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НАРОДУ БОСНЕ И ХЕРЦЕГОВИНЕ ДА СЕ У ЗЕМАЉСКОМ ГЛАВНОМ ГРАДУ САРАЈЕВУ И КОТАРИМА ЗЕНИЦИ, ГОРАЖДУ И ВИСОКОМ ОВЕ ГОДИНЕ, ОД 3. ДО 12. ОКТОБРА, ОДРЖАВА 54. (СЛОВИМА: ПЕДЕСЕТЧЕТВРТИ) ПО РЕДУ ФЕСТИВАЛ

ДАВАТ ЋЕ СЕ ПРЕДСТАВЕ МЕЂУ КОЈИМА ЋЕ ПОГЛАВИТО БИТИ ОЗБИЉНИХ ДРУШТВЕНИХ КОМАДА, АЛИ И ВЕСЕЛИХ ИГАРА, ЛАКРДИЈА И ОПЕРЕТА ИЗ ПРОШЛЕ И НАЈНОВИЈЕ ПОЗОРИШНЕ КЊИЖЕВНОСТИ. ПОЗИВА СЕ ПУБЛИКА ДА ГЛЕДА СА ИЗВАНРЕДНИМ УЖИВАЊЕМ, А ПРАТИ БУРНИМ ПЉЕСКАЊЕМ.


BUDUĆNOST PROŠLOSTI Sjećanje je važna komponenta nas samih, dio našeg bića. Naša iskustva na Balkanu su posebna, imamo potrebu i obavezu da prenesemo naša sjećanja kroz empatiju za druge, jer to otvara perspektivu budućnosti, u kojoj se mržnja i ratovi neće ponavljati kao refren u istoriji. Festival MESS će ove godine proći kroz istoriju okrutnog 20. stoljeća sa zebnjom kako čovječanstvo na početku 21. stoljeća ratuje na cijeloj planeti. Način i odabir onoga čega se trebamo i moramo sjećati jedno je od suštinskih pitanja našeg društva. Nažalost, kod nas je sjećanje selektivno i filtrirano kroz političko-društveni odnos u kojem se istorijski događaji posmatraju bez konteksta i korelacije sa vremenom u kojem su se odigrali, a često smo svjedoci kako se poriču činjenice i njeguje kultura zaborava i laži. Umjetnost je važna za čuvanje sjećanja, jer je priča o životu i pojedincu/ki, osjetljiva je na manipulacije i prisvajanje, tiče se još uvijek živih ljudi, dok je istorija “slavna” i bavi se onim sto je prošlo. Festival MESS će nam osvijetliti i osvijestiti sadašnjost kroz našu prošlost, ma kako ona bila bolna ili teška, sramna ili časna. Pozorište jeste prostor budućnosti jer vjeruje da svijest i mašta, uzvišeno zajedništvo glumaca/ica i publike stvaraju paralelni svijet mira i slobode. Na MESS-u ćemo krenuti u potragu za takvim svijetom! Dino Mustafić direktor festivala MESS


Future of the Past Memory is an important element of each one of us – part of our very being. Our experiences in the Balkans are special and we want and feel obliged to convey our memories through empathy for others, for this opens a perspective towards the kind of future where hatred and wars will not be repeated like a bad historical refrain. This year again, the MESS Festival will go through the history of our cruel 20th century with a sense of anxiety, since it seems that mankind is marking the onset of the 21st century with planet-wide warfare. The method and the selection of what we need and should remember is one of the substantive issues of our society. Unfortunately, our memory is selective and filtered through the socio-political approach that observes historical events with no context and no correlation with the time when they actually happened; we are often confronted with denials of facts and promotion of a culture of oblivion and lies. Art is important for preserving memories, because any story about life or an individual – however susceptible to appropriation and manipulation – is related to people who are still alive, whereas it is history that is “glorious” and related to times past. The MESS Festival will shed light and wisdom on the present through the past, however painful or hard, shameful or honourable it may be. Theatre is the space of the future, since it believes that human mind and imagination, the sublime unity of actors and the audience, do create a parallel world of peace and freedom. At MESS, we shall embark on a quest for such a world! Dino Mustafić MESS Festival Director


54. INTERNACIONALNI TEATARSKI FESTIVAL MESS 2014 3.10-12.10.2014. Sarajevo, Zenica, Goražde, Visoko 3.10.2014. / PETAK

20.00 / Narodno pozorište Sarajevo FRONT Režija: Luk Perceval Thalia Theater / NT Gent NJEMAČKA / BELGIJA 20.00 / Bosansko narodno pozorište Zenica Doruntina Basha / Almir Bašović / Almir Imširević: BALKANSKI REKVIJEM Režija: Stevan Bodroža Bosansko narodno pozorište Zenica / Hundsturm / Wien Kultur / Festival MESS / Trembles Verein für freies Theater / BMUKK BOSNA I HERCEGOVINA / AUSTRIJA

4.10.2014. / SUBOTA

20.00 / Narodno pozorište Sarajevo BURŽOAZIJA Režija: Jan Mikulášek Divadlo Na zábradlí ČEŠKA REPUBLIKA 22.00 / Međunarodni centar za djecu i omladinu Novo Sarajevo Biljana Srbljanović: PORODIČNE PRIČE Režija: Paolo Magelli Teatro Metastasio / Stabile della Toscana ITALIJA

5.10.2014. / NEDJELJA

20.00 / Kamerni teatar ‘55 TI! SVI SU DOBRODOŠLI Režija: Roberto Bacci Fondazione Pontedera Teatro ITALIJA 20.00 / Bosansko narodno pozorište Zenica Doruntina Basha / Almir Bašović / Almir Imširević: BALKANSKI REKVIJEM Režija: Stevan Bodroža Bosansko narodno pozorište Zenica / Hundsturm / Wien Kultur / Festival MESS / Trembles Verein für freies Theater / BMUKK BOSNA I HERCEGOVINA / AUSTRIJA

6.10.2014. / PONEDJELJAK 18.00 / Kamerni teatar ‘55 TI! SVI SU DOBRODOŠLI Režija: Roberto Bacci Fondazione Pontedera Teatro ITALIJA

20.00 / Narodno pozorište Sarajevo ČETRNAESTA Režija: Ana Đorđević Narodno pozorište Republike Srpske BOSNA I HERCEGOVINA

22.00 / Sarajevski ratni teatar KOŠTANA Režija: András Urbán Narodno pozorište Subotica SRBIJA

7.10.2014. / UTORAK

18.00 / Međunarodni centar za djecu i omladinu Novo Sarajevo Doruntina Basha / Almir Bašović / Almir Imširević: BALKANSKI REKVIJEM Režija: Stevan Bodroža Bosansko narodno pozorište Zenica / Hundsturm / Wien Kultur / Festival MESS / Trembles Verein für freies Theater / BMUKK BOSNA I HERCEGOVINA / AUSTRIJA 19.30 / Narodno pozorište Sarajevo SKUPŠTINA Režija: Selma Spahić Narodno pozorište Sarajevo / Sarajevski ratni teatar / Kamerni teatar ‘55 BOSNA I HERCEGOVINA 23.00 / Sarajevski ratni teatar UTROBA KITA Režija: Fabio Rubiano Orjuela Teatro Petra KOLUMBIJA

8.10.2014. / SRIJEDA

18.00 / Kamerni teatar ‘55 SARA KAŽE Režija: Fabio Rubiano Orjuela Teatro Petra KOLUMBIJA 20.00 / Narodno pozorište Sarajevo Fedor Šili: ČAROBNJAK Režija: Boris Liješević Narodno pozorište Sombor SRBIJA 22.00 / Sarajevski ratni teatar HA! Koreografija: Bouchra Ouizguen Compagnie O MAROKO

9.10.2014. / ČETVRTAK

18.00 / Akademija scenskih umjetnosti Sarajevo POZDRAVI NEKOG Režija: Miroljub Mijatović Bosansko narodno pozorište Zenica BOSNA I HERCEGOVINA 20.00 / Kamerni teatar ‘55 Biljana Srbljanović: MALI MI JE OVAJ GROB Režija: Dino Mustafić Hartefakt Fond / Kamerni teatar ‘55 / Kazalište Ulysses / Testament filmS / MESS SRBIJA / BOSNA I HERCEGOVINA / HRVATSKA


22.00 / Sarajevski ratni teatar <DOB> Režija: Francesca Pennini CollettivO CineticO ITALIJA

10.10.2014. / PETAK

14.00, 18.00, 22.00 / Akademija scenskih umjetnosti Sarajevo MOJE VELIKO DJELO (AMBICIOZNI PROJEKAT) Režija: David Espinosa El Local E.C / C.A.E.T. ŠPANIJA 20.00 / Narodno pozorište Sarajevo ODLAZAK Režija: Kalle Nio WHS FINSKA 22.00 / Međunarodni centar za djecu i omladinu Novo Sarajevo TAČKE, LINIJE I KOCKA. SVIJET I OSTALI U KOCKI KOJA SIJA. Režija: Takahiro Fujita mum&gypsy JAPAN

11.10.2014. / SUBOTA

12.00 / Kamerni teatar ‘55 GENIJALNI GENIJE Režija: Tamara Kučinović Kazalište lutaka Zadar HRVATSKA 14.00, 18.00 / Akademija scenskih umjetnosti Sarajevo MOJE VELIKO DJELO (AMBICIOZNI PROJEKAT) Režija: David Espinosa El Local E.C / C.A.E.T. ŠPANIJA 20.00 / Sarajevski ratni teatar BOJNO POLJE SJEĆANJA Režija: Hans-Werner Kroesinger HAU / Sarajevski ratni teatar / CZKD Beograd / Goethe-Institut NJEMAČKA / BOSNA I HERCEGOVINA / SRBIJA / Turska 22.00 / Međunarodni centar za djecu i omladinu Novo Sarajevo TAČKE, LINIJE I KOCKA. SVIJET I OSTALI U KOCKI KOJA SIJA. Režija: Takahiro Fujita mum&gypsy JAPAN

12.10.2014. / NEDJELJA

11.00 / Centar za kulturu Sarajevo *izvedbe i u Gradskom kinu Visoko i Centru za kulturu Goražde PLUMB BO-BO, ZU Režija: Belma Lizde-Kurt Aparat teatar BOSNA I HERCEGOVINA

12.00 / Međunarodni centar za djecu i omladinu Novo Sarajevo JURI MURI PLEŠE U AFRICI Režija: Ivana Djilas Plesni teatar Ljubljana SLOVENIJA 16.00 / Akademija scenskih umjetnosti Sarajevo Ivor Martinić: DRAMA O MIRJANI I OVIMA OKO NJE Mentor/ica: Ermin Bravo, Džana Pinjo Akademija scenskih umjetnosti Sarajevo BOSNA I HERCEGOVINA 18.00 / Sarajevski ratni teatar BOLERO Režija: Michael Pinchbeck Nottingham Playhouse / Sarajevski ratni teatar / Teatri Oda UJEDINJENO KRALJEVSTVO / BOSNA I HERCEGOVINA / KOSOVO* 20.00 / Narodno pozorište Sarajevo SAMO ZA SARAJEVO (VRIJEME IZMEĐU DVIJE GREŠKE) Koncept: Grace Ellen Barkey, Jan Lauwers Needcompany BELGIJA 22.00 / Kamerni teatar ‘55 ŠTA SAM ČUO O SVIJETU Autori i reditelji: Jorge Andrade, Alexander Kelly, Chris Thorpe Third Angel / mala voadora UJEDINJENO KRALJEVSTVO / PORTUGAL

OFF MESS 3.10-12.10.2014.

12.00-20.00 / Galerija JAVA Projekat: KOLEKCIJA BUDUĆEG NASLJEĐA Inicijatorica: Azra Akšamija Producenti/ce: Lejla Hodžić, Anton Lederer, Margarethe Makovec, <rotor> AUSTRIJA / BOSNA I HERCEGOVINA

6.10-13.10.2014.

18.00 / Muzej književnosti i pozorišne umjetnosti BiH Izložba: OTVORENI PROSTORI Autorica: Regine Dura HAU / Goethe-Institut

11.10.2014. / SUBOTA

10.30-14.30 / Hotel Europe Feministički razgovori: Žene Bosne i Hercegovine u (post)jugoslovenskom vremeplovu Sarajevski otvoreni centar BOSNA I HERCEGOVINA

*Ovaj naziv ne dovodi u pitanje status Kosova i u skladu je s Rezolucijom 1244 i odlukom ICC-a o kosovskoj Deklaraciji o neovisnosti.


54th INTERNATIONAL THEATER FESTIVAL MESS October 3 – October 12, 2014 Sarajevo, Zenica, Goražde, Visoko 3.10.2014 / FRIDAY

20:00 / National Theater Sarajevo FRONT Director: Luk Perceval Thalia Theater / NT Gent GERMANY / BELGIUM 20:00 / Bosnian National Theater Zenica Doruntina Basha / Almir Bašović / Almir Imširević: THE BALKAN REQUIEM Director: Stevan Bodroža Bosansko narodno pozorište Zenica / Hundsturm / Wien Kultur / Festival MESS / Trembles Verein für freies Theater / BMUKK BOSNIA AND HERZEGOVINA / AUSTRIA

4.10.2014 / SATURDAY

22:00 / Sarajevo War Theater KOŠTANA Director: András Urbán Narodno pozorište Subotica SERBIA

7.10.2014 / TUESDAY

18:00 / International Center for Children and Youth Novo Sarajevo Doruntina Basha / Almir Bašović / Almir Imširević: THE BALKAN REQUIEM Director: Stevan Bodroža Bosansko narodno pozorište Zenica / Hundsturm / Wien Kultur / Festival MESS / Trembles Verein für freies Theater / BMUKK BOSNIA AND HERZEGOVINA / AUSTRIA 19:30 / National Theater Sarajevo THE ASSEMBLY Director: Selma Spahić Narodno pozorište Sarajevo / Sarajevski ratni teatar / Kamerni teatar ‘55 BOSNIA AND HERZEGOVINA

20:00 / National Theater Sarajevo THE BOURGEOISIE Director: Jan Mikulášek Divadlo Na zábradlí CZECH REPUBLIC

23:00 / Sarajevo War Theater THE BELLY OF THE WHALE Director: Fabio Rubiano Orjuela Teatro Petra COLOMBIA

22:00 / International Center for Children and Youth Novo Sarajevo Biljana Srbljanović: FAMILY STORIES Director: Paolo Magelli Teatro Metastasio / Stabile della Toscana ITALY

8.10.2014 / WEDNESDAY

5.10.2014 / SUNDAY

20:00 / National Theater Sarajevo Fedor Šili: THE WIZARD Director: Boris Liješević Narodno pozorište Sombor SERBIA

20:00 / Chamber Theater ‘55 YOU! EVERYONE IS WELCOME Director: Roberto Bacci Fondazione Pontedera Teatro ITALY 20:00 / Bosnian National Theater Zenica Doruntina Basha / Almir Bašović / Almir Imširević: THE BALKAN REQUIEM Director: Stevan Bodroža Bosansko narodno pozorište Zenica / Hundsturm / Wien Kultur / Festival MESS / Trembles Verein für freies Theater / BMUKK BOSNIA AND HERZEGOVINA / AUSTRIA

6.10.2014 / MONDAY

18:00 / Chamber Theater ‘55 YOU! EVERYONE IS WELCOME Director: Roberto Bacci Fondazione Pontedera Teatro ITALY 20:00 / National Theater Sarajevo 1914 Director: Ana Đorđević Narodno pozorište Republike Srpske BOSNIA AND HERZEGOVINA

18:00 / Chamber Theater ‘55 SARA SAYS Director: Fabio Rubiano Orjuela Teatro Petra COLOMBIA

22:00 / Sarajevo War Theater HA! Choreography: Bouchra Ouizguen Compagnie O MAROCCO

9.10.2014 / THURSDAY

18.00 / Academy of Performing Arts Sarajevo SEND GREETINGS TO SOMEONE Director: Miroljub Mijatović Bosansko narodno pozorište Zenica BOSNIA AND HERZEGOVINA 20:00 / Chamber Theater ‘55 Biljana Srbljanović: THIS GRAVE IS TOO SMALL FOR ME Director: Dino Mustafić Hartefakt Fond / Kamerni teatar ‘55 / Kazalište Ulysses / Testament filmS / Festival MESS SERBIA / BOSNIA AND HERZEGOVINA / CROATIA


22:00 / Sarajevo War Theater <AGE> Director: Francesca Pennini CollettivO CineticO ITALY

10.10.2014 / FRIDAY

14:00, 18:00, 22:00 / Academy of Performing Arts Sarajevo MY GREAT WORK (AN AMBITIOUS PROJECT) Director: David Espinosa El Local E.C / C.A.E.T. SPAIN 20:00 / National Theater Sarajevo DEPARTURE Director: Kalle Nio WHS FINLAND 22:00 / International Center for Children and Youth Novo Sarajevo DOTS, LINES AND THE CUBE. A WORLD AND THE OTHERS IN THE CUBE THAT SHINES. Director: Takahiro Fujita mum&gypsy JAPAN

11.10.2014 / SATURDAY

12:00 / Chamber Theater ‘55 THE INGENIOUS GENIUS Director: Tamara Kučinović Kazalište lutaka Zadar CROATIA 14:00, 18:00 / Academy of Performing Arts Sarajevo MY GREAT WORK (AN AMBITIOUS PROJECT) Director: David Espinosa El Local E.C / C.A.E.T. SPAIN 20:00 / Sarajevo War Theater BATTLEFIELD MEMORY Director: Hans-Werner Kroesinger HAU / Sarajevski ratni teatar / CZKD Beograd / Goethe-Institut GERMANY / BOSNIA AND HERZEGOVINA / SERBIA / TURKEY 22:00 / International Center for Children and Youth Novo Sarajevo DOTS, LINES AND THE CUBE. A WORLD AND THE OTHERS IN THE CUBE THAT SHINES. Director: Takahiro Fujita mum&gypsy JAPAN

12.10.2014 / SUNDAY

11:00 / Cultural Center Sarajevo *performances also in City Cinema Visoko and Goražde Center for Culture PLUMB BO-BO, ZU Director: Belma Lizde-Kurt Aparat teatar BOSNIA AND HERZEGOVINA

12:00 / International Center for Children and Youth Novo Sarajevo JURI MURI IN AFRICA DANCES Director: Ivana Djilas Plesni teatar Ljubljana SLOVENIA 16:00 / Academy of Performing Arts Sarajevo Ivor Martinić: A PLAY ABOUT MIRJANA AND THOSE AROUND HER Mentors: Ermin Bravo, Džana Pinjo Akademija scenskih umjetnosti Sarajevo BOSNIA AND HERZEGOVINA 18:00 / Sarajevo War Theater BOLERO Director: Michael Pinchbeck Nottingham Playhouse / Sarajevski ratni teatar / Teatri Oda UNITED KINGDOM / BOSNIA AND HERZEGOVINA / KOSOVO* 20:00 / National Theater Sarajevo JUST FOR SARAJEVO (THE TIME BETWEEN TWO MISTAKES) Concept: Grace Ellen Barkey, Jan Lauwers Needcompany BELGIUM 22:00 / Chamber Theater ‘55 WHAT I HEARD ABOUT THE WORLD Authors and Directors: Jorge Andrade, Alexander Kelly, Chris Thorpe Third Angel / mala voadora UNITED KINGDOM / PORTUGAL

OFF MESS 3.10.-12.10.2014

12:00-20:00 / JAVA Gallery Project: FUTURE HERITAGE COLLECTION Initiator: Azra Akšamija In collaboration with: Lejla Hodžić, Anton Lederer, Margarethe Makovec, <rotor> AUSTRIA / BOSNIA AND HERZEGOVINA

6.10.-13.10.2014

18:00 / Museum of Literature and Performing Arts of B&H Exhibition: OPEN SPACES Author: Regine Dura HAU / Goethe-Institut 11.10.2014 / SATURDAY 10:30-14:30 / Hotel Europe Feminist Talks: Women in Bosnia and Herzegovina in (Post)Yugoslav Time Machine Sarajevski otvoreni centar BOSNIA AND HERZEGOVINA *This label does not prejudge the status of Kosovo and is in accordance with Resolution 1244 an the opinion of ICJ on Kosovo’s declaration of independence.


