo pod opsadom, organizovao je prvi Sarajevo Film Festival pod nazivom Poslije kraja svijeta. Pašović je adaptirao i režirao predstavu Klasni neprijatelj Najdžela Vilijamsa koja je izvedena na Međunarodnom festivalu u Edinburgu 2008. Pašović je i jedan od inicijatora i autor obimnog projekta Sarajevska crvena linija, kojim je 6. aprila 2012. obilježena dvadeseta godišnjica opsade Sarajeva.

DIRECTOR Haris Pašović (51) has been one of the leading theater directors in South East Europe for more than two decades. He is the artistic leader of the East West Centre in Sarajevo and Professor of Theater and Film Directing at the Performing Arts Academy in Sarajevo and Professor of the IEDC Bled School of Management in Slovenia. Pašović’s shows based on Frank Wedekind’s Spring’s Awakening and Calling the Birds based on Aristophanes’ play The Birds (both at the Yugoslav Drama Theater, Belgrade 1987/90) are considered the landmarks in the theater of the former Yugoslavia. During the siege of Sarajevo (1992-96) Pašović managed the MES International Theater Festival. He produced several shows, including Waiting for Godot, directed by Susan Sontag in 1993, while Sarajevo was still under the siege, he also organized the first Sarajevo Film Festival Beyond the End of the World. Pašović adapted and directed Class Enemy by Nigel Williams that was a part of the Edinburgh International Festival 2008. Most recently, Haris Pasović was the main initiator and the author and the director of a massive-scale event called Sarajevo Red Line, which on April 6, 2012 commemorated the Siege of Sarajevo’s 20th anniversary. KOAUTORICA Ema Jordan je izvršna direktorica Prime Cut-a, jedne od vodećih sjevernoirskih teatarskih kompanija. Njen rediteljski rad uključuje višestruko nagrađivane: I Am My Own Wife, Dougha Wrighta, (2012) Blackbird Davida Harrowera, (2011) Shoot the Crow Owena McCaffertyija (2012 i 2012) i mnoge druge. CO-CREATOR Emma Jordan is Prime Cut’s Executive Director, one of the leading Northern Irish Theatre Company. Her directing credits for the company include multiple award winning I Am My Own Wife by Doug Wright, (2012) David Harrower’s Blackbird, (2011) Owen McCafferty’s Shoot The Crow (2011 & 2012) and many others. KOREOGRAF Thomas Steyaert je Belgijanac, studirao je savremeni ples na Hoger Institut voor Dans u Antwerpenu, Belgija. Od 2002. do 2008. radio je s Wimom Vandekeybusom/Ultima Vez i plesao u mnogim internacionalnim produkcijama. Od 2006. se osamostaljuje i osniva Ponyhill VZW, kolektiv umjetnika/ca koji/e se bave plesom, performansom, muzikom, fotografijom, filmom i vizuelnom umjetnošću.

Koautorica / Co-Creator: Emma Jordan Koreograf / Choreographer: Thomas Steyaert Umjetnički saradnik / Artistic Collaborator: Damian Gorman Igraju / Cast: Cornelius Macarthy Thomas Steyaert Dermott Hickson Shane O’Reilly Damjana Cerne Mona MuratoviĆ Patrick O’Reilly SaŠa HandŽiĆ Željko Hrs Matt Faris Muzičari / Musicians: Neil Martin Rod McVey Horovi / Choirs: Hor Opere Narodnog pozorišta Sarajevo Omladinski hor Zenica Children Choir Mostar Horovođe / Choir Leaders: Danijel Žontar Milenko Karović Vesna Arapović Dizajn kostima / Costume Design: Irma Saje Vanja Ciraj Muzički reditelj i kompozitor / Music Director and Composer: Neil Martin Kompozicija “Genocid” / Composition “Genocide”: Philip Tan Scenografija i dizajn svjetla / Stage and Light Design: Ciaran Bagnall Dizajn zvuka / Sound Design: Enrico Fidone Video dizajn / Video Design: Matt Curry Grafički dizajn / Graphic Design: Enes HuseinČehajiĆ

CHOREOGRAPHER Thomas Steyaert is a native of Belgium and studied contemporary dance at the Hoger Institute voor Dans in Antwerp (BE). From 2002 until 2008, he worked with Wim Vandekeybus/Ultima Vez and danced in many international productions. From 2006 he decided to make his own work and founded Ponyhill VZW, a collective of artists active in dance, performance, music, photography, film and visual art.

Kasting direktorica / Casting Director: Georgia Simpson Tehnički direktor / Technical Director: Gianluca Tomasella Tehničar zvuka / Sound Operator: Enrico Fidone

PRODUKCIJA East West Centar Sarajevo je neprofitna, nevladina, kulturna i umjetnička organizacija osnovana 2005. i jedna je od najaktivnijih nezavisnih kulturnih organizacija na Balkanu. Učestvovali smo u zvaničnoj selekciji Međunarodnog festivala u Edinburgu 2008, Napoli Teatro festivala u Italiji 2010, Singapore Arts festivala, National Arts festivala u Južnoj Africi, Sibiu International Arts festivala u Rumuniji, kao i na najznačajnijim festivalima i u pozorištima u Srbiji, Hrvatskoj, Sloveniji, Crnoj Gori i Makedoniji. Osvojili smo nagradu Best Contemporary Show 2009. na poljskom festivalu Kontakt, na Međunarodnom teatarskom festivalu MESS u Sarajevu smo 2009. osvojili Specijalnu nagradu za doprinos pozorišnoj umjetnosti. U sarajevskom East West Centru majstorske radionice su držali mnogi čuveni evropski umjetnici/ce i ansambli, među kojima: Thomas Ostermeier, Schaubuehne, Berlin, Luc Parceval, Thalia Theater Hamburg, Jan Gossens, Royal Flemish Theater, Brisel, Jasmila Žbanić, filmska rediteljica, dobitnica Zlatnog medvjeda na Berlinskom međunarodnom filmskom festivalu. Nedavno je East West Centar zajedno sa Gradom Sarajevom organizovao događaj širokih razmjera nazvan Sarajevska crvena linija, kako bi se 6. aprila 2012. obilježila dvadeseta godišnjica opsade Sarajeva i stradanje 11.541 građanina. Sastavni dio ove drame i muzičke poeme posvećene građanima Sarajeva ubijenim između 1992. i 1996. je bila i 11.541 crvena stolica poredana duž glavne sarajevske ulice. Prime Cut Productions ima 20 godina iskustva rada u produkciji nagrađivanog i od strane kritike priznatog pozorišta. Kompanija je priznata kao jedna od najznačajnijih teatarskih organizacija, ne samo u Sjevernoj Irskoj, nego na cijelom irskom otoku. Prime je bio redovno nominiran, ali i nagrađivan mnogim nagradama, kao što su Irish Times Theatre Awards, u toku svoje dvadesetogodišnje historije. Teatar Mladinsko osnovan je 1955. godine kao prvi profesionalni teatar za djecu i mlade u Sloveniji. Osamdesetih godina Mladinsko je postepeno rekonstruisano u teatar, koji je interdisciplinarno kombinirao granično pozorišno istraživanje i tematizaciju političke subverzivnosti.

PRODUCTION East West Centre Sarajevo is one of the most profiled independent cultural organisations in the Balkans. We have participated in the Official Selection of the Edinburgh International Festival 2008, Napoli Teatro Festival, Italia 2010, Singapore Arts Festival, National Arts Festival of South Africa, Sibiu International Arts Festival in Romania as well at the festivals and venues in the region. We won the Best Contemporary Show Award at the 2009 International Festival Kontakt, Poland, Special Contribution to the Art of Theater Award at the 2009 Festival MES Sarajevo. A number of the most important European artists and companies gave master classes at the East West Centre: Thomas Ostermeier, Schaubuehne, Berlin, Luc Parceval, Thalia Theater Hamburg, Jan Gossens, Royal Flemish Theater, Brussels, Jasmila Žbanić, a film director, a winner of the Berlinale Golden Bear. Most recently, East West Centre together with the City of Sarajevo organized a major large-scale event called Sarajevo Red Line that in April of 2012 commemorated the Siege of Sarajevo’s 20th anniversary and 11.541 killed citizens. This drama and music poem dedicated to citizens killed during the 1992-1996 siege of their city consisted of 11.541 red chairs placed on the main Sarajevo street. Prime Cut Productions has a twenty years track record in the production of award-winning, critically acclaimed theatre. The Company is acknowledged as one of the most important theatre organisations not only in NI but on the island of Ireland. Prime has regularly been nominated and successful in winning awards such as the Irish Times Theatre Awards during twenty year history. Theater Mladinsko is established in 1955 as the first professional theatre for children and youth in Slovenia. In the eighties, Mladinsko was gradually re-structured into a theatre, which interdisciplinarily combined borderline theatre research and the thematisation of political subversiveness.

Tehničar svjetla / Light Operator: Ciaran Bagnall Video tehničar / Video Operator: Ismar Hadžiabdić Menadžer produkcije / Production Manager: Jen Shepherd Inspicijentica / Stage Manager: Monica McNally Finansije / Finances: Denise Gascoigne Lejla Abazović Organizacija / Organization: Lejla Abazović Camille Watson PR: Thursday’s Child Izrada kostima / Costume Maker: Lidija Inđić-Kenović Supervizor garderobe / Wardrobe Supervisor: Edina Bahtanović Fotografija / Photography: Petterik Wiggers Producenti / Producers: East West Center Haris PaŠoviĆ Ismar HadŽiabdiĆ Prime Cut Productions Una NicEoin Emma Jordan Slovensko mladinsko gledališče Uršula Cetinski Tibor Mihelic Syed In collaboration with National Theater Sarajevo and Bosnian National Theater Zenica

WORLD MESS

Koncept, režija / Concept, Direction: Haris PaŠović

REDITELJ


Španija / Spain

Narodno pozorište Sarajevo 19.30 National Theater Sarajevo Trajanje / Running time: 70 min.

29/09/13

SVOJIM PORAZOM UČINIT ĆU TE NEPOBJEDIVOM

I WILL MAKE YOU INVINCIBLE WITH MY OWN DEFEAT Te haré invencible con mi derrota

Jezik: španski s bosanskim i engleskim prijevodom Language: Spanish with Bosnian and English Subtitles PREDSTAVA

„Jacqueline Du Pré je umrla u 42. godini nakon duge i teške bolesti. Svoj kraj poistovjećujem sa njenim. Tuga me nagnala da budem saučesnica u smrti – strah od odbacivanja, ali i bol, su me natjerali da budem saučesnica u smrti. U jednom trenutku sam osjetila potrebu da komuniciram s Jacqueline, da razgovaram s njom – željela sam da mi objasni taj užasni sukob usađen duboko u njoj, sukob između duha i stvari. O tome nisam željela da razgovaram sa živima. Živi su me prevarili, strahovito obmanuli. Sjećam sa Cassavettesovog filma Opening Night u kojem Gena Rowlands odlazi na seansu u nadi da će tamo pronaći odgovor, saosjećanje kojeg joj nedostaje u životu. To je ono što tražim među mrtvima, shvatanje zašto ja (kao neko ko sve više pati od tjeskobe, straha, samoće i nepovjerenja), zašto ja (kao neko ko ne želi da se odrekne života, ali želi da umre), zašto ja i dalje živim, a Jacqueline ne.” Angélica Liddell

PERFORMANCE

“Jacqueline Du Pré died at the age of 42 after a long and difficult illness. I identified my own personal demise with Jacqueline’s. Sadness caused me to seek out complicity with the dead; fear of being excluded, as well as pain, led me to and made me seek out complicity with the dead. There was a moment in which I felt the need to communicate with Jacqueline, to talk with her; I wanted her to explain to me the terrifying conflict, embodied in her physicality, between matter and spirit. I did not want to talk with living people. The living had defrauded me, deceived me, terribly. I recalled Cassavettes’ Opening Night, in which Gena Rowlands goes to a séance looking for hope, for an answer, for a bit of compassion that the living lack. That’s what I am looking for among the dead, an understanding of why I (who little by little have become a bundle of anxiety, of fear, of loneliness and of mistrust), why I (who doesn’t want to abandon life, but does want to die), why I continue living while Jacqueline does not.“ Angélica Liddell


Igra / Performed by: ANGÉLICA LIDDELL Rasvjeta / Lighting: CARLOS MARQUERIE REDITELJICA

Angélica Liddell je rođena 1966. u mjestu Figueres, pokrajina Girona. 1993. osniva Atra Bilis Teatro, sa kojim je postavila 22 predstave. Njene predstave su prevedene na mnoge svjetske jezike kao što su francuski, engleski, ruski, njemački, portugalski i poljski. Neke od predstava su La falsa suicida (2000), El matrimonio Palavrakis (2001), Once upon a Time in West Asphixia (2002), Hysteria Passio (2003), Y cómo no se pudrió Blancanieves (2005), El año de Ricardo (2005), Perro muerto en tintorería: los fuertes (2007), Anfaegtelse (2008), La casa de la fuerza (2009), Maldito sea el hombre que confía en el hombre: un projet d’alphabétisation (2011) i Ping Pang Qiu (2012). Liddell je osvojila nekoliko nagrada, među njima 2003. nagradu Casa de América Award za najinventivniju dramu za komad Nubila Wahlheim, 2004. nagradu SGAE za predstavu Mi relación con la comida (Moj odnos s hranom), 2005. nagradu Premio Ojo Crítico Segundo Milenio za svoj rad, 2007. nagradu Notodo del Público za komad Perro muerto en tintorería: los fuertes (Mrtav pas u praonici: Jaki). Njena predstava Belgrado je 2007. osvojila drugo mjesto na dodjeli nagrade Lope de Vega, dok je predstava El año de Ricardo (Godina Ricarda) 2008. bila dobitnik nagrade Valle Inclán. 2011. je osvojila nagradu Sebastiá Gasch. Njeni recentni radovi El año de Ricardo, La casa de la fuerza i Maldito sea el hombre que confía en el hombre su premijerno izvedeni na festivalu d’Avignon, bečkom festivalu kulture Wiener Festwochen, te u pariskom Théâtre de l’Odéon. Njena predstava La casa de la fuerza je 2012. osvojila Državnu nagradu za dramu koju joj je lično uručio španski ministar obrazovanja, kulture i sporta, i Leone d’Argento of Theater na venecijanskom Bijenalu 2013. Njena posljednja predstava Todo el cielo sobre la tierra: El síndrome de Wendy, u koproduciji Wiener Festwochen, Festival D’Avignon, Théâtre de l’Odéon, Festival d’Automne à Paris, deSingel Internationale Kunstcampus i Le-Parvis Scène Nationale Tarbes Pyrénées izvedna je premijerno na Wiener Festwochen-u 9. maja 2013.

DIRECTOR

Angélica Liddell was born in Figueres, Girona in 1966. In 1993, she founded Atra Bilis Teatro, with which she has staged twenty-two works. Her plays have been translated into different languages such as French, English, Russian, German, Portuguese and Polish. La falsa suicida (2000), El matrimonio Palavrakis (2001), Once upon a time in West Asphixia (2002), Hysteria Passio (2003), Y cómo no se pudrió Blancanieves (2005), El año de Ricardo (2005), Perro muerto en tintorería: los fuertes (2007), Anfaegtelse (2008), La casa de la fuerza (2009), Maldito sea el hombre que confía en el hombre: un projet d’alphabétisation (2011) or Ping Pang Qiu (2012) are some of the titles. Liddell has won several awards, amongst them the 2003 Casa de América Award for Innovative Drama for her play Nubila Wahlheim, the 2004 SGAE Theatre Award for Mi relación con la comida (My Relationship with Food), the 2005 Premio Ojo Crítico Segundo Milenio Award in recognition for her works, the 2007 Notodo del Público Award for best performance for her play Perro muerto en tintorería: los fuertes (Dead dog in the Dry cleaner’s: The strong ones). The play Belgrado (Belgrade) won second place in the Lope de Vega 2007 Award while El año de Ricardo (The Year of Ricardo) won the Valle Inclán Award in 2008. She has also won the Sebastiá Gasch Award in 2011. Her latest works, El año de Ricardo, La casa de la fuerza and Maldito sea el hombre que confía en el hombre, have been premiered in Festival d’Avignon, Wiener Festwochen and Théâtre de l’Odéon in Paris. She has recently received the National Prize of Drama Literature 2012 for La casa de la fuerza, awarded by the Spanish Ministry of Education, Culture and Sport, and the Leone d’Argento of Theatre in La Biennale di Venezia 2013. Her latest play Todo el cielo sobre la tierra: El síndrome de Wendy, coproduced by Wiener Festwochen, Festival D’Avignon, Théâtre de l’Odéon, Festival d’Automne à Paris, deSingel Internationale Kunstcampus, and Le-Parvis Scène Nationale Tarbes Pyrénées was premiered in Wiener Festwochen on May 9th 2013.

Zvuk / Sound: ANTONIO NAVARRO Tehničar rasvjete / Lighting Technician: OCTAVIO GÓMEZ Muzika / Music: EDWARD ELGAR, Concerto for Cello Izvedba / Performed by: JACQUELINE DU PRÉ 13. koncert za dva instrumenta u jednoglasju / 13th Concerto for Two Instruments in Unison: FRANÇOIS COUPERIN Izvedba / Performed by: JACQUELINE DU PRÉ, WILLIAM PLEETH Inspicijentica / Stage Manager: ÁFRICA RODRÍGUEZ Tehnički direktor / Technical Director: Marc Bartoló Fotografija / Photography: Susana Paiva Asistentica produkcije / Production Assistant: MAMEN ADEVA Izvršna produkcija / Executive Production: GUMERSINDO PUCHE Koprodukcija / Coproduction: CITEMOR IAQUINANDI S.L. Y ATRA BILIS

WORLD MESS

Režija / Direction: ANGÉLICA LIDDELL


Bosna i Hercegovina / Bosnia and Herzegovina

Kamerni teatar 55 22.00 Chamber Theater 55 Trajanje / Running time: 90 min.

29/09/13

DŽEVAD KARAHASAN

KONCERT PTICA THE CONCERT OF BIRDS

Jezik: bosanski s engleskim prijevodom Language: Bosnian with English Subtitles

PREDSTAVA

Tekst Dževada Karahasana Koncert ptica, napisan kao svojevrsni omaž Aristofanu i islamskom mistiku Fariduddinu Attaru, govori o vrlo aktualnoj temi ljudske potrebe i potrage za vječnom mladošću s jedne strane, i o ljudskoj potrebi da na bilo koji način, i po svaku cijenu, sačuvamo ono što volimo. Bilo to zdravlje, mladost, ili jedan sasvim prosječan terijer. Ženski. Tekst je napisan kao svojevrsna parodija kojom autor na jedan vrlo rafiniran način ismijava ljudsku sujetu, želju za vlašću, kao i samu srž naše ljudskosti, koja, ogoljena i razotkrivena, ostaje isprazna, tašta i okrenuta sebi. Glavni likovi, Predsjednik koji je postao Slavuj i njegova majka Ghalina koja se pretvorila u Gavrana, u svojoj velikoj želji da zadrže vječnu mladost (i Predsjednikovog psa, Paulinu), pristaju na genetski eksperiment koji ih, iako uspješan u podmlađivanju, polako pretvara u ptice. Kada se oslobode svoje ljudskosti, oni polako shvataju kakvi su ljudi zapravo, i sazivaju veliki sabor svih ptica kako bi preuzeli vlast i oslobodili se ljudske tiranije. Ubrzo sreću i pjesnika i mistika Attara, koji je postao Pupavac, jer je nekada davno pisao o pticama i shvatio njihovu suštinu. On ih vodi na jedno mistično putovanje u potrazi za smislom i identitetom. Koncert ptica je komično ispričana priča o potrazi za ljudskošću, za životom i izgubljenim vremenom.

PERFORMANCE

The play Concert of Birds by Dževad Karahasan, written as a kind of homage to Aristophanes and the Islamic mystic Fariduddin Attar, focuses on a very present issue of human need and quest for eternal youth on one hand, and the need to preserve what we love, in any way, at any cost. Whether it is health, youth, or an entirely average terrier. Female. The play is written as a sort of parody, in which the author is, in a very refined way, making fun of human vanity, desire for power, and the very core of our humanity, which, stripped and exposed, remains empty, vain and egocentric. The main characters, a President who became a Nightingale and his mother Ghalina who turned into Raven, in their great desire to maintain eternal youth (and the President’s dog, Pauline), agree to a genetic experiment which is, although successful in rejuvenation, slowly turning them into birds. When they liberate themselves from their humanity, they slowly realize what people are actually like, and invite a great ansembly of all birds in order to take power and liberate themselves from human tyranny. Soon after, they meet the poet and mystic Attar, who became the Hoopoe, because a long time ago he wrote about the birds and understood their essence. He takes them on a mystical journey in search of meaning and identity. Concert of Birds is a comic story about the quest for humanity, life and lost time.


Dževad Karahasan, pisac i profesor književnosti. Rođen u Duvnu, školovao se u Duvnu, Sarajevu i Zagrebu. Predavao na univerzitetima u Sarajevu, Salzburgu, Goettingenu, Berlinu, Baselu. Objavio: romane: Istočni diwan, Šahrijarov prsten, Sara i Serafina, Noćno vijeće, Sjeme smrti; knjige pripovjedaka: Kraljevske legende, Kuća za umorne, Izvještaji iz tamnog vilajeta; eseje: O jeziku i strahu, Dnevnik selidbe, Knjiga vrtova, Sjene gradova; knjige drama: Kralju ipak ne sviđa se gluma, Misionari, Koncert ptica; u štampi: Knjiga učitelja. Drame su mu igrane u raznim gradovima i raznim teatrima, a prva je igrana u Kamernom teatru 55. Dobio je brojne ugledne međunarodne nagrade. Knjige su mu prevedene na četrnaest jezika. AUTHOR

Dževad Karahasan, writer and professor of literature. Born in Duvno, educated in Duvno, Sarajevo and Zagreb. He taught at universities in Sarajevo, Salzburg, Goettingen, Berlin, Basel. Published: Novels: Eastern Diwan, Šahrijar’s Ring, Sara and Serafina, Night Council, Seed of Death; Books of short stories: Royal Legends, House for Weary, Reports from Dark Vilayet; Essays: About Language and Fear, Diary of Moving, Book of Gardens, Cities’ Shadows; Plays: King Still Does Not Like Acting, Missionaries, Concert Of Birds; In the press: The Book of Teachers. His plays have been staged in many cities and theatres, and the first one was staged in the Chamber Theater 55. He received numerous prestigious international awards. His books have been translated into fourteen languages. Razgovor sa Dževadom Karahasanom će se održati 30.9.2013. u 13.00 / Muzej književnosti i pozorišne umjetnosti BiH. Moderatorica: Asja Krsmanović Discussion with Dževad Karahasan will be held on September 30 2013 at 13:00 / Museum of Literature and Performing Arts of B&H. Moderator: Asja Krsmanović REDITELJ

Aleš Kurt diplomirao je na Fakultetu dramskih umjetnosti u Beogradu (Odsjek filmske i TV režije). Snimio je nekoliko kratkih i dugometražnih filmova: Prokleta je Amerika (1991), Akumulator (2011), kao i dokumentaraca Šta se desilo s mojim prijateljima (1995), Portret reditelja (1998), Bahtalo drom (2003), Sretan put buba-maro (2004). U teatru je od 1995. režirao veliki broj predstava, a neke od njih su: Soire, Macblettes, Stop mašina, Pucanje duše, Dijalog u paklu, Premijera, Mjera za mjeru, Poljska konjica, Pinokio, Alisa u zemlji čuda, Bog, Rat i ostalo, Muholovac, Pinokio u nevolji. DIRECTOR

Aleš Kurt graduated from the Faculty of Dramatic Arts in Belgrade (Department of Film and TV directing). He has made several short and feature-length films: Cursed America (1991), Battery (2011), as well as documentaries, What happened to My Friends (1995), Portrait of a Director (1998), Bahtalo Drom (2003), Farewell Ladybug (2004). Since 1995, in theater, he has directed a great number of plays, and some of them are: Soire, Macblettes, Stop Machine, Soul Cracking, Dialogue in Hell, Premiere, Measure for Measure, Polish Cavalry, Pinocchio, Alice in Wonderland, God, War, etc., Flycatcher, Pinocchio in Trouble. PRODUKCIJA

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 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.

Autor drame / Playwright: DŽEVAD KARAHASAN Režija / Direction: ALEŠ KURT Igraju / Cast: MIRSAD TUKA AMAR SELIMOVIĆ TATJANA ŠOJIĆ SENAD ALIHODŽIĆ AIDA BUKVA Dramaturgija / Dramaturgy: VEDRAN FAJKOVIĆ Scenografija i kostimografija / Stage and Costume Design: ADISA VATREŠ Asistent scenografa / Stage Designer’s Assistant: VEDAD ORAHOVAC Kompozitor i aranžer / Composer and Arrangement: DUŠAN VRANIĆ Ninjutsu sensei: DARKO TRAJKOVIĆ Video Art: NAIDA BEGOVIĆ Svjetlo / Light: ELVEDIN BAJRAKTAREVIĆ NINO BRUTUS Ton / Sound: EDIN HAJDAREVIĆ DINA HAJDAREVIĆ Majstor scene: Milan Nović Video-projekcija / Video Projection: DINO BRUTUS Grafički dizajn i video art / Graphic Design and Video Art: BOJAN MUSTUR Fotografija / Photography: BOJAN MUSTUR Produkcija / Production: DUŠKA AMIDŽIĆ

BALKAN (CON)TEXT / MITTEL EUROPE

AUTOR


Španija / Spain

Kamerni teatar 55 19.00 Chamber Theater 55 Trajanje / Running time: 30 min.

30/09/13

SOLFATARA Jezik: španski s bosanskim i engleskim prijevodom Language: Spanish with Bosnian and English Subtitles

PREDSTAVA

Šta se dešava kad vaš strah svrati na večeru, a vaše najdublje i najcrnje misli ne žele da se pritaje? Solfatara, izraz koji označava vulkansko grotlo koje emituje vrele gasove visoke koncentracije sumpora. Ovakvih geografskih pojava ima na svakom ćošku, tj. otvora koji dozvoljavaju onome što je unutra da izbije na površinu. Bolno domišljata i do suza smiješna predstava katalonske trupe ATRESBANDES, dobitnica prve nagrade i nagrade publike na Be Festivalu u Birmingemu, kao i nagrada za najbolju režiju i najboljeg glumca na kosovskom festivalu Skena UP. „Bezobrazno gruba i neprijatna.” Donald Hutera, Times

PERFORMANCE

What happens when your fear comes round for dinner, and your deepest, darkest thoughts refuse to lie low? Solfatara – a term for the openings in volcanicterrain,which emit hot gases high in sulphur. We are full of these geographical phenomena: orifices that allow our insides to come to the surface. A relentlessly inventive and hilarious play from catalan company ATRESBANDES that won First Prize and Audience Prize at Be Festival Birmingham and Best Direction and Best Actor at Skena UP Festival Kosovo. “Uproariously rude and discomfiting.“ Donald Hutera,Times


Dizajn svjetla / Light Design: AITOR LARRE Prijevod / Translation: ANNE BANGLE Fotografija / Photography: JULIO CASTRO JIMÉNEZ Saradnja / Collaboration: FELIX ANDREW, LAURA BLANCH, C.C. EL SORTIDOR, C.C. CAN FELIPA (BARCELONA)

PRODUKCIJA

Trougao ATRESBANDES je rezultat ličnog i umjetničkog spoja umova u kojem sudjeluju Mònica Almirall, Miquel Segovia i Albert Pérez Hidalgo. Kako je grupa rasla i razvijala se, tako su se razvijali i metodi našeg pristupa činu stvaranja. Iako inspirisan raznovrsnim disciplinama, naš rad određuje jedna konstanta – zagovaranje teatarske laboratorije u kojoj je akcenat na procesu kolektivnog stvaranja. Prijateljstvo čini jednu stranu trougla, ali u kombinaciji sa nedoumicom i neizvjesnošću. Trudimo se da preispitujemo sve čime smo okruženi. To je upravo stvar koja je dominantna u našem pristupu savremenom teatru.

PRODUCTION

The triangle of ATRESBANDES emerged from an artistic and personal meeting of minds between Mònica Almirall, Miquel Segovia and Albert Pérez Hidalgo. As the group has grown and developed so have the methods we use to approach the act of creation. Though influenced by an enormous variety of disciplines, our work is characterised by a single constant: advocacy for a theatre laboratory where the process of collective creation is paramount. Friendship forms one side of the triangle, but coupled with doubt and uncertainty. We seek to question everything around us. This is the one thing that drives our approach to contemporary theater.

FUTURE MESS / IYMT

Kreirali i igraju / Created and Performed by: MÒNICA ALMIRALL MIQUEL SEGOVIA ALBERT PÉREZ


Bosna i Hercegovina / Bosnia and Herzegovina

Sarajevski ratni teatar 20.00 Sarajevo War Theater Trajanje / Running time: 180 min. / 1 pauza / break

30/09/13

KARIM ZAIMOVIĆ

TAJNA DŽEMA OD MALINA* THE SECRET OF RASPBERRY JAM Jezik: bosanski s engleskim prijevodom Language: Bosnian with English Subtitles

PREDSTAVA

PERFORMANCE

U momentu kada Sarajevo, uz lenjingradsku, postaje žrtvom najduže opsade dvadesetog vijeka, Karim Zaimović svojom fikcijom pokušava Sarajevu dati (odnosno vratiti) poziciju „centra svijeta“. U sarajevske podzemne tunele smješta prahistorijsku tvornicu magičnog džema od malina, džinovske pacove u koje je presađen DNK Hitlera i Göringa, svjetska slikarska remek djela, kao i formulu misterioznog otkrića Nikole Tesle. Od početka civilizacije, preko austrougarske aneksije BiH i svjetskih ratova, Sarajevo se otkriva onakvim kakvo je bilo, kakvo trenutno jeste, te kakvim će postati. Pacovi, katakombe, originali, falsifikati, Hitler, neonacisti/kinje, vampir, nevidljivi čovjek, malinaši/ce, antimalinaši/ce, KGB, CIA, Nikola Tesla, Walt Disney... čudesna su smješa koja briše granice između realnosti i fantazmagorije, otkrivajući nam nevjerovatnu tajnu.

At the moment when Sarajevo becomes the victim of the longest siege of the XX century, along with Leningrad, through his fiction, Karim Zaimović embarks on a journey to (re)claim the position of Sarajevo as the “center of the world”. In the underground tunnels of Sarajevo he places the prehistoric manufacture of the magical raspberry jam, gigantic rats with DNA of Hitler and Göring transplanted in them, world painting masterpieces, as well as the formula of Nikola Tesla’s mysterious discovery. From the beginning of civilization, through the Austro-Hungarian annexation of Bosnia and Herzegovina and the World Wars, we explore Sarajevo as it once was, is and will be. Rats, catacombs, the originals, the forgeries, Hitler, neonazis, a vampire, an invisible man, raspberry people, anti-raspberry people, KGB, CIA, Nikola Tesla, Walt Disney... create a miraculous mix which erases the borders between reality and fantasy and reveals an incredible secret.