Njemačka, Belgija / Germany, Belgium

Narodno pozorište Sarajevo 20.00 National Theater Sarajevo Trajanje / Running time: 120 min.

03/10/14

FRONT

Jezik: njemački, francuski, holandski i engleski sa bosanskim i engleskim prijevodom Language: German, French, Dutch and English with Bosnian and English subtitles PREDSTAVA

Prije stotinu godina, u zapadnoj Evropi počeo je četverogodišnji rat koji je trajao od 1914. do 1918. godine i koji je odnio najmanje šesnaest miliona života – deset miliona vojnika/inja – francuskih, britanskih, njemačkih i belgijskih, ali i italijanskih, ruskih, srpskih, rumunskih, američkih, turskih i ostalih i šest miliona civila/ki, što je često bilo rezultat gladi i bolesti. Nakon ovog “Velikog rata”, nekad ponosna, prosperitetna Evropa više nikad neće biti ista; nestale su stare monarhije, a na horizontu su se pojavile neke nove, velike sile poput Sovjetskog saveza i Sjedinjenih Američkih Država. Industrijalizacija je uzela maha, kako na frontu, tako i mimo njega. Njemački filozof Peter Sloterdijk smatra da je dvadeseto stoljeće počelo 22. aprila 1915. godine, na mjestu sjeverno od grada Ypresa, kada je u napadu prvi put korišten bojni otrov. To je bilo prvi put u historiji da je ljudska vrsta pokušala istrijebiti svoje pripadnike/ce kao insekte. U drami “FRONT”, nesretni pješadijci/ke iz perioda 1914-1918. ponovo poprimaju ljudski lik i to ne putem historijske rekonstrukcije ili kostima koji evociraju taj period, nego jednom evokativnom polifonijom koja daje konkretne slike ratovanja u rovovima u dolini rijeke Ijzer, gdje su dvije zaraćene strane – Nijemci i Saveznici – postigli primirje već 1914. godine, čizama zaglavljenih duboko u prohladno blato Westhoeka. U ovoj simboličnoj oblasti oni/e su se tri godine borili za svaki metar zemlje, a rovovi su im ponekad bili tako blizu da su vojnici/kinje na suprotnim stranama mogli čuti jedni druge. “FRONT” – koprodukcija teatara Thalia, Hamburg (Njemačka) i NT Gent (Belgija), u režiji Luka Percevala – prikaz je života s obje strane ratišta s pripovijestima na njemačkom, francuskom, holandskom i engleskom jeziku.

PERFORMANCE

Hundred years ago, in Western Europe, a four-year war started which between 1914 and 1918 would claim a total of at least sixteen million dead, including ten million soldiers – French, British, German and Belgian, but also Italian, Russian, Serb, Romanian, American, Turkish and others – and six million civilians, often as a result of famine and disease. After this “Great War”, the once so proud, prosperous continent of Europe would never be the same again: several old monarchies were swept away and new great powers appeared on the horizon, including the Soviet Union and the United States. Industrialisation also took off, both on and off the battlefield. The German philosopher Peter Sloterdijk suggests that the twentieth century started on 22nd April 1915, just north of the town of Ypres, when poisonous gas was used for the first time during an assault. This was the first occasion in history that the human species tried to eliminate fellow men like insects. In “FRONT”, the unfortunate foot-soldiers of 1914-1918 are given a human face again. Not by means of an historical reconstruction or a costume drama evocation, but by an evocative polyphony, portraying specifically the trench warfare on the plain of the River Ijzer, the place where the two front lines – the Germans versus the Allies – came to a standstill as early as 1914, their boots sinking deep into the chilling mud of the Westhoek . In this symbolic area they fought over every metre of ground for three years, and the trenches were sometimes so close together that the soldiers on the two sides could hear one another. “FRONT”, a coproduction of the Thalia Theater Hamburg (DU) and NTGent (BE), directed by Luk Perceval, gives an impression of life on both sides of this front line: with accounts in German, French, Dutch and English.


Rođen je 30. maja 1957. godine (Lommel, Belgium). 1979. godine diplomirao je glumu na Koninklijk konzervatoriju u Antwerpu. Od 1980. do 1985. radi kao glumac u teatru KNS (Koninklijke Nederlandse Schouwburg) u Antwerpu. Od 1981. do 1989. godine podučava glumce/ice na Koninklijk Muziekconservatoriumu u Antwerpu. 1984. godine osnovao Blauwe Maandag Compagnie (Blue Monday Company) zajedno sa Guyem Joostenom. 1998. godine, Luk Perceval osnovao je kompaniju HET TONEELHUIS. HET TONEELHUIS je spoj kompanija Blauwe Maandag Compagnie (sa sjedištem u Gentu) i KNS (Antwerp) koja je smještena u Bourla teatru u Antwerpu. DIRECTOR

Born on May the 30th, 1957 (Lommel, Belgium). Graduated as an actor in 1979 at the Koninklijk Conservatorium Antwerp. Worked as an actor at the KNS (Koninklijke Nederlandse Schouwburg) in Antwerp from 1980 untill 1985. He teached actors’ training from 1981 untill 1989 at the Koninklijk Muziekconservatorium Antwerp. In 1984 he founded Blauwe Maandag Compagnie (Blue Monday Company) together with Guy Joosten. In 1998 Luk Perceval founded HET TONEELHUIS. HET TONEELHUIS is a fusion between Blauwe Maandag Compagnie (based in Ghent) and KNS (Antwerp) based at the Bourla theatre in Antwerp. PRODUKCIJA Kada je Cheri Maurice dobio dozvolu za otvaranje teatra u Hamburgu 1843. godine, zabranili su mu da postavlja ozbiljne predstave kako ne bi ugrožavao rad Gradskog teatra u ulici Dammtorstrasse. Zbog toga je svoj teatar nazvao po grčkoj muzi komedije – Thalia. Svoja vrata otvorio je 9. novembra 1843. godine, na mjestu koje se nalazi tačno preko puta njegove današnje lokacije. Međutim, zgrada teatra je tokom Drugog svjetskog rata bila gotovo uništena. Renovirana je krajem pedesetih godina, a teatar je ponovo otvoren u decembru 1960. godine. Mjuzikli Roberta Wilsona (u saradnji sa Tomom Waitsom i Lou Reedom) su već stvar legende i obišli su cijeli svijet. Teatar je često pozivan na Berliner Theatertreffen i dobitnik je priznanja “Teatar godine”. Thalia teatar je tokom godina postao komercijalno najuspješniji njemački teatar za klasične drame. Joachim Lux je generalni direktor Thalia teatra od ljeta 2009. godine. Već u prvoj sezoni svoga mandata u teatru angažirao je sjajne reditelje/ice. Luk Perceval kao glavni reditelj, Nicolas Stemann, Jan Bosse, Dimiter Gotscheff, samo su neka od imena. Lux strastveno promovira razumijevanje među kulturama, društvenim klasama i religijama. Upravo to je bit interkulturalnog festivala “Za svijet - Lessingovi dani” koji se od 2010. godine održava u Thalia teatru, a njegova ideja počiva na Lessingovoj progresivnoj misli i ugošćuje renomirane međunarodne drame. Također, teme i drame koje program Thalia teatra pokriva odražavaju tendenciju čovjeka da se više pozabavi “svijetom”, a manje unutrašnjim psihološkim predjelima. NTGent je gradski teatar u Gentu. Iz svog sjedišta – teatra na Sint-Baafspleinu, u samom srcu grada između katedrale, zvonika i gradske vijećnice, on kreće u bijeli svijet sa svojim ansamblom kojeg čine vodeći flamanski i holandski glumci/ice. NTGentu je velika čast što donosi teatar u svaki kutak svog sopstvenog govornog područja, ali je i dobrodošao gost i aktivan partner na međunarodnoj sceni, od festivala u Avignonu, Ruhr trienala, festivala u Atini i festivala Wiener Festwochen, do gradova poput Sidneja, Njujorka. Moskve, Zagreba i Seula. NTGent nastoji predstaviti teatar koji je dirljiv, izazovan i iznenađujući. Prema svom uvjerenju da je teatar ostao nenadmašen kao društveni prostor koji ima štošta za ponuditi svojom tolerancijom, kao duševno utočište u kojem najrazličitiji pogledi na svijet mogu mirno da se sukobljavaju, kao umjetnički prostor u kojem otvorenost prema novim idejama nudi početak jedne nove priče, teatar budnim okom prati današnji svijet i uvijek je spreman na interakciju sa ostalim umjetničkim disciplinama. Do jula 2015. godine, umjetničku putanju NTGenta određivat će glumac i umjetnički majstor za sve Wim Opbrouck. Nakon toga, NTGent će slaviti povratak svog nekadašnjeg umjetničkog direktora Johana Simonsa, holandskog reditelja, koji je 2010. godine iz NTGenta otišao u teatar Münchner Kammerspiele. Od 2015. do 2017. godine, Simons će ovo zaduženje kombinirati sa ulogom administratora trienala u Ruhru. Wim Opbrouck će nastaviti raditi kao glumac za NTGent koji će 2015. godine proslaviti 50. godišnjicu svog postojanja.

PRODUCTION When Cheri Maurice was granted the license for a theatre in Hamburg in 1843, he was forbidden from staging serious plays in order to protect the Stadttheater on Dammtorstraße. As a result, he named his theatre after the Greek muse of comedy, Thalia and opened its doors on 9th November 1843, in a spot directly opposite its current location. However the theatre was largely destroyed during the Second World War, restored towards the end of the Fifties and re-opened in December 1960. Robert Wilson’s musicals (collaborations with Tom Waits and Lou Reed) are the stuff of legend and have embarked on tours all over the world. The theatre was frequently invited to the Berliner Theatertreffen and was awarded the accolade of “Theatre of the Year”. “Along the way” Thalia Theater became Germany’s most commercially successful theatre for straight plays. Joachim Lux has been the Managing Director at Thalia Theater since summer 2009. He began signing up brilliant directors to the theatre in his very first season. Luk Perceval as lead director, Nicolas Stemann, Jan Bosse, Dimiter Gotscheff are just a few of the names. Lux is passionate about promoting understanding between cultures, social classes and religions. This is also what the intercultural festival “For the world – Lessing Days” stands for, which has taken place at Thalia Theater between the end of January and the beginning of February every year since 2010, based on Lessing’s progressive ideas and hosting renowned international guest plays. Furthermore the topics and plays covered in our programme reflect the tendency to occupy oneself more with the “world” and less with inner psychological realms.

Igraju / Cast: Patrick Bartsch Bernd Grawert Burghart KlauSSner Benjamin-Lew Klon Oscar van Rompay Peter Seynaeve Steffen Siegmund Oana Solomon Katelijne Verbeke Steven van Watermeulen Gilles Welinski

WORLD MESS

Režija / Direction: Luk Perceval

REDITELJ

Dramaturgija / Dramaturgy: Christina Bellingen Steven Heene Scenografija / Stage Design: Annette Kurz Kostimografija / Costume Design: Ilse Vandenbussche Muzika / Music: Ferdinand Försch Muzika uživo / Live-music: Ferdinand Försch Video: Philip BuSSmann Svjetlo / Light: Mark Van Denesse Fotografija / Photography: CSMAILOVIC

NTGent is Ghent’s civic theatre. From its home base – the theatre on Sint-Baafsplein, at the heart of the city, between the cathedral, belfry and town hall – it goes out into the wide world with its ensemble of leading Flemish and Dutch actors/actresses. NTGent makes it a point of honour to take theatre to every corner of its own language area, but it is also a welcome guest and an active partner on the international scene, from the Avignon Festival, the RuhrTriennale, the Athens Festival and the Wiener Festwochen to such cities as Sydney, New York, Moscow, Zagreb and Seoul. NTGent aims to present theatre that is moving, challenging and surprising. On the basis of its conviction that theatre remains unsurpassed as a social space that sets great store by tolerance, as a mental haven where the most diverse world-views can clash peacefully with each other, as an artistic space where openness to new ideas provides the start of a new story, with an eye to today’s world and always ready for interaction with other artistic disciplines. Until July 2015, NTGent’s artistic course will be determined by actor and artistic jack-of-all-trades Wim Opbrouck. After this, NTGent will be celebrating the return of its former artistic director Johan Simons, the Dutch director who in 2010 swapped NTGent for the Münchner Kammerspiele. From 2015 to 2017, Simons will be combining this role with that of intendant of the RuhrTriënnale. Wim Opbrouck will continue to work as an actor for NTGent, which, incidentally, will be celebrating its 50th birthday as a civic theatre in 2015.

1914


Češka Republika / Czech Republic

Narodno pozorište Sarajevo 20.00 National Theater Sarajevo Trajanje / Running time: 75 min.

04/10/14

BURŽOAZIJA THE BOURGEOSIE

Jezik: češki sa bosanskim i engleskim prijevodom Language: Czech with Bosnian and English Subtitles PREDSTAVA

Buñuel se poigrava sa svojim likovima mameći ih da očekuju fine večere, a potom ih iznova dosjetljivo frustrira. Oni se opiru i uljudno iskazuju svoj gnjev, ali nikad ne odustaju; oni neumorno očekuju i traže sve ono što žele, kao da je njihovo urođeno pravo da ih drugi/e služe i da im ugađaju. On ogoljuje njihovu bahatost, njihovo licemjerje i njihovu potkupljivost. U sekvencama snova on istražuje njihove intenzivne strahove – ne samo strah od javnog poniženja, već i strah da ih policija ne uhvati i da ne padnu pokošeni u pucnjavi. Ispostavlja se da bar jedna sekvenca sna nekog od likova kasnije biva ugniježđena ili ugrađena u sekvencu sna nekog drugog lika. Kako se ti “snovi u snu” odmotavaju, tako se čini da se i Buñuel poigrava sa svojom publikom, dok mi cijeloj toj priči nastojimo naći smisao.

PERFORMANCE

Buñuel plays tricks on his characters, luring them in with expectations of fine dinners, and then repeatedly frustrating them in inventive ways. They bristle, and politely express their outrage, but they never stop trying; they relentlessly expect and pursue all that they desire, as though it were their natural right to have others serve and pamper them. He exposes their sense of entitlement, their hypocrisy, and their corruption. In the dream sequences, he explores their intense fears – not just of public humiliation, but of being caught by police, and mowed down by guns. At least one character’s dream sequence is later revealed to be nested, or embedded, in another character’s dream sequence. As the dreams-within-dreams unfold, it appears that Buñuel is also playing tricks on his audience, as we try to make sense of the story.


Jan Mikulášek (1978) rođen je u Zlínu gdje mu je majka bila glumica, a otac glumac u lokalnom pozorištu. Po završetku gimnazije u Brnu, upisuje se na Janáčekovu Akademiju muzičkih i scenskih umjetnosti i studira na Odsjeku za dramsku režiju. Tu provodi tri godine, najprije u klasi Petera Scherhaufera, a potom i Zbyněka Srbe. Nakon uspješne postavke Brechtove drame “Lindbergov let” postaje umjetnički direktor pozorišta Polárka u Brnu 2001. godine. Uz druge mlade pozorišne umjetnike/ce uspijeva da od Polárke napravi jedno posjećeno, alternativno pozorište, usredsređeno uglavnom na autorski rad usmjeren za što širi spektar publike. Bio je i umjetnički direktor pozorišta Petr Bezruč u Ostravi. Pored režiranja, posvetio se i komponiranju pozorišne muzike. Od ove sezone bit će stalni režiser u Pozorištu na Balustradi. Mikulášekova režija je dobrim dijelom inspirirana filmskim pristupom – pored činjenice da je režirao brojne adaptacije filmova, on na sceni također koristi elemente filmskog jezika – rezove, detalje, muzički kontrapost i paralelnu radnju. Njegov drugi značajan izvor inspiracije je slikarstvo iz kojeg “crpi” ideje za mizanscen i svjetlo. Mikulašek je također dobro upućen u različite žanrove i naginje ka grotesknoj stilizaciji za koju nalazi mjesto čak i u dramskim klasicima.

Igraju / Cast: Petra Bučková Jiří Vyorálek Jan Hájek Petr Jeništa Magdaléna Sidonová Anežka Kubatová Leoš Noha Miloslav König Ladislav Hampl Dramaturgija / Dramaturgy: Dora Viceníková Scenografija / Stage Design: Marek Cpin Fotografija / Photography: Kiva

DIRECTOR

Jan Mikulášek (1978) was born in Zlín, where both his parents were actors in the local theatre. After studying at the Academy Grammar School in Brno, he was accepted at the Janáček Academy of Arts to study drama directing. He spent three years there, being taught first by Peter Scherhaufer and then by Zbyněk Srba. After a successful production of Bertolt Brecht’s “The Flight Across the Ocean”, he became the artistic head of the Brno theatre Polárka in 2001. Together with other young theatre artists, he helped make Polárka a closely followed alternative theatre, focusing mostly on auteur work for as wide an audience spectrum as possible. He has also held the position of artistic head of the Petr Bezruč Theatre in Ostrava. In addition to directing, he actively devotes his time to composing music for the theatre. From this season, he is to become an in-house director at the Theatre on the Balustrade. Mikulášek’s direction is notably influenced by film approaches – in addition to having directed many adaptations of films, he also uses elements of film language on stage, such as cutting, detail, musical contrapposto, and parallel plot unfolding. His other major source of inspiration is fine art, from which he “takes” an emphasis on mise-en-scène and lighting. Mikulášek is also well-versed in different genres, and inclines towards grotesque stylization, something for which he finds space even in major dramas.

PRODUKCIJA

Brojne su istaknute ličnosti poput Václava Havela, Ivana Vyskočila, Jana Grossmana, Evalda Schorma i Petra Lébla prošle kroz ovo umjereno, moderno češko pozorište, kako ga kritičari vole nazivati. Od svog osnivanja 1958. godine, ovo pozorište igra značajnu ulogu u društvenom i kulturnom životu zemlje. Pozorište je brojnim izvedbama predstavljalo Češku Republiku u inostranstvu, a matična je kuća plejadi istaknutih glumaca/ica. Pozorište na Balustradi prednjači u savremenim pozorišnim trendovima.

PRODUCTION

Numerous distinguished figures, including Václav Havel, Ivan Vyskočil, Jan Grossman, Evald Schorm, and Petr Lébl have passed through this soft Czech modern theatre, as it is described by critics. Since its creation in 1958, the theatre has played a significant role in the country’s social and cultural context. It has created numerous productions that have represented the Czech Republic abroad, and has been home to a plead of notable actors. The Theatre on the Balustrade is a leader in current theatrical trends.

MITTELEUROPA

Režija / Direction: Jan Mikulášek

REDITELJ


Italija / Italy

Međunarodni centar za djecu i omladinu Novo Sarajevo 22.00 International Centre for Children and Youth Novo Sarajevo Trajanje / Running time: 80 + Intermission + 35 min.

04/10/14

BILJANA SRBLJANović

PORODIČNE PRIČE FAMILY STORIES

Jezik: italijanski sa bosanskim i engleskim prijevodom Language: Italian with Bosnian and English translation PREDSTAVA

“Drama Giochi di famiglia (Porodične priče) odvija se u oronulom predgrađu bilo kojeg evropskog grada i govori o četvero napuštene djece koja se pretvaraju da su odrasli i koja se jednostavno pridružuju pokvarenosti svijeta koja nas preplavljuje. Ova djeca nude nam priliku da zavirimo u svoju dušu i suočimo se sa brutalnošću koju svi skrivamo u sebi. Tekst Biljane Srbljanović predstavlja priliku da se na jedan beskrupulozan način razgovara o porodici. Ova djeca govore o roditeljima koji su u stvarnosti odsutni. Mi smo ti odrasli, ti ljudi koji su uveliko odsutni.Ta odsutna porodica kreira model koji ne samo da je uvredljiv već je i model s kojim se da poistovijetiti. Na kraju svake scene, dijete na razne načine ubija svoje roditelje. U predstavi nalazimo jednu kreativnost koja nas razoružava, koja prkosi, ali koja je nadasve očajna. Ovo je tekst koji obiluje upitnicima: Kakvu retoriku bi trebalo eliminirati iz našeg društva? Zašto kreiramo vojsku dječaka pripremljenih da pred teškoćama poginju glave, umjesto da ih uzdižu do platonskog ponosa? Zašto se svijet ne mijenja? Ovdje se radi o tekstu koji generira raspravu, stid i bolni osmijeh, ostavljajući nam jedan veliki upitnik i u glavi i u stomaku.” Paolo Magelli

PERFORMANCE

“Giochi di famiglia (Family stories) takes place in the degraded suburb of any European city and tells of four alone children who play to be adult and, just joining the badness of the world that inundated us, these children will offer us the possibility to look within the spirit and to meet the brutality that everyone hides within oneself. The text of Biljana Srbljanovic represents the occasion to discuss about the family in an unscrupulous way. These children speak about parents who in reality are absent. We are these adults, the great absentees. This absent family creates a model not only exceptionable but also attachable. And the child in the end of every scene always kills the parents in various ways. There is a disarming creativity, spiteful but above all desperate. It is a text full of question marks: Which are the speeches that would have to be eliminated from our society? Why we create an army of prepared boys to wind down the head in front of the difficulties instead raising them to a platonic pride? Why doesn’t the world change? A text that creates argument, embarassment and a smiling pain, leaving a question mark in the mind and in the stomach.” Paolo Magelli


AUTHOR Biljana Srbljanović was born in 1970 in Sweden. She graduated from the Faculty of Dramatic Arts in Belgrade, Department of Dramaturgy, where she has been working since 1996, currently holding the position of associate professor. As a student, along with Miloš Radović, she worked to create a TV series “Open Doors”, and wrote the screenplay for the majority of the episodes. Her plays have been translated into more than twenty foreign languages and performed in over a hundred theaters around the world, and have been published in several languages in Europe. She wrote, among others, the following dramas: “Belgrade Trilogy” (1997), “Family Stories” (1998), “The Fall” (2000), “Supermarket” (2001), “America, Part Two” (2003), “Locusts” (2005), “Barbelo, on Dogs and Children” (2007), and “Death Is Not a Bicycle (To be Stolen from You)” (2011), “This Grave is Too Small for Me” (2013). She has won a Sterija award five times, as well as winning the following awards: The Conquest of Freedom, Dragiša Kašiković, Slobodan Selenić, Annual Belgrade Drama Theatre Award, the Statuette of Joakim Vujić, and the highest European award, Premio Europa - New Theatrical Realities. She completed her doctoral studies in the Theory of Dramatic Arts, Media and Culture at the Faculty of Dramatic Arts. She is a Fulbright Scholarship Alumna, and was a visiting professor at universities in New York, Vienna, Milan, and Florence. She is the founder of the Forum of Writers, the recipient of the French Medal of the Knight of the Order of Arts and Letters, fighter for the rights of animals and, occasionally, of humans. REDITELJ Paolo Magelli rođen je u Pratu. Sa nepunih dvadeset godina postao je direktor teatra Teatro Studio Metastasio. Sarađivao je sa Giorgiom Strehlerom na nacrtu svoje sada već slavne reforme teatra u Toscani, a zatim i italijanskog teatra – dva prijedloga koja su bila osuđena na propast, nakon čega, sredinom 70-tih godina, napušta Prato. 1974. godine u Beogradu, Magelli je započeo projekat koji će mu omogućiti saradnju sa svim velikim centrima bivše Jugoslavije i donijeti mu brojne nagrade. 1985. seli se u Zagreb gdje je bio umjetnički direktor ZKM teatra. 1989. godine pozvan je na trajnu saradnju kao reditelj u Wuppertaler Bühnen u teatru Pine Bausch gdje je ostao do 1995. Početak rata ga je zatekao u Zagrebu gdje je radio na Horvathovom komadu “Vjera, ljubav, nada”. Veoma brzo je došao u sukob s Tuđmanovim režimom i bio mu je zabranjen pristup hrvatskim teatrima. 1995. godine (nakon tri godine zabrane) vratio se na zagrebačku scenu i sam finansirao predstavu “Višnjik” u djelimično uništenom foajeu teatra Gavella. 2000. godine radi sa Palestinskim narodnim pozorištem u Ramallahu i izraelskim pozorištima u Tel Avivu, Akkou i Haifi. 2003. godine seli u Dresden, gdje radi do 2009. u teatru Staatschauspiel. 2010. godine postao je reditelj u teatru Metastasio Stabile della Toscana u sklopu kojeg nastavlja saradnju sa teatrima u Srbiji, Hrvatskoj i Njemačkoj. DIRECTOR Paolo Magelli was born in Prato. Not yet twenty-year-old, he became Director of Teatro Studio of Metastasio. He worked with Giorgio Strehler in drafting his now famous reform of Tuscan theatre, first, and Italian theatre later – two proposals doomed to be “buried”, then he left Prato in the mid 70’s. In 1974 in Belgrade Magelli started a job that will take him to collaborate with all the big centres of Ex-Yugoslavia, earning innumerable prizes. In 1985 he moved to Zagreb to become artistic director of the theatre ZKM. In 1989 he was invited to collaborate on a permanent basis as a director at the Wuppertaler Bühnen of Pina Bausch where he stayed until 1995. The breakout of the war took him by surprise. He was in Zagreb working on “Faith, Hope, and Charity” by Horvath. Very soon he came into conflict with the Tuđman regime and he was banned from Croatian theatre. In 1995 (after three years of being banned) he put back onto the scene in Zagreb, self-funding “The Cherry Orchard”, in the partially destroyed foyer of the Gavella theatre. In 2000 he worked with the Palestinian National Theatre of Ramallah and with the Israeli theatres of Tel Aviv, Akko and Haifa. In the 2003 he moved to Dresda, where he will work stably until 2009 to the Staatschauspiel. In 2010 he became director of Teatro Metastasio Stabile della Toscana continuing to collaborate with theatres in Serbia, Croatia and Germany. PRODUKCIJA Teatar Metastasio Stabile della Toscana (koji se od 1994. vodi kao Fondacija sa partnerima Comune di Prato, Regione Toscana, Provincia di Prato; od 1998. godine priznat od strane Italijanskog ministarstva kulture kao jedna od najsvjetlijih tačaka proznog stvaralaštva u Italiji) djeluje na dvije adrese – Metastasio (zgrada teatra iz XIX stoljeća u italijanskom stilu) i Fabbricone (nekadašnja tvornica tekstila koja je sada pretvorena u teatar). Pod rediteljskom palicom Paola Magellia osnovana je rezidentna kompanija, a pet glumaca/ ica uključeno je u produkcije, radionice i kurseve obuke. Teatar Stabile oduvijek je radio na razvijanju mreže produkcijske saradnje sa stranim teatrima. Trenutno postoji projekat razmjene sa najboljim evropskim i mediteranskim teatrima. Od 2010. godine, Metastasio je član ETC mreže. Od svog osnivanja, teatar Stabile radi na obuci i davanju smjernica. U toku je osnivanje škole “Nuova Bottega” u kojoj će se obučavati novi glumci/ice, reditelji/ce, scenski tehničari/ke i tehničari/ke svjetla, kostimografi/kinje i scenografi/kinje. Metastasio je dosljedno posvećen ideji dovođenja teatra u škole i predstavljanju mladoj publici. Teatar trajno sarađuje sa kompanijom TPO, jednom od najstručnijih kompanija u oblasti dječijeg teatra. Kompanija TPO je učesnica na najprestižnijim festivalima diljem svijeta. Još jedan projekat teatra Metastasio je festival Contemporanea (prvi put održan 1999. godine), kulturni projekat usredsređen na nove sfere istraživanja savremene umjetnosti i zabave, privilegovano mjesto za posmatranje scenske umjetnosti teatra, plesa, performansa, muzike – koje tumači, uključuje i okuplja produkcijsku aktivnost nacionalnih i međunarodnih umjetnika/ca, s posebnim fokusom na mlade grupe u usponu.

PRODUCTION Teatro Metastasio Stabile della Toscana (since 1994 established as Foundation, with partners Comune di Prato, Regione Toscana, Provincia di Prato, since 1998 acknowledged by the Italian Department of Culture as one of the highest – public – points for prose production in Italy) acts in two venues: Metastasio (a XIX century all’italiana theatre) and Fabbricone (a textile industrial plant transformed into a permanent playhouse). Under Paolo Magelli’s direction a resident company has been formed, five reference actors involved in productions, workshops, training courses. The Teatro Stabile has always been working to develop a network of production relationship with foreign theatres. There’s now a project of exchange with the best European and Mediterranean theatres. Since 2010 Metastasio is member of the ETC Network. Since its foundation the Teatro Stabile has been engaged in a strong training and guidance activity. We are now establishing a “Nuova Bottega” to coach new actors, directors, stage and light technicians, wardrobe, dressmakers, set designers. Metastasio is steadily engaged with spreading theatre in schools and for young audience. It permanently collaborates with TPO, one of the most qualified Italian companies in the field of children’s theatre. TPO has taken part in numerous prestigious festivals worldwide. Another project of Metastasio is Contemporanea Festival (first edition in 1999), a cultural project addressed to the new spheres of the research of contemporary arts and live entertainment; a privileged place to observe arts of the stage – theatre, dance, performing arts, music – that interprets, involves and gathers important production paths of national and international artists, with particular focus on young emerging groups.

Tekst / Text: Biljana Srbljanović Prijevod / Translation: Paolo Magelli Režija / Direction: Paolo Magelli Igraju / Cast: Milena Valentina Banci Vojin Mauro Malinverno Andrija Francesco Borchi Nadezda Elisa Cecilia Langone Fabio Mascagni Dramaturgija / Dramaturgy: Željka UdovičiĆ Scenografija / Stage Design: Lorenzo Banci Laboratorio del Teatro Metastasio Dizajn svjetla / Light Design: Roberto Innocenti Kostimografija / Costume Design: Leo Kulas Muzika / Music: Arturo Annecchino Inspicijent / Stage Manager: Roberto Innocenti Pomoćnica reditelja / Assistant Director: Giulia Barni Pomoćnica inspicijenta / Assistant Stage Manager: Giulia Giardi Glavni scenski tehničar / Chief Stagehand: Tobia Grassi Glavni električar i majstor zvuka / Chief Electrician and Sound Engineer: Daniele Santi Menadžerica produkcije / Production Manager: Francesca Bettalli Fotografija / Photography: Giovanni Santarelli Grafički projekat i montaža / Graphic Project and Editing: Francesco Marini Video Bam Container: Associazione Culturale (Nadia Baldi) Video montaža / Video Editing: Compagnia T. P.O.

BALKAN (CON)TEXT

AUTORICA Biljana Srbljanović je rođena 1970. godine u Švedskoj. Diplomirala je na Fakultetu dramskih umjetnosti u Beogradu, na Odsjeku dramaturgije, gdje radi od 1996. godine, trenutno kao vanredna profesorica. Kao studentica, zajedno sa Milošem Radovićem, radila je na stvaranju serije “Otvorena vrata” i napisala je scenario za većinu epizoda. Njene drame su prevedene na preko dvedeset stranih jezika i izvedene u više od stotinu pozorišta širom svijeta, i objavljene na više jezika u Evropi. Napisala je, između ostalog, i drame: “Beogradska trilogija” (1997), “Porodične priče” (1998), “Pad” (2000), “Supermarket” (2001), “Amerika, drugi deo” (2003), “Skakavci” (2005), “Barbelo, o psima i deci” (2007), i “Nije smrt biciklo da ti ga ukradu” (2011), “Mali mi je ovaj grob” (2013). Petostruka je dobitnica Sterijine nagrade, zatim nagrada: Osvajanje Slobode, Dragiša Kašiković, Slobodan Selenić, Godišnje nagrade Grada Beograda za dramsku umjetnost, Statuete Joakim Vujić i najvišeg evropskog priznanja – Premio Europa – Nova pozorišna realnost. Završava naučne doktorske studije iz Teorije dramskih umjetnosti, medija i kulture na Fakultetu dramskih umjetnosti. Alumni je Fulbright stipendije i bila je gostujuća profesorica na univerzitetima u Njujorku, Beču, Milanu i Firenci. Osnivačica je Foruma pisaca i dobitnica francuskog ordena iz reda Viteza umjetnosti i književnosti, borkinja za prava životinja, a nekad i ljudi.


Kamerni teatar ‘55 20.00 Chamber Theater ‘55 Trajanje / Running time: 70 min.

05/10/14

Italija / Italy

Kamerni teatar ‘55 18.00 Chamber Theater ‘55 Trajanje / Running time: 70 min.

06/10/14

TI! SVI SU DOBRODOŠLI YOU! EVERYONE IS WELCOME

Jezik: italijanski sa bosanskim i engleskim prijevodom Language: Italian with Bosnian and English Subititles PREDSTAVA

Ova predstava je tragikomedija svakog “zapošljavanja” – zasnovana na posljednjim stranicama nedovršenog Kafkinog romana “Amerika” ili “Onaj koji je nestao”, prvenstveno na tehnikama intervjuiranja, testovima i metodologiji koja se koristi u procesu selekcije ljudskih resursa, a u cilju nalaženja onog “najboljeg” kandidata/kinje koji će dobiti posao. Univerzum koji kombinira fragmente različitih oblasti nauke sa unezvijerenom radošću biranja sudbine užasnutih kandidata/kinja iz svih dijelova svijeta. Dakle?! Jesmo li svi primljeni? Na koje mjesto tačno? Hoće li vječno obećanje ostvarenja VELIKOG TEATRA svih naših težnji biti i održano? Potraga za poslom i obećanje koje nas održava “u društvu” i omogućava nam da preživimo do kraja života otvara neke, nama nevidljive stupice pod nogama. Tako, namaštavajući razne izlaze koji nas mame da krenemo za nekim novim bivstvovanjem, stojimo ukorijenjeni pred tim jednim izlazom gdje naše vrijeme polako prolazi. Isuviše okrutna vizija? Svakako. Živi bili pa vidjeli.

PERFORMANCE

The theme of the show, the tragicomedy of every “recruitment”, is based on the last unfinished pages of Kafka’s “Amerika” or “The Man Who Disappeared”, but above all on the interviewing techniques, tests, and methodologies used during the process of selecting human resources to find the “best” man to take on. A universe that mixes parts of different branches of knowledge with ferocious cheerfulness to choose the destinies of dismayed candidates from all parts of the world. So?! Have we all been recruited? For what, exactly? And will the eternal promise of achieving the GREAT THEATRE of all our aspirations ever be kept? The search for a job and a promise that will maintain us “in society” and allow us to survive to the end of our days, opens pitfalls at our feet that we do not see. Thus, imagining the multiple gateways inviting us to reach a new existence, we stay rooted to the spot in front of that single gateway where all our time wears away. Too cruel a vision? Of course. Seeing is believing.


Roberto Bacci je 1974. godine osnovao Centro per la Sperimentazione e la Ricerca Teatrale (Centar za pozorišne eksperimente i istraživanja). Od osnivanja Centra obavlja funkciju njegovog umjetničkog direktora. Centar je 1999. godine preimenovan u Fondazione Pontedera Teatro, u čijem sklopu Bacci realizira brojne projekte u Italiji i inostranstvu i ostvaruje kontakte sa umjetnicima/ama kao što su: Jerzy Grotowski, Eugenio Barba, Peter Brook, Anatoli Vasiliev, Raul Ruiz, Julian Beck, Judith Malina, Sanjukta Panigrahi i drugi. U periodu od 1978. do 1987. godine sedam puta je obnašao funkciju umjetničkog direktora festivala Festival Internazionale di Teatro di Santarcangelo di Romagna. Bio je i umjetnički direktor međunarodnog festivala Volterra Teatro u periodu od 1990. do 1999. godine, kao i festivala Passaggio a Pontedera koji od 2000. godine nosi naziv Generazioni. Od 2002. godine obnaša funkciju umjetničkog direktora pozorišnog dijela festivala Fabbrica Europa u Firenci. Od 2012. godine je direktor festivala Collinarea koji se održava u Lariju. U periodu od 1976. do 2011. godine Bacci je režirao brojne predstave koje su igrane u Italiji, Evropi, Srednjoj Americi i na Bliskom Istoku, najprije sa pozorištem Piccolo Teatro di Pontedera, a zatim sa pozorištem Compagnia Laboratorio di Pontedera. Neke od tih predstava dobitnice su nagrada i priznanja kritike.