* van konkurencije za nagrade za režiju i najbolju predstavu

* out of competition for Best Director and Best Performance Awards


REDITELJICA

Selma Spahić rođena je 1986. Diplomirala je režiju na Akademiji scenskih umjetnosti u Sarajevu. Profesionalni angažman joj uključuje, između ostalih, predstave: Utjecaj gama zraka na sablasne nevene Paula Zindela, u Sarajevskom ratnom teatru; Usamljeni Zapad Martina McDonaghe, u Mostarskom teatru mladih; Bolest porodice M Fausta Paravidina, u Kamernom teatru 55; te Kako sam naučila da vozim Paule Vogel, u Mostarskom teatru mladih. U maju 2011. režira dokumentarnu predstavu Hipermnezija u produkciji Heartefact Fonda i BITEF teatra u Beogradu baziranu na životima osam glumaca i glumica iz Prištine, Sarajeva i Beograda. Zatim postavlja Sumnju J.P. Shanleya u Kamernom teatru 55, Grebanje ili Kako se ubila moja baka Tanje Šljivar u Bosanskom narodnom pozorištu u Zenici, Tajnu džema od malina Karima Zaimovića u Sarajevskom ratnom teatru, te Žene koje čiste prema Jean Genetu u Crnogorskom narodnom pozorištu u Podgorici. Predstave Selme Spahić su višestruko nagrađivane internacionalno i u Bosni i Hercegovini. Hipermnezija je odigrana na festivalu Neue Theater Stücke u Wiesbadenu, Njemačka, te je tekst predstave objavljen u prestižnom časopisu Theater heute.

Selma Spahić was born in 1986. She graduated Directing from the Academy of Performing Arts in Sarajevo. Her professional involvement includes, among others, performances: Effect of Gamma Rays on Man-in-the-Moon Maringolds by Paul Zindel in Sarajevo War Theater, Lonesome West by Martin McDonagh in Mostar Youth Theater; Sickness of Family M by Faust Paravidino in Chamber Theater 55 and How I Learned to Drive by Paula Vogel in Mostar Youth Theater. In May 2011, she directed the documentary piece Hypermnesia, produced by Heartefact Fund and Bitef Theatre in Belgrade, which was based on the lives of eight actors and actresses from Pristina, Sarajevo and Belgrade. Then, she created Doubt by J.P. Shanley in Chamber Theater 55, Scratching or How My Grandmother Killed Herself by Tanja Šljivar in Bosnian National Theater in Zenica, Secret of Raspberry Jam by Karim Zaimović in Sarajevo War Theater and Women Who Clean based on Jean Genet’s Maids in Montenegrin National Theatre in Podgorica. Selma Spahić’s performances have received numerous awards in Bosnia and Herzegovina and internationally. Hypermnesia was played at the festival Neue Theater Stücke in Wiesbaden, Germany, and the play was published in the prestigious magazine Theater heute.

Umjetničke vrijednosti nastale u periodu opsade grada Sarajevski ratni teatar nastavio je afirmirati kao važan aspekt kulturnog i umjetničkog nasljeđa BiH. Prepoznavanje kapaciteta umjetnosti i kulture kao sredstva za poboljšanja kvaliteta života i društvenih vrijednosti polazna je tačka teatarskog djelovanja SARTR-a. Posebnu pažnju teatar posvećuje pitanjima odnosa između umjetnosti i etike, memorije, društvenim i političkim temama. U toku svog postojanja Sarajevski ratni teatar realizirao je 65 teatarskih projekata, a na Festivalu MESS su u različitim programima izvedene predstave: Skonište u režiji Dubravka Bibanovića, Ay Carmela reditelja Roberta Raponje,Čežnja i smrt Sylvie Plath u režiji Jernej Lorencija, Dijalog u paklu u režiji Aleša Kurta, Ines & Denise, reditelja Miloša Lazina, Utjecaj gama zraka na sablasne nevene, rediteljice Selme Spahić i Oblačna nebesa u režiji Jean-Luc Olliviera. Na Festivalu MESS 2012 Sarajevski ratni teatar je u različitim programima prezentirao 4 predstave: Bio je lijep i sunčan dan, rediteljice Tanje Miletić Oručević, 99% - Strah i Bijeda Trećeg rajha, u režiji Nermina Hamzagića, Odette & Odile, Amile Tezimehić i Ene Kurtalić te Vještice Almire Drino, koja je nagrađena za najbolju predstavu dječijeg programa. Glumica Sarajevskog ratnog teatra Selma Alispahić dobitnica je nagrade Reihan Demirdžić za najbolju mladu glumicu Festivala MESS u predstavama Ay Carmela (1999) i Smrt i čežnja Sylvije Plath (2003). Sarajevski ratni teatar koncipiran je i kao otvorena scena te centar društvenih aktivnosti (CDA) u kojem se, pored teatarskih predstava, prezentiraju različiti programi multimedijalnog karaktera poput projekcija filmova, fotografskih i drugih izložbi, radionica itd. Također, 2012. godine pokrenuti su i zasebni programi kao što su scena za djecu (SATRČIĆI) i Teatarska opservatorija čiji je cilj afirmiranje mladih umjetnika i umjetnica. Ukratko, Sarajevski ratni teatar, sa svojim uzbudljivim historijatom nastoji biti – mjesto naše savjesti i hrabrosti da se suprostavljamo nepravdama i svim devijacijama vremena u kojem živimo. SARTR nastoji biti ne samo teatar, već jedna ideja koja baštini tradiciju u kojoj su kultura, umjetnost i teatar važno sredstvo u borbi za ljepši i pravedniji svijet.

Dramatizacija i dramaturgija / Dramatization and Dramaturgy: BOJANA VIDOSAVLJEVIĆ DARIO BEVANDA ADNAN LUGONIĆ Scenografija / Stage Design: MIRNA LER Kostim / Costume Design: EMINA HODŽIĆ-ADILOVIĆ

DIRECTOR

PRODUKCIJA

Igraju / Cast: SNEŽANA ALIČ ALBAN UKAJ JASENKO PAŠIĆ ERMIN BRAVO ADI HRUSTEMOVIĆ BENJAMIN BAJRAMOVIĆ

PRODUCTION Artistic values that originated in the period of the siege of Sarajevo, Sarajevo War Theater continued to establish as an important aspect of cultural and artistic heritage of Bosnia and Herzegovina. Recognizing the capacity of art and culture as means of improving the quality of life and social values is the starting point of theatrical action of SARTR. The theater has given special attention to issues of a relationship between art and ethics, memory, social and political issues. During its existence Sarajevo War Theater realized 65 theater projects, and at the MESS Festival, in various programs, plays that were performed are: Shelter directed by Dubravko Bibanović, Ay Carmela directed by Robert Raponja, Longing and Death of Sylvia Plath, directed by Jernej Lorenci, Dialogue in Hell directed by Aleš Kurt, Ines & Denise directed by Miloš Lazina, Effect of Gamma Rays on Man-in-the-Moon Marigolds, directed by Selma Spahić and Cloudy Sky, directed by Jean-Luc Ollivier. At the 2012 MESS Festival, Sarajevo War Theater presented four performances in various programs: It was a Nice and Sunny day, directed by Tanja Miletić Oručević, 99% - Fear and Misery of the Third Reich, directed by Nermin Hamzagić, Odette & Odile, by Amila Terizmehić and Ena Kurtalić and Witches by Almira Drino, which was awarded for the Best Children’s Program. Sarajevo War Theatre’s actress Selma Alispahić won Reihan Demirdžić Award for best young actress of MESS Festival in performances Ay Carmela (1999) and Death and Desire of Sylvia Plath (2003). Sarajevo War Theater was conceived as an open stage and a center of social activity (CDA), which, in addition to theater performances, presentes different multimedia programs, such as screenings, photographic and other exhibitions, workshops, etc. Also, in 2012 different programs were launched, such as the stage for children (SATRČIĆI) and Theater Observatory aimed at the recognition of young artists. In short, the Sarajevo War Theater, with its exciting history is trying to be a place of our conscience and courage where we oppose injustice and all deviations of our times. SARTR strives to be, not only a theater, but an idea that nourishes a long tradition in which culture, art and theater are an important tool in the fight for a better and fairer world.

Dizajn svjetla / Light Design: IRHAD HODŽIĆ Originalna muzika / Original Score: DAMIR IMAMOVIĆ Korištena muzika / NonOriginal Score: Pet Shop Boys “It’s a Sin” Frank Zappa “Hungry Freaks Daddy” Talking Heads “Phycho Killer” Ray Conniff and The Singers “(There Was a Girl) Killing Me Softly” Scenski poket / Stage Movement: BRANKO POTOČAN Vizualni identitet, animacija / Visual identity, Animation: EMINA KUJUNDŽIĆ VJ: EDITA GAZIBARA Ilustracije plakata i afiše / Poster and Booklet Illustration: DRAGAN ROKVIĆ Dizajn postera / Poster Design: FABRIKA Fotografija / Photography VELIJA HASANBEGOVIĆ Producent / Producer: NIHAD KREŠEVLJAKOVIĆ Koprodukcija / Co-production: FONDACIJA KARIM ZAIMOVIĆ INTERNACIONALNI TEATARSKI FESTIVAL MESS WARM

MITTEL EUROPE

Režija / Direction: SELMA SPAHIĆ


Belgija / Belgium

Narodno pozorište Sarajevo 19.30 National Theater Sarajevo Trajanje / Running time: 110 min.

01/10/13

PLJAČKA PLIJENA BOOTY LOOTING

Jezik / Language: no problem

PREDSTAVA

Wim Vandekeybus je za booty Looting sastavio grupu od šest glumaca/ica, jednog muzičara i jednog fotografa. Muzika, pokret, riječ i fotografija su podjednako zastupljeni. Svaki od ovih medija dodaje konačnoj slici nešto novo, dok nešto drugo poništava. Fotografija u predstavi booty Looting je sredstvo pomoću kojeg Vandekeybus govori o sjećanju. „Sjećanja su često oblikovana ili, pak, iskrivljena pod utjecajem fotografija. Prust je jedne prilike rekao da vizuelno sjećanje, ustvari, poništava sjećanje. Ukus i dodir su mnogo osjetljiviji, ali je vizuelni doživljaj jači. I upravo zbog toga se mnogo bolje možemo sjećati onoga što nismo doživjeli, već samo vidjeli na slikama.” Wim Vandekeybus I sam naslov booty Looting nagovještava proces izobličavanja sjećanja. booty Looting se odnosi na dvostruku vrstu pljačke – pljačku onoga što je već opljačkano, krađu već ukradenog, pljačku plijena.

PERFORMANCE

For booty Looting Wim Vandekeybus has composed a group of six performers, one musician and one photographer. Music, movement, spoken word and photography are on an equal footing with each other. Every medium adds something or erases something. In booty Looting photography is a means that enables Vandekeybus to talk about memory. “Memories are often created or distorted on the basis of photographs. Proust once accused the visual memory of actually erasing memories. Taste and touch are much more sensitive, but the visual is dominant. Which is why you can perfectly well remember things you have never experienced, simply because you have seen pictures of them.” Wim Vandekeybus The title booty Looting is intended to point to this process of distorting the memory. booty Looting refers to a double form of plundering: the plundering of what has already been plundered, stealing what was already stolen, looting the booty.


KOREOGRAF

Wim Vandekeybus je rođen u mjestu Herenthout (Belgija) 30. juna 1963. Nakon srednje škole odlazi u Leuven na studij psihologije. Međutim, 1985. se odlučuje za drugačiji put i odlazi na audiciju kod Jana Fabrea koji mu daje ulogu u komadu Moć teatarske ludosti. Dvije godine kasnije osniva trupu Ultima Vez. Prva predstava Čega se tijelo ne sjeća doživjela je međunarodni uspjeh i donijela mu njujoršku nagradu Bessie za inovativan ples i izvedbu. Danas, i nakon trideset godina, te mnogih filmova i video spotova Vandekeybus i dalje traga za novitetima i inovacijama. „Po meni, forma mora svaki put biti drugačija“, objašnjava Vandekeybus. „Upravo zbog toga, u jednom trenutku radim krajnje muzikalnu predstavu (nieuwZwart), dok se u drugom projektu baziram na iskustvo pojedinca (Monkey Sandwich), zatim pravim predstavu za mlade ljude, od kojih inače bježim (Radical Wrong), a odmah nakon toga se hvatam u koštac sa klasičnom mitologijom (Oedipus/bêt noir), ili nekim analitičkim komadom, u kojem fotografija ima dominantnu ulogu (booty Looting). “Ovako raznovrsnom repertoaru doprinosi i saradnja sa plesačima/cama, cirkusantima/cama, glumcima/icama, muzičarima/kama i umjetnicima/cama iz raznih drugih sfera umjetnosti. Zvuk i muzika čine nit koja se provlači kroz sva njegova djela. U decembru 2012. Vandekeybusu je Pokrajina Istočne Flandrije dodijelila nagradu Kaizer Karel. Ova nagrada se svake tri godine dodjeljuje jednom umjetniku/ci za njegov/njen izraziti talenat i doprinos u oblasti umjetnosti i kulture, njegovu/njenu predanost poslu, kao i rad sa mlađim umjetnicima/cama.

Saradnici i igraju /Created with & Performed by: JERRY KILLICK BIRGIT WALTER ELENA FOKINA DYMITRY SZYPURA LUKE JESSOP KIP JOHNSON Muzika uživo / Original music live: ELKO BLIJWEERT Fotografija uživo / Live still-photography: DANNY WILLEMS Umjetnički asistent i dramaturg / Artistic Assistant & Dramaturge: GREET VAN POECK Dizajn svjetla / Light Design: DAVY DESCHEPPER FRANCIS GAHIDE WIM VANDEKEYBUS Dizajn zvuka / Sound Design: ANTOINE DELAGOUTTE Stilistkinja / Styling: ISABELLE LHOAS Asistent / Assisted by: FRÉDÉRICK DENIS

CHOREOGRAPHER

Wim Vandekeybus was born in Herenthout (Belgium) on 30 June 1963. After finishing secondary school, he moved to Leuven to study Psychology. In 1985, however, he decided to follow a completely different path and auditioned for Jan Fabre, who gave him a part in The Power of Theatrical Madness. Two years later, he founded Ultima Vez. His first show, What the Body does not Remember, was an international success, earning him a Bessie Award (New York Dance and Performance Award) for its innovation. And now after almost 30 years and a whole series of films and videos, Wim Vandekeybus is still searching for novelty and innovation. “For me, the form has to be different every time”, he explains. “This is why on one occasion I might create an extremely musical show (nieuwZwart), then for my next project base a film on the experiences of one man (Monkey Sandwich), why I might then create a show for young people from which I keep well away (Radical Wrong), then switch to a classical mythology play (Oedipus/bêt noir) or even an analytical piece in which photography plays a major part (booty Looting).” This variety is made possible partly through collaboration with dancers, circus performers, actors, musicians and other artists from a whole range of disciplines. Music and sound have naturally become the common thread running through his work. In December 2012 Vandekeybus received the Keizer Karel prize from the Province of East Flanders. This prize is awarded every three years to an artist as a mark of his exceptional talent in the field of art and culture, his commitment and his work with younger generations.

Asistent pokreta / Movement Assistant: MÁTE MÉSZÁROS Rasvjeta na turneji / Lighting on Tour: DAVY DESCHEPPER Zvuk na turneji / Sound on Tour: ANTOINE DELAGOUTTE Fotografija / Photography: Danny Willems Produkcija / Production: ULTIMA VEZ Koprodukcija / Coproduction: DANCE BIENNALE 2012 (VENICE, IT) KVS (BRUSSELS, BE) SCHAUSPIEL KÖLN (COLOGNE, DE)

WORLD MESS

Režija, koreografija i scenografija / Direction, Choreography & Stage Design: WIM VANDEKEYBUS


Hrvatska / Croatia

Kamerni teatar 55 22.00 Chamber Theater 55 Trajanje / Running time: 100 min.

01/10/13

JULI ZEH / CHARLOTTE ROOS

ŽUTA CRTA YELLOW LINE

Jezik: hrvatski s engleskim prijevodom Language: Croatian with English Subtitles

PREDSTAVA

„Žuta crta pokriva širok dijapozon tema i fenomena, uspostavljajući odnose između događaja, medijatizacije i perceptivne analize. Pokušava uspostaviti njihove međusobne relacije i ispitati pukotine koje se stvaraju po šavovima pri pokušaju komunikacije i artikulacije. Na različite načine propituje se pitanje slobode, slobode odabira i mogućnosti. S obzirom na prirodu projekta i uvjetovanosti proizvodnje teksta i predstave, izbora, uspostavlja se sofisticirani dijalog između problema i njihovih mogućih percepcija u sustavu nenaviknutim ili drugačije udešenim za njihovu analizu. Uglavnom iz empirijskih razloga, odnos između Hrvatske i Njemačke, članice i kandidata, odnosi snaga u eurozoni omogućuju neka nova čitanja, oprezan ulazak u probleme koji nas ili očekuju ili njihove simptome već možemo promatrati u vlastitom okružju. Žuta crta tako postaje okvir za razmjenu ideja, isprepletanje uzroka i posljedica, znakovi budućnosti, upozorenje i promišljanje o procesima u kojima neposredno sudjelujemo.“ Dino Pešut

PERFORMANCE

“Yellow Line covers a broad spectrum of topics and phenomena, correlating between events, mediatization and perceptive analysis. It seeks to establish their interrelations and scrutinize the cracks at their seams made during the attempts to communicate and articulate. In various ways, the questions of freedom, freedom of choice and possibility are being explored. Due to the nature of the project and the conditions for a text or a play production, a sophisticated dialogue is being established between the problems and their possible perceptions within a system unaccustomed to or unadjusted for their analysis. For reasons of empirical nature, mostly, the relationship between Croatia and Germany, a member state and a candidate state, the distribution of powers within the Eurozone make possible for new readings and careful dealing with the problems to come or those whose symptoms are already pronounced in our environment. Yellow line, thus, slowly becomes a framework for the exchange of ideas, for the intertwining of causes and effects, tokens of the future, a warning and deliberation about processes in which we directly participate.“ Dino Pešut


Reditelj Ivica Buljan (rođen 1965) je jedan od najuspješnijih hrvatskih izvoznih proizvoda, koji je angažovan u inostranstvu koliko i kod kuće. Režirao je u Sloveniji, Litvaniji, Francuskoj, Belgiji, Rusiji, Crnoj Gori, Obali Slonovače, Italiji i Hrvatskoj, a njegove predstave su izvođene na mnogim važnim međunarodnim festivalima. Također je angažovan kao gostujući predavač na teatarskim školama u Renu i St. Etienu u Francuskoj. Režijom se bavi od 1995. kada je u Ljubljani postavio komad Ime na vrhu jezika Pascala Quignarda, a često radi sa djelima Piera Paoloa Pasolinija (Pylades, Pigsty, Un pesciolino), Heinera Müllera (Medeamaterial, Quartet, Macbeth after Shakespeare, Women’s Comedy), Roberta Walsera (Schneewittchen), Elfriede Jelinek (Prinzessinnendramen, Bambiland, Das Lebewohl), Miroslava Krleže (Kristifor Kolumbo, Gospoda Glembajevi, Kraljevo), Bothoa Straussa (Die eine und die andere), Hervéa Guiberta (La Chair fraîche), Marieluise Fleißera (Der starke Stamm), Martina Sperra (Jagdszenen aus Niederbayern), Anje Hilling (Schwarzes Tier Traurigkeit), Petera Handkea (Immer noch Sturm). Osim pomenutih, posebno ga zanimaju djela Bernarda-Marie Koltèsa. 1999. je bio jedan od suosnivača ljubljanskog Mini-teatra u kojem je izvodio djela savremenih autora/ica, a bio je i prvi strani umjetnik kome je dodijeljena Prešernova nagrada.

Director Ivica Buljan (born 1965) is one of Croatian drama’s most successful exports, working abroad as often as in his home country. He has directed in theatres in Slovenia, Lithuania, France, Belgium, Russia, Montenegro, Republic of Côte d’Ivoire, Italy and Croatia as well as had his plays staged at numerous important international festivals. He is also a guest lecturer at the Theater Schools in Rennes and Saint-Etienne in France. Directing since 1995, when he staged Pascal Quignard’s The Name on the Tip of the Tongue in Ljubljana, he often engages with the works by Pier Paolo Pasolini (Pylades, Pigsty, Un pesciolino), Heiner Müller (Medeamaterial, Quartet, Macbeth after Shakespeare, Ženska komedija), Robert Walser (Schneewittchen), Elfriede Jelinek (Prinzessinnendramen, Bambiland, Das Lebewohl ), Miroslav Krleža (Christopher Columbus, The Noble Glembays, Kraljevo), Botho Strauss (Die eine und die andere), Hervé Guibert (La Chair fraîche), Marieluise Fleißer (Der starke Stamm), Martin Sperr (Jagdszenen aus Niederbayern), Anja Hilling (Schwarzes Tier Traurigkeit), Peter Handke (Immer noch Sturm). Another major focus are the works of Bernard-Marie Koltès. In 1999 he co-founded Ljubljana’s Mini Theater in order to stage plays by contemporary playwrights, and was the first non-Slovene artist to be awarded the nation’s Prešeren Prize.

U proteklih osam godina Zagrebačko kazalište mladih svojim repertoarom i umjetničkim konceptom dokazalo se kao jedno od najambicioznijih i najatraktivnijih teatara u ovom dijelu Europe. Gostovalo je na festivalima u Berlinu, Bruxellesu, Beču, Friburgu, Moskvi, Santiagu de Chileu, Nitri, Varni, Heildebergu, Helsinkiju, Cividaleu, Beogradu, Skoplju, Plzenu, Novom Sadu, Podgorici, Sarajevu, Ljubljani, Lyonu, Wiesbadenu, Stuttgartu, New Yorku, San Joseu, Braunschweigu... Koprodukcijom s teatrom Jana Fabrea kao prvo hrvatsko pozorište predstavilo se u programu najprestižnijih europskih pozorišnih festivala u Salzburgu i Avignonu. Četvrti projekt – tetralogiju koja će nastajati od 2011. do 2014. s četiri glumca, prva je predstava Car gubitka (2011), druga Kralj plagijata (2011) – predstavit će u Schaubühne am Lenin Platz u Berlinu, te će tako različite glumačke interpretacije istih tekstova, u istoj režiji, geografski „pokriti“ gotovo čitavu Europu. Godine 2008. Zagrebačko kazalište mladih postalo je članicom Europske teatarske konvencije, koja okuplja četrdesetak europskih teatara. U 2009. godini pozorište je gostovalo s predstavama Vrata do i Oprostite mogu li vam ispričati...? na festivalu Najbolji s istoka u Beču, s predstavom S druge strane na festivalu Divadlo u Češkoj i festivalu Lille 3000 Europe XXL u Lilleu te na Međunarodnom pozorišnom festivalu u Lyonu, dok je predstava Veliki Gatsby gostovala na na pozornici Litavskog nacionalnog kazališta u Vilniusu – europskoj prijestolnici kulture. Koprodukcijska predstava Polet izvedena je u La Comédie de Saint-Etienne i na Međunarodnom teatarskom festivalu MESS u Sarajevu. Zagrebačko kazalište mladih ušlo je u projekt Orient Express koji okuplja šest europskih pozorišta, članica Europske teatarske konvencije, a odvija se pod pokroviteljstvom Europske unije.

Dramaturgija / Dramaturgy: DINO PEŠUT Scenografija / Stage Design: LOVRO ARTUKOVIĆ Kostimografkinja / Costume Design: ANA SAVIĆ GECAN

DIRECTOR

PRODUKCIJA

Igraju / Cast: GORAN BOGDAN LUCIJA ŠERBEDŽIJA HRVOJKA BEGOVIĆ VEDRAN ŽIVOLIĆ FRANO MAŠKOVIĆ JADRANKA ĐOKIĆ KSENIJA MARINKOVIĆ NINA VIOLIĆ SLAVEN ŠPANOVIĆ PJER MENIČANIN I KARLO MRKŠA

PRODUCTION Thanks to its repertoire and the artistic concept behind it, the Zagreb Youth Theater in the last eight seasons proved to be one of the most ambitious and most appealing theaters in this part of Europe. They performed in Berlin, Bruxelles, Vienna, Friburgu, Moscow, Santiago de Chile, Nitra, Varna, Heildeberg, Helsinki, Cividale, Belgrade, Skopje, Plzen, Novi Sad, Podgorica, Sarajevo, Ljubljana, Lyon, Wiesbaden, Stuttgart, New York, San Jose, Braunschweig... With a co-production with Jan Fabre’s theatre they were the first Croatian theater to perform at the festivals in Salzburg and Avignon. Their fourth project, a tetralogy with four actors to be completed by 2014, including the plays Emperor of Loss (2011) and King of Plagiarism (2011), will be presented at the Schaubühne am Lenin Platz in Berlin, and will offer various interpretations of the same texts, directed by the same team and geograhically covering almost the entire Europe. The Zagreb Youth Theater became a member of the European Theater Convention together with about forty European theatres. In 2009 the Theater performed Next Door and Excuse me, May I Tell You...? at the Best of the East festival in Vienna, On the Other Side at the Divaldo Festival in Chech Republic, the Lille 3000 – Europe XXL in Lille, and the International Theatre Festival in Lyon. They staged Great Gatsby at the Lithuanian National Drama Theatre in Vilnius – the European Capital of Culture. The co-production Polet was performed at the La Comédie de Saint-Etienne and the International Theater Festival MESS in Sarajevo. The Zagreb Youth Theater is part of the Orient Express project which gathers six European theatres, members of the European Theater Convention, sponsored by the European Union.

Kompozitorica / Composer: MITJA VRHOVNIK SMREKAR Koreografija / Choreography: MARINKO PETRIČEVIĆ Grafički dizajn / Graphic Design: Marino Krstačić Furić Ana Tomić Fotografija / Photography: MARA BRATOŠ Prijevod / Translation: LATICA BILOPAVLOVIĆ VUKOVIĆ Produkcija / Production: PREDSTAVA ŽUTA CRTA NASTALA JE U OKVIRU PROJEKTA POZOR: PIONIRI / PERFORMANCE YELLOW LINE IS CREATED AS A PART OF A PROJECT ATTENTION: PIONIERS

BALKAN (CON)TEXT / MITTEL EUROPE

Režija / Director: IVICA BULJAN

REDITELJ


Srbija / Serbia

Narodno pozorište Sarajevo 17.00 National Theater Sarajevo Trajanje / Running time: 390 -420 min. / 3 pauze / breaks

02/10/13

A.P. CHEKOV

GALEB

THE SEAGULL Jezik: srpski s engleskim prijevodom Language: Serbian with English Subtitles

PREDSTAVA

„Predstava Galeb je rezultat šesnaestomesečnog kreativnog procesa koji se temelji na glumačkom i ličnom iskustvu učesnika. Čitanje Čehova tj. analiza teksta dešavala se kroz praktičan rad – radnja u prostoru, pri čemu su se koristili različiti glumački pristupi i psihodramske tehnike. Predstava tematizuje samu kreativnost i pokušava da se bavi temama ne samo na nivou sadržaja nego i u scenskom, oblikovnom smislu, različitim pozorišnim sredstvima. Pored samog sadržaja drame – pozorište, gluma, pisanje, kreativnost, veze između zaljubljivanja i stvaranja, međusobni odnosi, mehanizmi i obrasci u vezama, tenzija među generacijama, staro prema novom, pitanja priznavanja, očekivanja, želje – kroz proces su se iskristalisale i teme koje određuju svaki od četiri čina. One su determinisale i sugerisale izbor scenskog postupka, strategije i fokusa. Prvi čin predstave “vrti” se oko teme pozorišta i umetnosti, drugi je vezan za temu zaljublivanja, fantazije i snova. U trećem činu kao tema pojavljuju se predmeti, posedovanje predmeta i ljudi, tretiranje drugog kao predmet. Dok se četvrti čin bavi pitanjem sudbine i/ili slučajnosti i kako odluke i događaji utiču na život pojedinca. Tako je nastala predstava koja bi zapravo mogla da bude četiri različite predstave, jer činovi su sadržinski, tematski i scenski zaokružene celine.“ Katja Legin

PERFORMANCE

“The play The Seagull is the result of a sixteen-month-long creative process, based on the cast and the participants’ own experiences. The interpretation of Chekhov, i.e. the analysis of the text, occurred through practical work – the action in the space – during which different approaches to acting and psychodrama techniques were utilized. The play thematizes the very creativity and tries to deal with issues not only at the level of content, but also in theatrical, modeling terms, using different theatrical means. In addition to the content of the play – theater, acting, writing, creativity, relationships between falling in love and creativity, mutual relations, mechanisms and patterns in relationships, tensions between the generations, the old to the new, the issues of recognition, expectations, desires – other themes crystallized during this process: themes that define each of the four acts. They also determined the choice of staging procedure, strategy and focus. The first act of the play “spins” around the topic of theater and art, the second is related to the topic of falling in love, fantasies and dreams. In the third act the themes that emerge are objects, possession of objects and people, treating the other as an object. And the fourth act deals with the issue of fate and/or coincidence and how decisions and events affect the lives of individuals. This led to the creation of the play, which could actually be four different plays, because the acts are complete wholes in terms of content, theme and staging.“ Katja Legin


REDITELJ

Rođen 1972. u Ljubljani. Pozorišnu režiju diplomirao 1998. i magistrirao 2001. na ljubljanskoj Akademiji za pozorište, radio, film i televiziju, gdje predaje glumu i praktičnu režiju. Dodatno se edukovao u Sloveniji i u svijetu, prije svega na području različitih glumačkih tehnika. Kao pozorišni reditelj u posljednjih deset godina režirao je u nacionalnim, gradskim i drugim pozorištima i nezavisnim produkcijama u većini država na prostoru bivše SFRJ, a njegove predstave gostuju po čitavoj Evropi. Tomi Janežič je od 2004. direktor Studija za istražavanje umjetnosti i glume u Ljubljani u okviru kojeg se bavi istraživanjem na području glumačke igre. Od 2005. bavi se međunarodnim istraživačkim programom Potencijali glume, a od 2008. međunarodnim programom Umjetničke rezidencije i edukacije za mlade glumce. Afirmisan je kao jedan od rijetkih istraživača glumačke igre danas u Evropi, „slovenski Piter Bruk“, „autor savršene predstave“, „savremeni pozorišni Mocart“. U posljednje vrijeme istraživao psihodramu, edukovao se šest godina u toj oblasti i stekao zvanje psihodramskog psihoterapeuta. Osvojio je više, uglavnom međunarodnih nagrada i priznanja, među kojima Prešernova, Borštnikova, Nagrada Judita splitskog festivala, dvije nagrade Dr Đuro Rošič riječkog festivala, dva Gran prija Zlati lev festivala u Umagu, Diploma festivala Balkan Theatre Space, dvije agrade Ardalion za najbolju predstavu i režiju (M. Marković, Šuma blista, 2010) i druge. Trostruki dobitnik Sterijine nagrade za Nahoda Simeona M. Marković, 2007: najbolja predstava, režija i scenografija. Na Sterijinom pozorju učestvuje i režijama Putujućeg pozorišta Šopalović Lj. Simovića (Atelje 212, 2008) i Šuma blista M. Marković (Atelje 212, 2009).

Born in 1972 in Ljubljana. Graduated in theater directing in 1998 and got an MA in 2001 at the Ljubljana Academy of Theatre, Radio, Film and Television, where he teaches acting and practical directing. Additional education in Slovenia and abroad, primarily in the area of acting techniques. As a theater director in the last ten years he has directed in national, municipal and other theaters and independent productions in most of the countries of the former Yugoslavia, and his performances tour across Europe. Since 2004 Tomi Janežič is the director of the Studio for Investigating Art and Acting in Ljubljana, where he is engaged in research in the field of play-acting. Since 2005 he is engaged in the international research program Potentials of Acting, and since 2008 in the international program Art Residences and Education for Young Actors. He is established as one of the few researchers of play-acting today in Europe, “the Slavic Peter Brook”, “author of the perfect play”, “contemporary theatrical Mozart”. Lately he has investigated psychodrama, and received a six-year education in the field to gain the title psychodrama psychotherapist. He has won several, mainly international, awards and recognitions, including the Prešern, Borštnikov, Judith Split Festival Award, two awards Dr Đuro Rošič from Rijeka Festival, two Grand Prix from Zlati lev Festival in Umag, Diploma of the Balkan Festival Theatre Space, two Ardalion Awards for best play and best director (M. Marković, The Forest Glistens, 2010) and others. Triple award winner of Sterija Award for Simeon the Foundling M. Marković, 2007: best play, direction and set design. At the Sterijino Pozorje Festival he also participated with the direction of Travelling Theatre Šopalović by Lj. Simović (the Atelje 212 Theatre, 2008) and The Forest Glistens by M. Marković (the Atelje 212 Theatre, 2009).

Korijeni Srpskog narodnog pozorišta sežu daleko u 1861. godinu kada je, na sjednici Srpske čitaonice, kojom je predsedavao Svetozar Miletić, donesena odluka o osnivanju Srpskog narodnog pozorišta. Novi Sad postaje kolijevka srpskog teatra i biva prozvan „Srpska Atina”. Glumci/ice teatra su također bili kulturni misionari/ ke, koji su imali presudan utjecaj na kulturni identitet i svijest nacije. 1868. direktor i glumci/ice Srpskog narodnog pozorišta bivaju pozvani da osnuju Narodno pozorište u Beogradu. 1946. osnovana je Opera Srpskog narodnog pozorišta. 1950. osnovan je Balet Srpskog narodnog pozorišta. 1956. SNP je inicijator i osnivač jednog od najvećih teatarskih festivala u zemlji Sterijinog pozorja. 28. marta 1981. Srpsko narodno pozorište se useljava u sadašnju zgradu. Taj dan proglašen je Danom Srpskog narodnog pozorišta. Glavni ciljevi Srpskog narodnog pozorišta su promocija i očuvanje nacionalnog i internacionalnog teatarskog i kulturnog nasljeđa, te predstavljanje najvrijednije savremene kulturne kreativne prakse. Stoga, postavljaju velike, ambiciozne produkcije u svoja tri segmenta: Dramu, Operu i Balet. Srpsko narodno pozorište predstavlja srpsku kulturu po čitavoj državi, ali i inostranstvu, sa više od 100 predstava izvedenih u Njemačkoj, Mađarskoj, Poljskoj, Češkoj, Slovačkoj, Rumuniji, Ukrajini, Rusiji, Bugarskoj, Italiji, Holandiji, Belgiji, Luksemburgu, Iraku, Egiptu, Sloveniji, Makedoniji, Hrvatskoj, Bosni i Hercegovini… Srpsko narodno pozorište je član Europske teatarske konvencije.

Dramaturgija / Dramaturgy: KATJA LEGIN Kostimografija / Costume Design: MARINA SREMAC Kompozitorka / Composer: ISIDORA ŽEBELJAN

DIRECTOR

PRODUKCIJA

Igraju / Cast: JASNA ĐURIČIĆ FILIP ĐURIĆ DUŠAN JAKIŠIĆ MILICA JANEVSKI DENEŠ DEBREI DRAGINJA VOGANJAC IVANA VUKOVIĆ BORIS LIJEŠEVIĆ BORIS ISAKOVIĆ DIMITRIJE DINIĆ JOVAN ŽIVANOVIĆ MILICA TRIFUNOVIĆ TIJANA MARKOVIĆ DUŠAN MAMULA

PRODUCTION The roots of the Serbian National Theater reach back to 1861, when, on the meeting of the Serbian Readingroom, with Svetozar Miletić as a chairman, the decision of founding the Serbian National Theatre was made. Novi Sad became the cradle of the Serbian theatre, and was, with good reason named “The Serbian Athens”. The theater’s actors were also the cultural missionaries, who made a fundamental influence to the cultural identity and conscience of the nation. In 1868 director and actors of the Serbian National Theatre were invited to found National Theatre in Belgrade. In 1946 Opera of the Serbian National Theatre was founded. In 1950 Ballet of the Serbian National Theatre was founded. In 1956. SNT was initiator and one of the founders of the biggest theatre festival in the country, Sterijino pozorje. On 28 of March 1981 the Theatre moved to the new building, and that day was declared as the Serbian National Theatre Day. The principal aims of the Serbian National Theatre are to promote and preserve the national and international theatrical and cultural heritage, and to present the most valuable contemporary creative practice. Therefore, we stage large, ambitious productions in our three units: Drama, Opera and Ballet Departments. The Serbian National Theatre has represented Serbian culture throughout the country as well as abroad, with more than a hundred performances in Germany, Hungary, Poland, Czech Republic, Slovakia, Romania, Ukraine, Russia, Bulgaria, Italy, Nederland, Belgium, Luxemburg, Iraq, Egypt, Slovenia, Macedonia, Croatia, Bosnia and Herzegovina... The theatre has presented its work - and gained many awards - at the main festivals in Serbia, and at many European festivals too. Serbian National Theatre is a member of the European Theater Convention.

Dizajn zvuka / Sound Design: TOMAŽ GROM Ko-scenograf / Stage Codesigner: ŽELJKO PIŠKORIĆ Asistenti reditelja / Assistant Directors: DUŠAN MAMULA DIMITRIJE DINIĆ Asistentica kostimografa / Assistant Costume Designer: SNEŽANA HORVAT Režija i montaža filma / Film Director and Editor: TOMI JANEŽIČ Ko-montažer i reditelj tizera / Film Co-editor and Teaser Director: BRANE KLAŠNJA Kamera / Camera: SRĐAN ĐURIĆ Ton / Sound: UROŠ STOJNIĆ Majstori svetla / Light Technicians: MIROSLAV ČEMAN MARKO RADANOVIĆ Majstor tona / Sound Technician: DUŠAN JOVANOVIĆ Snimatelj muzike/ Music Recording: ZORAN MARINKOVIĆ Muzička ekipa / Musicians: ALEKSANDAR RUŽIČIĆ BORISLAV ČIČOVAČKI NENAD MARKOVIĆ ISIDORA ŽEBELJAN BOBAN STOŠIĆ GORAN KOSTIĆ IVAN MARJANOVIĆ Fotografija / Photography: BRANKO LUČIĆ Producentica / Producer: ELIZABETA FABRI

MITTEL EUROPE

Režija, scenografija, dizajn svjetla / Direction, Stage and Light Design: TOMI JANEŽIČ


Srbija / Serbia

Narodno pozorište Sarajevo 18.00 National Theater Sarajevo Trajanje / Running time: 70 min.

03/10/13

DORUNTINA BASHA

PRST FINGER

Jezik: srpski s engleskim prijevodom Language: Serbian with English Subtitles

PREDSTAVA

Drama Prst mlade prištinske spisateljice Doruntine Bashe je pobjednički tekst sa regionalnog konkursa Hartefakta za najbolji savremeni društveno angažovani dramski tekst za 2011. godinu. Predstava je realizovana u partnerstvu Hartefakta i Bitef teatra iz Beograda. Komad Prst se izdvaja svojim dramskim potencijalom, visokim literarnim dometom i umjetnički impresivnim tretmanom izuzetno osjetljive tematike iz savremenog života u kojem se svi prepoznajemo. Komad imponuje stilom, lišenim svake patetike, sa tačnom dozom humora i ironije, u poetičnom tretmanu tragičnih posljedica novije historije našeg regiona. Lišen bilo kakvih dnevno političkih atributa, ali duboko ukorijenjen u albanskoj tradiciji, komad se bavi bolnim odnosom između majke i supruge čoveka nestalog u ratnim sukobima 1999. godine. Deset godina kasnije, nadajući se da se njihov muž, odosno sin, nekim čudom može vratiti, dvije žene žive zarobljene u međusobnim optužbama, rivalstvu i borbi za moć, dijeleći pritom neizmjernu bol za izgubljenom osobom i pokušavajući se suočiti sa istinom.

PERFORMANCE

The play Finger by the young playwright Doruntina Basha from Pristina was the winning play of the 2011 regional Heartefact competition for the best contemporary socially minded text. The performance was a result of the partnership between Heartefact and Bitef Theater from Belgrade. The play Finger sticks out with its dramatic potential, literary merit of highest order and impressive artistic treatment of a highly sensitive topic from everyday life which we all can identify with. The piece abounds in style devoid of pathetic overtones, has a good dose of humor and irony, and gives a poetic treatment of tragic events from the recent history of the region. Devoid of any political overtones, and deeply rooted in Albanian tradition, the play deals with the painful relationship between the mother and the wife of a man who went missing during the 1999 war. Ten years later, hoping that only a miracle could bring their husband and son back, the two women live trapped in their own accusations, rivalry and struggle for power, sharing the immense pain over the lost man and trying to come to terms with the truth.


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 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. AUTHOR

Doruntina Basha was born in Pristina 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 and Macedonian theaters 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. Razgovor sa Doruntinom Bashom će se održati 4.10.2013. u 13.00 / Muzej književnosti i pozorišne umjetnosti BiH. Moderatorica: Asja Krsmanović Discussion with Doruntina Basha will be held on October 4 2013 at 13:00 / Museum of Literature and Performing Arts of B&H. Moderator: Asja Krsmanović REDITELJICA

Ana Tomović je rođena 1979. godine u Beogradu. Diplomirala je pozorišnu i radio režiju na FDU u Beogradu u klasi prof. Egona Savina i asistenta Dušana Petrovića. Režirala je predstave: Creeps Luca Hibnera (BDP), Patka Stele Fihili (Kraljevačko pozorište), Halflajf Filipa Vujoševića (Atelje 212), Povratak Kazanove po noveli Artura Šniclera (SNP), Monogamija Stele Fihili (Somborsko narodno pozorište), autorski projekat Trtmrtživotilismrt (BELEF 2007), Norway.Today Igora Bauersime (BDP i Kruševačko pozorište), Brod za lutke Milene Marković (SNP), Slučaj Vojcek – Hinkeman po G.Bihneru i E. Toleru (Bitef teatar), Ronalde, razumi me Filipa Vujoševića (Narodno pozorište u Beogradu), Romeo i Julija (Pozorište Oberhausen, Nemačka), Vještice Roalda Dahla (Malo pozorište Duško Radović). Dobitnica je nagrade za najbolju režiju na Joakimfestu 2005. godine za predstavu Patka. Predstava Brod za lutke pobjednik je Sterijinog pozorja 2009. godine i učestvovala je na BITEF-u iste godine. DIRECTOR

Ana Tomović was born in 1979 in Belgrade. She graduated from the Department of Theatre Direction at the Faculty of Dramatic Arts in Belgrade, in the class of Professor Egon Savin and Assistant Professor Dušan Petrović. She directed the following productions: Creeps by Luc Hibner (Belgrade Drama Theatre), Duck by Stella Feehily (Kraljevo Thetre), Halflife by Filip Vujošević (Atelje 212), Casanova’s Return based on Arthur Schnitzler’s novel (Serbian National Theatre), Go My Man by Stella Feehily (the National Theatre of Sombor), an author’s project Tobeornottobe (Belef 2007), Norway.Today by Igor Bauersima (co-production of Belgrade Drama Theatre and Kruševac theatre), Boat for Dolls by Milena Marković (Serbian National Theatre),Woyzeck – Hinkemann Case based on G. Büechner and E. Toller (BITEF), Ronald, Please Understand Me by Filip Vujošević (Belgrade National Theatre), Romeo and Juliet (Oberhausen Theatre, Germany), The Witches by Roald Dahl (Duško Radović Small Theatre). She received the 2005 Joakim’s Award for Director at the Joakimfest for her play Duck. Boat for Dolls was the best play at the 2009 Sterijino Pozorje, and it was also performed at the BITEF the same year. 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.

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 Theater’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 Theater 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.

Režija / Direction: ANA TOMOVIĆ Igraju / Cast: JASNA ĐURIČIĆ MILICA STEFANOVIĆ Dramaturgija / Dramaturgy: FILIP VUJOŠEVIĆ Scenografija / Stage Design: ZORANA PETROV Kostim / Costume Design: MOMIRKA BAILOVIĆ Scenski pokret i asistentica režije / Stage Movement and Assistant Director: BOJANA MIŠIĆ Muzički saradnik / Music Collaborator: DRAŠKO ADŽIĆ Fotografija / Photography: Jelena JankoviĆ

BALKAN (CON)TEXT / MITTEL EUROPE

Autorica drame / Playwright: DORUNTINA BASHA

AUTORICA


Francuska / France

Kamerni teatar 55 22.00 Chamber Theater 55 Trajanje / Running time: 55 min.

03/10/13

JEAN GENET

DIVINE

BOŽANSTVENA Jezik: francuski s bosanskim i engleskim prijevodom Language: French with Bosnian and English Subititles PREDSTAVA

Ovaj projekat nastao je iz želje koreografa i rediteljice da tijelom plesača ožive odlomke prvog Genetovog romana Gospa od cvijeća, nastalog u zarobljeništvu, koji također predstavlja prvo djelo u procesu emancipacije autora. „On“ postaje Božanstvena nakon djetinjstva provedenog na selu. Nakon toga, on otkriva rječnik klasičnog plesa u jednom časopisu te nanovo stvara novi svijet, stvaran i imaginaran, uzvišen, u kojem pronalazi utočište. Uživa opisujući „položaj ruku Nižinskog na starim fotografijama na kojima nosi raskomadane ruže.“ Kasnije, Božanstvena se zaljubljuje u Slađanog kojeg počinje izdržavati: „lijep mužjak, nasilan i nježan, rođen da bude svodnik.“ Slađani upoznaje Gospu od cvijeća, mladog i neodoljivog ubojicu. Božanstvena je ganuta krhkom ljepotom mladog muškarca koji će mu vratiti muževnost, zbog kojeg će se iznova preobraziti i pronaći svoje muško tijelo! Priča obiluje brojnim preokretima u kojoj primjećujemo Genetovu naklonost prema snovima o preobraženju. Tijelo plesača je u službi fantomske snage i svijeta mogućeg. Njegovo tijelo je mjesto prijelaza, utjelovljenje preplitanja ženskog i muškog identiteta, stvarnosti i priviđenja, riječi i pokreta. Prijelaz riječi u pokret, preplitanje pozorišta i plesa proizvode jedinstven jezik inspiriran Genetovim čistim i baroknim pisanjem.

PERFORMANCE

This project came about as a result of the wish of the choreographer and director to enliven through a dancer’s body parts of the first Genet’s novel Our Lady of the Flowers written in captivity, which was also the first author’s work in the process of emancipation. “He” becomes Divine after spending his childhood in the countryside. He later discovers a glossary of classic dance in a magazine and creates a new world, real and imaginative, even sublime, in which he finds a sanctuary. He takes pleasure in describing “the way Nijinsky held the old photographs in which he carried roses with petals torn off.” Later on, Divine falls in love with Darling and starts to support him: “a beautiful male, cruel and gentle, born a pimp.” Darling meets Our Lady of the Flowers, a young and compelling killer. Divine is moved by the young man’s fragile beauty which is about to return him his masculinity, and help him transform once again and find his male body! The story abounds in unexpected twists in which we sense Genet’s striving toward dreams on transfiguration. A dancer’s body is in service of phantom power and the world of possible. His body is a place of transformation, the embodiment of intertwining of female and male identities, reality and imagination, words and movements. The transformation from word to movement, intertwining of theater and dance create a unique language inspired by Genet’s pure baroque writing.


KOREOGRAF

Daniel počinje svoju karijeru profesionalnog plesača osamdesetih godina. Godine 1994, u to vrijeme direktor Nacionalnog centra za koreografiju u Toursu, prima od Ministra za kulturu nacionalni Grand Prix za ples. Vraća se trupi Astrakan u Parizu i u novembru 2003. godine stvara plesnu predstavu N’oublie pas ce que tu devines (Ne zaboravi ono što naslućuješ). U junu 2006. iznova predstavlja Waterproof u Nacionalnom centru za savremeni ples u Angersu te stvara novu predstavu Nevermind u MC2 u Grenoblu, koju će izvoditi i u pozorištu Théâtre de la Ville. Godine 2007. započinje sa brojnim koreografskim iskustvima, stvara LUX u februaru 2010. godine na Ferme du Buisson, zatim Rose za CIP u Marseilleu u martu 2010. godine. Postaje parnter Manege de Reimsa u saradnji sa Centrom za koreografski razvoj Picardie l’Echangeur (CDC Picardie l’Echangeur) godine 2010, 2011. i 2012. Surađuje sa udruženjem les Robinsons des glaces (Robinzoni leda) na ekspediciji tokom koje pleše na zalutalim ledenim pločama kako bi kroz umjetnost skrenuo pažnju javnosti na klimatske promjene. Živi i radi u Parizu, dobitnik je Ordena časnika za umjetnost i književnost.

CHOREOGRAPHER

Daniel embarks on a career of professional dancing in the 1980’s. In 1994, a then-director of the National Choreography Center of Tours, he receives the Grand Prix for Dance from the Minister of Culture. He returns to the Astrakhan Company in Paris, and in November 2003 produces a dance performance entitled N’oublie pas ce que tu devines. In June 2006 he restages Waterproof at the National Center of Contemporary Dance in Angers, as well as produces a new play Nevermind at the MC2 in Grenoble, which will also be performed at the Théâtre de la Ville. In 2007 Daniel starts with his numerous choreographic experiences, hence creating LUX in February 2010 at Ferme du Buisson, after that Rose follows in March 2010, for CIP n Marseille. He becomes a partner with Manage de Reims, in cooperation with the Center for Choreographic Development Picardie l’Echangeur (CDC Picardie l’Echangeur) in 2010, 2011 and 2012. He cooperates with the Association les Robinsons de glaces (Robinsons of ice), at the expedition during which he dances on the astray ice panels, in order to draw public attention with art on climate changes. He lives and works in Paris. He is a winner of decoration for Arts and Literature officer.

REDITELJICA

Gloria Paris napušta Italiju 1985. godine i dolazi u Pariz kako bi studirala na Marcele Marceauvoj školi pantomime u Parizu. Nastavlja studij glume sa, između ostalih, Françoise Merle i Mariom Gonzalezom, kojem će asistirati od 1991. do 1994. godine. Svoju prvu režiju ostvaruje 1994. godine na Državnom pozorištu za mlade s Molierovim Učenim ženama, te osniva trupu Chant V. Nakon toga, režirala je Marivauxovu Lažnu pratilju i Ibzenovu Hedu Gabler sa La Comedie de Picardie. Između 2002. i 2006, u partnerstvu sa pozorištem Athénée Théâtre Louis-Jouvet, režira Cocteauovu Paklenu mašinu, Copovu Evu Peron te Filumenu Marturano Eduarda De Filippa. Paralelno, od 2004. do 2009. godine, trupa Chant V boravi u rezidenciji u Arc-en-ciel Théâtre u Rungisu gdje stvara svoje predstave i učestvuje u kulturnim aktivnostima kroz radionice i igre namijenjene ljubiteljima/icama pozorišta, radionice organizirane u koledžima, te kroz dramske sesije i predstave u stanovima. U periodu između januara 2008. i decembra 2010. godine, trupa je partner pozorišta Théâtre du Nord - Nacionalnog centra za dramaturgiju iz Lilla Tourcoinga i 3 godine je uključena u rad Nacionalnog centra za dramaturgiju. Trenutno još uvijek surađuje s pozorištem Athénée kroz dva nova projekta inspirirana Jeanom Genetom: Boženstvena, prema romanu Gospa od cvijeća (2011-2012) te Ona (2012-2013) prema postuhmno objavljenom tekstu. Od sezone 2012-2013 uspostavlja partnerstvo sa pozorištem Le Théâtre du Gymnase iz Marseillea kroz predstavu Impresario iz Smirne koja je imala premijeru u maju 2013. godine, prema istoimenom Goldonijevom tekstu.

DIRECTOR

Gloria Paris leaves Italy in 1985 and comes to Paris to study at the Marcel Marcey School of Pantomime in Paris. Continues to study acting with, among others, Françoise Merle and Maria Gonzalez, whom she will assist from 1991 up to 1994. Her first directing she has done in 1994 at the National Theatre for Youth with The Learned Women by Moliere, and founds troupe Chant V. After that, she directed Phony Companion by Marveux and Ibsen’s Hedda Gabler with La Comedie de Picardie. Between 2002 and 2006, in partnership with theater Athénée Théâtre Louis-Jouvet, she directed Infernal Machine by Jean Cocteau, Eva Peron by Cop and Filumena Marturano by Eduardo De Filippo. In parallel, from 2004 to 2009, the troupe Chant V resided in Arc-en-ciel Théâtre in Rungis, where it creates its performances and participate in cultural activities, through workshops, games intended for theater lovers, workshops organized in colleges and through scenic sessions and performances in flats. In the period between January 2008 and December 2010, the troupe is a partner with the Théâtre du Nord-National Center for dramaturgy from Lille Tourcoing and is a part of the life of the National Center for Dramaturgy for the next three years. Currently, it is still cooperating with theater Athénée through two new projects inspired by Jean Genet Divine, based on the novel Lady of Flowers (2011-2012) and the posthumous play She (2012-2013). From the season 2012 to 2013, she establishes a partnership with theater Le Théâtre du gymnase from Marseilles through a play Impresario from Smyrna presented in May 2013, according to the same Goldoni text.

Koreografija/ Choreography: DANIEL LARRIEU Asistent reditelja / Director Assistant: SHADY NAFAR Scenografija i svijetlo / Stage Design and Lighting: LAURENT P. BERGER Kostimografija / Costume Design: MARGARET STRECHOUT Zvuk / Sound: LE TONE Adaptacija / Adaptation: GLORIA PARIS DANIEL LARRIEU Rad na tekstu / Work on the Text: GEORGES ROIRON Fotografija / Photography: Laurent Paillier Koprodukcija / Co-production: ASTRAKAN CHANT V Korealizacija / Co-realisation: ATHÉNÉE THÉÂTRE LOUISJOUVET

WORLD MESS

Režija / Direction: GLORIA PARIS


Sarajevski ratni teatar 22.00 Sarajevo War Theater Trajanje / Running time: 80 min.

03/10/13

Velika Britanija / United Kingdom

Sarajevski ratni teatar 22.00 Sarajevo War Theater Trajanje / Running time: 80 min.

04/10/13

TOMORROW’S PARTIES Jezik: engleski s bosanskim prijevodom Language: English with Bosnian Subtitles

PREDSTAVA

Najnovija predstava Forced Entertainmenta istražuje mogućnosti i klišee nade. Dok pišu i skupljaju buduće scenarije, kao i kratke naracije o optimizmu i očaju, članovi/ice trupe istražuju nesigurnu prirodu očekivanja i obilje mogućnosti koje pruža budućnost. Tomorrow’s Parties počiva na idejama utopijskih i distopijskih projekcija, te optimističnih priča koje sami sebi pričamo, kao i zadovoljstva smišljanja koje nastaje za vrijeme preokreta u samoj izvedbi djela. Iz ovih pretpostavki, mašte i napete, ali ishabane naracije, komad odlazi u nekom drugom pravcu, ka nekim drugim pretpostavkama – realističnim, ličnim i, očigledno, fantastičnim. Tomorrow’s Parties nam predstavlja Forced Entertainment u intimnom i šaljivom svjetlu – kroz jedan razigran, pronicljiv i pomalo bunovan pogled ka budućnosti, mogućoj i nemogućoj.

PERFORMANCE

Forced Entertainment’s latest performance explores ideas and clichés of hope.Writing and collecting future scenarios as well as small narratives concerning optimism and despair, the company investigate the speculative nature of anticipation and the myriad possibilities the future holds in store. Tomorrow’s Parties draws on ideas of utopian and dystopian projections, the optimistic stories we tell ourselves and on the pleasures of invention that arise as the work twists and turns in performance. From these conjectures, day dreams and gripping but wellworn narratives, the piece will move out in different directions to other kinds ofspeculations – the realistic, the personal and the evidently fantastical. Tomorrow’s Parties is Forced Entertainment in intimate and comical mode - a playful, poignant and at times delirious look forwards to futures both possible and impossible.


Tim Etchells (1962) je pisac i umjetnik sa adresom u Sheffieldu. Ima bogato radno iskustvo, a među najznačajnijim angažmanima su uloga vođe svjetski priznate grupe Forced Entertainment, kao i karijera nezavisnog vizuelnog umjetnika i pisca beletristike. Sarađivao je sa mnogim vizuelnim umjetnicima/cama, koreografima/kinjama i fotografima/kinjama, kao što su: Meg Stuart, Boris Charmatz, Asta Groting, Wendy Houstoun, Elmgreen & Dragset, Philipp Gehmacher, Hugo Glendinning, Vlatka Horvat i mnogi drugi. Njegov opus obuhvata performanse, video spotove, fotografiju, tekstove, instalacije i beletristiku. Posljednjih godina Etchells se često bavio vizuelnom umjetnošću i svoja djela izlagao u galerijama Gasworks i Sketch (London), Künstlerhaus (Bremen), Jakopic (Ljubljana) i Bunkier Sztuki (Krakow). Njegov rediteljski rad u sklopu Forced Entertainmenta se kreće od haotičnih dekonstrukcija teatarskih spektakala poput: The Coming Storm (2012), The Thrill of it All (2010), Bloody Mess (2004) i First Night (2001), do intimnih, pa čak i minimalističkih izvedbi, poput: Tomorrow’s Parties (2011), The Travels (2002), Exquisite Pain (2005), posljednje po tekstu vizuelne umjetnice Sophie Calle. Etchells je razvio jedinstven glas u pisanju o performansu, kao i za performans, njegova monografija Certain Fragments (Forced Entertainment and Contemporary Performance) je prihvaćena sa oduševljenjem, a njegovi članci objavljeni u mnogim antologijama koje se bave idejama i vještinima rubnih formi savremenog teatra. Tokom godina Etchells je objavio i dosta djela iz oblasti beletristike. Većina istražuje eksperimentalne pristupe jeziku i naraciji, a neke od njih su Endland Stories i The Dream Dictionary (for the Modern Dreamer) te njegov prvi roman The Broken World napisan u formi vodiča kroz zamišljenu kompjutersku igricu. Etchells je diplomirao izvrsnim prosjekom 1984. na univerzitetu Exeter, na Odsjeku za engleski jezik i dramu. Nakon toga je predavao i držao radionice širom svijeta, u svim značajnijim institucijama koje se bave savremenim teatrom, kao što su Centre for Performance Research, Cardiff, Tisch School of the Arts, NYU i Cooper Union, New York i Das Arts Amsterdam. Dartington College of Arts mu je 2007. dodijelio počasni doktorat, kao priznanje za njegov doprinos savremenom teatru. Bio je Legacy: Thinker in Residence (20092010) u centrima Tate Research i LADA u Londonu, počasni gostujući profesor na School of Arts, Roehampton University (2010-2012), gostujući profesor na Odsjeku za izvođačku umjetnost na Univerzitetu u Hamburgu (2010-2011). Bio je kustos ljubljanskog festivala Exodus u aprilu 2013, a 2014. će u istoj ulozi biti dio tima festivala LIFT u sezoni After a War posvećenoj naslijeđu Prvog svjetskog rata. 2013. je biran u zvanje profesora na univerzitetu u Lancasteru. DIRECTOR

Tim Etchells (1962) is an artist and a writer based in Sheffield, UK. He has worked in a wide variety of contexts, notably as the leader of the world-renowned performance group Forced Entertainment and as an independent visual artist and writer of fiction. He has worked in collaboration with a range of visual artists, choreographers, and photographers including Meg Stuart, Boris Charmatz, Asta Groting, Wendy Houstoun, Elmgreen & Dragset, Philipp Gehmacher, Hugo Glendinning, Vlatka Horvat and many others. His work ranges from performance to video, photography, text projects, installation and fiction. In recent years Etchells has exhibited widely in the context of visual arts, with solo shows at Gasworks and Sketch (London), Künstlerhaus (Bremen), Gallery Jakopic (Ljubljana) and Bunkier Sztuki (Krakow). Etchells directorial work with Forced Entertainment ranges from chaotic deconstructed theatre spectacles such as The Coming Storm (2012), The Thrill of it All (2010), Bloody Mess (2004) and First Night (2001), through more intimate and sometimes minimalist performances such as Tomorrow’s Parties (2011), The Travels (2002), Exquisite Pain (2005), the latter based on a text by the visual artist Sophie Calle. Etchells has developed a unique voice in writing for and about performance - his monograph Certain Fragments (Forced Entertainment and Contemporary Performance), is widely acclaimed and his work has been featured in numerous anthologies exploring ideas and practice at the cutting edge of contemporary theatre. Over the years Etchells has also published a range of fiction; much of it exploring experimental approaches to language and narrative, from Endland Stories and The Dream Dictionary (for the Modern Dreamer) to his first novel - The Broken World – which takes the form of a guide to an imaginary computer game. Etchells graduated from Exeter University in 1984 with a 1st Class degree in English & Drama. He has subsequently taught, lectured and run workshops around the world at many of the key institutions dedicated to contemporary performance: Centre for Performance Research, Cardiff, Tisch School of the Arts, NYU and Cooper Union, New York, and Das Arts Amsterdam. In 2007 he was awarded an honorary doctorate by Dartington College of Arts, in recognition of his writing for and about contemporary performance. He was currently Legacy: Thinker in Residence (2009-2010) at Tate Research and LADA in London, Visiting Honorary Professor, School of Arts, Roehampton University (2010-2012) and Visiting Professor - Performance Studies University Hamburg (2010/2011). Etchells was guest curator of Exodos Festival in Ljubljana April 2013 and is curating After a War, a season of performances exploring the legacy of World War One as part of LIFT Festival in 2014. In 2015 Etchells will guest-curate a programme in the Malta Festival, Poznan, Poland. In January 2013 Etchells was appointed Professor of Performance at Lancaster University.

PRODUKCIJA

Već više od četvrt vijeka, tj. od osnivanja ansambla 1984, njegovih šest ključnih članova/ica je očuvalo jedinstveno umjetničko prijateljstvo, te potvrdilo svoju pionirsku ulogu u savremenom teatru. Zavidan opus ansambla oslikava i interes za mehaniku performansa, ulogu publike, te zamke koje krije savremeni urbani život. Njihov rad – na čelu sa Etchellsom, umjetničkim direktorom – je prepoznatljiv i provokativan; on zadovoljno prkosi teatarskim normama i očekivanjima publike. Njihov prepoznatljiv znak je način na koji međusobno sarađuju, tj. na koji djelu pristupaju kroz improvizaciju, eksperiment i diskusiju, što ih čini pionirima britanskog avangardnog teatra i što im je donijelo međunarodnu slavu.

PRODUCTION

Since forming the company in 1984, the six core members of the group have sustained a unique artistic partnership for nearly 30 years, confirming time and again their position as trailblazers in contemporary theatre. The company’s substantial canon of work reflects an interest in the mechanics of performance, the role of the audience and the machinations of contemporary urban life. The work – framed and focused by Artistic Director Tim Etchells - is distinctive and provocative, delighting in disrupting the conventions of theatre and the expectations of audiences. Forced Entertainment’s trademark collaborative process – devising work as a group through improvisation, experimentation and debate – has made them pioneers of British avant-garde theatre and earned them an unparalleled international reputation.