Igraju / Cast: Sebastian Barbalan Silvia Pasello Francesco Puleo Alessio Targioni Tazio Torrini Asistentica režije / Assistant Director: Elena Piscitilli Dramaturgija / Dramaturgy: Stefano Geraci Roberto Bacci Scenografija i dizajn svjetla / Stage and Light Design: Stefano Franzoni Kostimografija i umjetnička saradnja / Costumes and Art Assistance: Luisa Pasello

DIRECTOR

Roberto Bacci founded in 1974 the Centro per la Sperimentazione e la Ricerca Teatrale (Centre for Theatrical Experiment and Research). Since its foundation he has been Artistic Director of the Centre, that has become in 1999 Fondazione Pontedera Teatro, with which he has organized numerous projects in Italy and abroad, coming into contact with artists such as Jerzy Grotowski, Eugenio Barba, Peter Brook, Anatoli Vasiliev, Raul Ruiz, Julian Beck and Judith Malina, Sanjukta Panigrahi and others. Between 1978 and 1987 he was Artistic Director for seven editions of the Festival Internazionale di Teatro di Santarcangelo di Romagna. He was Artistic Director of the International Festival Volterra Teatro from 1990 to 1999, and of the festival Passaggio a Pontedera, which, from the edition 2000 on, has been called Generazioni. Since 2002 he is Artistic Director of the theatre section of the festival Fabbrica Europa in Florence. Since 2012 is director of the festival Collinarea festival in Lari. From 1976 to 2011 he has directed many performances presented in Italy, in Europe, in Latin America, in the Middle East, first with the Piccolo Teatro di Pontedera, and then with the Compagnia Laboratorio di Pontedera. Some of these performances have received prices and recognition from critics.

PRODUKCIJA

Nekadašnji Centro per la Sperimentazione e la Ricerca Teatrale (osnovan 1974), Fondazione Pontedera Teatro aktivno se bavi pozorišnim stvaralaštvom i produkcijom, pozorišnim obrazovanjem i obukom, prezentacijom, izdavaštvom i širenjem kulture na regionalnom, državnom i međunarodnom nivou. Oko projekata ove kuće okupljaju se umjetnici/e, studenti/ ce, teatrolozi/ginje i raznovrsna publika; pozorište također provodi aktivnosti sa lokalnim institucijama, sarađuje sa srednjim školama i Univerzitetom za starije osobe. Od 1986. godine, pozorište Pontedera Teatro je dom Radnog centra Jerzyja Grotowskog koji je 1996. godine preimenovan u Radni centar Jerzyja Grotowskog i Thomasa Richardsa. Djelovanje pozorišta Fondazione usko je povezano sa dva jako važna pozorišna festivala u Italiji Santarcangelo i Volterrateatro, kao i sa Fabbrica Europa festivalom u Firenci. Od 2008, na sceni Teatra Era, Fondazione godišnje učestvuje u organizaciji dva pozorišna festivala: festivala Fabbrica Europa u Firenzi i festivala Collinarea u Lariju u mjesecu julu.

PRODUCTION

Formerly the Centro per la Sperimentazione e la Ricerca Teatrale (instituted in 1974) Fondazione Pontedera Teatro is active in the fields of theatre creation and production, theatre education and training, presentation, publishing and dissemination on regional, national and international levels. The projects of the Fondazione bring together artists, students and theatre scholars, and a diverse public; it also carries out activities with local institutions, collaborating with high schools and with the University of the Elderly. Since 1986 Pontedera Teatro has hosted the Workcenter of Jerzy Grotowski, which in 1996 became the Workcenter of Jerzy Grotowski and Thomas Richards. The history of the Fondazione is closely associated with two of the most important theatre festivals in Italy, Santarcangelo and Volterrateatro, as well as Fabbrica Europa Festival in Florence. Since 2008 hosted at Teatro Era, the Fondazione mounts two annual theatre festivals: at Fabbrica Europa in Florence in May and at Collinarea in Lari in July.

Tehničko vodstvo / Technical Direction: Sergio Zagaglia Muzika / Music: Ares Tavolazzi Direktor produkcije / Director of Production: Angela Colucci PR: Micle Contorno Fotografija / Photography: ALICE CASAROSA Produkcija / Production: Fondazione Pontedera Teatro 2013

WORLD MESS

Režija / Direction: Roberto Bacci

REDITELJ


Bosna i Hercegovina / Bosnia and Herzegovina

Narodno pozorište Sarajevo 20.00 National Theater Sarajevo Trajanje / Running time: cca 120 min.

06/10/14

ČETRNAESTA 1914

Jezik: njemački sa bosanskim i engleskim prijevodom Language: German with Bosnian and English Subititles PREDSTAVA

U pokušaju da do kraja i trajno definiše sve detalje u vezi sa ubistvom Franje Ferdinanda, istorijska nauka pokazuje se sasvim nemoćnom, isto koliko i politika kada pokušava da razreši pitanje motiva atentatora i logističke pozadine ubistva, a posebno kada govori o pojmu krivice za početak Prvog svetskog rata, dovodeći je neposredno u vezu sa Sarajevskim atentatom. Umetnost je, na sreću, uvek bila pametnija od politike, i nju nisu zanimali odgovori koje daje dnevna politika. Pošto je predmet njenog prikazivanja ono što je iza pojavnog, ne samo odgovori, nego je i način na koji ona postavlja pitanja uvek takav da u žižu stavlja krajnje nepoverenje prema svakom obliku ideološkog manipulisanja i ide ka samom čoveku i tragediji (ne)postojanja izbora. Ona sve dovodi u pitanje dok ne dođe do onoga što je neupitno – prava na život. I ona to pravo veliča i rida nad njegovim gubitkom. I ako ide do kraja u svojoj zapitanosti, prepoznaje kao konačni usud činjenicu da to pravo – pravo na život, narodima i pojedincima ne oduzimaju ni mali ljudi, ni još manji ljudi, već upravo ono što nastoji da uništi i samu umetnost – borba oko plena između moćnika nevidljivih iz rakursa nas koji smo ovde, nevidljivih i iz rakursa ugla Apelovog keja i Ulice Franje Josifa, gde je bila prodavnica Morisa Šilera, pred kojom je 28. juna 1914. stajao Gavrilo Princip, i gde se greškom zaustavio automobil prestolonaslednika Franje Ferdinanda. Ana Đorđević

PERFORMANCE

In an effort to fully and permanently define all the details about the murder of Franz Ferdinand, the study of history has proven to be of no use. The same is true for the politics when trying to resolve the question of motive of the assassin and the logistical background of the assassination, especially regarding the concept of the blame for the start of World War I, directly pinning it on the assassination in Sarajevo. Fortunately, art was always more clever than politics, and it was not interested in the answers given by the daily political humdrum. Since the object represented by art is what is hidden behind the readily visible, the way it asks the questions, as well as the answers it gives, always focuses on the extreme distrust of any form of ideological manipulation, and is directed toward the man and the tragedy of (non) existence of a choice. Art questions everything until it encounters that which is undisputed – the right to life. Art glorifies it and mourns its loss. And if art, in its questioning, follows through until the end, it recognizes, as the ultimate fate, the fact that this right – the right to life – was not taken away from the peoples and individuals neither by small people, nor by smaller people, but rather that which seeks to destroy the art itself – the fight over the spoils between the powerful ones, those invisible from the perspective of us who are here, and invisible from the perspective of the corner between Apel Quay Street and Francis Joseph Street, where the shop of Moris Šiler once stood, in front of which, on June 28th 1914, stood Gavrilo Princip, and where the car of the Crown Prince Franz Ferdinand came to a full stop by mistake. Ana Đorđević


REDITELJICA

Rođena je u Beogradu 1977. godine. Diplomirala je na Odsjeku za pozorišnu i radio-režiju, na Fakultetu dramskih umjetnosti u Beogradu, predstavom “San ljetne noći” V. Šekspira u produkciji Gradskog pozorišta u Podgorici, 2001. godine. Od 2011. godine zaposlena je kao asistentica na predmetu Pozorišna režija na Fakultetu dramskih umjetnosti u Beogradu. Značajnije predstave režirala u Narodnom pozorištu Subotica, Jugoslovenskom dramskom pozorištu (Teatar Bojan Stupica), Narodnom pozorištu Sombor, Kruševačkom pozorištu, Srpskom narodnom pozorištu u Novom Sadu. U Banjoj Luci režirala predstavu “Radnička hronika”, dramski tekst Petra Mihajlovića u njenoj adaptaciji, premijerno prikazanu 24. decembra 2010. godine. Predstava je u cjelini osvojila tri prestižne nagrade u Bosni i Hercegovini. Njen rediteljski rad rezultirao je nagradama na brojnim festivalima u Srbiji i Bosni i Hercegovini.

Igraju / Cast: Branko Janković Goran Jokić Željko Erkić Zlatan Vidović Sandra Ljubojević Miljka Brđanin Babić Dragana Marić Danilo Kerkez Ivan Perković

MITTELEUROPA

Autorica, dramaturginja i rediteljica / Author, Dramaturge and Director: Ana Đorđević

Scenografija / Stage Design: Dragana Purković Macan Kostimografija / Costume Design: Ivana Jovanović Muzika / Music: Petar Topalović

DIRECTOR

She was born in Belgrade on August 7th, 1977. She graduated from the Department of Theatre and Radio Directing, at the Faculty of Dramatic Arts in Belgrade, with the play “Midsummer Night’s Dream” by William Shakespeare, produced by the City Theatre in Podgorica in 2001. Since 2011, she has worked as an assistant professor of Theatre Directing at the Faculty of Dramatic Arts in Belgrade. She directed some of her most significant plays at the National Theatre in Subotica, Yugoslav Drama Theatre (Theatre Bojan Stupica), National Theatre Sombor, Kruševac Theatre, and Serbian National Theatre in Novi Sad. In Banja Luka, she directed the “Workers’ Chronicle”, after her own adaptation of the play by Petar Mihajlović, which premiered on December 24th, 2010. The play as a whole won three prestigious awards in Bosnia and Herzegovina. For her directing projects, she received numerous awards at the festivals in Serbia and Bosnia and Herzegovina.

Kamera i video dizajn / Camera and video design: Petar Bilbija Lektori / Text Editors: Milorad Telebak Nataša Kecman Video tehničar / Video technician: Dragan Majkić Asistent rediteljice / Assistant director: Igor Vuk Torbica Fotografija / Photography: DRAGO VEJNOVIĆ

PRODUKCIJA

Narodno pozorište Republike Srpske, pod nazivom Narodno pozorište Vrbaske banovine, počelo je sa radom 18. oktobra 1930. godine. Tokom vremena, Pozorište je više puta mijenjalo svoje ime. Zgradu Pozorišta projektovao je inženjer Josif Goldner. Prva značajnija rekonstrukcija urađena je 1959. godine, po projektu Vladimira Dobrovića, kada je scena tehnički modernizovana, a sala i interijeri generalno preuređeni. Prema projektu Vjenceslava Rihtera, poslije katastrofalnog zemljotresa, koji je zadesio Banju Luku 1969. godine izvršena je druga velika rekonstrukcija. Tokom adaptacije napravljena je scena Petar Kočić sa 77 sjedišta. Na svečanom otvaranju premijerno su odigrane tri jednočinke rodoljubivog jugoslovenskog karaktera: “Hadži Loja” Branislava Nušića, “Hej Sloveni” Riste Odavića i “Povratak” Budimira Švabića. Prije svečane premijere govore su održali ban Milosavljević i Božo Nikolić, predsjednik Udruženja glumaca Kraljevine Jugoslavije. Prvi glumački ansambl činili su: Radenko Almažanović, Momir Andrić, Vjekoslav Afrić, Marica Afrić, Joza Bakotić, Ružica Bogdanović, Žarko Joković, Zlata Kovačević, Emil Kutijaro, Dragan Jovanović, Ljubica Jovanović, Carka Jovanović, Dušan Mitrović, Kosana Pavlović, Dobrivoje Radenković, Ivka Radenković, Kosara Rajčević, Miloš Rajčević, Pava Sluka, Nikola Stojanović, i Tereza Fogl. Prvi upravnik bio je Dušan M. Mitrović Šabalija.

PRODUCTION

National Theatre of the Republic of Srpska, opened its doors on October 18th, 1930 under the name National Theatre of Vrbanska Banovina. Since then, the theatre changed its name several times. The theatre building was projected by the engineer Josif Goldner. The first significant reconstruction was done in 1959, based on the project of Vladimir Dobrović, when the stage was technically modernized, and the auditorium and interiors were generally reconstructed. The second significant reconstruction happened in 1969, and was based on the project of Vjenceslav Rihter, following the catastrophic earthquake in Banja Luka. During the adaptation the 77-seat stage Petar Kočić was built. At the opening ceremony, three one-act plays with patriotic Yugoslavian character were premiered: “Hadži Loja” by Branislav Nušić, “Hej Sloveni” (Hey Slovenes) by Rista Odavić, and “Povratak” (The Return) by Budimir Švabić. Before the gala premieres, the speeches were delivered by ban Milosavljević and Božo Nikolić, president of the Actors’ Association of the Kingdom of Yugoslavia.The first acting ensemble consisted of: Radenko Almažanović, Momir Andrić, Vjekoslav Afrić, Marica Afrić, Joza Bakotić, Ružica Bogdanović, Žarko Joković, Zlata Kovačević, Emil Kutijaro, Dragan Jovanović, Ljubica Jovanović, Carka Jovanović, Dušan Mitrović, Kosana Pavlović, Dobrivoje Radenković, Ivka Radenković, Kosara Rajčević, Miloš Rajčević, Pava Sluka, Nikola Stojanović, and Tereza Fogl. The first principal was Dušan M. Mitrović Šabalija.

1914


Srbija / Serbia

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

06/10/14

KOŠTANA

KOMAD IZ ŽIVOTA S PJESMAMA / A PLAY FROM LIFE WITH SONGS

Jezik: srpski sa engleskim prijevodom Language: Serbian with English Subititles

PREDSTAVA

Svako ima pravo na život, slobodu i bezbednost ličnosti. (Univerzalna deklaracija o ljudskim pravima) Izrazi “diskriminacija” i “diskriminatorsko postupanje” označavaju svako neopravdano pravljenje razlike ili nejednako postupanje, odnosno propuštanje (isključivanje, ograničavanje ili davanje prvenstva), u odnosu na lica ili grupe kao i na članove njihovih porodica, ili njima bliska lica, na otvoren ili prikriven način, a koji se zasniva na rasi, boji kože, precima, državljanstvu, nacionalnoj pripadnosti ili etničkom poreklu, jeziku, verskim ili političkim ubeđenjima, polu, rodnom identitetu, seksualnoj orijentaciji, imovnom stanju, rođenju, genetskim osobenostima, zdravstvenom stanju, invaliditetu, bračnom i porodičnom statusu, osuđivanosti, starosnom dobu, izgledu, članstvu u političkim, sindikalnim i drugim organizacijama i drugim stvarnim, odnosno pretpostavljenim ličnim svojstvima . (Zakon o zabrani diskriminacije Republike Srbije) Svi su jednaki i uživaju jednak položaj i jednaku pravnu zaštitu, bez obzira na lična svojstva. Svako je dužan da poštuje načelo jednakosti, odnosno zabranu diskriminacije. (Zakon o zabrani diskriminacije Republike Srbije)

PERFORMANCE

Everyone has the right to life, liberty and security of person. (Universal Declaration of Human Rights) The terms “discrimination” and “discriminatory treatment” shall be used to designate any unwarranted discrimination or unequal treatment, that is to say, omission (exclusion, limitation or preferential treatment) in relation to individuals or groups, as well as members of their families or persons close to them, be it overt or covert, on the grounds of race, skin colour, ancestors, citizenship, national affiliation or ethnic origin, language, religious or political beliefs, gender, gender identity, sexual orientation, financial position, birth, genetic characteristics, health, disability, marital and family status, previous convictions, age, appearance, membership in political, trade union and other organisations and other real or presumed personal characteristics (Law on the Prohibition of Discrimination of Republic of Serbia) All persons shall be equal and shall enjoy equal status and equal legal protection regardless of personal characteristics. Everyone shall be obligated to respect the principle of equality, that is to say, the prohibition of discrimination. (Law on the Prohibition of Discrimination of Republic of Serbia)


Rođen je 1970. u Senti. Još kao sedamnaestogodišnjak stvara samostalnu pozorišnu i književnu radionicu (bio autor, reditelj i glumac). Kasnije formira pozorišnu trupu Aiowa, koja je teatar tretirala kao specifičnu, ali ipak sveumjetničku ideološku akciju. Upisuje režiju na novosadskoj Akademiji umjetnosti, studira filmsku i pozorišnu režiju, režira u subotičkom Narodnom pozorištu. Sredinom devedesetih napušta studije, radi u pozorištu i godinama živi povučeno. Režiju diplomira 2000, u klasi prof. Vlatka Gilića i Bore Draškovića, i ponovo intenzivno radi u pozorištu. Uz podršku segedinskog MASZK-a i vlastitog ansambla stvara i “nezavisne” pozorišne predstave. Osnivač je internacionalnog pozorišnog festivala Desiré Central Station. Radi u Novom Sadu i Beogradu, vodi umjetničke radionice u Rumuniji, odlazi na studijsko putovanje u Japan. Od 2005. direktor je Mađarskog gradskog pozorišta Dezső Kosztolányi u Subotici. Na pozorište gleda kao na prosvjetljeni prostor ponekad provokativne akcije, gdje se misli, govori i organizuje specifičan vid umjetničke stvarnosti. Predstava je za njega komunikacija i druga stvarnost koja postoji za sebe, ali nastaje u odnosu izvođača/ica, izvođene stvarnosti i gledatelja/ica. Režiju ostvaruje preko interaktivne komunikacije s glumcem/icom. Režije (izbor): “Gušteri”, “Rosa”; G. Bihner, “Vojcek”; Šekspir, “Hamlet”; Dejan Dukovski, “Mamu mu jebem, ko je prvi počeo”; F. Arabal, “Piknik na frontu”; Jordan Radičkov, “Lazarica” (Balkanstage Bugarska); Janoš Pilinski/Urban, “Deca”; Beket, “Čekajući Godoa”; Silvija Plat/Urban, “Devojka koja je lajala na mesec”; Šekspir, “Ukroćena goropad”; Brecht “The Hardcore Machine” (Berlin); D. Kovačević, “Sabirni centar”; Danilo Kiš, “Turbo Paradiso” (po “Enciklopediji mrtvih”). Kratki filmovi: “Neko i neko”, “Staklo” (AU Novi Sad–TV Novi Sad). Dobitnik je brojnih nagrada i priznanja.

DIRECTOR

Born in 1970, in Senta. At the age of seventeen, he formed an independent theatre and literary workshop (as its author, director, and actor). Later, he formed a theatre troupe Aiowa, which treated the theatre as a specific, yet artistically all-encompassing ideological action. He enrolled in the program for directing at the Academy of Art in Novi Sad, where he studied film and theatre directing, and directed plays in the National Theatre of Subotica. In the mid-nineties, he abandoned his studies, as well as all theatre work, and lived reclusively for years. In 2000, he obtained a degree in directing, in the class of professors Vlatko Gilić and Bora Drašković, and once again began intensively working in the theatre. With the support of Szeged MASZK and his own ensemble, he also created “independent” theatre plays. He is the founder of the international theatre festival Desiré Central Station, has worked in Novi Sad and Belgrade, lead art workshops in Romania, and went on a study trip to Japan. Since 2005, he is the director of the Hungarian City Theatre Dezső Kosztolányi in Subotica. He considers the theatre as an illuminated area of an occasionally provocative action, where the specific forms of artistic reality are thought, spoken, and organized. For him, the play is the form of communication and another reality which exists for itself, but is born through the relationship between the performer, performed reality, and the viewer. He achieves the directing through communication with the actor. He directed, among others: “The Lizards”, “The Dew”; G. Buchner, “Woyzeck”; Shakespeare, “Hamlet”; Dejan Dukovski, “Fuck the Motherfucker Who Started This”; F. Arrabal, “Picnic on the Battlefield”; Jordan Radičkov, “Lazarica” (Balkanstage Bulgaria); Janoš Pilinski/Urban, “The Children”; Beckett, “Waiting for Godot”; Sylvia Plath/Urban, “The Girl who Barked at the Moon”; Shakespeare, “Taming of the Shrew”; Brecht, “Hardcore Machine” (Berlin); D. Kovačević, “The Assembly Centre”; Danilo Kiš, “Turbo Paradiso” (based on the short story “The Encyclopaedia of the Dead”). Short movies: “Someone and Someone”, “Glass” (AU Novi Sad–TV Novi Sad). He received numerous awards and recognitions.