Osmislili / Concieved by: ROBIN ARTHUR TIM ETCHELLS RICHARD LOWDON CLAIRE MARSHALL CATHY NADEN TERRY O’CONNOR Igraju / Performers: FORCED ENTERTAINMENT (CLAIRE MARSHALL RICHARD LOWDON) Dizajn / Design: RICHARD LOWDON Dizajn svjetla / Light Design: FRANCIS STEVENSON Fotografija / Photography: Hugo Glendinning Produkcija / Production: RAY RENNIE Koprodukcija / Co-production: Tomorrow’s Parties je produkcija Belluard Bollwerk International-a, omogućena je zahvaljujući doprinosu Kantona Fribourg kulturi. U koprodukciji sa: BIT Teatergarasjen (Bergen), Internationale Sommerfestival (Hamburg), Kaaitheater (Brussels), Künstlerhaus Mousonturm (Frankfurt), Theaterhaus Gessnerallee (Zurich) i Sheffield Gradskog vijeća. Uz podršku Stanley Thomas Johnson Fondacije. Tomorrow’s Parties is a production of Belluard Bollwerk International, made possible thanks to a contribution of the Canton of Fribourg to culture. In co-production with BIT Teatergarasjen (Bergen), Internationales Sommerfestival (Hamburg), Kaaitheater (Brussels), Kunstlerhaus Mousonturm (Frankfurt), Theaterhaus Gessnerallee (Zurich) and Sheffield City Council. With the support of Stanley Thomas Johnson Foundation. Forced Entertainment are regularly funded by Arts Council England.

WORLD MESS

Režija / Direction: TIM ETCHELLS

REDITELJ


Bosna i Hercegovina / Bosnia and Herzegovina

Narodno pozorište Sarajevo 19.30 National Theater Sarajevo Trajanje / Running time: 85 min.

04/10/13

Tanja Šljivar

GREBANJE ILI KAKO SE UBILA MOJA BAKA*

SCRATCHING OR HOW MY GRANDMOTHER KILLED HERSELF Jezik: bosanski s engleskim prijevodom Language: Bosnian with English Subtitles PREDSTAVA

„Grebanje ili Kako se ubila moja baka, na direktan i brutalan način, bavi se pitanjem nasilja među decom, kao posledicom indoktrinacije od strane odraslih, obrazovnog sistema i, u krajnjem ishodu, nacionalističke sredine u kojoj odrastaju. U stilskom smislu, Tanja Šljivar briljira na planu duhovitih i neponovljivih rečenica pomoću kojih gradi čitav jedan dečiji svet, pun neosvešćenog nasilja i beznađa, svet čija slika treba ozbiljno da nas zabrine. Ispod melanholičih jezičkih bravura, koje zavodljivo govore o mentalitetu ljudi sa ovih prostora, leži gotovo netaknuto brdo posledica strahota nacionalizma sa kojim se treba uhvatiti u koštac. Radnja drame je smeštena u 2000. godinu u Bosni i Hercegovini, u vreme kada je, usred tranzicije, još uvek postojala nada da će budućnost doneti prosperitet i promene. Grupa učenika boravi u gimnastičkoj dvorani uoči školske predstave, ne znajući da su na desetine takvih u ratu služile kao logori.” Filip Vujošević

* van konkurencije za nagrade za režiju i najbolju predstavu

PERFORMANCE

“Scratching or How my Grandmother Killed Herself, in a direct and brutal way, deals with the issue of violence among children, as a result of indoctrination by the adults, education system and, ultimately, the nationalist community in which they are growing up. In stylistic terms, Tanja Šljivar reaches brilliance, with witty and inimitable phrases with which she builds an entire children’s world, full of violence and hopelessness, a world whose image should seriously concern us. Below melancholic linguistic phrases, that seductively speak of the mentality of the people from the region, lies an untouched hill of consequences of nationalistic horrors with which we should grapple. The story is set in the year 2000 in Bosnia and Herzegovina, at a time when, in the midst of transition, there was still hope that the future will bring prosperity and change. A group of children are in a gym before their school play, not knowing that dozens of these served as concentration camps during the war.“ Filip Vujošević

* out of competition for Best Director and Best Performance Awards


Tanja Šljivar rođena je 1988. godine u Banjaluci, Bosna i Hercegovina. Diplomirala je dramaturgiju na Fakultetu dramskih umetnosti u Beogradu 2011. godine, kao najbolja studentkinja generacije. Objavila je knjigu kratkih priča Soba na trećem spratu u izdanju Književne omladine Srbije i drame Pošto pašteta (u časopisu Scena, kao i u zbirci savremene srpske društveno angažovane drame nastale na osnovu konkursa Heartefakt fonda za 2010. godinu) i Grebanje ili kako se ubila moja baka (časopis Teatron). Drama Pošto pašteta je javno čitana u pozorištu Atelje 212 u Beogradu režiji Snežane Trišić, te je premijerno izvedena u istom pozorištu i režiji. Drama Grebanje ili kako se ubila moja baka je javno čitana u ustanovi kulture Parobrod u Beogradu u režiji Marije Lipkovski, kao i u Dječijem kazalištu Dubrava u Zagrebu u režiji Dine Pešuta i Mirne Rustemović, a premijerno izvedena u Bosankom narodnom pozorištu Zenica u režiji Selme Spahić. Izvedena joj i radio dramatizacija Dnevnika Laze Kostića na Radio Beogradu u režiji Miloša Jagodića. Dobitnica je nagrada Slobodan Selenić za najbolju diplomsku dramu u generaciji, Borislav Mihajlović Mihiz, za ukupno dosadašnje dramsko stvaralaštvo, Miodrag Žalica za najbolji bh. dramski tekst na Festivalu bh. drame u Zenici i Kočićevu knjigu za najbolji dramski tekst na Teatarfestu u Banjaluci. Drame su joj prevedene na engleski, njemački i francuski jezik. Završila je umjetnički master studij iz dramaturgije na Fakultetu dramskih umetnosti u Beogradu, a trenutno je na interdisciplinarnom master studiju na Institutu za primjenjene pozorišne studije u Gisenu, Njemačka.

Autorica drame / Playwright: Tanja Šljivar Režija / Direction: SELMA SPAHIĆ Igraju / Cast: LANA DELIĆ DŽENANA DŽANIĆ ENES SALKOVIĆ SNEŽANA VIDOVIĆ NUSMIR MUHAREMOVIĆ FAKETA SALIHBEGOVIĆAVDAGIĆ MAJA IZETBEGOVIĆ

AUTHOR Tanja Šljivar was born in 1988 in Banja Luka, Bosnia and Herzegovina. She graduated dramaturgy from the Faculty of Dramatic Arts in Belgrade in 2011, as the best student of the generation. She published a book of short stories Room on The Third Floor published by Literary Youth of Serbia and plays How Much Is Pate (in Scene Magazine, as well as a part of a collection of contemporary Serbian socially engaged plays, arised from Heartefact Fund competition in 2010), and Scratching or How My Grandmother Killed Herself (in Magazine Teatron). The play How Much is Pate was publicly read in the Atelier 212 theater, in Belgrade, directed by Snežana Trišić, and staged by the same director in the same venue. Drama Scratching or How My Grandmother Killed Herself was publicly read in Cultural Institution Steamboat in Belgrade, directed by Marija Lipkovski, as well as in Children’s Theatre Dubrava in Zagreb, directed by Dino Pešut and Mirna Rustemović. It was staged by Selma Spahić in Bosnian National Theater Zenica. Radio dramatization of her Diary by Laza Kostic was performed on Radio Belgrade, directed by Miloš Jagodica. She was awarded with Slobodan Selenić Award, for best graduate play in her generation, Borislav Mihajlović Mihiz Award, for her complete work, Miodrag Žalica Award for best B&H play at the Festival of B&H Drama in Zenica, the award Kočić’s Book for best play at Teatarfest in Banja Luka. Her plays were translated into English, German and French. She recieved a Master Degree in Dramaturgy from the Faculty of Dramatic Arts in Belgrade and is currently on Interdisciplinary Master Program at the Institute for Applied Theater Studies in Gissen, Germany. Razgovor sa Tanjom Šljivar će se održati 5.10.2013. u 13.00 / Muzej književnosti i pozorišne umjetnosti BiH. Moderatorica: Asja Krsmanović Discussion with Tanja Šljivar will be held on October 5 2013 at 13:00 / Museum of Literature and Performing Arts of B&H. Moderator: Asja Krsmanović REDITELJICA Selma Spahić rođena je 1986. Diplomirala je režiju na Akademiji scenskih umjetnosti u Sarajevu. Profesionalni angažman joj uključuje, između ostalih, predstave: Utjecaj gama zraka na sablasne nevene Paula Zindela, u Sarajevskom ratnom teatru; Usamljeni Zapad Martina McDonaghe, u Mostarskom teatru mladih; Bolest porodice M Fausta Paravidina, u Kamernom teatru 55; te Kako sam naučila da vozim Paule Vogel, u Mostarskom teatru mladih. U maju 2011. režira dokumentarnu predstavu Hipermnezija u produkciji Heartefact Fonda i BITEF Teatra u Beogradu baziranu na životima osam glumaca i glumica iz Prištine, Sarajeva i Beograda. Zatim postavlja Sumnju J.P. Shanleya u Kamernom teatru 55, Grebanje ili Kako se ubila moja baka Tanje Šljivar u Bosanskom narodnom pozorištu u Zenici, Tajnu džema od malina Karima Zaimovića u Sarajevskom ratnom teatru, te Žene koje čiste prema Jean Genetu u Crnogorskom narodnom pozorištu u Podgorici. Predstave Selme Spahić su višestruko nagrađivane internacionalno i u Bosni i Hercegovini. Hipermnezija je odigrana na festivalu Neue Theater Stücke u Wiesbadenu, Njemačka, te je tekst predstave objavljen u prestižnom časopisu Theater heute. DIRECTOR Selma Spahić was born in 1986. She graduated Directing from the Academy of Performing Arts in Sarajevo. Her professional involvement includes, among others, performances: Effect of Gamma Rays on Man-in-the-Moon Maringolds by Paul Zindel in Sarajevo War Theater, Lonesome West by Martin McDonagh in Mostar Youth Theater; Sickness of Family M by Faust Paravidino in Chamber Theater 55 and How I Learned to Drive by Paula Vogel in Mostar Youth Theater. In May 2011, she directed the documentary piece Hypermnesia, produced by Heartefact Fund and Bitef Theatre in Belgrade, which was based on the lives of eight actors and actresses from Pristina, Sarajevo and Belgrade. Then, she created Doubt by J.P. Shanley in Chamber Theater 55, Scratching or How My Grandmother Killed Herself by Tanja Šljivar in Bosnian National Theater in Zenica, Secret of Raspberry Jam by Karim Zaimović in Sarajevo War Theater and Women Who Clean based on Jean Genet’s Maids in Montenegrin National Theatre in Podgorica. Selma Spahić’s performances have received numerous awards in Bosnia and Herzegovina and internationally. Hypermnesia was played at the festival Neue Theater Stücke in Wiesbaden, Germany, and the play was published in the prestigious magazine Theater heute. PRODUKCIJA

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).

PRODUCTION

Bosnian National Theater 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 theater has participated in numerous theater 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 Theater (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 Theaters for Children and Youth (ASSITEJ).

Dramaturgija / Dramaturgy: FILIP VUJOŠEVIĆ Scenografija / Stage Design: MIRNA LER Kostimografija / Costume Design: SANJA DŽEBA Muzika / Music: DRAŠKO ADŽIĆ Korepeticija / Accompaniment: TIJANA VIGNJEVIĆ Scenski pokret / Stage Movement: SANJA BURIĆ Scenski govor / Dialogue Coach: ERMIN BRAVO Saradnica za produkciju / Production Assistant: ANA ĆURČIN Fotografija / Photography: Mirza SubaŠIĆ Producenti / Producers: HAZIM BEGAGIĆ ANDREJ NOSOV Izvršni producent / Executive Producer: ADNAN REŠIĆ

BALKAN (CON)TEXT / MITTEL EUROPE

AUTORICA


Kolumbija / Columbia

Narodno pozorište Sarajevo 15.00 National Theater Sarajevo Trajanje / Running time: 60 min.

05/10/13

INTELEKTUALNI AUTOR THE INTELLECTUAL AUTHOR

Jezik: španski s bosanskim i engleskim prijevodom Language: Spanish with Bosnian and English Subititles

PREDSTAVA

U dnevnoj sobi kuće, kroz prozorsko staklo, gledatelj/ ica postaje voajer/ka i proživljava priču o Nori, Jorge-u i Sergiu, braći i sestri, koji su se ponovo sastali u majčinoj kući, kako bi se odlučiti ko će ostati živjeti s njom. Odluka bi bila puno lakša da supruge braće Susana i Elvira, koje odbijaju preuzeti brigu o tuđim odgovornostima, nisu krenule s njima. Sastanak otkriva mračnu stranu disfunkcionalne kolumbijske porodice kroz humor i inteligenciju.

PERFORMANCE

Inside a house’s living room and through a windowglass, the viewer becomes a Peeping Tom while living the story of Nora, Jorge and Sergio, siblings reunited at their mother’s house in order to decide which one has to stay and live with her. The decision would be much easier if the brothers’ wives, Susana and Elvira, who refuse to take care of other people’s responsibilities, didn’t accompany them. A meeting that reveals the dark side of a dysfunctional Colombian family through humour and intelligence.


Igraju / Cast: ELLA BECERRA MARÍA SOLEDAD RODRÍGUEZ ANGÉLICA PRIETO JUAN MANUEL LENIS ANDRÉS ESTRADA REDITELJ

Jorge Hugo Marín rođen je 17. Januara 1981. u Medellinu, Kolumbija. Magistar je dramske umjetnosti na Universidad de Antioquia. Glumac je, redatelj i scenarista. 2009. osniva La Maldita Vanidad pozorišno udruženje i radi trilogiju O nekim porodičnim problemima, koju je objavio Universidad u Bogoti 2012. Ova trilogija je pozvana na više od 17 pozorišnih festivala širom svijeta. Njegov četvrti tekst Morir de Amor je uvršten u Antologia del Teatro Colombiano 2013, a obavili su ga Ministerio de Cultura y de Colombia i Paso de Gato Editores de Mexico. Dobitnik je granta Beca de creación para Directores con Trayectoria, koji dodjeljuje IDARTES za tekst Matando el Tiempo, koji će uskoro imati premijeru u Bogoti.

DIRECTOR

Jorge Hugo Marín was born on 1981 in Medellín, Colombia. He has a Master degree in Dramatic Arts from Universidad de Antioquia. Actor, director and playwright. In 2009 he founded La Maldita Vanidad theater and wrote triology Sobre algunos asuntos de familia published by Univesity de Distrital in Bogota in 2012. This triology was invited to 17 festivals around the world. Morir de amor, his forth play, has been included in the Antologia del Teatro Colombiano, published by Ministerio de Cultura y de Colombia and Paso de Gato Editores de Mexico. He is the winner of the Grant Beca de creación para Directores con Trayectoria given by IDARTES for the play Matando el Tiempo, soon to be premiered in Bogotá.

PRODUKCIJA

La Maldita Vanidad je laboratorij za umjetnike/ ce koji/e su uključeni/e u pozorišnu produkciju, postavljajući svakodnevne priče, te ih uklapajući u netradicionalni prostor kako bi se izražavali/e različitim scenskim jezicima. Tokom svog prvog stvaralačkog razdoblja pod nazivom O nekim porodičnim problemima trupa je istraživala različite probleme koji leže u jezgri porodice, gdje su pronašli/e dovoljno sadržaja za stvaranje trilogije u stvarnim prostorima: dnevnom boravaku, kuhinji i dvorani. Njihova prva predstava Intelektualni autor suočava dva brata i sestru, koji ne znaju kako da se nose sa majčinom starošću. Gledatelj/ica gleda ovaj komad, koji se odvija u dnevnoj sobi porodične kuće, kroz prozorsko staklo. Drugi projekt, pod nazivom Materijalni autori, je triler koji se odvija u kuhinji grupe mladih studenata. Zatvarajući trilogiju, Kako želiš da te želim djelo je koje se odvija u dvorani tokom pripreme za rođendansku zabavu petnaestogodišnjakinje, u prostoru u kojem se pojavljuje problem trgovine drogom u društvu.

PRODUCTION

La Maldita Vanidad is a laboratory for artists involved in theatrical production that appropriates everyday stories and fits them into non-traditional spaces in order to express with diverse scenic languages. During its first creative period named On Certain Family Issues, the group inquired different problems lying at the core of the family, where it found enough content to create a trilogy set up in real spaces: a living room, a kitchen and a ballroom. Their first piece, The Intellectual Author, confronts three siblings who do not know how to deal with their mother’s elderly days. Viewers watch this piece, taking place in the living room of a house, through a windowglass. The second project, titled The Material Authors is a thriller that develops in a kitchen shared by a group of a young students. Closing the trilogy, How Do You Want Me To Want You, is a piece that takes place in a ballroom during the preparation of a fifteen-year-old’s birthday party, in a space where the phenomena of drug trafficking in the society appears.

Asistentica reditelja / Assistant Director: MARÍA ADELAIDA PALACIO Fotografija / Photography: George Moreno

WORLD MESS

Tekst i režija / Text and Direction: JORGE HUGO MARÍN


Kolumbija / Columbia

Narodno pozorište Sarajevo 17.00 National Theater Sarajevo Trajanje / Running time: 60 min.

05/10/13

MATERIJALNI AUTORI THE MATERIAL AUTHORS

Jezik: španski s bosanskim i engleskim prijevodom Language: Spanish with Bosnian and English Subititles

PREDSTAVA

Sebas, Julián i El Negro ne mogu sebi priuštiti da plate stanarinu za stan u kojem žive: prošlo je već tri mjeseca otkako im je Don Joaquín, vlasnik, tražio novac. Jedne noći, starac se pojavljuje pijan na njihovim vratima, zahtijevajući da plate stanarinu. Usljed zbunjenosti i očaja, mladići ga udare i time prouzrokuju njegovu smrt. Ovo je početak Materijalnih autora, na temelju filma Alfreda Hitchcocka Konopac, komada koji se igra u intimnom tonu, te pod okriljem ubistva istražuje raznolikost netolerancije i stepeni nasilja u kojem trenutno živimo, stepeni koji ovi likovi više ne percipiraju. Ovom prilikom, trupa seli u kuhinju malog stana studenata kojima gledatelj/ica postaje saučesnik/ca, za vrijeme koje je potrebno da se spremi doručak.

PERFORMANCE

Sebas, Julián and El Negro cannot afford to pay the rent for the apartment they live in; it’s been three months since Don Joaquín, the landlord, has been asking them for the money. One night, the old man shows up drunk at their front door demanding his rent payment. Amidst confusion and despair, the boys hit him and cause his death. This is the beginning of The Material Authors, based on Alfred Hitchcock’s The Rope, a piece played with an intimate tone that, under the pretext of murder, explores the diversity of intolerance and violence degrees in which we currently live, degrees these characters have ceased to perceive. This time, the Company moves to the kitchen of a small student apartment, where the viewer becomes their accomplice during the time it takes for breakfast to be ready.


Igraju / Cast: ELLA BECERRA ANDRÉS ESTRADA RAFAEL ZEA RICARDO MEJÍA DANIEL DÍAZ REDITELJ

Jorge Hugo Marín rođen je 17. Januara 1981. u Medellinu, Kolumbija. Magistar je dramske umjetnosti na Universidad de Antioquia. Glumac je, redatelj i scenarista. 2009. osniva La Maldita Vanidad pozorišno udruženje i radi trilogiju O nekim porodičnim problemima, koju je objavio Universidad u Bogoti 2012. Ova trilogija je pozvana na više od 17 pozorišnih festivala širom svijeta. Njegov četvrti tekst Morir de Amor je uvršten u Antologia del Teatro Colombiano 2013, a obavili su ga Ministerio de Cultura y de Colombia i Paso de Gato Editores de Mexico. Dobitnik je granta Beca de creación para Directores con Trayectoria, koji dodjeljuje IDARTES za tekst Matando el Tiempo, koji će uskoro imati premijeru u Bogoti.

DIRECTOR

Jorge Hugo Marín was born on 1981 in Medellín, Colombia. He has a Master degree in Dramatic Arts from Universidad de Antioquia. Actor, director and playwright. In 2009 he founded La Maldita Vanidad theater and wrote triology Sobre algunos asuntos de familia published by Univesity de Distrital in Bogota in 2012. This triology was invited to 17 festivals around the world. Morir de amor, his forth play, has been included in the Antologia del Teatro Colombiano, published by Ministerio de Cultura y de Colombia and Paso de Gato Editores de Mexico. He is the winner of the Grant Beca de creación para Directores con Trayectoria given by IDARTES for the play Matando el Tiempo, soon to be premiered in Bogotá.

PRODUKCIJA

La Maldita Vanidad je laboratorij za umjetnike/ ce koji/e su uključeni/e u pozorišnu produkciju, postavljajući svakodnevne priče, te ih uklapajući u netradicionalni prostor kako bi se izražavali/e različitim scenskim jezicima. Tokom svog prvog stvaralačkog razdoblja pod nazivom O nekim porodičnim problemima trupa je istraživala različite probleme koji leže u jezgri porodice, gdje su pronašli/e dovoljno sadržaja za stvaranje trilogije u stvarnim prostorima: dnevnom boravaku, kuhinji i dvorani. Njihova prva predstava Intelektualni autor suočava dva brata i sestru, koji ne znaju kako da se nose sa majčinom starošću. Gledatelj/ica gleda ovaj komad, koji se odvija u dnevnoj sobi porodične kuće, kroz prozorsko staklo. Drugi projekt, pod nazivom Materijalni autori, je triler koji se odvija u kuhinji grupe mladih studenata. Zatvarajući trilogiju, Kako želiš da te želim djelo je koje se odvija u dvorani tokom pripreme za rođendansku zabavu petnaestogodišnjakinje, u prostoru u kojem se pojavljuje problem trgovine drogom u društvu.

PRODUCTION

La Maldita Vanidad is a laboratory for artists involved in theatrical production that appropriates everyday stories and fits them into non-traditional spaces in order to express with diverse scenic languages. During its first creative period named On Certain Family Issues, the group inquired different problems lying at the core of the family, where it found enough content to create a trilogy set up in real spaces: a living room, a kitchen and a ballroom. Their first piece, The Intellectual Author, confronts three siblings who do not know how to deal with their mother’s elderly days. Viewers watch this piece, taking place in the living room of a house, through a windowglass. The second project, titled The Material Authors is a thriller that develops in a kitchen shared by a group of a young students. Closing the trilogy, How Do You Want Me To Want You, is a piece that takes place in a ballroom during the preparation of a fifteen-year-old’s birthday party, in a space where the phenomena of drug trafficking in the society appears.

Asistentica reditelja / Assistant Director: MARÍA ADELAIDA PALACIO Fotografija / Photography: George Moreno

WORLD MESS

Tekst i režija / Text and Direction: JORGE HUGO MARÍN


Kolumbija / Columbia

Narodno pozorište Sarajevo 19.00 National Theater Sarajevo Trajanje / Running time: 75 min.

05/10/13

KAKO ŽELIŠ DA TE ŽELIM Iz djevojke u ženu, proba

HOW DO YOU WANT ME TO WANT YOU A Girl-to-Woman Rehearsal Jezik: španski s bosanskim i engleskim prijevodom Language: Spanish with Bosnian and English Subititles PREDSTAVA

Nastavljajući sa svojim istraživanjem porodičnih tema i tradicionalnih kolumbijskih porodičnih proslava porodica, La Maldita Vanidad stavlja nas pred ovaj crnohumorni komad, koji je napisao i režirao Jorge Hugo Marín, na temelju proslava petnaestog rođendana, koje obavljaju kolumbijske žene i porodice. Koristeći ovo slavlje kao društveni ritual incijacije u kojem su ove nove žene izložene, dok pokušavaju kopirati britanske i francuske klasične balove iz 19. stoljeća, gradi komad u kontekstu trgovine drogom u Kolumbiji, sveprisutnog problema u društvu, koji je postao realna mogućnost napretka i moći među porodicama sa niskim primanjima. Takve zabave su roditelji koristili ne samo kao priliku da uvedu svoje kćerke u novu fazu odrastanja, nego kao simbol moći i ekonomske stabilnosti u njihovom društvenom okruženju. No, u ovoj priči, taj društveni krug je ukaljan nasilnim kontekstom, koji se oduvijek krio iza svečanosti.

PERFORMANCE

Continuing with their survey around family subjects and researching traditional celebrations of Colombian families, La Maldita Vanidad proposes this darkhumoured piece – written and directed by Jorge Hugo Marín – based on the fifteenth birthday party celebration that Colombian women and families perform. Employing this celebration as a social initiation ritual, in which these new women are displayed – while trying to copy British and French classical balls from the 19th century – the piece is built within the context of drug trafficking in Colombia, a transversal issue that crossed society and became a real possibility of progress and power amongst families with low incomes. Such a party is used by parents, not only as a chance to introduce their daughters into a new stage of young adults, but also as a symbol of power and economic fluency in front of their social circle. But in this story, that social circle is tarnished by a violent context that has always been disguised behind the festivities.


REDITELJ

Jorge Hugo Marín rođen je 17. Januara 1981. u Medellinu, Kolumbija. Magistar je dramske umjetnosti na Universidad de Antioquia. Glumac je, redatelj i scenarista. 2009. osniva La Maldita Vanidad pozorišno udruženje i radi trilogiju O nekim porodičnim problemima, koju je objavio Universidad u Bogoti 2012. Ova trilogija je pozvana na više od 17 pozorišnih festivala širom svijeta. Njegov četvrti tekst Morir de Amor je uvršten u Antologia del Teatro Colombiano 2013, a obavili su ga Ministerio de Cultura y de Colombia i Paso de Gato Editores de Mexico. Dobitnik je granta Beca de creación para Directores con Trayectoria, koji dodjeljuje IDARTES za tekst Matando el Tiempo, koji će uskoro imati premijeru u Bogoti.

DIRECTOR

Jorge Hugo Marín was born on 1981 in Medellín, Colombia. He has a Master degree in Dramatic Arts from Universidad de Antioquia. Actor, director and playwright. In 2009 he founded La Maldita Vanidad theater and wrote triology Sobre algunos asuntos de familia published by Univesity de Distrital in Bogota in 2012. This triology was invited to 17 festivals around the world. Morir de amor, his forth play, has been included in the Antologia del Teatro Colombiano, published by Ministerio de Cultura y de Colombia and Paso de Gato Editores de Mexico. He is the winner of the Grant Beca de creación para Directores con Trayectoria given by IDARTES for the play Matando el Tiempo, soon to be premiered in Bogotá.

PRODUKCIJA

La Maldita Vanidad je laboratorij za umjetnike/ ce koji/e su uključeni/e u pozorišnu produkciju, postavljajući svakodnevne priče, te ih uklapajući u netradicionalni prostor kako bi se izražavali/e različitim scenskim jezicima. Tokom svog prvog stvaralačkog razdoblja pod nazivom O nekim porodičnim problemima trupa je istraživala različite probleme koji leže u jezgri porodice, gdje su pronašli/e dovoljno sadržaja za stvaranje trilogije u stvarnim prostorima: dnevnom boravaku, kuhinji i dvorani. Njihova prva predstava Intelektualni autor suočava dva brata i sestru, koji ne znaju kako da se nose sa majčinom starošću. Gledatelj/ica gleda ovaj komad, koji se odvija u dnevnoj sobi porodične kuće, kroz prozorsko staklo. Drugi projekt, pod nazivom Materijalni autori, je triler koji se odvija u kuhinji grupe mladih studenata. Zatvarajući trilogiju, Kako želiš da te želim djelo je koje se odvija u dvorani tokom pripreme za rođendansku zabavu petnaestogodišnjakinje, u prostoru u kojem se pojavljuje problem trgovine drogom u društvu.

PRODUCTION

La Maldita Vanidad is a laboratory for artists involved in theatrical production that appropriates everyday stories and fits them into non-traditional spaces in order to express with diverse scenic languages. During its first creative period named On Certain Family Issues, the group inquired different problems lying at the core of the family, where it found enough content to create a trilogy set up in real spaces: a living room, a kitchen and a ballroom. Their first piece, The Intellectual Author, confronts three siblings who do not know how to deal with their mother’s elderly days. Viewers watch this piece, taking place in the living room of a house, through a windowglass. The second project, titled The Material Authors is a thriller that develops in a kitchen shared by a group of a young students. Closing the trilogy, How Do You Want Me To Want You, is a piece that takes place in a ballroom during the preparation of a fifteen-year-old’s birthday party, in a space where the phenomena of drug trafficking in the society appears.

Igraju / Cast: ELLA BECERRA ANDRÉS ESTRADA DANIEL DÍAZ MARÍA SOLEDAD RODRÍGUEZ MARÍA ADELAIDA PALACIO ANGÉLICA PRIETO DIEGO PELÁEZ WILMAR ARROYAVE Asistent reditelja / Assistant Director: RICARDO MEJÍA Fotografija / Photography: George Moreno

WORLD MESS

Tekst i režija / Text and Direction: JORGE HUGO MARÍN


Italija / Italy

Sarajevski ratni teatar 22.00 Sarajevo War Theater Trajanje / Running time: 90 min.

05/10/13

L.I. LINGUA IMPERII Jezik: njemački, italijanski, armenski, engleski, francuski, hrvatski, ruski s bosanskim i engleskim prijevodom Language: German, Italian, Armenian, English, French, Croatian, Russian with Bosnian and English Subtitles

PREDSTAVA

Priče o bezimenim lovovima: ne metafore, već konkretni historijski događaji, mrske stare navike, poput kakvog lova, zbog kojih se neki ljudi ponašaju kao predatori prema drugim ljudima, čak i u dvadesetom vijeku, natapaju tlo Evrope, njeno građansko srce i njena šumska prostranstva, krvlju miliona ljudi, sve do rubova njenih planina. Ožalošćeni koji više ne žele da budu lovci, zatečeni sjećanjima žrtava, kukaju pod teretom krivice krvavog lova. Kavkaz, najudaljeniji kraj Evrope, prirodna geografska granica, ta planina jezika i iskušenje naroda, lavirint granica, prepreka i različitosti, masiv koji označava epicentar sjećanja, mitsko mjesto ovakve osude.

PERFORMANCE

Stories of unnameable hunts: not metaphors, but concrete historical phenomena, hateful old habits according to which, in the forms of hunting, some men have become predators of other men and, even in the twentieth century, have soaked the soil of Europe with the blood of millions of people, its civil heart, as much as its vast forests, up to its mountainous borders. Mourners who no longer want to be hunters and, in front of the resurfaced memory of the victims, complain the burden of guilt for thebloody hunting. The Caucasus, extreme end of Europe, natural geographical frontier, the Mountain of the Languages, dense crucible of people, a maze that trace boundaries, limits and distinctions and confounds them at the same time, a massif that stands as the epicentre of the memory, a mythical place for this judgement.


Igraju / Cast: ANNA BRAGAGNOLO MATTIA BERALDO MORENO CALLEGARI MARCO CROSATO PAOLA DALLAN MARCO MENEGONI GAYANÉE MOVSISYAN ELIZA OANCA MONICA TONIETTO HANNES PERKMANN HAUPTSTURMBANNFÜHRER AUE BENNO STEINEGGER LEUTNANT VOSS

PRODUKCIJA

Filologija, historija umjetnosti, arhitektura, vizuelna umjetnost, ples, muzika i dugi niz godina napornog rada u pozorištu spadaju u glavne osobine Anagoora, osnovanog u mjestu Castelfranco Veneto 2000. godine. Ovaj projekat politički angažovanog teatra (naziv inače omaž Buzzatijevom imaginarnom gradu, je izabran zbog „ljubavi prema gradu koju imaju njegovi osnivači/ce“) i ansambl čuven po svojim fascinantnim produkcijama je 2008. obezbijedio sebi mjesto u La Coniglieri, nekadašnoj seoskoj farmi zečeva u regiji Veneto, a danas kući poznatoj po istraživanjima, obrazovnim aktivnostima i predstavama. Anagoor je nastupao na sljedećim festivalima i pozorištima: La Biennale Teatro u Veneciji, Temps d’images u Parizu, International Mime Festival u Londonu, Waves Festival u Vordingborgu, Escrita na paisagem Festival u Portugalu, Italian Cultural Institute u Londonu, Fortuny Museum u Veniciji, ICA Institute for Contemporary Art u Londonu, Short Theatre u Rimu, Prospettiva - Teatro Stabile u Torinu, Festival Internazionale Castel dei Mondi u Andriji, Vie Scena Contemporanea Festival u Modeni, Altri Percorsi - Teatro Stabile u Bolzanu, Contemporanea Festival u Pratu, Ipercorpo u Forliju, Teatro Festival u Palernu, Operaestate Festival, Centrale Fies Drodesera, Teatro della Tosse u Đenovi, Festival MiTo, ONT Teatro al Parco u Parmi, La Soffitta u Bolonji, Zoom Festivalu, Pim Off u Milanu, Teatro Leonardo u Milanu, Teatro Fondamenta Nuove u Veneciji, Angelo Mai u Rimu, Oda Teatro u Fodži, Teatro Aurora u Margeri, Teatro Comunale u Kazalmađoru, L’Operagalleggiante Festival, Festival Volterrateatro, Festival STARTUP u Tarantu, Il Pagliaio u Rimu, Teatro Astra u Vićenci, Teatro Verdi u Padovi, Festival Sguardi u Padovi, Paesaggio con uomini, Open Sea Festival, Operakantika, Trento Film Festival, C4 Caldogn.

PRODUCTION

Philology, art history, architecture, visual arts, dance, music; plus a long, tireless apprenticeship in the theatre – this is the training of the components of Anagoor, founded in Castelfranco Veneto in the year 2000. A political theatre project (the name, in honour of Buzzati’s imaginary city, was chosen because it came out of «the love of its founders for the city») and an ensemble famous for the great archetypal fascination of its productions, in 2008 Anagoor inaugurated its own space in La Conigliera: a renovated former rabbit farm in the open countryside of the Veneto region, today it is a space dedicated to research, with residencies, educational activities and events. Anagoor has been guest at: La Biennale Teatro - Venice, Temps d’images Paris, London International Mime Festival, Vordingborg Waves Festival, Escrita na paisagem Festival - Portugal, London Italian Cultural Institute, Fortuny Museum – Venice, ICA Institute for Contemporary Art – London, Short Theatre Rome, Prospettiva - Teatro Stabile di Turin, Festival Internazionale Castel dei Mondi - Andria, Vie Scena Contemporanea Festival – Modena, Altri Percorsi - Teatro Stabile Bozen, Contemporanea Festival – Prato, Ipercorpo – Forlì, Palermo Teatro Festival, Operaestate Festival, Centrale Fies Drodesera, Teatro della Tosse - Genua, Festival MiTo, ONT Teatro al Parco - Parma, La Soffitta - Bologna, Zoom Festival - Scandicci, Pim Off - Milan, Teatro Leonardo Milan, Teatro Fondamenta Nuove - Venice, Angelo Mai – Rome, Oda Teatro – Foggia, Teatro Aurora – Marghera, Teatro Comunale – Casalmaggiore, L’Operagalleggiante Festival, Festival Volterrateatro, Festival STARTUP – Taranto, Il Pagliaio – Rome, Teatro Astra – Vicenza, Teatro Verdi – Padua, Festival Sguardi – Padua, Paesaggio con uomini, Open Sea Festival, Operakantika, Trento Film Festival, C4 Caldogno.

Sinkhronizacija / Voice-over: SILVIJA STIPANOV MARTA CEROVECKI GAYANÉE MOVSISIAN YASHA YOUNG LAURENCE HEINTZ Prijevod & jezički konsultant / Translation & Language Consulting: FILIPPO TASSETTO Kostimografija / Costume Design: SERENA BUSSOLARO SILVIA BRAGAGNOLO SIMONE DERAI Originalna muzika / Original Score: MAURO MARTINUZ PAOLA DALLAN MARCO MENEGONI SIMONE DERAI GAYANÉE MOVSISYAN MONICA TONIETTO Korištena muzika / NonOriginal Score: KOMITAS VARDAPET MUSICHE DELLA TRADIZIONE MEDIEVALE ARMENA Kamermani, video / Cameramen, Video: MORENO CALLEGARI SIMONE DERAI MARCO MENEGONI Dramaturgija / Dramaturgy: SIMONE DERAI PATRIZIA VERCESI Fotografija / Photography: ANAGOOR Produkcija / Production: ANAGOOR 2012 Koprodukcija / Co-production: TRENTO FILM FESTIVAL PROVINCIA AUTONOMA DI TRENTO CENTRALE FIES OPERAESTATE FESTIVAL

FUTURE MESS / IYMT

Režija / Direction: SIMONE DERAI


Bosna i Hercegovina / Bosnia and Herzegovina

Željeznička stanica Sarajevo 18.00 Railway Station Sarajevo Trajanje / Running time: 60 min.

06/10/13

ADNAN LUGONIĆ / ASJA KRSMANOVIĆ

TRAMVAJ TRAM

Jezik: bosanski s engleskim prijevodom Language: Bosnian with English Subtitles PREDSTAVA

Javni gradski prevoz je mjesto kroz koje dnevno prođe više hiljada ljudi. Svako od tih ljudi nosi sa sobom i svoju priču. Određeni svojim socijalnim porijeklom, životnim ciljevima, željama i namjerama, u određenim situacijama, ovi ljudi reaguju na vanjske podsticaje na potpuno drugačije načine. I tu se javlja prostor za obilje najneobičnijih i najnevjerovatnijih situacija. U isto vrijeme, tramvaj je mjesto sukoba i mjesto kontemplacije, mjesto gdje je čovjek okružen mnogim ljudima, a ipak sam. Ponekad, tramvaj je javna ispovjedaonica slučajnim prolaznicima, ali u većini slučajeva predstavlja mjesto tihog promišljanja svakodnevnice. Kako smo svakodnevno svjedoci različitih situacija koje se u tramvaju dešavaju, te njihovog dramskog potencijala, odlučili smo napraviti predstavu kojom bi publici skrenuli pažnju na ono što joj možda prolazi neprimijećeno i istaknuti najvrednije trenutke koje donosi svakodnevnica.

PERFORMANCE

Public transportation is a place through which more more than a thousand people pass daily. All of these people have their stories. Predestined by their social origin, life goals, dreams and intentions, in certain situations, these people react to external stimulans in completely different ways. Hence, a space openes for numerous unusual and incredible situations. At the same time, a tram is a place of a conflict and contemplation, a place where a person is surrounded by many others, but still alone. Sometimes, a tram becomes a public confessional place, but in most cases it is a place of quiet thinking about every day life. Since we are witnesses of different situations that happen in a tram every day, of their dramatic potential, we have decided to produce a performance, in order to put emphasis on the moments that would otherwise go unnoticed and to highlight precious moments that every day brings.


Adnan Lugonić je rođen u Sarajevu 1988. godine. Student je četvrte godine dramaturgije na Akademiji scenskih umjetnosti u Sarajevu. Bio je dramaturg na predstavama 1984 i Happy End (2012, Sarajevski ratni teatar Sarajevo), koautor predstave Klovnologija (2012, Altteatar), jedan od autora dramatizacije zbirke priča Tajna džema od malina (2013, Sarajevski ratni teatar), te autor drame Tramvaj (2013, Udruženje Fercera).

Adnan Lugonić was born in Sarajevo in 1988. He’s a fourth year student of Dramaturgy on the Academy of Performing Arts in Sarajevo. He was dramturg of the performances 1984 and Happy End (2012, Sarajevo War Theater), co-author of the performance Klovnologija (2012, Altteatar), one of the authors of the dramatization of the collection of stories The Secret of Rapberry Jam (2013, Sarajevo War Theater) and playwright of the piece Tram (2013, Association Fercera). KOAUTORICA

Asja Krsmanović, rođena 1988. u Sarajevu, apsolventica je dramaturgije na Akademiji scenskih umjetnosti u Sarajevu. Od 2011. godine radi na projektima Udruženja Fercera, bhteatar portal i magazin i Konkurs Bh. drame. U pozorištu je, kao dramaturginja, surađivala sa Nerminom Hamzagićem, na predstavama 99% - Strah i bijeda Trećeg Reicha, Bertolda Brechta (SARTR, 2012) i Tartif, Jean Baptiste Molierea (Narodno Pozorište, 2013), Senadom Alihodžićem na ambijentalnoj predstavi Tramvaj, koautorica teksta (Udruženje Fercera, 2013), Jasnom Diklić, na predstavama Čekaonica, Branko Liješević, Boris Dimitrijević (Juventa, 2012), i predstavi Seks za početnike, koju je adaptirala prema istoimenoj knjizi Jasminke Petrović, za srednjoškolski teatar Juventa (2011). Koordinatorica je Takmičarskog programa Sarajevo Film Festivala od 2012. godine. CO-AUTHOR

Asja Krsmanović was born in 1988 in Sarajevo. She is a graduate of Dramaturgy from the Academy of Performing Arts in Sarajevo. Since year 2011 she has been working on projects of the Association Fercera- the web portal www.bhteatar.ba, the magazine bhTeatar and the Competiton of B&H Drama. In theater, she has collaborated as a dramaturg with the director Nermin Hamzagić on performances 99%- Fear and Misery of the Third Reich by Bertolt Brecht (SARTR, 2012) and Tartuffe by Jean Baptiste Moliere (National Theater Sarajevo, 2013), with Jasna Diklić on the performances The Waiting Room by Boris Liješević and Boris Dimitrijević (Juventa, 2012) and Sex for Beginners, which she adapted after the book by Jasminka Petrović (Juventa, 2011) and with Senad Alihodžić on the site-specific performance Tram (co-written with Adnan Lugonić). She is the Coordinator of the Competition Program of Sarajevo Film Festival since 2012. Razgovor sa Adnanom Lugonićem i Asjom Krsmanović će se održati 7.10.2013. u 13.00 / Muzej književnosti i pozorišne umjetnosti BiH. Discussion with Adnan Lugonić and Asja Krsmanović will be held on October 7 2013 at 13:00 / Museum of Literature and Performing Arts of B&H. REDITELJ

Senad Alihodžić (1978), diplomirao na Akademiji scenskih umjetnosti na Odsjeku za glumu u Sarajevu 2004. godine. Od 2004. godine zaposlen u Kamernom teatru 55, i kao član ansambla igrao u 20-tak predstava kao što su Četvrta sestra u režiji Dine Mustafića, Muholovac Aleša Kurta, Obućari Aleša Kurta, Bolest porodice M. Selme Spahić, Radnja na uglu Francoisa Lunela i mnoge druge. Dugometražni film Sjaj u Očima Srđana Karanovića u kojem je igrao glavnu ulogu bio je uvršten u zvaničnu selekciju festivala u Veneciji 2002. godine. Njegova debitantska uloga bila je kratkom filmu Aide Begić Prvo smrtno iskustvo 2001. godine, a film je uvršten u Cinefondation program na festivalu u Cannes-u. Od 2004. do 2007. radi kao CineLink koordinator na Sarajevo Film Festivalu. 2010. osniva Udruženje za razvoj i unaprijeđenje teatarske i filmske produkcije u BiH Fercera i obavlja dužnosti predsjednika Udruženja. Sa Udruženjem 2010. godine pokreće projekat bhteatar i direktor je portala www.bhteatar.ba i magazina bhteatar. DIRECTOR

Senad Alihodžić (1978) graduated acting from the Academy of Performing Arts in Sarajevo in 2004. Since then he is employed with the Chamber Theater 55, and has played over 20 performances as a member of the ensemble, amongst which, The Fourth Sister directed by Dino Mustafić, Flycatcher by Aleš Kurt, Cobbler by Aleš Kurt, The Sickness of Family M. by Selma Spahić, The Shop Around the Corner by Francois Lunel and many others. The feature film Loving Glances by Srđan Karanović in which he played the leading role was included in the official selection of the Festival in Venice in 2002. His debut role was in a short film by Aida Begić, First Death Experience, which was a part of the Cinefoundation program at the festival in Cannes. From 2004 - 2007 he worked as the CineLink Coordinator at the Sarajevo Film Festival. In 2010 he founded the Association for the development and promotion of theater and film production in B&H Fercera and he is the President of the Association. With the Association he launches the project bhteatar in 2010, where he is both the director of the magazine bhTeatar and the portal www.bhteatar.ba.

Udruženje Fercera je osnovano 2010. godine s ciljem promocije teatarske umjetnosti u Bosni i Hercegovini. Od 2010. godine do danas udruženje je uspješno sprovelo nekoliko projekata. Prvi projekat udruženja je portal www.bhteatar.ba. Uporedo sa portalom, pokrenut je i info magazin bhTeatar. Treći veliki projekat Udruženja Fercera je Konkurs bh. drame koji predstavlja platformu za promociju domaćeg dramskog teksta – kreativno unapređenje već postojećih tekstova i njihovo plasiranje na bh. tržištu. Udruženje Fercera je za projekat bhTeatar 2012. godine dobilo prestižnu nagradu Marko Kovačević koju dodjeljuje Internacionalni teatarski festival MESS. Cilj svih projekata ovog udruženja je unaprjeđenje i razvoj teatarske produkcije, razvijanje obrazovnih i kultunih projekata, umrežavanje i saradnja sa sličnim organizacijama iz regiona i svijeta, podizanje svijesti mladih o značaju teatarske umjetnosti, te popularizacija teatra.

Koautorica / Co-author: ASJA KRSMANOVIĆ Režija / Direction: SENAD ALIHODŽIĆ

AUTHOR

PRODUKCIJA

Autor teksta / Text Author: ADNAN LUGONIĆ

PRODUCTION Association Fercera was formed in 2010 with the aim to promote theater art in Bosnia and Herzegovina. Since 2010 till today, the Association has successfully implemented several projects. The first project of the Association was the web portal www.bhteatar.ba. Parallel with the portal, info magazine bhTeatar had been launched. The third large project was a Competition of B&H Drama, which represents a platform for the promotion of domestic plays – creative enhancement of existing plays and their placement on the local market. Association Fercera received the prestigious prize Marko Kovačević, awarded by the International Theatre Festival MESS, for the project bhTeatar in 2012. The goal of all projects of the Association is fostering and development of theater productions, development of educational and cultural projects, networking and cooperation with similar organizations in the region and the world, raising awareness among young people about the importance of theater arts, and popularizing theater.

Igraju / Cast: JASNA DIKLIĆ IZUDIN BAJROVIĆ ALEKSANDAR SEKSAN IRMA ALIMANOVIĆ ALIHODŽIĆ MIRNA KRESO MUHAMED HADŽOVIĆ DAMIR KUSTURA SANJIN ARNAUTOVIĆ SENAD ALIHODŽIĆ Ideja / Idea: IRMA ALIMANOVIĆ ALIHODŽIĆ Organizacija i kostimografija / Organisation and Costume Design: INELA ALIMANOVIĆ Dizajn / Design: INFINITY MARKETING SOLUTIONS Fotografija / Photography: Vanja Ćerimagić Produkcija / Production: SENAD ALIHODŽIĆ

FUTURE MESS IYMT / BALKAN (CON)TEXT

AUTOR


Bolivija / Bolivia

Narodno pozorište Sarajevo 19.30 National Theater Sarajevo Trajanje / Running time: 80 min.

06/10/13

HAMLET, OD ANDA

slobodna verzija Hamleta Williama Shakespeare-a

HAMLET, OF THE ANDES

Free version of William Shakespeare’s Hamlet Jezik: španski s bosanskim i engleskim prijevodom Language: Spanish with Bosnian and English Subtitles PREDSTAVA

Smrt oca. Jedan od životnih izazova koji ostavlja trag na svima nama. Međutim, šta ako smrt nije dovoljna da se završi odnos? Šta ako nas u ovom svijetu proganjaju duhovi iz svijeta mrtvih? Naš Hamlet je čovjek današnjice koji je poput Šekspirovog lika izgubio shvatanje o samom sebi. Obrazovanje koje je stekao u mladosti bi trebalo da mu pomogne da prihvati očevu smrt i nastavi sa životom, međutim, njegova vizija duha navodi ga drugačije gleda na svijet oko sebe. Prateći tako sjenu duha, Hamlet prolazi kroz vrata nepoznatog na putu koji ga može približiti njegovim precima i njegovim korijenima. Otkrivanjem svega što bi racionalnost nazvala snovima, fantazijom, misterijom, praznovjerjem, pa možda čak i ludilom, Hamlet traga za odgovorom koji će razbiti njegove sumnje. Živjeti, umrijeti, možda sanjati. Dok njegov um putuje kroz nepoznato, stvarni svijet se rasipa oko njega i ostavlja bezimeni vakuum. Hamletovo razočarenje, kao i gubitak korijena, ga guraju u veliku životnu krizu, koja prijeti da ga utopi u alkoholu.

PERFORMANCE

The death of a father. One of life’s challenges that resonates with each of us. But, what if death is not enough to close the relationship, when one is persecuted by ghosts that insist on not being in peace with us in the world of the living? Our Hamlet is a man of today who, like Shakespeare’s character has lost all understanding of “himself”. His scholarly upbringing should enable him to accept his father’s death and move on, but his ghostly vision forces him to confront a different view of the universe. Following the shadow of the spirit, Hamlet traverses the door of the unknown, on a journey that may draw him closer to his ancestors and to his roots. Through a discovery of all that rationality would name dreams, fantasy, mystery, superstition and perhaps even madness, Hamlet seeks the answer to his uncertainties. Living, dying perhaps dreaming. While his mind travels through the unknown, the real world crumbles around him leaving a vacuum that remains unnamed. Such is Hamlets frustration and loss of his roots that he is inflicted by an existential crisis that threatens to drown him in alcohol.


Igraju / Cast: LUCAS ACHIRICO GONZALO CALLEJAS ALICE GUIMARAES Muzika / Music: HELDER RIVERA Tekst / Text: DIEGO ARAMBURO REDITELJ

Za postavku ovog komada Teatro de los Andes je angažovao bolivijskog reditelja Diega Arambura. On je osnivač i direktor Kikinteatra u Cochabambi, Bolivija. Aramburo je osam puta bio dobitnik Državne teatarske nagrade Bolivije. U Argentini je 2009. režirao predstavu King Kong Palace autora Marca Antonia de La Parre, a 2011. postavio svoju El preciso instante para no ser amado. Također je glumio i ražirao u Sjedinjenim Američkim Državama, Brazilu, Francuskoj, Kanadi, a komadi su mu prevođeni na nekoliko jezika i izvođeni širom svijeta.

DIRECTOR

For the staging of this play, Teatro de los Andes has invited the Bolivian director Diego Aramburo. He is the founder and Director of Kikinteatr, in Cochabamba, Bolivia. Aramburo has been awarded the National Theatre Prize of Bolivia eight times. In Argentina he directed King Kong Palace (2009) written by Marco Antonio de La Parra and authored El preciso instante para no ser amado (The Precise Moment not to be Loved) (2011). He has also directed and acted in the United States, Brazil, France, Canada and his texts have been translated and produced around the world.

Kolektivna režija / Collective Direction: DIEGO ARAMBURO TEATRO DE LOS ANDES Asistentica reditelja i dramaturginja / Assistant Director and Dramaturg: GIULIA D’AMICO Dizajn i realizacija scenografije / Design and Realization of Sets: GONZALO CALLEJAS Dizajn svjetla / Light Design: GONZALO CALLEJAS LUCAS ACHIRICO Kostimi / Costumes: ALICE GUIMARAES DANUTA ZARZYKA Muzička režija / Musical Direction: LUCAS ACHIRICO Fotografija / Photography: Radoslav Pazameta

PRODUKCIJA

Teatro de los Andes su osnovali Cesar Brie, Naira Gonzales i Giampaolo Nalli 1991. u gradu Yotala, blizu Sucre-a u Boliviji. Trenutni članovi/ce ansambla su: Giampaolo Nalli (koordinator) Gonzalo Callejas (umjetnički direktor, glumac, dizajner scene), Lucas Achirico (muzički direktor, glumac), Alice Padilha Guimaraes (voditeljica teatarskih radionica, glumica). Gostujući muzičar: Helder Rivera, Gostujući tehničar svjetla: Bernardo Rosado. Trupa je nastanjena u pozorištu u kojem spremaju i izvode predstave. Na istom mjestu sarađuju i sa drugim umjetnicima/ ama, drže sastanke i radionice. Svaki glumac/ ica je stvaralac/teljica u teatru koji nazivaju teatar „šale i sjećanja”. Svako od njih teži ulozi glumca-pjesnika i glumice-pjesnikinje u etimološkom smislu tog izraza, tj. u ulozi tvorca i kreatora/ke. Kako bi to postigli, rade svakodnevne vježbaju glasovne i fizičke treninge, razvijajući kompozicije i forme improvizacije. Jedan od motiva za svoj rad nalaze u želji da teatar izvedu van zgrade i približe ljudima u njihovim gradovima, naseljima, zajednicama i na trgovima. Teatro de los Andes je producirao više od 24 različita komada i izveo ih u preko 1.500 nastupa kojima je prisustvovalo oko 350 hiljada ljudi širom Bolivije, Centralne i Južne Amerike, Sjedinjenih Američkih Država, Kanade, Novog Zelanda, Indije i Evrope. U svojoj matičnoj kući redovno organizuju radionice i obuke za glumce/ice, kako domaće, tako i međunarodne.

PRODUCTION

Teatro de los Andes was founded in 1991, in the town of Yotala, located close to Sucre in Bolivia, by Cesar Brie, Naira Gonzalez y Giampaolo Nalli. Current members of Teatro de los Andes are Giampaolo Nalli (General Coordinator), Gonzalo Callejas (Artistic Director, Actor, Stage Design), Lucas Achirico (Musical Director, Actor), Alice Padilha Guimaraes (Theatre Workshop Director, Actress). Guest Musician: Helder Rivera, Guest Stage Lighting Technician: Bernardo Rosado. They live in their theatre-residence where they prepare and present their plays. Here they also receive other artists and organise meetings and workshops. Each actor is the creator of a theatre they call a theatre of “humour and memory”. They seek to form a poet-actor in the etymological sense of the word: maker and creator. To achieve this they train physically and vocally everyday, working on forms of improvisation and composition. One of their motivations is to take theatre beyond the stage to people in towns, squares, neighbourhoods and communities. Teatro de los Andes has produced over 24 different plays presented in over 1500 performances and attended by over 350 thousand people in Bolivia, Central and South America, the United States, Canada, New Zealand, India and Europe. At their seat of residence they give training workshops in actor formation and staging on a national and international level.

Produkcija / Production: TEATRO DE LOS ANDES

WORLD MESS

Kolektivna kreacija i postavka / Collective Creation and Staging: TEATRO DE LOS ANDES


Srbija / Serbia

Sarajevski ratni teatar 22.00 Sarajevo War Theater Trajanje / Running time: 70 min.

06/10/13

ERNST TOLLER / VUK BOŠKOVIĆ

HINKEMAN: ŠTA MORA NEKA BUDE HINKEMANN: MAY THERE BE, WHAT HAS TO BE Jezik: srpski s engleskim prijevodom Language: Serbian with English Subtitles PREDSTAVA

PERFORMANCE

Adaptacija komada Slučaj Hinkeman prilagođena savremenom dobu. Osakaćeni mladi vojnik, Eugen, se vraća sa ratišta i pokušava se prilagoditi novim okolnostima u okruženju koje je, isto kao i on, obilježeno proteklim ratom. Oko sebe ima majku, koja ga je ponosno poslala u rat, ženu koja ga i dalje voli, ali suštinski razočaranu činjenicom da s njim nikada neće moći imati djecu, najboljeg prijatelja koji je u međuvremenu razvio odnos sa njegovom ženom, i prijateljicu/ljubavnicu koja je u potpunom sukobu sa svijetom koji je okružuje, uvjerenu da je za nju, ali i za Eugena jedini izlaz odlazak odatle. Siromaštvo (u svakom mogućem smislu) i bijeda su glavne karakteristike njihovih života i one Eugena dovode kod Vlasnika Šatre, čoveka koji vlada ovim svijetom i koji Eugenu nudi posao u cirkusu, gde bi ovaj tokom tačke proždirao glave miševima, na oduševljenje publike. Savremena melodrama sa pjevanjem i plakanjem, u svijetu u kojem nema pravnog razloga (a ni dozvole) ni za jedno, ni za drugo. Predstava je diplomski ispit studentice glume Milene Živanović u klasi prof. Biljane Mašić i završni ispit treće godine studenta pozorišne režije u klasi prof. Ivane Vujić.

Adaptation of the play Hinkeman’s Case is adjusted to modern age. Maimed young soldier, Eugene, returns from the battlefield and is trying to adapt to the new circumstances in the surrounding, which, alike him, has been marked by recent war. He has a mother, who had proudly sent him to war, a woman, who still loves him, but is fundamentally disappointed with the fact that she will never be able to have children with him, best friend, who has in the meantime developed a relationship with his wife, and a friend / a lover, who is in a total conflict with the world that surrounds her, convinced that the best thing for her, and Eugene as well, is to leave this place. Poverty (in every possible sense) and misery are the main features of their lives, hence those lead Eugene to a Host Šatra, a man who rules this world and offers Eugene a job in the circus, where Eugene would, during his act, devour mice heads, to the delight of the audience. Contemporary melodrama with singing and crying, in a world in which there is no real reason (and no permission) for neither. The performance is the final exam of acting student Milena Zivanović, in the class of Biljana Mašić and a final exam of a third year student of theater directing in the class of Ivana Vujić.

Razgovor sa Vukom Boškovićem će se održati 7.10.2013. u 13.00 / Muzej književnosti i pozorišne umjetnosti BiH. Moderatorica: Asja Krsmanović

Discussion with Vuk Bošković will be held on October 7 2013 at 13:00 / Museum of Literature and Performing Arts of B&H. Moderator: Asja Krsmanović


Igraju / Cast: MILAN MARIĆ MILENA ŽIVANOVIĆ SVETOZAR CVETKOVIĆ ALEKSANDRA JANKOVIĆ MILOŠ ĐUROVIĆ JOVANA GAVRILOVIĆ

REDITELJ

Rođen je 1983. godine. Student završne godine pozorišne i radio režije na Fakultetu dramskih umjetnosti u Beogradu. Prije dramskih studija bavio se ljudskim pravima. Radio je kao novinar za dnevnik Danas i Radio Slobodna Evropa. Osnovao je i sedam godina bio na čelu Inicijative mladih za ljudska prava. Osnovao je i vodi Hartefakt Fond od 2009. godine, u okviru kojeg veliki dio aktivnosti usmjerava ka razvoju novih modela pozorišne produkcije i podršci stvaranju društveno angažovanih regionalnih pozorišnih projekata. U toku studija režije asistirao Dejanu Mijaču na predstavi Višnjik u Jugoslovenskom dramskom pozorištu i Jovanu Ćirilovu na predstavi Izlet u Rusiju u Centru za kulturnu dekontaminaciju. 2012. godine u Bitef & Hartefakt teatru režirao komad Izopačeni po tekstu Martina Šermana.

He was born in 1983. godine. He is a final year student of theater and radio directing at the Faculty of Dramatic Arts in Belgrade. Before dramatic studies he was engaged in human rights. He worked as a journalist for the journal Danas and Radio Free Europe. He founded and led the Youth Initiative for Human Rights for seven years. He founded and is leading Haeartefact Fund since 2009, where a large part of activities are directed towards the development of new models of theatrical productions and support for the creation of socially engaged regional theater projects. During his studies, he assisted the director Dejan Mijač on the play The Cherry Orchard at the Yugoslav Drama Theatre and Jovan Ćirliov on the play The Trip to Russia at the Center for Cultural Decontamination. In 2012 he directed Martin Sherman’s Bent in Bitef & Heartefact Theater.

Jugoslovensko dramsko pozorište osnovano je 1947, kao reprezentativno pozorište nove Jugoslavije. Od samog početka nije mijenjana osnovna repertoarska orijentacija – visok literarni nivo. Tokom osamdesetih JDP je postao teatar savremenog scenskog izraza. Poslije požara 1997. otvorena je nova zgrada, pa JDP danas ima tri scene koje mogu da prime više od 900 gledatelja/ ki. Od 2006. član je Evropske pozorišne unije (UTE).

Kostimografija / Costume Design: DARINKA MIHAJLOVIĆ Kompozitorka / Composer: IRENA POPOVIĆ-DRAGOVIĆ Dramaturgija / Dramaturgy: VUK BOŠKOVIĆ Muzičari / Musicians: DANILO TIRNANIĆ UROŠ ANTIĆ VLADIMIR GRUBAJ LENA VASIĆ

DIRECTOR

PRODUKCIJA

Scenografija / Stage Design: MIA DAVID

PRODUCTION

Yugoslav Drama Theater was founded in 1947 as a representative theater of the new Yugoslavia. From the outset it did not radically change its basic repertory orientation – high literal level. During the eighties, JDP has become a theater of contemporary theatrical expression. After the fire in 1997 the new building was opened, and JDP today has three scenes that can accommodate more than 900 spectators. Since 2006. it is a member of the European Theater Union (UTE).

Fotografija / Photography: Jelena StankoviĆ Koprodukcija / Co-production: FAKULTET DRAMSKIH UMETNOSTI U BEOGRADU / FACULTY OF DRAMA ARTS IN BELGRADE JUGOSLOVENSKO DRAMSKO POZORIŠTE / YUGOSLAV DRAMA THEATER

FUTURE MESS / IYMT

Režija / Direction: ANDREJ NOSOV


Švicarska / Switzerland

Narodno pozorište Sarajevo 19.30 National Theater Sarajevo Trajanje / Running time: 80 min.

07/10/13

KING SIZE Jezik: njemački s bosanskim i engleskim prijevodom Language: German with Bosnian and English Subtitles

PREDSTAVA

U komponovanju termin enharmonično se odnosi na poseban način tretiranja jednog tona kao da je drugi – radi se o posebnoj tehnici, veoma popularnoj među kompozitorima u posljednja dva vijeka. Ne bez razloga – može li postojati ideja o promjeni koja je bliža životu od ove? Nije li svaki ljudski odnos enharmoničan na svoj način? Svaki brak, svaka tajna ljubav, svaki poljubac? A pošto je ova činjenica prilično jasna, i dovoljno neistražena, Christoph Marthaler i njegova trupa obavljaju laparoskopiju mozga upravo za vrijeme enharmonične odluke – dok je mozak u snu. Mjesto našeg odmora je savršeno, prelijepo, u prekrasnim bojama – a njegov centar je predmet želje – veliki bračni krevet! Na tom mjestu, gdje se krajnja intima (u ljubavnoj uniji) spaja sa potpunim odsustvom (za vrijeme sna), možemo vidjeti trenutke ljudskog preobražaja u njegovim najjačim i najsurovijim oblicima. I pošto je uvijek potrebno troje da bi se došlo do enharmoničnih promjena u vjeri, predanosti, blaženstvu i sreći, pjevačici/glumici Tori Augestad i pjevaču/glumcu Michaelu von der Heideu se na sceni pridružuje tajanstveni Gosp. Dethleffsen.