PRODUKCIJA

Narodno pozorište Subotica otvoreno je 1854. 16. decembra 1854. odigrana je prva predstava “Dvoje iz porodice Barčai”. 1874. mađarski glumci/ice napustili Suboticu, a došli glumci/ ice Srpskog narodnog pozorišta iz Novog Sada, koji su odigrali 28 predstava. Požar koji je izbio 1915. godine, uništio je pozorište, a novo je otvoreno 1927 godine. U jesen 1945. godine zgrada subotičkog pozorišta postaje stalna kuća profesionalnim ansamblima. Nakon više od 90 godina grad je dobio stalni ansambl i svoje pozorište. U subotičko pozorište 1985. godine dolazi Ljubiša Ristić. On i Nada Kokotović u svom desetogodišnjem radu okupili su veliku grupu reditelja/ica i glumaca/ ica iz mnogih jugoslovenskih centara. 5. maja 2003. premijerom predstave “Buba u uhu” Drame na mađarskom jeziku otvara se scena Jadran, sala bivšeg bioskopa prilagođena potrebama teatra. Idejni projekat adaptacije, rekonstrukcije i izgradnje zgrade pozorišta završen je 2003. godine. 2006. obezbijeđena su sredstva za početak rekonstrukcije. Kao početak rekonstrukcije pozorišta određena je 2007. godina. Obje drame subotičkog teatra do izgradnje nove zgrade igrati će se na sceni Jadran. Godišnje svaka drama izvede po četiri premijerne predstave.

PRODUCTION

National Theatre Subotica was founded in 1854. The first play “The Two Barcsays” premiered on December 16th, 1854. Hungarian actors left Subotica in 1874, and were replaced with Serbian actors from the Serbian National Theatre in Novi Sad, who acted in 28 plays. The fire destroyed the theatre in 1915, and the new one was built in 1927. In the autumn of 1945, the building of the Subotica Theatre became a permanent home for the professional ensembles. After more than 90 years, the city had a permanent ensemble and its own theatre. Ljubiša Ristić joined the Subotica Theatre in 1985. During a period of a decade, together with Nada Kokotović, he gathered a large group of directors and actors from many Yugoslavian centres. The Jadran Scene, a former cinema hall adapted to the needs of theatre, opened on May 5th, 2003, with the premiere of “Flea in Her Ear” in the department of Drama in Hungarian language. Preliminary designs for adaptation, reconstruction, and construction of the theatre building were completed in 2003. The funds to begin reconstruction were obtained in 2006, and 2007 was set as the year in which the reconstruction was to commence. Both Drama departments of the Subotica theatre perform at the Jadran Scene until the completion of the new building. Each drama has four premieres annually.

Režija i intervencije na tekstu / Direction and Text Intervention: András Urbán Igraju / Cast: Emina Elor Marko Makivić Snežana Jaksić Ljubiša Ristović Suzana Vuković Srđan Sekulić Jelena Mihajlović Branko Lukač Vladimir Grbić Kristina Jakovljević Zoran Bučevac Geza Kučera Balša Pešikan Maćaš Lakatoš Kompozitorica / Composer: Irena Popović Dragović Scenografija / Stage Design: Marija Kalabić Kostimografija / Costume Design: Marina Sremac Saradnica reditelja / Director’s Associate: Suzana Vuković Asistentica reditelja / Assistant Director: Jelena Mihajlović Autori/ce tekstova pjesama / Authors of Song Lyrics: Stanislav Vinaver Stevan Vladislav Kaćanski Milorad PetrovićSeljančica Nataša Ilić Jovan Đorđević nepoznati narodni autori / unknown folk authors Lektorica / Text Editor: Nataša Ilić Inspicijent / Stage Manager: Igor Lerić Suflerka / Prompter: Vesna Suvorova Fotografija / Photography: Atila Kovacs

MITTELEUROPA

REDITELJ


Bosna i Hercegovina, Austrija / Bosnia and Herzegovina, Austria

Međunarodni centar za djecu i omladinu Novo Sarajevo 18.00 International Centre for Children and Youth Novo Sarajevo Trajanje / Running time: cca 100 min.

07/10/14

Doruntina Basha / Almir Bašović / Almir Imširević

BALKANSKI REKVIJEM THIS BALKAN REQUIEM

Jezik: srpski sa engleskim prijevodom Language: Serbian with English translation PREDSTAVA

“Balkanski rekvijem” je projekat koji se bavi problemom nestalih ljudi na Balkanu, nestalih u ratovima na teritoriji bivše Jugoslavije, devedesetih. Aktuelnost ovog fenomena nije u dovoljnoj mjeri prepoznata ni od strane političkih struktura ni od strane kulturnih institucija na Balkanu. Na prostorima bivše Jugoslavije još uvijek se čak 10.000 ljudi vodi kao nestalo. Tragične i nerasvijetljene sudbine ovih ljudi čine jasnom istinu kako su zemlje Zapadnog Balkana svoju mračnu, recentnu prošlost samo gurnule pod tepih i nastavile svoj historijski put sa potpisnutom traumom koja prije ili kasnije prijeti da generiše nove mržnje i sukobe. Umjetnost se bavi istinom, suočavanjem i ukazivanjem na smijer iz kog se novo zlo može pojaviti. Umjetnost opominje. To je razlog zašto ovaj projekat nastaje. Heterogenom formom predstava “Balkanski rekvijem” pokušava da osvijetli ovaj fenomen iz što više uglova i da postavi što više pitanja. Odnos prema mrtvima je na najdubljem nivou odnos živih prema samima sebi, slika onoga što živi moraju da zaborave ili pak moraju da se sjećaju da bi uopće mogli da žive. “Balkanski rekvijem” je predstava o događajima i fenomenima koji su formirali sve nas, koji su sastavni dio našeg kolektivno nesvjesnog i koji bespovratno slikaju pejzaž naše sadašnjosti i budućnosti.

PERFORMANCE

“The Balkan Requiem” is a project that deals with the problem of the missing people in the Balkans, disappeared during the wars in the former Yugoslavia, back in the 90s. Relevance of this phenomenon has not been sufficiently recognized neither by the political structures, nor by the cultural institutions in the Balkans. In the former Yugoslavia area, there are still as many as 10,000 people listed as missing. The tragic and unsolved destinies of these people reveal the truth of how the countries of the Western Balkans swept their dark, recent past under the carpet, and continued their journey through history with suppressed trauma that threatens to, sooner or later, generate new hatred and conflicts. Art deals with the truth, confrontation, and pointing out the direction from which the new evil can arise. Art cautions. That is the reason for the birth of this project. With its heterogeneous form, “The Balkan Requiem” attempts to shine the light on this phenomenon from as many different angles, and to ask as many questions. The attitude towards the dead reflects, at its base level, the relationship of the living with themselves, the representation of what the living must forget or, indeed, must remember to be able to stay alive. “The Balkan Requiem” is a play about the events and phenomena that have formed all of us, that are a part of our collective unconscious, and that irrevocably paint the landscape of our present and future.


Doruntina Basha was born in Pristina in 1981. She studied dramaturgy at the Faculty of Arts of the University of Pristina. She completed her master studies in the Erasmus Mundus program Crossways in European Humanities, in the field of gender studies. Her plays were performed in Kosovar, Serbian and Macedonian theatres and published in France. She wrote the screenplays for several short films and television series. As a playwright, she lives and works in Kosovo since 2002. Almir Bašović was born in Sarajevo in 1971. He obtained bachelor’s and master’s degrees at the Department of Comparative Literature of the University of Philosophy in Sarajevo. He is the author of the drama “Visions from the Silver Age” which premiered at the National Theatre in Sarajevo, 2003, and “RE: Pinocchio”, performed in Albanian at CTC theatre in Skopje (Macedonia) in 2006. His plays have been translated into French, Italian, Czech, Albanian, and Macedonian language. He is the author of theatre, film, and literary critics, theoretical articles, and essays. He published a book “Chekhov and the space. The structure of space in Chekhov’s drama as concentrated expression of drama structure” (Sterija Theatre, Novi Sad, 2008), and together with Savo Anđelković, edited the anthology “Drama and Time” (Dobra knjiga, Sarajevo, 2010). He teaches several courses at the Department of Comparative Literature of the University of Philosophy in Sarajevo. At the third BH Drama Festival at Bosnian National Theatre Zenica in 2004, he received an award for the best performed BH drama, for the text of the play “Visions from the Silver Age”, directed by Elmir Jukić and produced by the National Theatre in Sarajevo. Almir Imširević is a playwright, screenwriter, novelist, and theatre educator. He was born in 1971 in Bihać. In 1998, he graduated in Dramaturgy in from the Academy of Performing Arts in Sarajevo. He is the author of the following plays: “If This Was a Play...”, “Balkan’s Devil – Shame”, “Circus Inferno”, “Playback Sevdalinka”, “Crying Game”, “Mousefuckers”, “Ten differences or The Only Thing That’s Real”, and “If This Was a Film…”; all of these were performed in several theatres in BiH and abroad. “If This Was a Play...” was included in the “Anthology of Bosnian drama of the XX century”, and the “Balkan’s Devil – Shame” was included in the French anthology of European drama De Pinter a Muller. At theater festivals in Sarajevo, Brčko, Jajce, and Zenica, he received a total of seven awards for best play. He received awards for screenwriting (by the Association of Filmmakers of Bosnia and Herzegovina, for his scenario for “Disappearance”). Within his screenplay opus are scenarios for a film (“The Milky Way”) and three TV series (“Family, Ltd.”, “Black Chronicle, and “Visa for the Future”). In addition to books of plays, he also published a book of short stories “Page 212”. He is an associate professor at the Academy of Performing Arts in Sarajevo, and the head of the Department of Dramaturgy. He is also the president of the ITI Center in BiH.

REDITELJ Stevan Bodroža je rođen 1978. godine u Beogradu. Završio je Pozorišnu režiju na Fakultetu dramskih umjetnosti u svom rodnom gradu. Više od deset godina profesionalno je aktivan na pozorišnim scenama u Srbiji, Crnoj Gori, Bosni i Hercegovini i Austriji. Radio je u Beogradskom dramskom pozorištu, Bitef teatru, Narodnom pozorištu u Beogradu, Ateljeu 212, Malom pozorištu Duško Radović, Drami i operi Madlenianum, Crnogorskom narodnom pozorištu, Mostarskom teatru mladih, Teatru Nestroyhof-Hamakom kao i u niz drugih pozorišta. Devet godina predavao je na Fakultetu dramskih umjetnosti u Beogradu. Režirao je tekstove značajnih klasičnih kao i savremenih pisaca/spisateljica. Neke od drama koje je postavio na scenu su: “Medeja, materijal” Hainera Müllera, “Prometej u okovima” Eshila, “Ifigenijina smrt u Aulidi” Euripida, “Učene žene” Molijera, “Gospa od mora” Ibzena, minijature Samjuela Beketa... Od savremenih tekstova režirao je “Gospodina” Filipa Lolea, “Lice od plamena” Mariusa fon Majenburga, “Mali Geza” Janoša Haja, “U samoći pamučnih polja” Bernar Mari Koltesa, “Lasice” Bojane Mijović, i mnoge druge. Dramu Almira Bašovića “Priviđenja iz srebrenog vijeka” režirao je na sceni bečkog Teatra Nestroyhof-Hamakom i ta predstava je na Festivalu bosanskohercegovačke drame u Zenici, te na festivalu Sarajevska zima, osvojila nagradu publike. Na sceni Bosanskog narodnog pozorišta postavio je dramu “Mousefuckers” Almira Imširevića.

Igraju / Cast: Jan Hutter Sylvia Haider Ana Stefanović-Bilić Jens Olle Schmieder Dramaturgija / Dramaturgy: Asja Krsmanović

Kostimografija / Costume Design: Lejla Hodžić Scenski pokret / Stage Movement: Sanja Burić Izbor muzike / Music Selection: Stevan Bodroža Producenti / Producers: Hazim Begagić Jaschka Laemmert Ana Stefanović–Bilić Wolfgang Schlag Dino Mustafić Izvršna producentica / Executive Producer: Sandra Ikanović Inspicijentica / Stage Manager: Borka Jokanović Fotografija / Photography: MUHAMED TUNOVIĆ-BADI

DIRECTOR Stevan Bodroža was born in 1978 in Belgrade. He obtained a degree in Theatre Directing at the Faculty of Dramatic Arts in his hometown. For over ten years, he has been professionally active in the theatre scene in Serbia, Montenegro, Bosnia and Herzegovina, and Austria. He worked at the Belgrade Drama Theatre, Bitef Theatre, the National Theatre in Belgrade, Atelier 212, Little Theatre Duško Radović, Drama and Opera Hall Madlenianum, the Montenegrin National Theatre, Mostar Youth Theatre, Theatre Nestroyhof-Hamakom, as well as a number of other theatres. For nine years, he taught at the Faculty of Dramatic Arts in Belgrade. He directed texts from classical, as well as contemporary writers. Some of the dramas he brought to the stage are “Medea as Material” by Heiner Müller, “Prometheus in Chains” by Aeschylus, “Iphigenia in Aulis” by Euripides, “The Learned Ladies” by Molière, “The Lady from the Sea” by Ibsen, Samuel Beckett’s miniatures, and more. The contemporary plays he directed are “Mister” by Philip Lole, “A face in flame” by Marius von Mayenburg, “Little Geza” by Janoš Haj, “In the Solitude of Cotton Fields,” by Bernard-Marie Koltès, “The Weasels” by Bojana Mijović, and many others. He directed a play “Visions from the Silver Age” by Almir Bašović at the scene of the Theatre Nestroyhof-Hamakom in Vienna. This play won the audience awards at the Festival of Bosnian-Herzegovinian drama in Zenica, as well as the Sarajevo Winter Festival. At the scene of the Bosnian National Theatre, he directed the play “Mousefuckers” by Almir Imsirević.

Bosansko narodno pozorište Zenica je osnovano početkom 1950. Od tada do danas izvelo je 686 premijera i više od 11.000 predstava. Tokom svoje historije, BNP Zenica je izgradilo prepoznatljiv stil i poetiku, i zauzelo značajno mjesto u porodici bosanskohercegovačkih teatara. Učestvovalo je na brojnim teatarskim festivalima i ostvarilo veliki broj gostovanja. Za rad i umjetnička postignuća dobilo je značajne nagrade i društvena priznanja. BNP Zenica je osnivač i organizator Festivala bosanskohercegovačke drame. Nosilac je i koordinator evropskog pozorišnog projekta Noć teatra (za BiH). BNP Zenica je organizator i domaćin ne samo teatarskih, nego i drugih umjetničkih, kulturnih i zabavnih programa i manifestacija, značajnih za cjelokupan kulturni život u gradu Zenici, u Zeničko-dobojskom Kantonu i šire. BNP Zenica je član Međunarodne mreže za savremene izvedbene umjetnosti (IETM), a njegova Dječija, omladinska i lutkarska scena članica je Međunarodne asocijacije teatara za djecu i mlade (ASSITEJ).

Režija i adaptacija / Direction and Adaptation: Stevan Bodroža

Scenografija / Stage Design: Vedran Hrustanović

AUTHORS

PRODUKCIJA

Tekst / Text: Doruntina Basha Almir Bašović Almir Imširević

PRODUCTION Bosnian National Theatre Zenica was formed in the beginning of 1950. From that day it has had 686 premieres and more than 11.000 performances. During its history, BNP Zenica has established a recognizable style and poetics, and has taken significant place in Bosnian and Hercegovinian theatrical scene. The theatre has participated in numerous theatre festivals and had a large number of guest performances. For its work and achievements, it has been awarded with important awards. BNP Zenica is the founder and organizer of the Bosnian and Herzegovinian Drama Festival. BNP is the holder and coordinator of the European theater project The Night of Theatre (in B&H). BNP is an organizer and a host not exclusively for theater, but also for other artistic, cultural and enterteinment programs and events that are important for the general cultural life in Zenica, Zenica-Doboj Canton and wider. BNP Zenica is a member of the International Network for Contemporary Performing Arts (IETM), and its Children, Youth and Puppet Scene is a member of the International Association of Theatres for Children and Youth (ASSITEJ).

Produkcija / Production: Bosansko narodno pozorište Zenica Wien Kultur BMUKK Trembles Verein für freies Theater Hundsturm festival MESS

BALKAN (CON)TEXT / MESS PREMIERES

AUTORICA / AUTORI Doruntina Basha je rođena u Prištini 1981. godine. Studirala je dramaturgiju na Fakultetu umjetnosti Univerziteta u Prištini. Master studije je završila na Erasmus Mundus programu “Crossways in European Humanities”, u polju rodnih studija. Drame su joj izvođene u kosovskim, srpskim i makedonskim pozorištima i objavljivane u Francuskoj. Napisala je scenarije za nekoliko kratkih filmova i televizijskih serija. Kao dramska spisateljica, živi i radi na Kosovu od 2002. godine. Almir Bašović je rođen u Sarajevu 1971. godine. Diplomirao je i magistrirao na Filozofskom fakultetu u Sarajevu na Odsjeku za komparativnu književnost. Autor je drama “Priviđenja iz srebrenog vijeka” koja je praizvedena u Narodnom pozorištu u Sarajevu, 2003. godine i “RE: Pinocchio” praizvedenu na albanskom jeziku u CTC teatru Skopje (Makedonija), 2006. godine. Drame su mu prevođene na francuski, italijanski, češki, albanski i makedonski jezik. Pisao je pozorišnu, filmsku i književnu kritiku, teorijske članke i eseje. Objavio je knjigu “Čehov i prostor. Struktura dramskog prostora u Čehovljevim dramama kao koncentrirani izraz dramske strukture” (Sterijino pozorje, Novi Sad, 2008) i zajedno sa Savom Anđelkovićem priredio zbornik “Drama i vrijeme” (Dobra knjiga, Sarajevo, 2010). Na Filozofskom fakultetu u Sarajevu na Odsjeku za komparativnu književnost predaje nekoliko predmeta. Na III Festivalu bosanskohercegovačke drame Zenica 2004. dobio je Nagradu za najbolji izvedeni bosanskohercegovački dramski tekst za tekst predstave “Priviđenja iz srebrenog vijeka” u režiji Elmira Jukića i produkciji Narodnog pozorišta u Sarajevu. Almir Imširević je dramatičar, scenarist, pripovjedač i teatarski pedagog. Rođen je 1971. u Bihaću. Dramaturgiju je diplomirao 1998. na Akademiji scenskih umjetnosti u Sarajevu. Autor je sljedećih dramskih tekstova: “Kad bi ovo bila predstava...”, “Balkanski đavo Sram”, “Circus Inferno”, “Playback sevdalinka”, “Igra plakanja”, “Mousefuckers”, “Deset razlika ili The Only Thing That’s Real” i “Kad bi ovo bio film...”, koji su inscenirani u više bosanskohercegovačkih i inostranih teatara. Dramski tekst “Kad bi ovo bila predstava...” uvršten je u “Antologiju bosanskohercegovačke drame XX vijeka”, a “Balkanski đavo Sram” u francusku antologiju evropske drame De Pinter a Muller. Na teatarskim festivalima u Sarajevu, Brčkom, Jajcu i Zenici dobio je ukupno sedam nagrada za najbolji dramski tekst. Nagrađivan je i za scenaristički rad (od strane Udruženja filmskih radnika Bosne i Hercegovine, za scenarij “Nestajanje”). Scenaristički opus sačinjavaju mu još i scenariji za jedan igrani film (“Mliječni put”) i tri televizijske serije (“Familija doo”, “Crna hronika”, “Viza za budućnost”). Osim knjiga dramskih tekstova, objavio je i knjigu kratkih priča “Strana 212”. Vanredni je profesor na Akademiji scenskih umjetnosti u Sarajevu i šef Odsjeka za dramaturgiju. Predsjednik je ITI centra u BiH.