PERFORMANCE

In composition, Enharmonic means a special way of redefining a tone as another – it’s an unique technique, very popular with composers of the last two centuries. Not without reason – could there be any idea of change which is closer to life than this one? Isn’t every human relationship an enharmonic relationship of sorts? Every marriage, every secret love, every kiss? And since this fact is as obvious as it is unexplored, Christoph Marthaler and his ensemble perform keyhole surgery on the brain while it’s in the middle of enharmonic decisions: in its very sleep. Our place of nightly rest is in perfect order, beautifully designed in softest colours – and at its centre the object of desire: the king-size bed! Here, where supreme intimacy (in loving union) is conjoined with total absence (while sleeping), we can witness moments of human transformations in their most intense and most cruel forms. And since it always takes three to follow the enharmonic changes of faith, devotion, bliss and happiness, singers/performers Tora Augestad and Michael von der Heide are accompanied by mysterious Mr. Dethleffsen – in the truest sense of the word.


Rođen je 1951. u Erlenbachu pored Zuricha. Studirao muziku i mimu kod Jacquesa Lecoqa u Parizu. Sedamdesetih i osamdesetih godina dvadesetog vijeka radio kao pozorišni muzičar na mnogim pozornicama njemačkog govornog područja, a u Švicarskoj počinje raditi na vlastitim manjim muzičkim projektima. Frank Baumbauer ga 1989. dovodi u pozorište u Bazelu gdje ima i prve samostalne nastupe te radi svoje prve produkcije. Tu upoznaje koreografkinju Annu Viebrock i menadžericu Stefanie Carp sa kojima osniva vlastiti producentski tim. Od 1993. potpisuje mnoge projekte u sklopu svog rediteljskog angažmana u hamburškom Deutsches Schauspielhaus pod vodstvom Franka Baumbauera, te u berlinskom Volksbühne am Rosa-Luxemburg-Platz pod vodstvom Franka Castorfa. Od 1994. sarađuje i na operama sa dirigentom Sylvainom Cambrelingom u Frankfurtu, Berlinu, Beču i Salzburgu. 1996. biva odlikovan nagradom Konrad Wolf, 1997. zajedno sa Annom Viebrock osvaja Bavarian Theater Prize i Fritz Kortner Prize, a 1998. osvaja Evropsku nagradu u Taormini. Po izboru kritike časopisa Theater heute 1997. i 1998. biran je za reditelja godine. 2001. postaje upravnik ciriške kuće Schauspielhaus, koju je prerano napustio 2004. zbog političkih nesuglasica. Zajedno sa Annom Viebrock 2004. osvaja Berlin Theater Prize. 2011. Christoph Marthaler osvaja nagradu Hans-Reinhart-Ring, najprestižniju pozorišnu nagradu u Švicarskoj.

DIRECTOR

Born in 1951 in Erlenbach near Zurich. Studied music in Zurich and mime training under Jacques Lecoq in Paris. In the 1970s and 1980s he was employed as a theatre musician at various German-speaking stages and developed his first small music theatre projects in Switzerland. Frank Baumbauer then brought him to Basel Theatre in 1989 where he gave his first song evenings and presented his first productions. There, met the set designer Anna Viebrock and the literary manager Stefanie Carp, with whom he has formed a production team ever since. From 1993 onwards various directorial work as in-house director at the Deutsches Schauspielhaus Hamburg under the management of Frank Baumbauer and under Frank Castorf at the Berliner Volksbühne am Rosa-LuxemburgPlatz. From 1994 also opera projects with the conductor Sylvain Cambreling in Frankfurt, Berlin, Vienna and Salzburg. In 1996 he was awarded the Konrad Wolf Prize, in 1997 together with Anna Viebrock the Bavarian Theatre Prize and the Fritz Kortner Prize and, in 1998, the Europe Prize in Taormina. In 1997 and 1999 he was voted director of the year in the critics’ survey of Theater heute. In 2001 he became the manager at the Zurich Schauspielhaus, which he left prematurely in 2004 after political disagreements. In 2004 he was awarded the Berlin Theatre Prize together with Anna Viebrock. In 2011 Christoph Marthaler was honoured with the most important prize in Switzerland for theatre makers, the Hans-Reinhart-Ring.

PRODUKCIJA

Teatar Basel je općinski teatar grada Basela, Švicarska, koji je dom gradskoj operi i baletskim društvima. Teatar također, pored opera i opereta, radi mjuzikle i predstave. Teatar Basel je osnovan 1834. pod nazivom Basler Stadttheater. Prvi teatar je dizajnirao švicarski arhitekta Melchior Berri. 1873. počeli su radovi na novom teatru, koji je dizajnirao Johann Jakob Stehlin der Jüngere. Ovaj drugi teatar je bio otvoren 1875. i bio je u funkciji sve dok nije bio uništen u požaru 7. oktobra 1904. godine. Ubrzo su uslijedili planovi za treći teatar, ali tek nakon pet godina je napokon otvoren. Četvrti teatar je otvoren 1975, te se te godine ime mijenja u Teatar Basel. 1999. Proglašen je teatrom godine od strane kritičara, u istraživanju koje je sproveo časopis Theater heute. Također, 2009. i 2010. Teatar Basel je proglašen za Opera House godine od strane kritičara, u istraživanju koje je sproveo časopis Opernwelt. Ima tri glavne bine: Grosse Bühne, koja se koristi najčešće za operu i baletske produkcije, ali i za predstave, Schauspielhaus (dramska scena) u Steinentorstrasse, pretežno je dom dramskim produkcijama, Kleine Bühne, služi za sva tri sektora, za manje produkcije ili za manji broj publike.

PRODUCTION

Theater Basel is the municipal theater of the city of Basel, Switzerland, which is home to the city’s opera and ballet companies. The theater also presents plays and musicals in addition to operas and operettas.Theater Basel was founded in 1834 under the name Basler Stadttheater. The first theater was designed by Swiss architect Melchior Berri. In 1873 work on a new theater began which was designed by Johann Jakob Stehlin der Jüngere. This second theater opened in 1875 and was used until it was destroyed by fire on October 7th, 1904. Plans for a third theatre were soon made, but it was five years before that the theater finally opened in 1909. The fourth theater opened in 1975, and in that year name changes to Theater Basel. In 1999 Theater Basel is voted Theatre of the Year by critics in a survey conducted by the journal Theater heute. Also, in 2009 and 2010 Theater Basel is voted Opera House of the Year by critics in a survey carried out by the journal Opernwelt. Theater Basel has three main stages: Grosse Bühne (1000 seats), used mainly for opera and ballet productions, but also for plays, Schauspielhaus (playhouse) in Steinentorstrassehas 480 seats and is home predominantly to drama productions, Kleine Bühne (320 seats) serves all three sectors for smaller scale productions and/or specific smaller audiences.

Igraju / Cast: TORA AUGESTAD BENDIX DETHLEFFSEN MICHAEL VON DER HEIDE Scenografija / Stage Design: DURI BISCHOFF Kostimografija / Costume Design: SARAH SCHITTEK Muzika / Music: BENDIX DETHLEFFSEN Dramaturgija / Dramaturgy: MALTE UBENAUF Fotografija / Photography: Simon Hallström

WORLD MESS

Režija / Direction: CHRISTOPH MARTHALER

REDITELJ


Slovenija / Slovenia

Sarajevski ratni teatar 22.00 Sarajevo War Theater Trajanje / Running time: 65 min.

07/10/13

L’Innocente Jezik: slovenski s bosanskim i engleskim prijevodom Language: Slovenian with Bosnian and English Subtitles

PREDSTAVA

L’Innocente (1976) je posljednje djelo velikog filmskog reditelja Luchino Viscontija. Radnja intimnog trokuta se dešava u vilama rimske aristokratije, gdje je scenografija pomno i brižno birana, u senzualnoj atmosferi palata Italije. Viscontijevi junaci, u luksuznim kostimima i u bahatoj otuđenosti od svojih emocionalnih svjetova, kao da su zamrznuti u vremenu. Visconti je bazirao svoj film na romanu Gabriele D’Annunzia, jednog od vodećih autora dekadencije i simbolizma u italijanskoj literaturi. I upravo je ova aspiracija ka dekadeneciji i aristokratiji poveznica između Diega de Brea-e i Luchino Viscontija; de Brea se već suočio sa njim 2006. godine, kada je postavio Proklete na pozorinici Mladinskog. Bogati, privlačni, nemilosrdni i arogantni Tullio Hermil zapostavlja svoju lijepu ženu Giulianu, te svu svoju pažnju posvećuje ljubavnici Teresi, samodostatnoj grofici udovici. Njegov brak se čini kao formalnost, sve dok on ne otkrije da nije jedini koji ima vanbračne afere. Otkriće da ga je žena prevarila sa mladim piscem u njemu budi ljubav za do tada emocionalno zapostavljenom Giulianom. Neočekivana rasplamsala ljubav prema njegovoj ženi, možda jedina istinska ljubav koju je osjetio, u njemu budi oprost afere sa mladim piscem, koji nedugo nakon toga umire. Ali, onda on iznenada biva pogođen vijestima da je Giuliana, koja s njim nema djece, zatrudnila sa ljubavnikom...

PERFORMANCE

L’Innocente (1976) is the final work of the grand film maker Luchino Visconti. The intimate triangle takes place in the villas of Roman aristocracy where the decor is thoughtfully chosen, in the sensual atmosphere of Italian country palaces, where Visconti’s heroes in luxurious costumes, in their haughty distance from their own emotional worlds, seem to be frozen in time. Visconti made his film based on a novel by Gabriele D’Annunzio, one of the leading authors of decadence and symbolism in Italian literature. And it is this partiality towards decadence and aristocracy that links Diego de Brea and Luchino Visconi; de Brea already faced him in 2006 when he created The Damned on the Mladinsko stage. The wealthy, attractive, ruthless and arrogant Tullio Hermil is neglecting his pretty wife Giuliana and showers his mistress Teresa, a self-sufficient dowager countess, with his attention. His marriage appears to be a formality until he discovers that he’s not the only one in it to have an extra-marital affair. It is the discovery that his wife cheated on him with a young writer that evokes in him love for the so far emotionally neglected Giuliana. The unexpectedly rekindled love for his wife, maybe the only true love he has ever experienced, brings about his decision to pardon her the affair with the young writer who dies soon after. But then he’s suddenly struck with the news that Giuliana, who has no children with him, got pregnant by her lover…


Igraju / Cast: UROŠ MAČEK ROMANA ŠALEHAR DRAGA POTOČNJAK OLGA GRAD MATEJ RECER

REDITELJ

Diego de Brea jedan je od najuspješnijih slovenskih reditelja. Prvo je studirao komparativnu književnost i historiju umjetnosti, a potom je završio pozorišnu režiju na Akademiji za pozorište, radio, film i televiziju u Ljubljani. Autor je predstava slovenskih i stranih repertoara, kao i nezavisnih pozorišta. Bavi se različitim žanrovima, od predstava za mlade, lutkarskih predstava, osmišljenog pozorišta, klasičnih i suvremenih tekstova, do muzičkih vodvilja. Njegove režije su bile na turneji u Sloveniji, u Europi i na drugim kontinentima. Dobitnik je brojnih prestižnih domaćih i inozemnih nagrada. U Mladinskom pozorištu je režirao Kraljicu Margot (2005), Proklete (2006), koji se također temelje na Viscontijevom filmu), Zločin i kaznu (2009) i, na kraju prošle godine, L’Innocente. Ove godine, izabran je za Umjetničkog direktora Slovenskog narodnog pozorista Maribor.

Dramaturgija / Dramaturgy: TOMAŽ TOPORIŠIČ Scenografija / Stage Design: DIEGO DE BREA Kostumografija / Costume Design: SLAVICA JANOŠEVIĆ Zvučna slika / Soundscape: FI PRODUKCIJA Dizajn zvuka u prostoru / Sound Design in the Venue: SILVO ZUPANČIČ

DIRECTOR

Diego de Brea is one of the most successful Slovene directors. He first studied comparative literature and art history, and later on finished theater directing at the Academy of Theatre, Radio, Film and Television in Ljubljana. He is the author of high-profile plays in Slovene and foreign repertory as well as non-institutional theaters, taking up different genres, from youth plays and puppet shows, devised theater, classical and contemporary texts, to musical vaudevilles. His stagings have toured in Slovenia, in Europe and on other continents. He has received numerous prestigious national and international awards. At the Mladinsko Theater he directed Queen Margot (2005), The Damned (2006, also based on a Visconti film), Crime and Punishment (2009) and, at the end of last year, L’innocente. This year, he was elected the artistic director of the Slovene National Theater Maribor.

Dizajn svjetla / Light Design: DIEGO DE BREA Na snimku / On the Recording: MATJAŽ TRIBUŠON HELENA PERŠUH IGOR SAMOBOR MARUŠA GEYMAYER-OBLAK DIEGO DE BREA SANDI PAVLIN ŽELJKO HRS MARINKA ŠTERN IVAN GODNIČ BLAŽ ŠEF Fotografija / Photography: Peter Uhan

PRODUKCIJA

Osnovan je 1955. godine kao prvi profesionalni teatar za djecu i mlade u Sloveniji. Osamdesetih godina Mladinsko je postepeno rekonstruisano u teatar, koji je interdisciplinarno kombinirao granično pozorišno istraživanje i tematizaciju političke subverzivnosti. Danas je teatar poznat po širokom spektru inovativne poetike različitih mladih reditelja/ica i po fenomenu „energije ansambla“ – Brookovom pristupu glumi, koji nije baziran na hijerarhiji slave, već na glumačkoj laboratoriji, u kojoj su pojedinačni bravurozni dijelovi povezani u jaku, cjelovitu glumačku energiju. U svojim predstavama Mladinsko želi tematizirati univerzalne paradokse civilizacije, sa programom baziranom na problematici novih vremena i prostora. Mladinsko će nastaviti razvijati kodove nove pozorišne prakse, novih vizualnih paradigmi, novih načina prikaza klasika, modernizma i postmodernizma. U Mladinskom svi, glumci/ice, reditelji/ce, koreografi/kinje, scenografi/kinje, muzičari/ke, istražuju, riskiraju i stvaraju, kako bi svojim radom razvili/e novog gledaoca/gledateljicu.

PRODUCTION

Established in 1955 as the first professional theater for children and youth in Slovenia. In the eighties, Mladinsko was gradually re-structured into a theater which interdisciplinarily combined borderline theater research and the thematisation of political subversiveness. Today, it is known for a wide range of innovative poetics of various young directors and the phenomenon of “ensemble energy” – the Brook approach towards acting, which is not based on star hierarchy, but on an acting laboratory connecting individual bravura parts into a strong whole of the acting ensemble. In its performances, the Mladinsko strives to thematise universal paradoxes of the civilisation, with its programme based on the problematisation of new times and spaces. The Mladinsko will continue to develop the code of new theatrical practice, new visual paradigms, new views on the classics, modernism and postmodernism. At the Mladinsko, the actor, director, choreographer, set designer, musician … all research and develop, risk and create in order to develop a new spectator through their gestures.

WORLD MESS

Režija / Direction: DIEGO DE BREA


JEDNO JUTRO SAM OTIŠLA... ONE MORNING I LEFT...

MALI MUK LITTLE MUK

Korall Koral KRALJICA VEŠMAŠINA LAUNDRY WASHER, THE QUEEN


Međunarodni centar za djecu i omladinu Novo Sarajevo 11.00 International Centre for Children and Youth Novo Sarajevo Trajanje / Running time: 30 min.

28/09/13

Dom kulture Goražde 11.00 City Cinema Visoko Trajanje / Running time: 30 min.

29/09/13

Čile / Chile

Gradsko kino Visoko 11.00 City Cinema Visoko Trajanje / Running time: 30 min.

30/09/13

JEDNO JUTRO SAM OTIŠLA... ONE MORNING I LEFT... Jezik: bosanski Language: Bosnian

PREDSTAVA

Ana odlučuje krenuti na put. U tome joj pomaže Gaspar, a društvo pravi Oliver. Na svom putu otkriva čega sve ima u prirodi – sunca, cvijeća, leptirića, i mnogo različitih mjesta. Vidimo Anu kako na selu muze kravu, kako na džinovskoj ptici leti kroz pustinju, kako roni među mjehurićima, te istražuje džunglu. Na ovaj magični put je ponijela odjeću, kante, lijevke i konopce. Muzika, pjesma, zvuk gitare, klarineta i udaraljki, zvučni efekti – svi oni čine tekst predstave. Svi ovi različiti elementi čine predstavu Una Mañanita Partí… posve intimnim i očaravajućim iskustvom. Uzrast: 0-6

PERFORMANCE

Ana decides to make a trip, and to reach her goal she receives the help of Gaspar and enjoys the company of Oliver. In her journey, she begins to discover what lives in the nature; like the sun, the flowers, the butterflies and many different places. We see Ana milking a cow in the countryside, flying on a big bird through the desert, diving among bubbles and exploring the jungle. Clothes, buckets, funnels and ropes support this journey that takes life magically. Music, sounds and live-songs guitar, clarinet, percussion instruments and sound effects- are the text of the play. This mixture of elements make Una Mañanita Partí… an intimate and captivating show. Age Limit: 0-6


Teatro de Ocasión je osnovan 2001. pod imenom La Fiambre Theater Company. Kombinacijom teatra, muzike i popularne kulture, teatar privlači razne profile publike. Prva predstava Escribiendo la Memoria con la Tinta de la Lngua (koju je 2003. finansijski podržala vlada) bila je namijenjena najstarijoj publici. Nastala je kao rezultat kombinacije Canto a lo Poente, jedne vrste čileanskog usmenog predanja, i Guitarra Compesine, čileanske narodne muzike koja se izvodi na gitari. Od 2004. do danas članovi/ce ansambla Teatro de Ocasión su nastupali/e u ulozi muzičara/ki i glumaca/ica u značajnim umjetničkim projektima kao što su Tryo Tatreo Banda i Teatro Mendicantes, kao i u bendu La Mano Ajena. 2010. su pod imenom Teatro de Ocasión nadošli na ideju da naprave spektakl za bebe i malu djecu, a u tome su ih podržale i iskusne španske kolege/ice Teloncillo Teatro. Zahvaljujući fondu Iberescene, obje kuće su bile uključene u produkciju projekta koji će se pojaviti pod naslovom Una Mañanita Partí… Nakon prve uspješne sezone u kulturnom centru Gabriela Mistral (GAM), učestvovali su na XVIII Theater Festival of the Universidad Catolica de la Santisima Concepcion na jugu Čilea. Nakon toga su osvojili prvu nagradu na dječijem festivalu XIV La Reina Theater Festival. 2012. uz finansijsku podršku vladinog fonda Fondart, proputovali su jedanaest općina regije Metropolitana: El Bosque, La Cisterna, El Monte, Talagante, Lo Prado, Til Til, Buin, Maipu, San Joaquin, Macul, PAC. U junu su završili sezonu u mjestu La Reina, nakon čega su nastupali u gradovima Concepcion, Temuco i Paillaco (Festival Lluvia de Teatro 2012). U julu su nastupali u pozorištu Sidarte, na festivalu Corpartes Entrete Vacaciones, a nakon toga otišli na turneju u oblast Quinta, po gradovima Petorca, Cabildo, Nogales, Calle Larga, Catemu, Putaendo, Puchuncavi i Panquehue. U oktobru se vraćaju u kulturni centar GAM, a sezonu 2013. su započeli u Teatro del Lago de Frutillar, te festivalima Internacional Santiago a Mil i Cielos del Infinito (u gradovima Porvenir, Puerto Williams i Punta Arenas).

PRODUCTION

Teatro de Ocasión was founded in 2001 under the name La Fiambre Theater Company. Its main concerns were to research and to attract unusual audiences by combining theater, music and popular culture. In this perspective, its first work was Escribiendo la Memoria con la Tinta de la Lengua (financed by a goverment fund in 2003), which was orientated to old people. The project was the result of a research and study process of the so-called Canto a lo Poeta, the Chilean oral tradition and the Guitarra Campesina, this is, the guitar as played in the Chilean countryside. Since 2004 until today, the members of Teatro de Ocasión have participated, as musicians and actors, in important artistic projects, such as Tryo Teatro Banda, Teatro Mendicantes and the band La Mana Ajena. In 2010, already under the name Teatro de Ocasión, they began to create the idea of making a spectacle for the toodlerhood and early childhood, having for this the support of the experienced Spanish theater company Teloncillo Teatro. Thanks to the Iberescene Fund, both companies coproduce this project that will be known as Una Mañanita Partí… After a succesful first season in the Gabriela Mistral Culture Center, GAM, they participated in the XVIII Theater Festival of the Universidad Católica de la Santisima Concepción in the south of Chile. After that, they recieved the First Place award in the XVI La Reina Theater Festival for Children. In 2012, with the economical support of the government fund, Fondart, they travelled around 11 districts inside Región Metropolitana: El Bosque, La Cisterna, El Monte, Talagante, Lo Prado, Til Til, Buin, Maipu, San Joaquin, Macul, PAC. In June they make a season in La Reina, after which they began a tour to other Chilean cities: Concepcion, Temuco, Paillaco y Valdivia (Festival Lluvia de Teatro 2012). During July, they made a season in Sidarte, inside the Carpartes Entrete Vacaciones Festival, and then they started another tour around the Quinta Región and through towns such as Petorca, Cabildo, Nogales, Calle Larga, Catemu, Putaendo, Puchuncavi and Panquehue. In October they returned to the GAM Cultural Center, and they started 2013 with presentations in Teatro del Lago de Frutillar, Festival Internacional Santiago a Mil 2013 and Festival Cielos del Infinito (Porvenir, Puerto Williams and Punta Arenas).

Kreacija, izvedba, muzika / Creation, Performance, Music Composer: MARÍA FERNANDA CARRASCO BLANCAIRE ÁLVARO SÁEZ RAMÍREZ CÉSAR ESPINOZA ARAYA Kostimografija, scenografija / Costume, Stage Design: BELÉN ABARZA CASTILLO Grafički dizajn / Graphic Design: LIZA RETAMAL SALINAS Audio-vizualni identitet / Audiovisual Maker: PABLO OBREQUE ZAMBRANO Fotografija / Photography: Lori Zarricueta Produkcija / Production: MARÍA FERNANDA CARRASCO BLANCAIRE

CHILDREN MESS

PRODUKCIJA

Režija / Direction : CÉSAR ESPINOZA ARAYA (TEATRO DE OCASION) ANA ISABEL GALLEGO ÁNGEL SÁNCHEZ (TELONCILLO TEATRO)


Bosna i Hercegovina / Bosnia and Herzegovina

Pozorište mladih Sarajevo 11.00 Sarajevo Youth Theater Trajanje / Running time: 45 min.

29/09/13

WILHELM HAUFF

MALI MUK LITTLE MUK Jezik: bosanski Language: Bosnian PREDSTAVA

PERFORMANCE

Čitav svijet je danas jedna velika trka. Trka za slavom, uspjehom, novcem... Da bi se pobijedilo u toj trci ne biraju se sredstva: svi varaju, lažu, podvaljuju, podapinju, iskorištavaju, udaraju, „laktaju se“... Ali, ipak, nisu svi isti. Naš junak Mali Muk „koji je bio toliko mali da ga se i otac stidio“ ne želi učestvovati u toj trci. Iako ga svi „gnječe i gaze“ Muk ne pripada ovom svijetu punom pohlepe i licemjerstva. On želi samo jedno: pravdu i istinu! No, licemjerni, dvolični i pokvareni uvlače ga u tu trku iz koje će na kraju izaći kao pobjednik... Kako? Zahvaljujući čistom i dobrom srcu! I istini koja Malog Muka čini jednim od velikih „junaka našeg doba“.

Today’s world is a big race. For glory, success, money… to win the race, no cost is too high – everybody cheats, lies, swindles, deceives, hits, pushes… However, not everybody is alike our hero, Little Muk, “who was so small that his father was embarrassed by him”, does not want to be in that race. Although everybody “pushes him and tramples over him” Muk does not belong to this world of greed and hypocrisy. He only wants truth and justice! But, hypocrites, liars and bullies are getting him into the race which he will end as a winner… How? Thanks to his pure and good heart, and truth, which make Little Muk one of the “true heroes of our time”.

Uzrast: 4-10

Age Limit: 4-10


Darko Kovačovski je rođen 1978. godine u Makedoniji. Diplomirao je pozorišnu režiju 2004. godine na Nacionalnoj akademiji dramskih umjetnosti u Skoplju u klasi profesora Slobodana Unkovskog. Kasnije, školovanje nastavlja na Nacionalnoj akademiji filmske i pozorišne umjetnosti u Sofiji, gdje je 2005. godine specijalizirao režiju lutkarskih predstava po metodi Stanislavskog. Magistrirao je na Nacionalnoj akademiji za teatarsku i filmsku umjetnost K. Sarafov u Sofiji. Režirao je u 2008. godini dječiju predstavu Borizmejko Slavča Malenova (Državni teatar u Loveču). Bio je pomoćnik reditelja na dječijoj predstavi Andersenovi kuvari Dragoslava Todorovića (Centralno lutkarsko pozorište u Sofiji), te režirao dječiju lutkarsku predstavu Princeza na zrnu graška H. K. Andersena. U 2006. režirao je lutkarsku predstavu za djecu Sunny Ray A. Popeskua, a u 2004. Gospođicu Juliju Augusta Strinberga, (NATFA, Sofija). Od 2007. do danas asistent je profesorici Mariji Ganevi na predmetu Režija, Luben Groise Theatre College, Sofija.

DIRECTOR

Darko Kovačovski was born 1978 in Macedonia. He graduated in direction from the National Academy of Performing Arts in Skoplje in the class of Professor Slobodan Unkovski. Afterwards, he continued his studies at the National Academy for Film and Theater in Sofia, where he specialized in puppet theater using the Stanislavski method. He received his M.A. in 2008 from the Krastyo Sarafov National Academy for Theater and Film Arts in Sofia. In 2008 he directed children’s play Borizmejko from Slavcho Malenov (State Theatre in Lovech). He was asisstant director of the children’s play Andersen’s cooks from Dragoslav Todorović (Central Puppet Theatre, Sofia), and directed children’s play The Princess and the Pea from H. C. Andersen. In 2006 he directed puppet play for children Sunny Ray from A. Popesku, and in 2004 Miss Julie from August Strinberg (NATFA, Sofia). From 2007 until today he is assistant of professor Marija Ganeva in theater directing, Luben Groise Theatre Collge, Sofia. PRODUKCIJA

Historijat Pozorišta mladih počinje daleke 1950. godine kada su u Sarajevu osnovana dva teatra za djecu: Pionirsko pozorište i Pozorište lutaka. Profesionalni ansambl Pionirskog pozorišta formira se šezdesetih godina, te se mijenja i naziv teatra u Pozorište za mlade koje tendira ka postavljanju sve ambicioznijih projekata u svrhu animiranja što šire grupacije mladih. Formiranje Pozorišta mladih 1977, kao jedinstvene teatarske institucije, obilježeno je promjenom repertoarske politike u kvalitativnom i kvantitativnom smislu i angažmanom eminentnih reditelja, vrhunskih umjetnika iz oblasti muzičkog i likovnog umjetničkog izraza koji su u ovaj teatar dolazili iz svih dijelova bivše Jugoslavije, ali i Evrope. Tokom rata, u devastiranoj zgradi, sa prepolovljenim ansamblom, Pozorište mladih daje svoj puni doprinos odbrani grada Sarajeva i kulture od agresije i nadirućeg primitivizma sa okolnih brda. U suradnji sa domaćim i stranim rediteljima, uz zajednički angažman MESS-a i malobrojnih preostalih glumaca u Sarajevu, u Pozorištu mladih premijerno su izvedene brojne predstave. Po završetku rata pozorište nastavlja svoju djelatnost koja rezultira nagradama: na Internacionalnom teatarskom festivalu MESS 1997, 1999, 2001 predstave ovog pozorišta nagrađivane su nagradom za glavnu ulogu, nagradama kritike, nagradama ansamblu predstave. Predstave Pozorišta mladih dobijaju i brojne nagrade za glumce, reditelje i predstave u cjelini na bosanskohercegovačkim teatarskim festivalima u Jajcu, Zenici, Mostaru... Od daleke 1950. do danas Pozorište mladih Sarajevo bilo je i ostalo pozorište svih generacija.

PRODUCTION

The history of the Sarajevo Youth Theatre goes way back to 1950, when Sarajevo saw the establishment of two theatres geared to children: The Pioneer Theater and The Puppet Theater. In the 1960’s, the Pioneer Theater puts together its first professional ensemble, changes its name to The Theatre for Youth, and begins staging increasingly ambitious projects, aimed at engaging wider groups within the young population. In 1977, the establishment of the Youth Theater was also marked by a change in repertoire policies, in both the qualitative and the quantitative sense, with the involvment of renowned directors, as well as of leading graphic and music artists, which came to the Theater from all over the former Yugoslavia and Europe. During the war years, working in a ruined building and with a decimated ensemble, the Youth Theater contributed, to the fullest of its capacity, to defending the city and the cultural scene from the aggression and primitivism that advanced from the surrounding hills. In cooperation with both local and foreign directors, and as a result of joint efforts with the MESS Festival and the few actors that had remained in Sarajevo, the Theater hosted numerous premieres. After the war, the Theater continued its activities, which resulted in awards at the MESS International Theater Festivals in 1997, 1999 and 2001, while its plays have recieved awards for best acting, critics’ awards, and ensemble awards. The Youth Theater productions have also garnered numerous awards for its actors, directors, and for the productions in general, at BiH theatre festivals in Jajce, Zenica, Mostar etc. Ever since distant 1950 to the present day, Youth Theater Sarajevo has been, and has remained, a theatre for all generations.

Režija /Directon: DARKO KOVAČOVSKI Igraju / Cast: MARIO DRMAĆ ALMA MERUNKA SUADA AHMETAŠEVIĆ NARDA NIKŠIĆ DAMIR KUSTURA Adaptacija / Adaptation: NADJA VASILEVA DARKO KOVAČOVSKI Dramaturgija / Dramaturgy: SEGOR HADŽAGIĆ Lutke, kostimografija i scenografija / Dolls, Costume and Stage Design: NADJA VASILEVA Muzika / Music: HAMDIJA SALIHBEGOVIĆ NEDŽAD MERDŽANOVIĆ Asistent scenografa / Stage Designer’s Assistant: MIRJANA ČISTOPOLJSKI Fotografija / Photography: Pozorište mladih Sarajevo

CHILDREN MESS

REDITELJ


Trajanje / Running time: 20 + 20 min.

Norveška / Norway

Međunarodni centar za djecu i omladinu Novo Sarajevo 11.00, 13.00 International Centre for Children and Youth Novo Sarajevo

05/10/13 06/10/13

Korall Koral Jezik / Language: no problem

PREDSTAVA

Privučena bukom, publika je uvučena u šator u obliku školjke u hodniku Opere, gdje dva umjetnika na posebnim instrumentima stvaraju muziku i pjesmu. Instrumenti podsjećaju na morska stvorenja – neobična poput harfe u obliku morskog konja, stvorenja gajde, staklene zvonaste meduze i stvorenja diaulosa. Možda se nalazimo u dubini Arktičkog okeana? Oko nas su stvorenja o kojima skoro ništa ne znamo. Nema linearne radnje koju možemo slijediti, već niz događaja sa uzbuđenjima ili samo nagovještajima tih uzbuđenja, humorom i spokojem. Muziku je komponovala Maja Ratkje, poznata po svojim istraživanjima glasa. U muzičkoj igri, mi zvukove uobličavamo u jezik i pjesmu. U ovoj operi bebe i odrasli imaju jednako važne uloge. U njoj nema ničega što treba objasniti ili shvatiti. Nakon predstave od 20 minuta, djeca i odrasli su pozvani da sami istraže sobu i instrumente. Dječija opera Korall Koral je izvedena više od 400 puta pred više od 15.000 posjetilaca/posjetiteljki širom Norveške, Švedske, Farskih ostrva, Holandije, Francuske, Njemačke, Danske i Velike Britanije. Uzrast: 0-3

PERFORMANCE

The audience are coaxed by noise into a shell-shaped tent in the Opera’s foyer, where two performers with specially designed instruments create music and song. The instruments resemble sea creatures; there are weird creatures such as the sea horse harp, bagpipe creature, glass chime jellyfish and double creature flute. Perhaps we are somewhere below the surface in the Arctic Ocean? There are creatures here we know very little about. There is no linear plot to be followed but rather a series of events with excitement or triggers of excitement, humour or tranquility. The music is composed by Maja Ratkje, who is renowned for her exploration of the voice. We shape sounds to language and song in a musical game. In this opera babies and adults have equal qualifications. There is nothing to be explained or understood. Duration: After the 20 minutes performance, children and adults are invited to explore the room and instruments by themselves. Korall Koral -A Baby Opera has been performed 400 times for more than 15.000 audiences in Norway, Sweden, The Faroe Islands, Netherlands, France, Germany, Denmark and Great Britain. Age Limit: 0-3


Igraju / Cast: HANNE DIESERUD SILJE AKER JOHNSEN HANNA GJERMUNDRØD CAMILLA VISLIE REDITELJICE

Hanne Dieserud je završila postdiplomski studij 1990. na londonskoj Academy of Music and Dramatic Arts. Karijeru je započela kao tradicionalna glumica, a od 1995. je članica fizičke trupe Grusomhetens teatra inspirisane Artaudovim djelom. Ova trupa koristi tehnike Grotovskog, kod kojih improvizacija i istraživanje na podu igraju ključnu ulogu. Zadnjih godina sarađuje sa različitim teatrima i nezavisnim trupama širom Norveške. Christina Lindgren je 2002. diplomirala na Art Academy u Oslu. Radila je kostimografiju i scenografiju za više od 40 pozorišnih i plesnih predstava i opera, a na nekoliko njih je radila i kao producentica. Posebno je zaiteresovana za scenografiju koja proizvodi zvuk pri pokertu glumaca/ica. Radi kao predavačica na National Academy of the Arts u Oslu.

DIRECTORS

Hanne Dieserud finished her postgraduate course at London Academy of Music and Dramatic Arts in 1990. She started as a traditional actress but has since 1995 been a member of the physically, Artaudian inspired theater company Grusomhetens theater. This company uses tecniques from the work of Grotowski where improvisations and research on the floor is given a strong focus. During the last years she has been working in different theatres and fringe companies in Norway. Christina Lindgren graduated from Oslo Art Academy in 2002. She has designed the costume and set design for 40 performances of theater, dance and contemporary musiktheatre / opera and has initiated and produced several theatreproductions. Her special interested lies in set design that generates sound by performers moving in the scenography. She teaches as a professor at the Oslo National Academy of the Arts.

PRODUKCIJA

Dieserud / Lindgren su autorice nekoliko predstava za djecu uzrasta do tri godine. Njihove predstave mogu potpuno jednako doživjeti i djeca i odrasli– ništa ne treba biti objašnjeno, niti shvaćeno. Smatraju da djeca mogu shvatiti složenije strukture i kompozicije na isti način kao i odrasli, dokle god su one jasno predstavljene. Dieserud / Lindgren sarađuju sa kompozitorkom Majom Ratkje, te insistiraju na važnosti vizuelnih, auditivnih i izvođačkih segmenata predstave.

PRODUCTION

Dieserud / Lindgren have made several performances for children 0-3 years. They produce shows were children and adults have the same conditions for the experience; nothing needs to be explained or understood. We belive that children can perceive as complex constructions and composistions as adults, as long as it is done distinctly. Dieserud / Lindgren cooperate with the composer Maja Ratkje and they emphasise the importance of integrating visual, auditive and performative aspects of the performance.

Muzika / Music: MAJA SOLVEIG KJELSTRUP RATKJE Scenografija / Stage Design: CHRISTINA LINDGREN Fotografija / Photography: Erik Berg Koprodukcija / Coproduction: THE NORWEGIAN OPERA & BALLETT THE NORWEGIAN TOURING THEATER

CHILDREN MESS

Koncept, produkcija, režija / Concept, Prodution, Direction: HANNE DIESERUD CHRISTINA LINDGREN


Bosna i Hercegovina / Bosnia and Herzegovina

Kamerni teatar 55 11.00 Chamber Theater 55 Trajanje / Running time: 40 min.

06/10/13

ANICA TOMIĆ

KRALJICA VEŠMAŠINA LAUNDRY WASHER, THE QUEEN Jezik: bosanski bez prijevoda Language: Bosnian without translation PREDSTAVA

Priča o Kraljici Vešmašini i njenom Kraljevstvu, neobična je verzija Romea i Julije sa sretnim završetkom. Anica Tomić izmaštala ju je za svog brata, tada četverogodišnjaka, a onda ju je odlučila zapisati kako bi je pozorište moglo pričati drugim djevojčicama i dječacima. Iza vrata vesele kupaonice nalazi se jedno sasvim čudnovato Kraljevstvo, u kojem kraljuje Vešasto Visočanstvo, a iz ladica ispadaju Čarapinci i Potkušuljci. I dok Ministar Šlauf brine o zdravlju Kraljice, spremajući joj umirujući čaj od praška, a mi ujutro peremo zube – negdje duboko u ladicama ormara, potkušulje, gaće, čarape i ručnici žive svoje neobične živote. Zaljubljuju se i svađaju u prenatrpanim korpama za veš, rješavaju svoje nesporazume i brinu o količinama praška. Zato dobro otvorite oči i napnite uši. Jer ovo što vam naša predstava priča – je priča čudna – nevjerojatna, ali istinita. Povjerujete li u nju, možda se i vama dogodi nešto slično. Ova je predstava posvećena svima onima koji znaju da stvari, baš kao i ljudi, imaju svoje priče. Zato kada vas drugi puta zatekne nered u kupaonici, pogledajte malo bolje, možda je i vaša kupaonica nečije Kraljevstvo. Uzrast: 4+

PERFORMANCE

The story of Laundry Washer, the Queen and her Kingdom, is an unusual version of Romeo and Juliet with a happy ending. Anica Tomić has daydreamt it for her, then, four year old brother, but then she decided to put it on a piece of paper,so that the other boys and girls will have an opportunity to hear and see it. Behind the bathroom’s cheerful door, there is one very strangely Kingdom, where Laundry Washer, the Queen reigns. Behind drawers little socks and undershirts fall out. And while the Minister Float is taking care of Queen’s health, preparing calming tea made out of washing powder for her, and while we brush our teeth in the morning – somewhere deep in drawers of closets undershirts, panties, socks and towels live their unusual lives. They fall in love and fight in stacked laundry baskets, solving their missunderstandings and taking care of the quantity of washing powder. Hence open your eyes and ears, because what our play is telling you is wierd, yet true. If you believe in it, something similar may happen to you as well. This play is dedicated to all who know that things, just like people, have their stories. So, when the mess finds you next time you enter a bathroom, look a little closer, it is possible that your bathroom is someone’s kingdom. Age Limit: 4+


REDITELJICA

Jelena Kovačić rođena je u Zagrebu. Diplomirala komparativnu književnost i polonistiku na Filozofskom fakultetu u Zagrebu, a potom i dramaturgiju na Akademiji dramske umjetnosti. Od 1998. godine, članica je alternativne pozorišne skupine Théâtre des femmes. Kao dramaturginja predstava angažirana je u više od dvadeset pojekata u teatrima širom Hrvatske, među kojima su: Dječije kazalište Trešnja, Teatar &TD, DK Dubrava, Zagrebačko kazalište mladih, HKD Teatar – Rijeka, HNK Varaždin, GKL Split itd., te u nekoliko teatarskih projekata izvan Hrvatske (Austrija i Crna Gora). Autorica je više dramskih tekstova i dramatizacija, a brojne dramske tekstove potpisuje kao koautorica (zajedno sa Anicom Tomić). Povremeno se bavi i teatarskom režijom. Kao dramatičarka i dramaturginja dobila je desetak nagrada za najbolji dramski tekst ili dramaturgiju predstave.

Igraju / Cast: SELMA MEHANOVIĆ ANĐELA ILIĆ MIROLJUB MIJATOVIĆ NUSMIR MUHAREMOVIĆ Scenografija, kostimografija, kreacija i izrada lutaka / Stage Design, Costume Design, Puppet Maker: IVA MATIJA BITANGA LEO VUKELIĆ Muzika/ Music: NENAD KOVAČIĆ

DIRECTOR

Jelena Kovačić was born in Zagreb. She graduated Comparative Literature and Polish Language and Literature from the Faculty of Philosophy in Zagreb. After that, she graduated Dramaturgy from the Academy of Drama Arts. Since 1998 she has been a member of alternative theater group Théâtre des femmes. As a dramaturg, she has been engaged in more than twenty projects in theaters all over Croatia, among which: Children Theater Trešnja, Theater &TD, DK Dubrava, Zagreb Youth Theater, HKD Theater – Rijeka, HNK Varaždin, GKL Split..., also in several theatrical projects outside Croatia (Austria and Montenegro). She is author of numerous plays and dramatizations, where as many plays she signs as co-author (alongside with Anica Tomić). Occasionaly she works as director. As a dramaturg, she has recieved tithe awards for best plays or dramaturgy.

Tekstovi songova / Song Lyrics: JELENA KOVAČIĆ Interpretatori songova / Song Interpretation: ANĐELA ILIĆ SELMA MEHANOVIĆ NUSMIR MUHAREMOVIĆ MIROLJUB MIJATOVIĆ Fotografija / Photography: DINO DELIĆ Producenti / Producers: HAZIM BEGAGIĆ MIROLJUB MIJATOVIĆ

PRODUKCIJA

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 Zeničkodobojskom 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).

PRODUCTION

Bosnian National Theater 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 theater has participated in numerous theater 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 Theater (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 Theaters for Children and Youth (ASSITEJ).

Izvršna produkcija / Executive pruduction: SANDRA IKANOVIĆ

CHILDREN MESS

Režija / Directon: JELENA KOVAČIĆ


NEKA BUDE UMJETNOST! LET IT BE ART!

Scensko čitanje tekstova Srđana Sandića i razgovor sa autorom

Theatrical reading of Srđan Sandić’s texts and DISCUSSION with the author

IN THE MIX 7 DRAMA IZ BiH 7 PLAYS FROM B&H


Sjedinjene Američke Države / United States of America

Kamerni teatar 55 17.00 Chamber Theater 55 Trajanje / Running time: 45 - 60 min.

04/10/13

RONALD RAND

NEKA BUDE UMJETNOST! LET IT BE ART! Jezik: engleski Language: English

PREDSTAVA

Nezaboravno putovanje kroz humor, strast i život proživljen punim plućima. Ovo inspirativna solo predstava koju je napisao i koju izvodi Ronald Rand oživljava Harolda Clurmana, „najutjecajniju ličnost u historiji američkog teatra“. Pratimo Clurmana od njegovih početaka u New Yorku, kroz njegovo obrazovanje na Sorbonni u Parizu, njegovo prijateljstvo sa Lee Strasbergom, te odluku Cheryl Crawford i samog Clurmana da osnuju The Group Theater, koje će postati najpoznatiji glumački ansambl u Americi. Harold Clurman nas također vodi na putovanje u Rusiju i u Pariz, na sastanak sa Stanislavskim – kao i u vezu sa Stellom Adler, režiranje Marlon Branda, pa čak i u pozorište sa Jacqueline Kennedy Onassis.

PERFORMANCE

An unforgettable journey of humor, passion and living life to the fullest. Written by and starring RONALD RAND, this inspiring solo play brings to life Harold Clurman, “the most influential figure in the history of the American theatre“. We follow Clurman from his beginnings in New York City through his education at the Sorbonne in Paris, his friendship with Lee Strasberg, and their decision with Cheryl Crawford to found The Group Theater, which became America’s greatest acting ensemble. Harold Clurman also takes us on his trip to Russia and to Paris meeting with Stanislavsky – as well as his relationships with Stella Adler, directing Marlon Brando, and even going to the theater with Jacqueline Kennedy Onassis.


Ronald Rand oživljava Harolda Clurmana u hvaljenoj solo predstavi Neka bude umjetnost! Predstava je dobila ovacije na mnogim festivalima i u pozorištima širom pet kontinenata u 22 zemlje i 17 američkih država, uključujući prošlogodišnju Sarajevsku zimu, Kathmandu pozorišni festival, urugvajski Mercosur festival, Festival umjetnosti Zimbabvea i, dva puta, Off Broadway u New Yorku. Rand je Fulbrightov stručni predavač, te trenutno predaje na Akademiji scenskih umjetnosti Univerziteta u Sarajevu, također režira komediju Luv Murraya Schisgala u Kamernom teatru 55, sa ekipom koja uključuje Zanu Marjanović i Muhameda Hadžovića, a čija je premijera zakazana za 25. oktobar. Rand je bio gostujući profesor na više od 75 univerziteta, visokih škola i festivala širom svijeta, uključujući sarajevsku IB svjetsku školu. On je osnivač i izdavač Duše američkog glumca, te autor bestsellera Američki učitelji/ ce glume. Njegove drame uključuju: Grupu! o The Group teatru i Ibzena. Rand je koscenarista za predstojeći film Grupa, sa rediteljem koji je nominiran za Oscara, Joanom Micklin Silverom. Član je Odjela za dramsko pisanje i režiju studija The Actors Studio.

AUTHOR

Ronald Rand brings to life Harold Clurman in his acclaimed solo play, LET IT BE ART! The play has received ovations at many festivals and theaters across 5 continents in 22 countries and 17 U.S. states, including last year’s Sarajevo’s Winter Festival, Kathmandu’s Theatre Festival, Uruguay’s MerCoSur Festival, Zimbabwe’s Arts Festival & twice Off-Broadway in New York City. Mr. Rand is a Fulbright Teaching Specialist, currently teaching at the Academy of Performing Arts, University of Sarajevo; and he is directing Murray Schisgal’s comedy, LUV at the Chamber Theatre 55 with a cast including Zana Marjanović and Muhamed Hadžović scheduled to open October 25th. Rand has been a guest professor at over 75 universities, festivals & colleges around the world including Sarajevo’s IB World School. He is the Founder and Publisher of The Soul of the American Actor, and author of the best-selling book, Acting Teachers of America. As a playwright, his plays include The Group! about The Group Theatre and Ibsen. Rand co-wrote the upcoming film The Group with Oscar-nominated filmmaker, Joan Micklin Silver. A member of The Actors Studio Playwright & Directors Unit. REDITELJ

Umjetnik sa velikim iskustvom. Abels je režirao ili glumio u gotovo 800 predstava, filmova i televizijskih drama. 1980. godine je osnovao St. Malachy pozorište-prostor. Među brojnim predstavama koje je režirao visoko je cijenjena produkcija T.S. Eliota Ubojstvo u katedrali, gdje glumi Lee Richardson, te svjetska premijera Pokaži mi heroja Sally Dixon Wiener. Ostale njujorške produkcije uključuju savremene američke drame za Lark pozorišnu grupu i New Dramatists, seriju skandinavskih drama u Lincoln Centru i Samuel Beckett pozorištu, pod pokroviteljstvom švedskog konzulata. Regionalno, režirao je Ifigeniju u Aulidi (Cleveland pozorište), San ivanjske noći (Asolo državno pozorište), adaptacija Otetih Roberta Lewisa Stevensona (Westerly pozorište) i Masovni poziv (Stage West), koja je bila jedna od najpopularnijih predstava u 35-godišnjoj historiji tog pozorišta. On je možda najpoznatiji po ulozi nemilosrdnog tužitelja u Broadwayskoj produkciji predstave Lud. Abels je vodeći američki redatelj u Češkoj, gdje je režirao česku premijeru Arthura Millera Strop nadbiskupa u Pragu, te Goodbye People od Herba Gardnera, koja se igrala četiri godine. U ranoj dobi bio je učenik Stelle Adler. Pošto je i sam predavač, od 1996. do 2004. vodio je glumački konzervatorij na Manhattnu zasnovan na klasičnom glumačkom metodu - GATE (Gregory Abels Trening Ensemble). Trenutno je učitelj teatrologije u školi Circle-inthe-Square i umjetnički savjetnik Narodnog pozorišta Amerike.

DIRECTOR

An artist of vast experience. Abels has directed or acted in nearly 800 plays, films and television dramas. In 1980 he founded St. Malachy’s Theater-space. Among the numerous plays he directed there was a highly acclaimed production of T.S. Eliot’s Murder in the Cathedral starring Lee Richardson and the World Premiere of Sally Dixon Wiener’s Show Me A Hero. Other New York directing credits include new American plays for The Lark Theatre Company and New Dramatists; a series of Scandinavian plays at Lincoln Center and the Samuel Beckett Theatre, sponsored by the Swedish Consulate. Regionally, he has directed Ephiginia at Aulis (Cleveland Playhouse); A Midsummer Night’s Dream (Asolo State Theatre); an adaptation of Robert Lewis Stevenson’s Kidnapped (Westerly Theatre); and Mass Appeal (Stage West) was one of the most popular productions in that theatre’s 35-year history. He is perhaps best known as an actor for his performance as the relentless prosecuting attorney in the Broadway production of Nuts. Abels is the leading American director in the Czech Republic, where he directed the Czech premiere of Arthur Miller’s The Archbishop’s Ceiling in Prague and Herb Gardner’s The Goodbye People, which ran for four years. A Master Teacher himself, he guided his own classical based Manhattan acting conservatory, GATE - Gregory Abels Training Ensemble, 1996-2004. He is currently the Master Teacher of Scene Study at Circle-in-the-Square School and an Artistic Advisor to the American National Theatre.

Režija / Direction: GREGORY ABELS Fotografija / Photography: ESSIE

OFF MESS

AUTOR

Autor teksta, glumi / Playwright, Actor: RONALD RAND


Hrvatska / Croatia

Muzej književnosti i pozorišne umjetnosti Bosne i Hercegovine 17.00 Museum of Literature and Performing Arts of Bosnia and Herzegovina

04/10/13

Scensko čitanje tekstova Srđana Sandića i razgovor sa autorom Staged Reading of Srđan Sandić’s texts and discussion with the author

Drama (t)Umor kroz poliloge, dijaloge i monologe komunicira s monodramom Zagreb mon amour. Tamo gdje (t)Umor počinje, Mon amour završava i obrnuto. Obje drame tematiziraju nedostatak subjekta i susret sa užasom blokova misli u pitanjima ljubavi i sreće. Riječ je o susretu s manjkom, u kojem osamostaljen jezik, izvan klasičnih principa naracije, tematizira nedostatak ljubavi kroz slobodno asocijativno preplitanje dramskih i lirskih dionica, uz poigravanje jezičnim klišejima, te reminiscencijama na popkulturu, holivudske filmove, tekstove popularnih pjesama, self-help literaturu, ali i na filozofiju i književnost. Drame čita njihov autor Srđan Sandić uz Sanelu Krsmanović i Adija Hrustemovića. Scensko čitanje će se u drugom dijelu večeri preliti u razgovor sa autorom koji će voditi Selma Kešetović.

The play Fatigue through polylogues, dialogues and monologues communicates with the monodrama Zagreb Mon amour. Where Fatigue begins, Mon amour ends and vice versa. Both plays deal with the lack of subject and an encounter with horror blocks of thought in matters of love and happiness. It is an encounter with a deficit, in which full-fledged language, beyond the classic principles of narration, deals with the lack of love through free associative interweaving of dramatic and lyrical shares, toying with linguistic clichés, and reminiscences of pop culture, Hollywood movies, lyrics of popular songs, self-help literature, but also with philosophy and literature. Plays are read by their author Srđan Sandić with Sanela Krsmanović and Adi Hrustemović. Staged reading will, in the second part of the evening, pour into a conversation with the author, led by Selma Kešetović.


Moderatorica / Moderator: Selma Kešetović Fotografija / Photography: ANDREJA PINTER U saradnji sa / In Collaboration with:

AUTOR

Srđan Sandić je rođen 1985. godine. Završio je Fakultet političkih znanosti, studij novinarstva, mirovne studije, UN-ovu akademiju u Zagrebu. Prozu, poeziju, kritiku i kulturne intervjue objavljuje u Zarezu, Književnom pregledu, na portalima B92, Kulturpunkt, Queer, e-muskarac, Arteist, Hrvatskom Radiju Treći program i časopisu Tema. Već dugo se bavi svojim književnim konceptom Prodaja ega: Hiperinflacija emocija koji je metastazirao od bloga (srdjansandic.blogspot.com) do kolumne (queer.hr, e-muskarac.com). Radi kao dramaturg i dramatičar. U jesen 2012. je objavio knjigu drama S(i)nu bez s(i)nova za izdavačku kuću Sandorf koja je doživjela sjajan kritički odgovor. Uskoro objavljuje knjigu intervjua sa ženama s hrvatske kulturne scene (Mani Gotovac, Sibila Petlevski, Ivana Simić Bodrožić, Dubravka Crnojević Carić, Vitomira Lončar, Ljiljana Filipović, Irena Matijašević) iz Knjiženih večeri sa Srđanom Sandićem kao i poetski dijalog s berlinskom umjetnicom Raphaëlle Oskar – Vrati se i kaži zbogom. Trenutno živi u Zagrebu.

AUTHOR

Srđan Sandić was born in 1985. He graduated from the Faculty of Political Science, journalism studies, peace studies, the UN’s Academy in Zagreb. He has published his fiction, poetry, criticism and cultural interviews in Zarez, the Literary Review, the portals B92, Kulturpunkt, Queer, e-man, Arteist, Croatian Radio Third Programme and the journal Tema. For a long time he has been engaged in his literary concept of selling ego: Hyperinflation of emotions that has metastasized from a blog (srdjansandic.blogspot.com) to columns (queer.hr, e-muskarac. com). He works as a dramaturg and playwright. In the fall of 2012 he published a book of plays To Son Without Sons, for the publishing house Sandorf, which experienced great critical response. His book of interviews with women from the Croatian cultural scene (Mani Gotovac, Sibila Petlevski, Ivana Simić Bodrožić, Dubravka Crnojević Kinglet, Vitomira Lončar, Ljiljana Filipović, Irena Matijasević) from the Book nights with Srđan Sandić and poetic dialogue with Berlin artist Raphaellle Oskar – Come back and say goodbye is soon to be published. He currently lives in Zagreb.

OFF MESS

Čitaju / Read by: SANELA KRSMANOVIĆ ADI HRUSTEMOVIĆ SRĐAN SANDIĆ


Njemačka / Germany

Kamerni teatar 55 18.00 Chamber Theater 55 Trajanje / Running time: 45-60 min.

05/10/13

IN THE MIX Jezik: engleski Language: English

PREDSTAVA

Tri glumca i pijanista. Sekundu prije nego što izađu na pozornicu, oni ne znaju šta će uslijediti nekoliko sekundi kasnije. Odnosno – kako će to biti ovaj put. Oni pitaju publiku da da ideje i prijedloge koji se odnose na određenu „temu dana“. To mogu biti bilo koje riječi i pojmovi. Glumci/ice tada prikupe informacije i imaju ih na umu. Slijedi šarena mješavina kratkih kadrova, pjesama. Likovi se pojavljuju i razvijaju se, nastaju poveznice i, možda, neka nit ili središnja tema. Ali, nikad se ne zna sa improvizacijom. Možda će glumci/ ice napustiti pozornicu usred radnje. Zamijeniti uloge. Vratiti vrijeme unazad. Ugasiti svjetla i odigrati radio dramu. Zaključiti sve operom. Nikad se ne zna – ni glumci sami ne znaju! Sve ide spontano – sve je improvizacija. frei.wild – Oslobodi svoj um, oslobodi divljinu!

PERFORMANCE

Three actors and a piano player. A second before they go on stage they do not know what they will be doing seconds later. Or rather – how they will be doing it this time. They ask the members of the audience to brainstorm and make suggestions that refer to a given „topic of the day“. Those can be any words and terms. The actors then gather the information and keep it in mind. Following is a colourful mix of short takes, scenes, songs. Characters come up and develop, connections evolve, possibly a thread or central theme. But you never know with improvisation. Maybe the actors will leave the stage in the midst of the action. Swap characters. Turn back time. Turn off the lights and do a radio play. Conclude it all in an opera. You never know – the actors don’t know themselves! It’s all in the flow – and all improvised. frei.wild – Free your mind, bring out the wild!


Igraju / Cast: ANETT HEILFORT MAJA MOMMERT NINJA SCHRÖDER YVETTE DANKOU DANIEL HALFT KAI DIENER JÖRG ZANDER ROLAND FAUSER SEVERIN MAHNCKE Muzičari / Musicians: FELIX ENGELMANN FELIX RAFFEL HENNING FLINTHOLM Fotografija / Photography: FREI.WILD PRODUKCIJA

frei.wild označava slobodu uma i divlju spremnost za hrabre odluke. Suđenje i pogreška. Istina i izazov. Vječito skakanje u dubinu s osmijehom na licu. frei.wild je improvizacijska pozorišna trupa iz Berlina, Njemačka, osnovana prije osam godina. Devet glumaca/ca improviziraju uživo na pozornici i glume scene i priče u različitim konstelacijama – od partnera u zločinu do „takmičenja“ konkurentskih timova koje nadgleda sudac/sutkinja. Uz to uvijek dolazi birljantni pijanista i potpuno improvizirani songovi. U teatru improvizacije nema dijelova koji su unaprijed spremljeni, niti jedna predstava nije uvježbana, nego sve oživljava spontano na pozornici. Ideje i prijedlozi publike služe kao inspiracija za sve što će se događati na pozornici. Glumci/ice koriste svoju maštu da odglume scenu, koja je iznenađujuća čak i za njih same, ili cijelu predstavu srcem i dušom. Improvizatori vole žar trenutka, nesiguranost, izazov! To su krv, znoj i suze, a najviše od svega – smijeh! Ono što publika gleda nikada nije, niti će ikada više biti odigrano. Svaka predstava je jedinstvena!

PRODUCTION

frei.wild stands for freedom of mind and a wild willingness for bold decisions. Trial and error. Truth and dare. Always jumping in at the deep end with a smile on the face. frei.wild is an 8-year-old improv theater company from Berlin, Germany. Nine actors altogether, improvising live on stage and acting out scenes and stories in various constellations – from partners-in-crime duets to “matches“ with competing teams hosted by a judge. Always coming along: a brilliant piano player and fully improvised songs! In improv theatre, no parts are being prepared, no play is being rehearsed but all comes to life spontaneously on stage. The ideas and suggestions of the audience serve as inspiration for whatever happens on stage. The actors are to use their fantasy to act out a scene that is surprising even to themselves, or a whole play with heart and soul. Improvisers love the heat of moment, the insecure, the challenge! It’s blood, sweat and tears and most of all – laughter! What the audience gets to watch has never been acted out before and never will be a second time. Every show is unique!

OFF MESS

Režija / Direction: FREI.WILD


Bijeli salon / Narodno pozorište Sarajevo 18.00 White Salon / National Theater Sarajevo

01/10/13

PROMOCIJA KNJIGE 7 drama iz BiH Priredila: Liljana Mazova U Makedoniji je objavljena knjiga s naslovom 7 drama iz BiH u kojoj su drame sedam dramskih pisaca iz Bosne i Hercegovine. U knjigu su uvršteni/e: Almir Išmirević – Kada bi ovo bila pretstava / Kada ovo bi bio film, Almir Bašović – Priviđenja iz srebrnog veka, Abdulah Sidran – U Zvorniku ja sam ostavio svoje srce, Zlatko Topčić – Srećna Nova 1994, Ljubica Ostojić – Nevjesta od kiše, Radmila Smiljanić – Balon od kamena, Mirza Fehimović – Ćeif. Knjigu je priredila i drame prevela Liljana Mazova. U izboru i u realizaciji knjige učestvovali su reditelj Dino Mustafić, teatrolog Muhamed Dželilović. Knjiga je podijeljena u dva dijela: Tumačenja i Autori i drame. Liljana Mazova u eseju Na početku MESS, Sarajevo... moja pozorišna priča zaključuje da odabrani autori kroz svoje drame govore/pripovijedaju o čovjeku – isključivo o čovjeku – u uslovima kada naslućuje zlo, kada se boji za svoj i za život najbližih, kada živi sa ožiljcima najvećeg neprijatelja – rata. The book entitled 7 Plays from Bosnia and Herzegovina was published in Macedonia. The book consists of: If This Were a Play and If This Were a Film by Almir Imširević, Apparitions from the Silver Age by Almir Bašović, The Stone Baloon by Radmila Smiljanić, The Rain Bride by Ljubica Ostojić, I Left My Heart in Zvornik by Abdulah Sidran, Happy New Year 1994 by Zlatko Topčić, Gusto by Mirza Fehimović. The book was edited and translated by Liljana Mazova. Director Dino Mustafić and the theatrologist Muhamed Dželilović participated in the selection of the plays. The book is divided into two parts: Interpretations and Authors and Plays. In the essay In the Beginning MESS, Sarajevo… My Theatre Story, Liljana Mazova concludes that the selected authors speak/narrate about man- and man alone in times when he foresees evil, when he is afraid for his life and the lives of those closest to him, when he lives scarred by the largest enemy - the war. Liljana Mazova (Skoplje, Makedonija), pozorišna kritičarka i publicistkinja, diplomirala je na Univerzitetu Sv. Kiril i Metodij, Skoplje. Skoro četiri decenije gleda pozorište i piše o njemu. Prati makedonski i svjetski teatar i učestvuje na međunarodnim festivalima kao selektorica, članica žirija, kao i na okruglim stolovima, simpozijumima, radionicama. Članica je timova koji su radili na monografijama o glumacima/icama, rediteljima/cama, kao i timova koji su objavljivali naučne radove.... Kritike su objavljivane u dnevnim novinama, u časopisima, na internetskim portalima i stranicama... Autorica je knjiga: Kovčeg s vremenom, On i oni – pozorišne slagalice, Posvećenost, Procesi, Persone, Pod razno – Teatar od A do Š, Teatar bez ostataka... Zadnjih pet godina urednica je i prevoditeljica knjiga na makedonski jezik, koje predstavljaju autore/ice i drame sa prostora Balkana: Oslobođenje Skoplja – Dušan Jovanović, Drame – Ivan Cankar, Tiho se ljulja sat – Drago Jančar, Orkestar Titanik – Hristo Bojčev, 7 drama iz BiH. Dobitnica je nagrada za novinarstvo, za publicistiku, za nauku, za doprinos kulturi. Proglašena je Zografom kulture (Ministarstvo za kulturu Republike Makedonije). Liljana Mazova (Skopje, Macedonia), a theater critic and publicist, graduated from the St. Cyril and Methodius University, Skopje. She has been watching theater and writing about it for over four decades. She follows Macedonian and world theater tendencies and participates in international festivals as a programmer, jury member, in round table discussions, symposiums, workshops. She has been a member of teams who worked on monographies about actors, directors, and teams who published scientific papers... Her critics were published in daily newspapers, magazines, on internet portals and web sites... She is the author of: Suitcase with Time, He and Them – Theatre Puzzles, Commitment, Processes, Personae, Miscellaneous – Theater from A to Š, Theater with no Residues... For the last five years she has the edited and translated books which represent Balkan authors and plays to Macedonian: Liberating Skopje – Dušan Jovanović, Plays – Ivan Cankar, The Clock Swings Slowly – Drago Jančar, Orchestra Titanic – Hristo Bojčev, Seven Plays from B&H. She is the winner the award for journalism, and awards for publications and contribution to culture. She has been named the Zograf of Culture (by the Ministry of Culture of the Republic of Macedonia).