Bosna i Hercegovina / Bosnia and Herzegovina

Narodno pozorište Sarajevo 19.30 National Theater Sarajevo Trajanje / Running time: 90 + intermission + 90 min.

07/10/14

SKUPŠTINA*

DOKUMENTARNA PREDSTAVA THE ASSEMBLY*

A Documentary piece Jezik: bosanski sa engleskim prijevodom Language: Bosnian with English translation PREDSTAVA

“Kad narodna skupština postane buržujski teatar, svi buržujski teatri moraju postati narodne skupštine.” (1968, natpis iznad ulaza u okupirani teatar Odéon) Već dvadeset godina u Bosni i Hercegovini raste jaz između vladajućih političkih struktura i ljudi koji ih biraju. Disfunkcionalan sistem ne samo da omogućava nesagledivu zloupotrebu pozicije moći, već je i potiče. Država, zajedno sa građanima i građankama, tone sve dublje u siromaštvo, a političari i političarke održavaju se na vlasti nacionalističkom retorikom, predizbornim obećanjima i zastrašivanjem “neprijateljima” iz drugih nacionalnih skupina. Iz potrebe da pozovemo na političku odgovornost, kako političare i političarke, tako i građane i građanke, krenuli smo raditi “Skupštinu”. Ona predstavlja svojevrstan presjek političke situacije u BiH u posljednjih dvadeset godina. Čin skupštinskog zasjedanja dosta toga dijeli sa činom pozorišne predstave: oba su, u idealnom slučaju, javna okupljanja koja služe razmjeni mišljenja radi postizanja određenog zajedničkog cilja, odnosno polemičkog sagledavanja važnih tema. U “Skupštini”, glumci/ice igraju pojedince/ke koji su voljom građana/ki izabrani da “igraju” njihove predstavnike/ce. Što zbog fizičke sličnosti skupštinskim klupama, što zbog koncepta, glumci i glumice su postavljeni u prostor gledališta sarajevskog Narodnog pozorišta, dok je publika smještena na scenu – narod u gledalištu gleda svoj odraz, jer ansambl predstave otjelotvoruje legalne predstavnike/ce tog istog naroda. S druge strane, publika se nalazi na sceni, prostoru djelovanja i odlučivanja.

* van konkurencije za Nagradu za najbolju režiju i Nagradu za najbolju predstavu

PERFORMANCE

“When the National Assembly becomes a bourgeois theater, all the bourgeois theaters should be turned into national assemblies.” (1968, written above the occupied Odéon Theatre) For twenty years, the gap between the ruling parties in Bosnia and Herzegovina, and the people who elect them has been constantly increasing. A dysfunctional system not only allows for immense abuse of power, but also encourages it. The state, together with its citizens, is sinking deeper and deeper into poverty, and the politicians remain in power through nationalist rhetoric, electoral promises, and by intimidating the citizens with “enemies” from other ethnic groups. We set out to create “The Assembly” because of the need to call for political responsibility, both the politicians and the citizens. It represents a certain cross-section of the political situation in Bosnia and Herzegovina in the last twenty years. A session of the Assembly has a lot in common with theater performances: both are, ideally, public gatherings with the purpose of exchange of opinions in order to achieve a certain common goal; in other words, a polemical consideration of important issues. In the “The Assembly”, the actors portray individuals who have been chosen by citizens to “play” their representatives. Either because of the physical resemblance of the benches in an Assembly, or because of the concept, the actors and actresses are placed in the space of the Sarajevo National Theatre auditorium, while the audience is seated on the stage - the people in the audience are watching their reflection, because the ensemble of the performance embodies their legitimate representatives. On the other hand, the audience is on the stage, the area of action and decisionmaking. * out of competition for Best Director Award and Best Performance Award


Selma Spahić rođena je 1986. god. Diplomirala je režiju na Akademiji scenskih umjetnosti u Sarajevu. Režirala je predstave i držala pozorišne radionice u Bosni i Hercegovini, Srbiji, Hrvatskoj, Crnoj Gori, Velikoj Britaniji. Režije joj uključuju postavke dramskih klasika, savremenih svjetskih i bh. dramskih tekstova kao i dokumentarne predstave. Njene predstave su višestruko nagrađivane na festivalima u Bosni i Hercegovini i regiji, te bilježe učešće na nekim od najznačajnijih evropskih festivala poput Neue Theater Stücke aus Europa u Wiesbadenu, u Njemačkoj. Od 2010. je selektorica Future MESS programa za mlade reditelje i rediteljice, a od 2012. i rukovoditeljica umjetničkog programa Internacionalnog teatarskog festivala MESS Sarajevo.

DIRECTOR

Selma Spahić was born in 1986. She earned a degree in Directing from the Academy of Performing Arts. She has directed plays and held theatre workshops in Bosnia and Herzegovina, Serbia, Croatia, Montenegro, and Great Britain. Her directing repertoire includes classics, contemporary foreign and dramas from Bosnia and Herzegovina, as well as documentary plays. Her plays won multiple awards on festivals in Bosnia and Herzegovina and the region, and have been a part of some of the major European festivals such as the Neue Theater Stücke aus Europa in Wiesbaden, Germany. Since 2010, she has been a curator for the Future MESS program for young directors, and since 2012, she has worked as the head of the artistic program of the International Theater Festival MESS Sarajevo.

PRODUKCIJA Narodno pozorište Sarajevo osnovano je 18.11.1919. godine. U počecima svog djelovanja Narodno pozorište Sarajevo je djelovalo, isključivo, kao dramski teatar. Od 1946. Narodno pozorište dobiva i muzičke segmente djelovanja pa će tako bogatoj povijesti našeg teatra izuzetno pridonijeti Opera, odnosno Balet. Narodno pozorište Sarajevo je centralna teatarska kuća države BiH, i ono je svojim umjetničkim rezultatima, radom generacija umjetnika/ca, a posebno načinom organizacije (tri ansambla Opera, Drama i Balet) veoma važan element teatarskog i uopće duhovnog života u BiH. U toku svog, preko 85 godina dugog djelovanja Narodno pozorište Sarajevo odigralo je ogroman broj dramskih, baletnih, opernih predstava po cijeloj Bosni i Hercegovini, ali i u inozemstvu. Nema značajnijeg umjetničkog festivala u regionu, pa i u Europi, a da na njemu nisu bile prisutne predstave našeg teatra. Na daskama Narodnog pozorišta u Sarajevu Sarajlije su mogle gledati Petera Brooka, Giorgia Strehlera, Boba Vilsona, L. Pavarotia, H. Karerasa, Z. Mehtu, J. Menjuhina…Jedan od prvih direktora Narodnog pozorišta Sarajevo bio je Branislav Nušić, a nesumnjiv doprinos razvoju našeg teatra dali su i njegovi nasljednici među kojima vrijedi pomenuti Vlajka Ubavića, Ahmeda Muradbegovića, Niku Milićevića, Salka Nazečića, Ivana Fogla, Miroslava Avrama, Aliju Isakovića, Muhameda Karamehmedovića, Tvrtka Kulenovića...Narodno pozorište Sarajevo je poseban doprinos dalo kako razvoju drame i novih dramskih oblika, autentičnom tumačenju klasike u Drami, Operi i Baletu ali i razvoju muzičke literature za Operu, Balet u bosanskohercegovačkim razmjerama. Sarajevski ratni teatar SARTR utemeljen je 17. maja 1992. godine na inicijativu reditelja Dubravka Bibanovića i Gradimira Gojera, ing. Đorđa Mačkića i pisca Safeta Plakala, a okupio je glumce/ice i ine saradnike/ce iz tri profesionalna sarajevska teatra koja su, zbog agresije na Bosnu i Hercegovinu, morala obustaviti svoj rad. U augustu 1992. SARTR je konstituiran kao vojna jedinica pri Regionalnom štabu Oružanih snaga BiH Sarajevo, a 12. januara 1993. godine Odlukom Ratnog Predsjedništva Skupštine grada Sarajeva kao javna ustanova iz oblasti kulture od posebnog interesa za odbranu grada. Odlukom Skupštine Kantona Sarajevo od 24. jula 1997. ulogu osnivača SARTR-a preuzeo je Kanton Sarajevo. Godine 2003. Sarajevski ratni teatar SARTR je dobio Šestoaprilsku nagradu Grada Sarajeva. Predstave SARTR-a su višestruko nagrađivane. Kamerni teatar ‘55 iz Sarajeva počeo je sa radom 7. marta 1955. godine. Iako historija ove kuće nije iznimno duga, “ona je nesumnjivo bogatija, atraktivnija i značajnija od decenija i decenija nečijeg rutinerstva, hladnog shematizma i bezbrižnog tavorenja”, kako je to primijetio jedan ugledni kritičar. U stalnom kritičkom preispitivanju i u žaru traganja za drukčijim, neposrednijim i otvorenijim scenskim izrazom, događala su se, dakako, i lutanja, koja također nisu bila beskorisna i nakon kojih se Kamerni teatar ‘55, ponovo vraćao sebi, još maštovitiji i bolji, ne iznevjeravajući onaj profil kojeg je već u startu definirao njegov osnivač Jurislav Korenić (1914-1974) a koji je, na tragu novih teatarskih stremljenja u tadašnjoj Evropi, bio novost na prostorima bivše Jugoslavije i primjer kojeg su slijedili brojni teatri širom bivše države. Otvarajući širom svoja vrata za naglašeno eksperimentiranje u teatru, za tekstove Beketa, Žarija, Ženea, Joneska, Švarca, Čehova… i čitavu plejadu autora/ica čija je poetika u modernom teatru proizlazila iz “apsurdnog osjećanja života”, Kamerni teatar ‘55 je imao presudan utjecaj na čitave generacije dramskih umjetnika/ca koji su “pozornicu ring”, okruženu gledalištem, umjesto frontalnog tipa scene, sa nepremostivom “rampom”, prepoznali kao priliku za intimniju, prirodniju i iskreniju glumačku igru.

PRODUCTION The Sarajevo National Theatre was founded in November 18, 1919. Soon after its inception, the Sarajevo National Theater worked exclusively as a drama theater. Since 1946 the theater broadened its scope to include opera and ballet. The Sarajevo National Theater is the major theatrical house in the country of Bosnia and Herzegovina, and its artistic success, built by several generations of artists, as well as its organizational structure (Opera, Drama and Ballet) are important contributing factor to the cultural life in Bosnia and Herzegovina. Our plays were performed at all major festivals in the region and Europe as well. Our theater welcomed the likes of Peter Brook, Giorgio Strehler, Bob Wilson, Luciano Pavarotti, Jose Carreras, Zubin Mehta, Yehudi Menuhin… One of the first directors of the Sarajevo National Theatre was Branislav Nušić, and many of his successors have undoubtedly contributed to the development of the theater, among them Vlajko Ubavić, Ahmed Muradbegović, Niko Milićević, Salko Nazečić, Ivan Fogl, Miroslav Avram, Alija Isaković, Muhamed Karamehmedović, Tvrtko Kulenović... The Sarajevo National Theater made special contribution to the development of drama and new dramatic forms, but also authentic interpretation of drama, opera and ballet classics, and helped the publication of music scores for opera and ballet in Bosnia and Herzegovina. Sarajevo War Theatre SARTR was established on 17 May 1992 at the initiative of the directors Dubravka Bibanović and Gradimir Gojer, eng. Đorđe Mačkić, and writer Safet Plakalo, bringing together actors and various associates of three professional Sarajevo theatres which, because of the aggression against Bosnia and Herzegovina, had to suspend their work. In August 1992, SARTR was constituted as a military unit at the Regional Headquarters of the Armed Forces of Bosnia and Herzegovina in Sarajevo, and on January 12th, 1993, by a Decree of the War Presidency of the Assembly of Sarajevo, it was instated as a public institution in the field of culture of particular interest to the defence of the city. By the Decision of the Sarajevo Canton Assembly on July 24th, 1997, the Sarajevo Canton assumed the role of the founder of SARTR. In 2003, Sarajevo War Theatre SARTR received the Sixth of April Award. SARTR’s performances won multiple awards. The Chamber Theatre ‘55 from Sarajevo was founded on March 7, 1955. Although it does not have an exceptionally long history, it is “undoubledly richer, more attractive, and more significant then the decades-long routine and cold schematism of other theaters and their careless existence”, as a renowned critic once noted. Through the constant questioning and challenging, as well as fervent search for different, more direct and more open stage expression, there certainly have been wonderings, but not in vain, after which the theater kept returning to its own self, better and with even greater imagination, staying true to its profile defined by its founder Juroslav Korenić (1914-1974) – the profile that was a novelty in this part of the world, and in sync with the tendencies of the European theater at the time. By opening it’s gates to more experimental forms of theater, including the plays by Beckett, Jarry, Genet, Ionesco, Schwartz, Chekov, and the plethora of authors whose poetics in modern theater came from the “feeling of absurdity in life“, The Chamber Theater ‘55 made a decisive influence on generations of young artists who recognized this ring-like stage surrounded by audience as their opportunity for more intimate, natural and sincere performance.

Igraju / Cast: Miodrag Trifunov Jasna Ornela Beri Aleksandar Seksan Selma Alispahić Riad Ljutović Vedrana Seksan Slaven Vidak Leonardo Šarić Senad Alihodžić Alban Ukaj Snežana Alič Jasenko Pašić Aldin Omerović Boris Ler Maja Izetbegović Igor Skvarica Adnan Goro Benjamin Bajramović Merjem Čuljević Članovi Hora Opere / Opera Choir Members: Nedim Bašić Edin Daši Davor Ebner Miran Karabašić Majo Marilović Mijo Marjanović Alen Mustafić Bruno Papišta Mustafa Sokolović MAHIR SREBRENICA Dramaturgija, odabir i obrada dokumentarnog materijala / Dramaturgy, Selection and Document Processing: BAD TRIO: BOJANA VIDOSAVLJEVIĆ ADNAN LUGONIĆ DARIO BEVANDA Scenografija / Stage Design: MIRNA LER Kostimografija / Costume Design: SANJA DŽEBA Kompozitor / Composer: DRAŠKO ADŽIĆ Šef Hora Opere / Opera Choir Chief: DANIJEL ŽONTAR Dizajn svjetla / Light Design: OGNJEN MARTINOVIĆ Majstor tona / Sound Engineer: ZDENKO BEVANDA Inspicijent / Stage Menager: NIHAD KAPIĆ Asistentica rediteljice / Assistant Director: BELMA JUSUFOVIĆ Stručni saradnik / Associate: MERSAD ČULJEVIĆ Dizajn plakata / Poster Design: GORAN LIZDEK Fotografija / Photography: FUAD FOČO

MITTELEUROPA

Režija / Direction: Selma Spahić

REDITELJICA


Kolumbija / Colombia

Sarajevski ratni teatar 23.00 Sarajevo War Theater Trajanje / Running time: 65 min.

07/10/14

UTROBA KITA

THE BELLY OF THE WHALE

Jezik: španski sa bosanskim i engleskim prijevodom Language: Spanish with Bosnian and English translation PREDSTAVA

Policajac Bruno Basquiat istražuje slučaj nestanka djece i žena u gradu dok istovremeno pokušava razotkriti mrežu krijumčarenja poliestera, žoržeta, egipatskog pamuka, ševiota i drugih tkanina. Usred istrage, nestaje i njegova vlastita kćer koja je uključena u tu mrežu. Tokom potrage, on pronalazi niz veza među svjetovima, tako različitim, ali tako bliskim stvarnosti naših gradova, da, iako naizgled nepovezivi jedan s drugim, oni to zapravo jesu. Tinejdžer koji tvrdi da je odrastao, odrasla osoba koja tvrdi da je djevojčica, organizacije surogata, krijumčara/ki ljudskih organa i tekstila, ukazanja djevice, svodnici i sudske presude donesene na osnovu televotinga, sastaju se u priči koja je obična koliko je i apsurdna i domaća. Međutim, sve te priče i ti svjetovi koji se prepliću proizilaze iz naše sopstvene stvarnosti koja se povremeno čini nevjerovatnijom i okrutnijom od fikcije. Utroba kita spada u kategoriju crne komedije s primjesama izvještaja o zločinu.

PERFORMANCE

Police officer Bruno Basquiat investigates the case of the disappearance of children and women in the city, and at the same time tries to unmask a network of traffic of human organs and traffic of polyester, georgette, egyptian cotton, cheviot cloth and other textiles. In the midst of the investigation his own daughter escapes and is involved in the network. During the search, he finds a series of connections between universes so different but so close to the reality of our cities, that although they seem impossible to connect with each other, they actually do. A teenager who claims to be a grown-up, a grown-up who claims to be a little girl, organizations of surrogacy, human organs and textiles dealers, the apparitions of the virgin, pimps, and judicial verdicts defined by t.v. viewers vote, come together in a story that is as ordinary as absurd and domestic. However, all these stories and these universes that criss-cross, arise from our own reality, which at times seems less credible and crueler than fiction. “The belly of the whale” falls into the category of black comedy, crime report-tinged.


Diplomirao je dramsku umjetnost na univerzitetu Universidad del Valle u Kolumbiji. Proveo je dvije godine u Školi dramske umjetnosti u Bogoti te šest godina na Stalnoj radionici za teatarska istraživanja Santiaga Garcie (Teatro La Candelaria). Radio je i na filmu i televiziji. Napisao je 20 drama, od kojih su četiri dobitnice Državne nagrade za dramski tekst: “Gracias por haber venido” (1996), “Cada vez que ladran los perros” (1997), “La penúltima cena” (1999) i “El Natalicio de Schumman” (2009). Četiri njegove drame dobitnice su koprodukcijskih nagrada, a dvije drame je napisao zahvaljujući umjetničkim rezidencijama u Španiji i Meksiku. Kolumbijsko ministarstvo kulture mu je dodijelilo i pet umjetničkih grantova. Njegove drame izvodile su teatarske kuće u Sloveniji, Čileu, Meksiku, Sjedinjenim Američkim Državama, Peruu, Španiji i Francuskoj, ali i druge kompanije iz Kolumbije. Djela su mu prevedena na francuski, engleski i slovenački jezik.