MASTER CLASS ZA PLESAČE/ICE I PERFORMERE/KE S PLESAČKIM ISKUSTVOM

MASTER CLASS FOR DANCERS AND PERFORMERS EXPERIENCED IN DANCE

ALEXANDER TEHNIKA RADIONICA ZA GLUMCE/ICE, PERFORMERE/KE, PLESAČE/ICE ALEXANDER TECHNIQUE WORKSHOP FOR ACTORS / PERFORMERS / DANCERS / SINGERS

ODNOS REDITELJ/ICA I DIZAJNER/ICA RADIONICA SCENOGRAFIJE ZA DIZAJNERE/ICE, ARHITEKTE/ICE, DIPLOMANTE/ICE UMJETNIČKIH AKADEMIJA I TEATARSKE REDITELJE/ICE DESIGNER-DIRECTOR DIALOGUE A STAGE DESIGN WORKSHOP FOR STAGE DESIGNERS / ARCHITECTS / GRADUATES OF ART ACADEMIES AND THEATER DIRECTOR

TEATAR IMPROVIZACIJE RADIONICA ZA GLUMCE/ICE I STUDENTE/ICE GLUME IMPROV THEATER FOR ACTORS AND ACTING STUDENTS


Narodno pozorište Sarajevo - Velika baletska sala 15.00-17.00 National Theater Sarajevo - Big Ballet Studio

01/10/13

MASTER CLASS ZA PLESAČE/ICE I PERFORMERE/KE S PLESAČKIM ISKUSTVOM Predavačica: Wim Vandekeybus Wim Vandekeybus je rođen u mjestu Herenthout (Belgija) 30. juna 1963. Nakon srednje škole odlazi u Leuven na studij psihologije. Međutim, 1985. se odlučuje za drugačiji put i odlazi na audiciju kod Jana Fabrea koji mu daje ulogu u komadu Moć teatarske ludosti. Dvije godine kasnije osniva trupu Ultima Vez. Prva predstava Čega se tijelo ne sjeća doživjela je međunarodni uspjeh i donijela mu njujoršku nagradu Bessie za inovativan ples i izvedbu. Danas, i nakon trideset godina, te mnogih filmova i video spotova Vandekeybus i dalje traga za novitetima i inovacijama. „Po meni, forma mora svaki put biti drugačija“, objašnjava Vandekeybus. „Upravo zbog toga u jednom trenutku radim krajnje muzikalnu predstavu (nieuwZwart), dok se u drugom projektu baziram na iskustvo pojedinca (Monkey Sandwich), zatim pravim predstavu za mlade ljude, od kojih inače bježim (Radical Wrong), a odmah nakon toga se hvatam u koštac sa klasičnom mitologijom (Oedipus/bêt noir), ili nekim analitičkim komadom, u kojem fotografija ima dominantnu ulogu (booty Looting).“ Ovako raznovrsnom repertoaru doprinosi i saradnja sa plesačima/cama, cirkusantima/cama, glumcima/icama, muzičarima/kama i umjetnicima/cama iz raznih drugih sfera umjetnosti. Zvuk i muzika čine nit koja se provlači kroz sva njegova djela. Peter Vermeersch, Thierry De Mey, David Byrne, Marc Ribot, Eavesdropper, David Eugene Edwards, Daan, Arno, Mauro Pawlowski, Roland Van Campenhout i Elko Blijweert su svi komponovali muziku za njegova djela. U pravilu, njihove kompozicije nastaju tokom probne faze procesa, tako da se predstava i muzika razvijaju u simbiozi. Međutim, fotografija, stihovi i tekst su jednako važni. U booty Looting-u, Danny Willems je fotografisao – hodao oko bine između izvođača/ica, sa okom na objektivu i uživo projicirao svoje radove. Glumac Jerry Killick i glumica Birgit Walter su glumili u više Ultima Vez predstava. Pisac Peter Verhelst je radio na Vandekeybusovim tekstovima četiri puta (Scratching the Inner Fields, Blush, Sonic Boom i nieuwZwart), a Vandekeybus je koristio Jan Decortesovu adaptaciju Edipa, za Bet noir, ni manje ni više nego tri puta, prije nego što je konačno završio sa tim tekstom. U decembru 2012. Vandekeybusu je Pokrajina Istočne Flandrije dodijelila nagradu Kaizer Karel. Ova nagrada se svake tri godine dodjeljuje jednom umjetniku/ci za njegov/njen izraziti talenat i doprinos u oblasti umjetnosti i kulture, njegovu/njenu predanost poslu, kao i rad sa mlađim umjetnicima/cama.

O MASTER CLASS-u Učesnici/ce će imati priliku učiti elemente Wim Vandekeybusovog plesačkog i koreografskog stila. On će također prezentirati scene svojih filmova kao i filmova koji su poslužili kao inspiracija za njegov kreativni rad.

MASTER CLASS FOR DANCERS AND PERFORMERS EXPERIENCED IN DANCE Teacher: Wim Vandekeybus Wim Vandekeybus was born in Herenthout (Belgium) on 30 June 1963. His father was a vet. After finishing secondary school, he moved to Leuven to study Psychology. In 1985, however, he decided to follow a completely different path and auditioned for Jan Fabre, who gave him a part in The Power of Theatrical Madness. Two years later, he founded Ultima Vez. His first show, What the Body does not Remember, was an international success, earning him a Bessie Award (New York Dance and Performance Award) for its innovation. And now after almost 30 years and a whole series of films and videos, Wim Vandekeybus is still searching for novelty and innovation. “For me, the form has to be different every time,” he explains. “This is why on one occasion I might create an extremely musical show (nieuwZwart), then for my next project base a film on the experiences of one man (Monkey Sandwich), why I might then create a show for young people from which I keep well away (Radical Wrong), then switch to a classical mythology play (Oedipus/bet noir) or even an analytical piece in which photography plays a major part (booty Looting).” This variety is made possible partly through collaboration with dancers, circus performers, actors, musicians and other artists from a whole range of disciplines. Music and sound have naturally become the common thread running through his work. Peter Vermeersch, Thierry De Mey, David Byrne, Marc Ribot, Eavesdropper, David Eugene Edwards, Daan, Arno, Mauro Pawlowski, Roland Van Campenhout and Elko Blijweert have all composed music for his shows. As a general rule, their compositions are written during the rehearsal stage so that the show and the music develop symbiotically. However, photography and the lyrics and lines are equally important. In booty Looting, Danny Willems took photos – he walked around the stage among the performers, his eye to the lens, and presented his photos live. The actors Jerry Killick and Birgit Walter have featured in more than one Ultima Vez show. The writer Peter Verhelst has worked on scripts for Vandekeybus four times (Scratching the Inner Fields, Blush, Sonic Boom and nieuwZwart) and Vandekeybus used Jan Decorte’s adaptation of Oedipus, for Bet noir, no less than three times before he had finally finished with this text. In December 2012 Vandekeybus received the Keizer Karel prize from the Province of East Flanders. This prize is awarded every three years to an artist as a mark of his exceptional talent in the field of art and culture, his commitment and his work with younger generations.

ABOUT THE MASTER CLASS Participants will have the opportunity to learn elements of Wim Vandekeybus dance and choreographic style. He will also be presenting scenes of his own produced films and extracts of movies which served as an inspiration for his creative work.


ALEXANDER TEHNIKA RADIONICA ZA GLUMCE/ICE, PERFORMERE/KE, PLESAČE/ICE Predavačica: Anna Magyari Beck

O RADIONICI Šta je Alexander tehnika? Mentalni rad u paru bez aktivnosti. Zašto za performere/ke? Tijelo performera/ke je njegov/njen instrument za izražavanje, i bitno je za njega/nju da otkrije u sebi neograničenu fizičku raznolikostu i fleksibilnost. Pokret – smjer – ritam – balans – koordinacija – vitalnost Prepoznavanje nesvjesnih navika koje definiraju upotrebu naših tijela može otvoriti nove puteve za nas: možemo bolje upoznati sebe i naš odnos prema okolini. Učenje Alexander tehnike se provodi u grupama te u jedan-na-jedan sesijama. Jezik komunikacije je fizički kontakt koji je dopunjen verbalnim uputama. Učesnici/ce mogu osvijestiti svoje navike i nove mogućnosti korištenja svog tijela na stolu, stolici i preko drugih modela pokreta.

ALEXANDER TECHNIQUE WORKSHOP FOR ACTORS / PERFORMERS / DANCERS / SINGERS Teacher: Anna Magyari Beck She has been the teacher of the Alexander technique in Hungary, Budapest since 1993. She graduated from the three year-long teacher training of Shmuel Nelken’s school, and got the internationally accepted degree in 1993. Her thesis was a volume published under the title A türelem gyógyító művészete. It was published in Hungarian in the same year with the establishment of the first Alexander Studio in Hungary. Between 1995 and 1998 she founded the House of Patience School (Türelem Háza Iskola). Her first students became her assistants. They made an attempt in cooperation with some invited university professors to create a comprehensive developing programme that takes the whole personality into account, based on the Alexander technique. In 2000 the examiner teachers’ corporation of The Alexander Technique International (ATI) sent Magyari Beck Anna’s students on a professional examination and after passing it the ATI employed them. The Alexander Studio was accredited as the Alexander Technique International Hungarian Teacher Training Center. In 2002 as an appreciation of the high quality work of the Hungarian Alexander teachers Magyari Beck Anna became a member of the ATI corporation of examiner teachers.

ABOUT WORKSHOP What is Alexander technique? Mental work in pair without activity. Why for the performance artists? The body of the performance artist is his instrument for expression, it is important for him to discover in himself the unlimited physical versatility and flexibility. Movement – direction – rhythm – balance – co-ordination – vitality The recognition of the unconscious habits defining the use of ourselves can open up new ways for us: we can better learn ourselves and the relation to our environment. The teaching of the Alexander technique is performed in groups and in oneon-one sessions. The language of communication is the physical contact which is complemented by verbal instructions. The pupils can learn about their habits and the new possibilities of their use of themselves on table, chair and through other movement models.

Narodno pozorište Sarajevo - Velika baletska sala National Theater Sarajevo - Big Ballet Studio

Magyari Beck Anna podučava Alexander tehniku u Budimpešti, Mađarskoj od 1993. Diplomirala je u Shumel Nelken školi nakon obuke za predavačicu koja je trajala tri godine i tako dobila međunarodno priznatu diplomu 1993. godine. Objavila je rad pod naslovom A türelem gyógyító művészete. Rad je objavljen na mađarskom iste godine kada je i osnovan prvi Alexander Studio u Mađarskoj. Između 1995. i 1998. godine osnivala je školu Kuća strpljenja (Türelem Háza Iskola). Njeni/e prvi/e studenti/ce postali/e su njeni/e asistenti/ce. U saradnji sa nekoliko gostujućih univerzitetskih profesora/ica pokušala je stvoriti sveobuhvatni razvojni program koji uzima u obzir cjelokupnu ličnost, a zasnovan je na Alexander tehnici. 2000. godine korporacija predavača/ica Međunarodne Alexander Tehnike (Alexander Technique International (ATI)) je poslala studente/ice Magyari Beck Anne na stručni ispit i nakon što su položili, ATI ih je zaposlila. Alexander Studio je akreditovan kao Međunarodni (ATI) centar za obuku nastavnika/ca za Alexander tehniku u Mađarskoj. 2002. godine zbog izvrsnosti u radu na polju Alexander tehnike, Magyari Beck Anna je postala članica ATI korporacije za ispitivanje predavača/ica.

01/10/1307/10/13


Narodno pozorište Sarajevo - Mala scena 9.30-17.00 National Theater Sarajevo - Small Stage

01/10/1303/10/13

PROGRAM IZA SCENE BRITISH COUNCIL-a ODNOS REDITELJ/ICA I DIZAJNER/ICA RADIONICA SCENOGRAFIJE ZA DIZAJNERE/ICE, ARHITEKTE/ICE, DIPLOMANTE/ICE UMJETNIČKIH AKADEMIJA I TEATARSKE REDITELJE/ICE Predavači: Liz Cooke i Jan-Willem Van Den Bosch BRITISH COUNCIL PROGRAMME BEHIND THE SCENES DESIGNER-DIRECTOR DIALOGUE A STAGE DESIGN WORKSHOP FOR STAGE DESIGNERS / ARCHITECTS / GRADUATES OF ART ACADEMIES AND THEATER DIRECTORS Teachers: Liz Cooke and Jan-Willem Van Den Bosch O RADIONICI Ova radionica pokreće raspravu o ulozi scenografije u produkciji i o tome kako kreativni tim preuzima kontrolu nad scenografijom: estetski, konceptualno i u praksi. Radionica će istraživati kako se formira tim reditelj/ica i scenograf/ kinja i pratit će njegov razvoj na putu od produkcije do inspiracije i realizacije. Prvi dan će se fokusirati na kreiranje najboljeg mogućeg dijaloga između reditelja/ice i scenografa/kinje; na proces dolaska do zajedničke ideje. Drugi dan će biti fokusiran na najbolje ostvarenje tog dijaloga, na dosljednost u idejama i komuniciranju istih sa publikom. Treći dan će biti posvećen smanjenju procjepa između potencijala i praktičnosti, i povećanju šansi da se zamišljeno ostvari. Ova radionica istražuje rediteljev/ičin odnos sa scenografom/kinjom i otkriva put u kojem scenografija može da podstakne i vodi dobru predstavu. Bavi se pitanjem na koji način reditelj/ica mogu da budu jasni, velikodušni i iskreni u svom dijalogu sa saradnicima/ama, da bi kreativni tim bio, zauzvrat, iskren u dijalogu sa publikom.

ABOUT THE WORKSHOP This workshop forms a debate about the role of design in production, and how the creative team takes ownership of the design: aesthetically, conceptually and in practice. The workshop will explore how a director-designer team can be established and will follow its journey on a production from inspiration to realisation. The first day will focus on how to create the best possible dialogue between director and designer; how can we arrive at a shared idea? The second day will focus on how best to realise that dialogue, be true to our ideas and communicate them to the audience. The third day will focus on closing the gap between potential and practicality, and improve our chances of achieving our goals. The workshop investigates the director’s dialogue with the designer, and reveals ways in which good design can inform, enhance and lead good production. It asks how the director can be clear, generous and honest in conversation with collaborators, so that the creative team can in turn be honest in communication with the audience.

Liz radi kao scenografkinja preko 20 godina. Oduvijek je dizajnirala, kako za velike tako i za intimije prostore, u pozorištu i operi. Studirala je književnost, a potom i likovne umjetnosti i pozorišni dizajn u umjetničkoj školi Slade. Njen rad za Narodno pozorište na Kathryn Hunterinoj viziji Aristofanovih Ptica je doveo do specijaliziranja za cirkus, zračni i fizički teatar, koje je uključivalo scenografiju za Monkey (West Yorkshire Playhouse), Shadowmouth (Sheffield Crucible) i The Wicked Lady (New Vic). Liz je radila širom Velike Britanije i u inostranstvu, u teatrima Royal Court, Royal Shakespeare Company, Hampstead, Manchester Royal Exchange, Plymouth Royal i intenzivno u The Globe-u, gdje je radila scenografiju za Perikla, Mletačkog trgovca, Mnogo buke ni oko čega (internacionalna turneja) i Komediju zabune (nacionalna i američka turneja). Dizajnirala je i predstavu Round the Horn – Revisited na West End-u i Cooking With Elvis Lee Hall-a. Također je radila scenografiju i za Eldorado u Narodnom pozorištu u Pragu, a radila je i širom Škotske i Irske, za Druid teatar, Citizens’ Theatre u Glasgovu i Traverse teatar u Edinburgu, te kao scenografkinja više puta za Edinburški festival. Liz has worked for over 20 years as a designer and maker. She has always designed for both large-scale and intimate spaces, in theatre and opera. Liz studied Literature and then Fine Art and Theatre Design at the Slade School of Art. Her work for the National Theatre on Kathryn Hunter’s vision of Aristophanes’ The Birds led to a specialisation in circus, aerial and physical theatre, including designs for Monkey (West Yorkshire Playhouse), Shadowmouth (Sheffield Crucible) and The Wicked Lady (New Vic). Liz has worked widely throughout the UK and abroad, at the Royal Court, the Royal Shakespeare Company, Hampstead Theatre, Manchester Royal Exchange, Plymouth Theatre Royal, and extensively at The Globe, where her designs include Pericles, The Merchant of Venice, Much Ado About Nothing (international tour) and The Comedy of Errors (national and stateside tour). She designed the West End premieres of Round the Horne - Revisited and Lee Hall’s Cooking With Elvis. She also designed Eldorado for the National Theatre of Prague, and has worked widely in Scotland and Ireland, for Druid Theatre, Citizens’ Theatre in Glasgow and the Traverse Theatre in Edinburgh, as well as numerous designs for the Edinburgh Festival.


Jan je odrastao u Holandiji, u blizini rodnog grada Hieronymousa Boscha. Nakon vojnog roka, došao je u Veliku Britaniju gdje je studirao dramu i njemački jezik na Londonskom Univerzitetu / Central School of Speech and Drama. Kao student, Jan je osvojio stipendiju koja mu je omogućavala da posmatra rad Heinera Mullera u Berliner Ensambleu i da studira filozofiju u Frajburgu. Nakon diplomiranja, učestvovao je u programu mladih režisera/ki u Narodnom pozorištu. U svojoj ranoj karijeri Jan je preveo Majku Hrabrost za adaptaciju Lee Hall-a i pomagao je Nancy Meckler u režiranju istog za Shared Experience. Također je preveo Thomas Bernhardovu Destinaciju za Volcano Theatre Company. Režirao je sa Kathryn Hunter, sa kojom je imao dugu saradnju, asistirajući joj na režiji Perikla (The Globe), Gosp. Puntilla i njegovog Man Matti (Almeida) te Slavu življenja (The Royal Court). Jan je također radio kao pomoćnik režisera sa Jonathan Kentom u Almeidi na Revizoru. Jan ima poseban interes za Bertolt Brechta i 1998. godine je obavijestio britansku javnost o Brechtovom 100. rođendanu tako što je stvorio spektakularan performans o sedam smrtnih grijeha od sedam različitih pisaca/spisateljica (uključujući Neila Bartletta, Billa Drummonda, Mirandu Sawyer i Iana Sinclaira) i u sedam različitih prostora u još-uvijek-nepopularnom Hoktonu. 1999. godine Jan je napravio ranu verbatim predstavu, Bolje, o ljudima sa HIV-om koji moraju da preispitaju svoju smrtnu presudu zarad novih lijekova i terapija, povezivajući ovo sa mitovima Persefone i Euridike. Od 2000. godine, Jan se otisnuo u međunarodnu karijeru sa British Council-om kada je režirao Bliže, Bash i Fedru u Slovačkoj, Jastučka i Amadeusa u Latviji, Poručnika iz Inišmora u Bosni, Dom u Sloveniji, Portia Coughlan u Rusiji i Eldorado u Češkoj Republici. Tokom svoje karijere, Jan je imao veliki interes za pisanje, te je organizirao i bio učesnik mnogih časovima pisanja. Danas radi sa grupom starosne dobi iznad šezdeset, sa kojima priprema knjigu pod nazivom Jesen u Istočnom Londonu. Od 2006. godine Jan se obučava na polju savjetovanja, dramske terapije i meditacije. Plivač je i bavi se volonterskim radom u svojoj lokalnoj zajednici. Jan grew up in The Netherlands near the home town of Hieronymous Bosch. After military service, he came to the U.K where he studied for a BA in Drama and German at University of London/ Central School of Speech and Drama. As a student, Jan won scholarships to observe Heiner Muller at the Berliner Ensemble and to study philosophy in Freiburg. After graduation, he took part in the Young Directors’ programme at The National Theatre. In his early career, Jan translated Mother Courage for Lee Hall’s adaptation, and assisted Nancy Meckler in directing it for Shared Experience. He also translated Thomas Bernhard’s Destination for Volcano theatre company and co-directed it with Kathryn Hunter, with whom he has had a long collaboration, assisting her on directing Pericles (The Globe) Mr Puntilla and his Man Matti (Almeida) and The Glory of Living (The Royal Court). Jan also worked as Assistant Director to Jonathan Kent at The Almeida on The Government Inspector. Jan has a special interest in Bertolt Brecht and in 1998 alerted the British public to Brecht’s 100th birthday by creating a spectacular promenade performance of The Seven Deadly Sins by seven different writers (including Neil Bartlett, Bill Drummond, Miranda Sawyer and Ian Sinclair) in seven different spaces in an as-yet-unfashionable Hoxton. In 1999, Jan created an early verbatim play, Better, about people with HIV having to reconsider their death sentence in the advent of new drug therapies, relating this to the myths of Persephone and Eurydice. From 2000 Jan has forged an international career with The British Council directing Closer, Bash and Phedre in Slovakia, The Pillowman and Amadeus in Latvia, Lieutenant of Inishmore in Bosnia, Home in Slovenia, Portia Coughlan in Russia, and Eldorado in the Czech Republic. Throughout his career Jan has had a strong interest in writing, and has both facilitated and participated in many writing classes. Presently, he is working with a group of over-60s who are collaboratively preparing a book called Autumn in East London. Since 2006 Jan has had training in counselling, drama therapy and meditation. He is a longdistance swimmer and does voluntary work in his local community.


Centar za mlade Gorica 10.00-17.00 Youth Center Gorica

03/10/13

TEATAR IMPROVIZACIJE RADIONICA ZA GLUMCE/ICE I STUDENTE/ICE GLUME Predavačica: Anett Heilfort Anett Heilfort je profesionalna glumica iz Njemačke. Ona je jedna od osnivača/ ica Frei.Wild teatra improvizacije u Berlinu (www.frei-wild-berlin.de) i predaje improvizaciju već osam godina. Između ostalog, i na ETI-u- Europäisches Theaterinstitut e.V., Berlin. Pošto je diplomirala na renomiranoj školi glume Ernst Busch u Berlinu, Anett je angažovana u brojnim pozorišnim predstavama i sa velikim uspjehom je učestvovala na TV serijama i filmovima. Ona se pet godina obučavala uz pomoć Urme Neumann (Empor, Berlin) i Sigrid Andersson (Die Tankstelle, Berlin). Glavni fokus joj je na psihofizičkoj praksi prema M.Chekhovu i G.Shdanoffu, kao i na stvaranju lika kroz maštu. Za više informacija pogledajte: http://frei-wild-berlin.de/ensemble/ „Ponovljiva autentičnost - za mene je najveći izazov za glumca/icu.”

TEATAR IMPROVIZACIJE – Gdje se magija dešava Glumiti je kao živjeti: planiramo, pripremamo se sedmicama, vježbamo opet i iznova... ali, na kraju, trenutne okolnosti nam određuju kako doživljavamo stvarnu situaciju. To može biti ugrožavajuće – i upravo zbog toga pokušavamo još više da se zaštitimo isprobanim i poznatim. Međutim, time rizikujemo da krajnji ishod našeg djela bude predvidiv, mehanički i dosadan. Izađite iz svoje zone ugodnosti! Pustite sigurnost koju daje tekst i dokazane procese i upoznajte sebe mimo utabanih staza. Okušajte se na audicijama, snimanjima, probama i nastupima. Naučite iznenaditi sebe – kao i vaše kolege/ice glumce/ice i publiku. Improvizacja prihvata trenutak, uključujući njegove opasnosti. Kada kažete „da” na sve što se desi, spremni ste za čarobne momente. Vjerujte sebi i svojim partnerima/cama, prigrlite (vjerovatan) neuspjeh i nađite autentična rješenja za bilo koji smjer u kojem scena može otići. Radionica se zasniva na teatru improvizacije po Keith Johnstone-u. Uključuje vježbe koje oblikuju spremnost glumca/ice da vjeruje svakom impulsu – i da ga slijedi. Učinit će da vaša gluma bude spontanija i istinitija. Uhvatite trenutak – i povratite magiju glume! Za sve glumce/ice sa ili bez prijašnjeg iskustva u teatru improvizacije.

IMPROV THEATER FOR ACTORS AND ACTING STUDENTS Teacher: Anett Heilfort Anett Heilfort is a professional actress from Germany. She is one of the founders of the Frei.Wild improv theater in Berlin (www.frei-wild-berlin.de) and has been teaching improv for eight years. Amongst others at the ETI Europäisches Theaterinstitut e.V., Berlin. After graduating from the renowned acting school “Ernst Busch“ in Berlin, Anett has been engaged in numerous theatre plays and with great success participated in TV-Series and Films. She has been training for five years with instructors Urme Neumann (Empor, Berlin) and Sigrid Andersson (Die Tankstelle, Berlin). Main focuses are the Psychophysical Practice according to M.Chekhov/G.Shdanoff and creating a character through imaginativeness. For further information see: http://frei-wild-berlin.de/ensemble/ “Reproducible authenticity – to me the ultimate challenge for the actor.“

IMPROV THEATER - Where The Magic Happens Acting is just like real life: We make plans, prepare ourselves for weeks, rehearse over and over... but eventually the momentary circumstances determine how we experience the actual situation. This can be a threat – which is why we try to protect ourselves even more with the tried and tested. However, thereby we risk that the output of our work becomes foreseeable, automatic, dull. Leave your comfort zone! Let go safety by text and proven processes and get to know yourself off the beaten track. Take your chances at castings, shootings, rehearsals and performances. Learn to surprise yourself – as well as your fellow actors and the audience. Improv embraces the moment including its hazards. By saying “Yes“ to whatever happens, you are ready for magical moments. Trust yourself and your partners, embrace (supposed) failure and find authentic solutions for any way a scene may go. This workshop is based on improv theater according to Keith Johnstone. It includes exercises that form the actor’s readiness to trust every impulse - and follow it. It will make your acting more spontaneous and real. Capture the moment – and regain the magic of acting! For trained actors with or without former experience in improv theater.


GENERALNI SPONZOR / GENERAL SPONSOR


FESTIVAL FINANSIRALI / THE FESTIVAL WAS FINANCED BY:


FESTIVAL POMOGLI / THE FESTIVAL WAS HELPED BY


GENERALNI PARTNER / GENERAL PARTNER

OFICIJELNO VOZILO FESTIVALA / OFFICIAL VEHICLE FESTIVAL

SPONZORI I PRIJATELJI FESTIVALA / SPONSORS AND FRIENDS OF THE FESTIVAL


SPONZORI I PRIJATELJI FESTIVALA / SPONSORS AND FRIENDS OF THE FESTIVAL

GENERALNI MEDIJSKI PARTNER / GENERAL MEDIA PARTNER

MEDIJSKI PARTNERI / MEDIA PARTNERS


SUORGANIZATORI FESTIVALA / CO-ORGANIZERS


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Međunarodni teatarski i filmski festival MES Sarajevo 2013 International Theater and Film Festival MES Sarajevo 2013 JURY: Maurizia Settembri, predsjednica / President Ronald Rand Safet Zec

UPRAVNI ODBOR / THE BOARD: Sedin Kozadra Izeta Avdić Alija Bahtanović Alen Zorlak Lejla Hasanbegović DIREKCIJA / DIRECTORATE: DIREKTOR / DIRECTOR: Dino Mustafić UMJETNIČKA RUKOVODITELJICA / ARTISTIC PROGRAM MANAGER: Selma Spahić SELEKTOR FESTIVALA / PREDSJEDNIK UMJETNIČKOG ODBORA FESTIVAL PROGRAMMER / PRESIDENT OF THE ARTISTIC BOARD: Giorgio Ursini Uršić SELEKTORI/ICE FESTIVALA / FESTIVAL PROGRAMMERS: Giorgio Ursini Uršić Selma Spahić Dino Mustafić Matko Botić PROGRAM MENADŽERICA / PROGRAM MANAGER: Lejla Hasanbegović ORGANIZACIJSKA MENADŽERICA / ORGANIZATION MANAGER: Ira Isović FINANSIJSKA MENADŽERICA / FINANCIAL MANAGER: Mirsada Škrijelj PROTOKOL I EVENT MENADŽERICA / PROTOCOL AND EVENT MANAGER: Dajana Gurda TEHNIČKA DIREKTORICA / TECHNICAL DIRECTOR: Marijela Hašimbegović MENADŽERICA ZA ODNOSE SA JAVNOŠĆU / PUBLIC RELATIONS MANAGER: Una Bejtović

PRODUKCIJSKI TIM / PRODUCTION TEAM: Belma Jusufović Semir M. Dedeić Aida Mujković Bojan Mustur Irma Alimanović Alihodžić Maja Zećo Narcisa Cvitanović Mirna Ler VIZUELNI IDENTITET FESTIVALA / FESTIVAL’S VISUAL IDENTITY: Fabrika SEKRETARICA / SECRETARY: Sandra Milanović PRIJEVOD TITLOVA / SUBTITLES TRANSLATION: Amira Sadiković Jovan Eranović Nedžla Idrizbegović Aida Spahić Lejla Efendić Merima Dervišić Selma Čampara D. Sarzinski ASISTENTI/CE PROTOKOL I EVENT MENADŽERICE / PROTOCOL AND EVENT MANAGER’S ASSISTANTS: Mia Vučković Alisa Huković Almin Berbić

IZDAVAČ / PUBLISHER: Međunarodni teatarski i filmski festival MES Sarajevo International Theater and Film Festival MES Sarajevo ZA IZDAVAČA / FOR PUBLISHER: Dino Mustafić UREDNICA / EDITOR: Belma Jusufović ADAPTACIJA TEKSTOVA / TEXT ADAPTATIONS: Nejra Babić PRIJEVOD KATALOGA / CATALOGUE TRANSLATION: Amira Sadiković Jovan Eranović Selma Čampara Harisa Haznadar DIZAJN / DESIGN: Fabrika DTP: Bojan Mustur ŠTAMPA / PRINT: Amosgraf TIRAŽ / COPIES: 1.000

ASISTENT MENADŽERICE ZA ODNOSE SA JAVNOŠĆU / PR MANAGER’S ASSISTANTS: Emir Muhamedagić Rasim Pavica ASISTENTI TEHNIČKE DIREKTORICE / TECHNICAL DIRECTOR’S ASSISTANTS: Ognjen Martinović Zdenko Bevanda TIM ZA TITLOVE / SUBTITLES TEAM: Antonija Putić Dina Filipović Lejla Ranica Lejla Kadrispahić

Maršala Tita 54/I, 71000 Sarajevo Bosna i Hercegovina Tel./Phone: +387 33 200 392 Fax: +387 33 211 972 E-mail: info@mess.ba www.mess.ba


53rd International Theater Festival MESS  

53rd International Theater Festival MESS Official cataloque

53rd International Theater Festival MESS  

53rd International Theater Festival MESS Official cataloque

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