Režija i dramaturgija / Direction and Dramaturgy: Fabio Rubiano Orjuela Igraju / Cast: Marcela Valencia Fabio Rubiano O. Liliana Escobar Jacques Toukhmanian Mónica Giraldo Mario Escobar Jonatan Cabrera Asistent produkcije / Production Assistant: Rafael Arévalo Dizajn svjetla / Light Design: Adelio Leiva Izrada kostima / Costume Making: Servando Díaz Scenografija / Stage Design: Laura Villegas

DIRECTOR

B.A. in Dramatic Art, Universidad del Valle (Colombia). He studied two years at the Bogotá School of Drama and six years at Santiago García’s Permanent Workshop on Theatrical Research (Teatro La Candelaria). He has worked also for the movies and for television. He has written 20 plays. Four of them have won the National Prize for Playwriting: “Gracias por haber venido” (1996), “Cada vez que ladran los perros” (1997), “La penúltima cena” (1999) and “El Natalicio de Schumman” (2009). Other four of his plays have won coproduction awards and two plays have been written due to artistic residencies in Spain and México. Rubiano has also won five creation grants from the Colombian Ministry of Culture. His plays have been staged by companies in Slovenia, Chile, México, USA, Perú, Spain and France, and by other groups in Colombia. He’s been translated to French, English and Slovenian.

PRODUKCIJA

Teatro Petra su 1985. godine osnovali Fabio Rubiano O. i Marcela Valencia. Prva predstava “El negro perfecto” odigrana je 1987. godine. Ovaj teatar je jedna od najznačajnijih teatarskih kompanija u Kolumbiji u oblasti savremenog teatra i ima odanu publiku koja prati sve njegove projekte. Rad kompanije temelji se na istraživanju i pisanju dramskih tekstova. U gotovo trideset godina neprekidnog rada, Teatro Petra dobitnik je nekoliko domaćih i međunarodnih priznanja, uključujući nagrade za dramski tekst, grantove za postavljanje predstava, koprodukcije, umjetničke rezidencije i posebna priznanja na festivalima i turnejama diljem svijeta. Najnovija ostvarenja teatra su: “Utroba kita”, “Sara kaže”, “Pinocchio i Frankenstein se boje Harrisona Forda” i “Muha”. Sa pomenutim predstavama i sa njih još nekoliko, trupa je gostovala na više od 25 međunarodnih festivala u Evropi, Južnoj Americi i Sjedinjenim Američkim Državama. Drame Fabia Rubiana prevedene su na francuski, engleski i slovenački jezik, a izvodile su ih i trupe iz drugih zemalja. Teatro Petra trenutno priprema tri nove predstave (“Labio de liebre” je jedna od njih) i ugovara dozvole potrebne za izgradnju vlastite zgrade u kojoj će ojačati svoju produkciju dramskih tekstova, obuke, istraživanja i režiranja.

PRODUCTION

Teatro Petra was founded in 1985 by Fabio Rubiano O. and Marcela Valencia. “El negro perfecto”, its first play, opened in 1987. It is one of the most important companies in Colombia in the field of new theatrical proposals and has a devoted audience which follows all of its projects. Its work focuses on research and playwriting, from both the text and the stage. Throughout almost 30 years of uninterrupted work, Teatro Petra has won several national and international awards, including playwrighting prizes, staging grants, coproductions, artistic residencies and special mentions in different festivals and tours worldwide. Most recent productions are: “El vientre de la ballena”, “Sara Says”, “Pinocho y Frankenstein le tienen miedo a Harrison Ford” and “Mosca”. With these ones and others, the group has been invited to more than 25 international festivals in Europe, South America and USA. Fabio Rubiano’s plays also have been translated to French, English and Slovenian, and staged by groups in other countries. Teatro Petra is currently in the process of preparing three new shows (“Labio de liebre” being one of them) and getting arranged the permits needed for building its own venue, where more projects of playwrighting, training, research and staging will be strengthened.

Asistentica scenografkinje / Assistant Stage Designer: Juliana Barreto Fotografija / Photography: SANDRA ZEA

WORLD MESS

REDITELJ


Kolumbija / Colombia

Kamerni teatar ‘55 18.00 Chamber Theater ‘55 Trajanje / Running time: 65 min.

08/10/14

SARA KAŽE SARA SAYS

Jezik: španski sa bosanskim i engleskim prijevodom Language: Spanish with Bosnian and English translation PREDSTAVA

Predstava se temelji na tekstovima Makoa Sagure, japanskog pisca i pilota koji je nestao u Drugom svjetskom ratu i koji se pita: “Šta se dogodi kada ubistvo nestane iz zajednice?” On ujedno i odgovara: “Kada ne bi bilo ubistava, ponašanje stanovništva bi se očito promijenilo.” Saguru kasnije uviđa da se ubistvo ne može u potpunosti iskorijeniti. Periodično je potreban minimum ubistava - jedno ubistvo svakih stotinu dana. Na ovaj način se nasilne smrti kontroliraju, a ubistva koja su izazvana strahom, bolom, otuđenjem, posebnim interesima ili političkim idealima sprečavaju. Ubistvo kao lična odluka nestaje i pretvara se u institucionalni postupak. U predstavi “Sara kaže”, ova uredba je već na snazi i po jedno ubistvo se mora dogoditi svakih stotinu dana. Institucija žrijebom bira dvije porodice. Jedna od tih porodica treba odlučiti koji njen član/ica će biti žrtva, a druga odlučuje o tome ko će biti počinitelj/ica. Predstava se, između ostalog, fokusira na odabrane porodice, njihove odluke, reakcije na činjenicu da neko treba da bude žrtva ili počinitelj/ica, izglasavanje članova/ica, očaj odabranih, prvobitno i naknadno žalovanje što nije moguće počiniti ubistvo mimo zadanog pravila...

PERFORMANCE

The play is based on texts by Mako Saguru, a Japanese writer and pilot, missing in the II World War, who wonders: “What happens when murder disappears from a community?” And he also answers: “If there are no more murders, the population’s behaviour obviously changes.” Saguru realizes later that murder can’t die entirely out. A minimum of murders is needed periodically: One every one-hundred days. This way, violent deaths are streamlined and murders produced by anger, pain, alienation, special interests or political ideals, are prevented. Killing as a personal decision disappears and turns into an institutional procedure. At “Sara Says”, the regulation is already established and a murder must occur every one-hundred days. The Institution chooses two families by drawing. One of these families will decide who of its members will perform the victim and the other one will decide who will perform the executioner. The play focuses on the chosen families, its decisions, the reactions to the fact of being required to be victim or executioner, the voting to elect a member, the dismay of the chosen ones, previous and later mourning and the impossibility of killing outside the rule, amongst other moments.


Diplomirao je dramsku umjetnost na univerzitetu Universidad del Valle u Kolumbiji. Proveo je dvije godine u Školi dramske umjetnosti u Bogoti te šest godina na Stalnoj radionici za teatarska istraživanja Santiaga Garcie (Teatro La Candelaria). Radio je i na filmu i televiziji. Napisao je 20 drama, od kojih su četiri dobitnice Državne nagrade za dramski tekst: “Gracias por haber venido” (1996), “Cada vez que ladran los perros” (1997), “La penúltima cena” (1999) i “El Natalicio de Schumman” (2009). Četiri njegove drame dobitnice su koprodukcijskih nagrada, a dvije drame je napisao zahvaljujući umjetničkim rezidencijama u Španiji i Meksiku. Kolumbijsko ministarstvo kulture mu je dodijelilo i pet umjetničkih grantova. Njegove drame izvodile su teatarske kuće u Sloveniji, Čileu, Meksiku, Sjedinjenim Američkim Državama, Peruu, Španiji i Francuskoj, ali i druge kompanije iz Kolumbije. Djela su mu prevedena na francuski, engleski i slovenački jezik.

Igraju / Cast: Marcela Valencia Liliana Escobar Jacques Toukhmanian Mónica Giraldo Fabio Rubiano Inés Correa Jimena Durán Mario Escobar Nelson Camayo Asistent režije / Direction Assistant: Jonatan Cabrera Scenografija / Stage Design: Laura Villegas Alexander Gumbel Asistentica scenografa / Assistant Stage Designer: Luisa Fernanda Rodríguez

DIRECTOR

B.A. in Dramatic Art, Universidad del Valle (Colombia). He studied two years at the Bogotá School of Drama and six years at Santiago García’s Permanent Workshop on Theatrical Research (Teatro La Candelaria). He has worked also for the movies and for television. He has written 20 plays. Four of them have won the National Prize for Playwriting: “Gracias por haber venido” (1996), “Cada vez que ladran los perros” (1997), “La penúltima cena” (1999) and “El Natalicio de Schumman” (2009). Other four of his plays have won coproduction awards and two plays have been written due to artistic residencies in Spain and México. Rubiano has also won five creation grants from the Colombian Ministry of Culture. His plays have been staged by companies in Slovenia, Chile, México, USA, Perú, Spain and France, and by other groups in Colombia. He’s been translated to French, English and Slovenian.

PRODUKCIJA

Teatro Petra su 1985. godine osnovali Fabio Rubiano O. i Marcela Valencia. Prva predstava “El negro perfecto” odigrana je 1987. godine. Ovaj teatar je jedna od najznačajnijih teatarskih kompanija u Kolumbiji u oblasti savremenog teatra i ima odanu publiku koja prati sve njegove projekte. Rad kompanije temelji se na istraživanju i pisanju dramskih tekstova. U gotovo trideset godina neprekidnog rada, Teatro Petra dobitnik je nekoliko domaćih i međunarodnih priznanja, uključujući nagrade za dramski tekst, grantove za postavljanje predstava, koprodukcije, umjetničke rezidencije i posebna priznanja na festivalima i turnejama diljem svijeta. Najnovija ostvarenja teatra su: “Utroba kita”, “Sara kaže”, “Pinocchio i Frankenstein se boje Harrisona Forda” i “Muha”. Sa pomenutim predstavama i sa njih još nekoliko, trupa je gostovala na više od 25 međunarodnih festivala u Evropi, Južnoj Americi i Sjedinjenim Američkim Državama. Drame Fabia Rubiana prevedene su na francuski, engleski i slovenački jezik, a izvodile su ih i trupe iz drugih zemalja. Teatro Petra trenutno priprema tri nove predstave (“Labio de liebre” je jedna od njih) i ugovara dozvole potrebne za izgradnju vlastite zgrade u kojoj će biti moguće izvoditi još veći broj projekata pisanja dramskih tekstova, obuke, istraživanja i režiranja.

PRODUCTION

Teatro Petra was founded in 1985 by Fabio Rubiano O. and Marcela Valencia. “El negro perfecto”, its first play, opened in 1987. It is one of the most important companies in Colombia in the field of new theatrical proposals and has a devoted audience which follows all of its projects. Its work focuses on research and playwriting, from both the text and the stage. Throughout almost 30 years of uninterrupted work, Teatro Petra has won several national and international awards, including playwrighting prizes, staging grants, coproductions, artistic residencies and special mentions in different festivals and tours worldwide. Most recent productions are: “El vientre de la ballena”, “Sara Says”, “Pinocho y Frankenstein le tienen miedo a Harrison Ford” and “Mosca”. With these ones and others, the group has been invited to more than 25 international festivals in Europe, South America and USA. Fabio Rubiano’s plays also have been translated to French, English and Slovenian, and staged by groups in other countries. Teatro Petra is currently in the process of preparing three new shows (“Labio de liebre” being one of them) and getting arranged the permits needed for building its own venue, where more projects of playwrighting, training, research and staging will be strengthened.

Fotografija / Photography: Teatro Petra ArchivE

WORLD MESS

Režija / Direction: Fabio Rubiano Orjuela

REDITELJ


Srbija / Serbia

Narodno pozorište Sarajevo 20.00 National Theater Sarajevo Trajanje / Running time: 95 min.

08/10/14

FEDOR ŠILI

ČAROBNJAK THE WIZARD

Jezik: srpski sa engleskim prijevodom Language: Serbian with English subtitles PREDSTAVA

Predstava “Čarobnjak” Fedora Šilija u režiji Borisa Liješevića govori o životu Tomasa Mana. Radnja komada obuhvata period od 1891. godine, kada je Tomas Man bio đak i imao petnaest godina, do 1949. godine, kada je njegov sin Klaus izvršio samoubistvo. Naizgled biografska, ova drama, osim činjenica, zasnovanih na motivima Manovog književnog djela i historijskim podacima o njegovom životu, u sebi miješa biografske činjenice i fiktivne događaje, kao i likove. Ova predstava nije koncipirana kao biografija Tomasa Mana već kao pozorišna igra. U njoj je gledatelj/ica, od samog početka, aktivni učesnik/ca.

PERFORMANCE

The play “The Wizard” by Fedor Šili, directed by Boris Liješević, talks about the life of Thomas Mann. The plot covers the period from 1891, when Tomas Man was a fifteen year-old schoolboy, until 1949, when his son Klaus committed suicide. Seemingly biographical, this drama, in addition to the facts based on motifs of Mann’s literary works and historical data on his life, meshes biographical facts and fictional events and characters within it. This play was not conceived as a biography of Thomas Mann, but as a theater play. The spectator, from the outset, is an active participant in this play.


Rođen u Beogradu 1983. Završio je Akademiju umjetnosti, Odsjek dramaturgija, u klasi profesora Siniše Kovačevića, 2005. godine. Drama “Čarobnjak” igrana je u Narodnom Pozorištu Sombor, u režiji Borisa Liješevića. Jednočinka “Beograd-London” igrana je u SKC-u, u režiji Borisa Liješevića, u okviru projekta “Beogradske priče 04”. Radio je kao dramaturg, sa Brankom Dimitrijevićem, na predstavama “Plodni dani” Borisa Liješevića i Jelene Kislovski Liješević, u režiji Borisa Liješevića, Atelje 212 / Kulturni centar Pančevo, i “Sluga dvaju gospodara Karla Goldonija”, u režiji Borisa Liješevića, Grad Teatar Budva / Srpsko Narodno Pozorište Novi Sad / Narodno Pozorište Toša Jovanović Zrenjanin. Dobitnik je Sterijine nagrade za najbolji tekst 2013. godine za “Čarobnjaka”. AUTHOR

Born in Belgrade in 1983. He graduated from the Academy of Arts, Department of dramaturgy, in the class of professor Siniša Kovačević, 2005. His drama “The Wizard” was played in National Theatre Sombor, directed by Boris Liješević. One-act play “Belgrade-London” was played in SKC, directed by Boris Liješević, within the “Belgrade stories 04” project. With Branko Dimitrijević, he worked as a dramaturge on the performances “Fertile Days” by Boris Liješević and Jelena Kislovski Liješević, directed by Boris Liješević, Atelier 212 / Cultural Center Pančevo, and “Servant of Two Masters by Karl Goldoni”, directed by Boris Liješević, Budva Theatre City / Serbian National Theatre Novi Sad / National Theatre Toša Jovanovic Zrenjanin. With “The Wizard” he won Sterija Award for best text of the year 2013. REDITELJ

Boris Liješević je rođen 1976. godine u Beogradu. Diplomirao je na Odsjeku za multimedijalnu režiju, u klasi profesora Bore Draškovića, također 1999. godine, apsolvirao na Filozofskom fakultetu u Novom Sadu, na Grupi za srpsku književnost i jezik. Režirao u skoro svim najznačajnijim pozorištima u Srbiji i regionu. Autor je filmova “Gvozdeni krst” prema istoimenoj noveli Heinera Müllera, i dokumentarnog filma “Luka”. Učestvovao je i osvajao nagrade na mnogim festivalima: FSF u Beogradu, RAF u Zagrebu, ŠTUKFEST u Mariboru, Beogradskom festivalu kratkometražnog i dokumentarnog filma, Festivalu Evroregije u Segedinu, Festivalu vojvođanskih pozorišta u Subotici, Sterijinom pozorju, Gradu teatru u Budvi i mnogim drugim. Izabran je 2004. godine za asistenta na Odsjeku za multimedijalnu režiju Akademije umjetnosti u Novom Sadu, u klasi prof. Draškovića. Za režiju “Čarobnjaka” Fedora Šilija, u produkciji Narodnog pozorišta Sombor, 2013. godine dobio je Sterijinu nagradu. DIRECTOR

Boris Liješević was born in 1976 in Belgrade. He graduated from the Department of multimedia directing, under Professor Boro Drašković. In 1999, he graduated from the Faculty of Philosophy in Novi Sad, at the Group of Serbian literature and language. He directed in nearly all the most important theatres in Serbia and the region. His films include “The Iron Cross”, based on the eponymous novel by Heiner Müller, and a documentary film “Harbour”. He has participated in and won awards at many festivals: FSF in Belgrade, RAF in Zagreb, ŠTUKFEST in Maribor, Belgrade Festival of Short and Documentary Film, Euroregion Film Festival in Szeged, Festival of Professional Theatres of Vojvodina in Subotica, Sterija Theatre Festival, Budva Theatre City, and many others. In 2004, he was elected as an assistant at the Department of multimedia directing of the Academy of Arts in Novi Sad, in the class of prof. Drašković. For directing “The Wizard” by Fedor Šili, produced by the National Theatre Sombor, he received the Sterija award in 2013. PRODUKCIJA

Prva predstava u zgradi Narodnog pozorišta Sombor odigrana je 1882. godine i od tada pozorište radi kontinuirano. U Somboru su režirali najistaknutiji reditelji/ce svoje generacije i mnogi od njih su tu pravili svoje prve profesionalne korake: Mata Milošević, Ljubomir Draškić, Dejan Mijač, Paolo Mađeli, Vida Ognjenović, Stevo Žigon, Jagoš Marković, Dušan Petrović, Kokan Mladenović, Gorčin Stojanović, Egon Savin, Ljubiša Ristić i dr. Na sceni Narodnog pozorišta Sombor su izvođeni najznačajniji pozorišni klasici, ali se također prati i nova i avangardna dramska literatura. U posljednje dvije decenije, ovo pozorište je jedno od najmobilnijih u zemlji. Predstave su gostovale u Mađarskoj, Austriji, Makedoniji, Slovačkoj, Bugarskoj, na Kipru, u Sloveniji, Rusiji, Ukrajini, Crnoj Gori, Hrvatskoj i Kanadi. Sa predstavama “Ukroćena Goropad”, “Kate Kapuralica”, “Figarova ženidba”, “Fiškal galantom”, “Afera nedužne Anabele”, “Zla Žena”, “Ruženje naroda u dva dela”, “Bogojavljenska noć”, “Buđenje proljeća”, “Kazimir i Karolina”, “Opsada crkve Svetog spasa”, “Paradoks”, “Mračna komedija”, “Buba u uhu”, “Nora (Lutkina kuća)”, “Ženidba”, “Pučina”, “Čarobnjak” osvojene su brojne nagrade. Od 1993. godine, Narodno pozorište Sombor svoju sezonu završava festivalom Pozorišni maraton. Tokom tri dana i tri noći smjenjuju se predstave, kako pozorišta domaćina, tako i predstave gostujućih pozorišta, pozorišnih trupa i studenata/tica dramskih fakulteta.

PRODUCTION

The first performance in the National Theatre Sombor building was held in 1882 and since then the theater has had ongoing seasons each year. The most prominent directors of their generation directed in Sombor, and many of them there took their first professional steps in this town: Mata Milošević, Ljubomir Draškić, Dejan Mijač, Paolo Mađeli, Vida Ognjenović, Stevo Žigon, Jagoš Marković, Dušan Petrović, Kokan Mladenović, Gorčin Stojanović, Egon Savin, Ljubiša Ristić, and others. The most important theatrical classics were performed on the stage of the National Theatre Sombor, but the new and avant-garde drama literature has also been included in the repertoire. In the last two decades, this theater has been one of the most mobile theaters in the country. The performances toured in Hungary, Austria, Macedonia, Slovakia, Bulgaria, Cyprus, Slovenia, Russia, Ukraine, Montenegro, Croatia, and Canada. Numerous awards were won with performances of “The Taming of the Shrew”, “Kate Kapuralica”, “The Marriage of Figaro”, “Fiškal Galantom”, “The Affair of Innocent Annabelle”, “Evil Woman”, “The Scolding of the Nation in Two Parts”, “Twelfth Night”, “The Spring Awakening”, “Casimir and Caroline”, “The Siege of the Chruch of the Holy Savior”, “Paradox”, “Dark Comedy”, “Ear Bug Nora (Dollhouse)”, “Marriage”, “Offshore”, “The Wizard”. Since 1999, each season at the National Theatre Sombor ends with the Theatre Marathon. Through the course of three days and nights, plays of the National Theatre Sombor, as well as plays of visiting theaters, theater groups, and students of the Faculty of Drama are acted out on the Great Stage.

Tekst / Text: FEDOR ŠILI Režija / Direction: Boris Liješević Igraju / Cast: Saša Torlaković Svetozar Cvetković Radoje Čupić Tatjana ŠantaTorlaković Marko Marković Kostimografija / Costume Design: Mirna Ilić Scenografija / Stage Design: Miša Keskenović Kompozitor / Composer: Aleksandar Kostić Dramaturgija / Dramaturgy: Branko Dimitrijević Inspicijent / Stage Manager: Zoran Vučković Dizajn svjetla / Light Design: Stipan Petreš Svjetlo / Light: Antun Renc Igor Pekanović Miloš Smiljić Zvuk / Sound: Branko Marić Šminka / Make-up: Radmila Pekez Tehnički direktor / Tehnical Manager: Stipan Petreš Saradnik za kostim / Costume Assistant: Andraš Farkaš Saradnik za ples / Dance Assistant: Lado Božić Fotografija / Photography: Milan Đurđević

BALKAN (CON)TEXT

AUTOR


Maroko / Marocco

Sarajevski ratni teatar 22.00 Sarajevo War Theater Trajanje / Running time: 50 min.

08/10/14

HA!

Jezik / Language: no problem

PREDSTAVA

Crpeći inspiraciju iz poezije Dželaludina Rumija, velikog perzijskog pjesnika i mistika, osnivača Mevlevijskog derviškog reda, Ha! – najnovije ostvarenje Bouchre Ouizguen – istražuje ludilo. Ali kakvo ludilo? Genijalno ili mudro? Obično ili krvoločno? Ono koje osamljuje ili ono koje oslobađa? Koje obožava ili koje očajava? Delirično ili bezosjećajno? U Evropi, luđake/inje uvijek zatvaraju u ustanove. U arapskoj kulturi to nije slučaj; oni/e u društvu imaju svoje mjesto. Riječi kojima ih opisuju su brojne kao i “lijekovi” koje im daju – pjevanje, ples, mistični rituali, trans ili šamanizam. Posluživši se istim onim procesom koji je performans “Madame Plaza” učinio uspješnim, uz Fatému El Hanna, Kabbouru Aït Ben Hmad i Naïmu Sahmoud, Bouchra Ouizguen ponovo kreće na put kroz Maroko kako bi uronila u odnos koji svi dušom i tijelom održavaju sa svojim opsesijama. Ona nastoji produbiti svoj rad pjesmom, tijelom i jezikom, kroz ljude koje susreće na planinama, u školama, barovima ili u pustinji, nastojeći ih upoznati – ljude koji nas plaše i ljude koji su nam odbojni; ljude koji su stranci/kinje svima, pa i samima sebi; ljude čija nas tišina uznemirava i ljude čija nam tišina govori; one otuđene ljude čiji nam glasovi otkrivaju nakrnjena bića; one čija nam tijela otkrivaju krhku dušu ili stegnuto srce; one muškarce i žene koji nam uslijed siline svog prisustva pokazuju život koji se suprotstavlja običnom.

PERFORMANCE

Taking inspiration from the poetry of Jalal ad-Din Rumi, the great Persian poet and Sufi mystic who founded the order of the Whirling Dervishes, Ha!, the newest creation of Bouchra Ouizguen, explores madness. But which madness? Genius, or wise? Ordinary, or bloodthirsty? Isolating, or liberating? Adoring, or despairing? Delirious, or unfeeling? In Europe, the mad are always locked up, but such is not the case in Arab culture, where they have their place in society. The words to categorize them are as numerous as the “remedies” – singing, dancing and mystical rituals, trance or shamanism. Following, with Fatéma El Hanna, Kabboura Aït Ben Hmad and Naïma Sahmoud, the process that led to the success of “Madame Plaza”, Bouchra Ouizguen has left again on a journey through Morocco to delve into the relationship that everyone maintains, body and soul, with their obsessions. She attempts to deepen her work in song, body and language through the people that she meets, in the mountains, schools, bars or even in the desert, and learning about others; those who frighten us and those who repel us; those who are strangers to all and even themselves; those whose silence troubles us and those whose silence reveals to us; those alien people whose voices reveal cracked beings; those whose bodies bend to reveal a weak soul or a pinched heart; those men and women who, by the intensity of their presence, show us a life lived against the current.


Pjevačice i plesačice / Singers and Dancers: Bouchra Ouizguen Kabboura Aït Ben Hmad El Hanna Fatéma Naïma Sahmoud Dizajn svjetla / Light Design: Jean Gabriel Valot Istraživač / Researcher: Otman El Mernissi Fotografija / Photography: Hervé Véronèse Produkcija / Production: Compagnie 0 KOREOGRAFKINJA

Rođena 1980. godine u Ouarzazateu, Maroko, Bouchra Ouizguen studirala je u Francuskoj, a u periodu od 1995. do 2000. godine je u Maroku kao solistica izvodila istočnjačke plesove. Učila je uz dva koreografa i jednu koreografkinju koji su bitno utjecali na njenu karijeru: Bernarda Monteta, Borisa Charmatza i Mathildu Monnier. 2002. godine, zajedno sa Taoufiqom Izeddiouom i Saïdom Aït El Moumenom osnovala je plesnu kompaniju Anania. Pod umjetničkim vodstvom Mathilde Monnier, 2002. godine je kreirala solo tačku pod nazivom “Ana Ounta” u sklopu projekta “Prière de regarder”. “Mort et moi”, plesni komad koji je kreirala 2005. godine, predstavljen je u Marakešu i Turu, u Fondaciji Cartier i na Montpellier Dance festivalu. Krajem 2005. godine bila je jedna od organizatorica festivala Recontres chorégraphiques u Marakešu. Zajedno sa Taoufiqom Izeddiouom kreirala je duet “Déserts, désires” 2006. godine. Bila je izvođačica u performansu “Matter“ autorice Julie Nioche 2007. godine. Te iste godine kreirala je duet sa jednom Aïta pjevačicom (tradicionalna marokanska kabare pjevačica) koji je izveden prije njenog prvog grupnog performansa “Madam Plaza”. 2011. godine kreirala je solo tačku “Voyage Cola” tokom “Sujets à Vif” Avinjonskog festivala sa koreografom Alainom Buffardom.

CHOREOGRAPHER

Born in 1980 in Ouarzazate, Morocco, Bouchra Ouizguen studied in France and was an Eastern dance soloist in Morroco between 1995 and 2000. She essentially taught herself alongside three choreographers who would be decisive in her career: Bernardo Montet, Mathilde Monnier and Boris Charmatz. In 2002, she created the dance company Anania with Taoufiq Izeddiou and Saïd Aït El Moumen. Under the artistic direction of Mathilde Monnier, she crafted the solo “Ana Ounta” in 2002 in the midst of the project “Prière de regarder”. “Mort et moi”, a dance piece created in 2005, would be presented in Marrakesh and around Tours, at the Fondation Cartier and at the Montpellier Dance Festival. At the end of 2005, she co-organized “Rencontres chorégraphiques” in Marrakesh. With Taoufiq Izeddiou, she co-wrote the duo “Déserts, désires” in 2006. She was a performer in Julie Nioche’s “Matter” in 2007. That year, she also created a duo with an Aïta (a traditional Moroccan cabaret singer) that ran before her first group piece, “Madame Plaza.” In 2011, she created the solo “Voyage Cola” during the course of “Sujets à Vif” of the Festival d’Avignon with the choreographer Alain Buffard.

Koprodukcija / Coproduction: Festival Montpellier Danse 2012 / Les Spectacles Vivants – Centre Pompiou / Kunsten Festival of Arts / Fabbrica Europa Institut Français / Minister of Foreign and European Affairs (Paris)

WORLD MESS

Koreografija / Choreography: Bouchra Ouizguen


Srbija, Bosna i Hercegovina, Hrvatska / Serbia, Bosnia and Herzegovina, Croatia

Kamerni teatar ‘55 20.00 Chamber Theater ‘55 Trajanje / Running time: 110 min.

09/10/14

BILJANA SRBLJANović

MALI MI JE OVAJ GROB* THIS GRAVE IS TOO SMALL FOR ME* Jezik: srpski sa engleskim prijevodom Language: Serbian with English translation PREDSTAVA

U PRINCIPU, živimo u vremenu, ali i geografskomentalnom prostoru gdje je premještanje kostiju, izlijevanje pa razbijanje stopa i slično – neka vrsta uobičajenog sporta, gdje se duhovi prošlosti pojavljuju ne zato što su priznati i poznati dio našeg identiteta, historiografski smješteni i počivaju mirni, već zato da bi se uvijek netko drugi o njih saplitao pokušavajući ih interpretirati ili reinterpretirati u korist svojih sitnih, opasnih dnevnopolitičkih interesa. ... PO PRINCIPU vlastitosti koju Biljana njeguje kako rukopisom tako i stavom prema bivšem i sadašnjem vremenu ona slaže tekst “Mali mi je ovaj grob”. Tekst čija se suvremenost ne ogleda u pukoj faktografskoj istini da pripada ovom trenutku (naprosto prigodničarski: pa godišnjica je!, ali i prigodno: čiji je i tko je uopće Princip?), već u odluci da pokuša kritički promisliti, progovoriti i o ovom našem (ne)vremenu, o Gavrilovom metku koji putuje ovim prostorima već čitavo jedno stoljeće. Ona odolijeva okolnostima koje prozivaju prijeteći i znatiželjno, tražeći “ili – ili” i kaže “niti – niti”. Heroj ili terorist? Ubojica ili žrtva? Srbin ili Jugoslaven? Ne opravdava niti ne optužuje. ... PREMA PRINCIPU koji se odlučuje za umjetnost, a nikako pokušaj bilo kakve precizne rekonstrukcije: ova je drama tek inspirirana konkretnošću povijesne ostavštine. Fikcija je ona koja je zagarantirala poetičnost koja pokazuje i prokazuje ljude od krvi i mesa. I upravo takav modus izričaja nepogrešivo osigurava dijalog s onim što zovemo - istinom. Željka Udovičić Pleština

PERFORMANCE

… PRINCIPALLY, we live in a certain time, as well as a certain geographicalmental area where displacement of the bones, the pouring and breaking of the foundations and the like – are a kind of common sport, where the ghosts of the past appear not because they are recognized and well-known parts of our identity, historiographically located and resting in peace, but in order for someone else to trip and stumble on them while trying to interpret or reinterpret them in favor of their own tiny, dangerous daily political interests. … BASED ON THE PRINCIPLE OF singularity, which she nurtures both through her manuscript and her attitude toward the past and present time, Biljana has created the text for “This Grave is too Small for Me”. A text the contemporariness of which is not reflected in the sheer factographic truth that it belongs to this particular moment (as the occasion would have it, it’s the anniversary!; coincidentally, who is this Princip, and who does he belong to, anyway?), but is reflected in the decision to try to think critically, to speak about this time, our time, Gavrilo’s bullet that has been travelling throughout the region for an entire century. It resists the circumstances which call out menacingly and with curiosity, demanding “either - or”, and it says “neither - nor.” A hero or a terrorist? The killer or the victim? Serb or Yugoslav? It does not justify and it does not accuse. … ACCORDING TO THE PRINCIPLE which supports the art and not the attempt of any precise reconstruction: this drama is merely inspired by the substantiality of historical legacy. Fiction guarantees a poetic quality that shows and exposes the people made of blood and meat. And it is precisely such a mode of expression that invariably provides a dialogue with what we call the truth. Željka Udovičić Pleština

* van konkurencije za Nagradu za najbolju režiju i Nagradu za najbolju predstavu

* out of competition for Best Director Award and Best Performance Award


AUTHOR Biljana Srbljanović was born in 1970 in Sweden. She graduated from the Faculty of Dramatic Arts in Belgrade, Department of Dramaturgy, where she has been working since 1996, currently holding the position of associate professor. As a student, along with Miloš Radović, she worked to create a TV series “Open Doors”, and wrote the screenplay for the majority of the episodes. Her plays have been translated into more than twenty foreign languages and performed in over a hundred theaters around the world, and have been published in several languages in Europe. She wrote, among others, the following dramas: “Belgrade Trilogy” (1997), “Family Stories” (1998), “The Fall” (2000), “Supermarket” (2001), “America, Part Two” (2003), “Locusts” (2005), “Barbelo, on Dogs and Children” (2007), and “Death Is Not a Bicycle (To be Stolen from You)” (2011), “This Grave is Too Small for Me” (2013). She has won a Sterija award five times, as well as winning the following awards: The Conquest of Freedom, Dragiša Kašiković, Slobodan Selenić, Annual Belgrade Drama Theatre Award, the Statuette of Joakim Vujić, and the highest European award, Premio Europa - New Theatrical Realities. She completed her doctoral studies in the Theory of Dramatic Arts, Media and Culture at the Faculty of Dramatic Arts. She is a Fulbright Scholarship Alumna, and was a visiting professor at universities in New York, Vienna, Milan, and Florence. She is the founder of the Forum of Writers, the recipient of the French Medal of the Knight of the Order of Arts and Letters, fighter for the rights of animals and, occasionally, of humans. REDITELJ Dino Mustafić je diplomirao na Akademiji scenskih umjetnosti u Sarajevu, Odsjek za režiju, i na Odsjeku za opštu književnost na Filozofskom fakultetu u Sarajevu. Režirao je u mnogim pozorištima i gradovima regiona: Beograd, Zagreb, Sarajevo, Sofija, Ljubljana, Rijeka, Trst, Split, Maribor, Skoplje, Priština, Podgorica, Pariz… Njegove predstave su igrane i izvođene na raznim jezicima i osvajale su nagrade na mnogim domaćim i internacionalnim festivalima: u Kairu, Rimu, Madridu, Bogoti, Gvadalahari, Parizu, Londonu, Sibiu, Vratsa, San Hozeu, Rijeci, Zagrebu, Novom Sadu... Predstava “Helverova noć” Kamernog teatra ‘55 je ušla u historiju bosanskohercegovačkog pozorišta kao najnagrađivanija, sa 23 internacionalna priznanja. Postavio je više od 50 drama klasičnih i savremenih pisaca. Snimio je više dokumentarnih filmova i dugometražni igrani film “Remake”, koji je gostovao na više od 40 festivala, a nagrađen je u Minhenu i San Francisku. Od januara 2003. do decembra 2005. godine je bio Umjetnički direktor Drame Narodnog pozorišta Sarajevo. Na čelu je najstarijeg pozorišnog festivala u regionu Internacionalnog teatarskog festivala MESS od 1997. godine, kojeg je obnovio nakon opsade Sarajeva sa svojim saradničkim timom. DIRECTOR Dino Mustafić graduated from the Academy of Performing Arts in Sarajevo, Department of Directing, and from the Department of General Literature at the Faculty of Philosophy in Sarajevo. He has directed in many theaters and cities of the region: Belgrade, Zagreb, Sarajevo, Sofia, Ljubljana, Rijeka, Trieste, Split, Maribor, Skopje, Pristina, Podgorica, Paris... His plays were performed in many languages and won awards at many national and international festivals, such as in Cairo, Rome, Madrid, Bogota, Guadalajara, Paris, London, Sibiu, Vratsa, San Jose, Rijeka, Zagreb, Novi Sad, and others. The play “Helver’s Night” by the Chamber Theatre 55 has been written down in the history of the Bosnian theater as the most awarded play, with 23 international awards. He staged more than 50 dramas of classic and contemporary writers. He has made several documentaries and a feature film “Remake”, which was screened at more than 40 festivals and won awards in Munich and San Francisco. From January 2003 to December 2005, he was the Artistic Director of drama at the Sarajevo National Theatre. He is at the helm of the oldest theater festival in the region, the International Theater Festival MESS since 1997, which he help rebuild with his collaborative team following the siege of Sarajevo. PRODUKCIJA Hartefakt je nezavisna regionalna fondacija sa sjedištem u Beogradu, osnovana sa ciljem da podstiče, podržava i povezuje kreativne i progresivne snage koje doprinose demokratizaciji i realizaciji evropskih perspektiva Balkana. Na planu pozorišne produkcije, Hartefakt se trudi da podrži nove, hrabre, odgovorne umjetnike/ce i da promoviše nove modele saradnje između nezavisnih organizacija i zvaničnih kulturnih institucija. Partnerstvo sa Bitef teatrom je jedan od koraka u tom pravcu. Prvi zajednički projekat ove dvije institucije je realizovan u maju 2011. godine. Radi se o dokumentarističkoj predstavi “Hipermnezija” u režiji Selme Spahić. Predstave “Radnici umiru pevajući” u režiji Anđelke Nikolić, “Grebanje ili Kako se ubila moja baka” u režiji Selme Spahić, “Izopačeni” u režiji Andreja Nosova i “Prst” u režiji Ane Tomović, samo su logičan nastavak ove saradnje. Od svog osnivanja 1989. godine, misija Bitef teatra bila je širenje utjecaja Bitef festivala u našoj sredini, otkrivanje novih pozorišnih tendencija, kao i pružanje prostora umjetnicima/ama čiji rad predstavlja iskorak iz tradicionalnih i utvrđenih granica scenskog izraza. Bitef teatar njeguje dvostruku repertoarsku misiju – da razvija plesni teatar i unapređuje beogradsku plesnu scenu, na prvom mestu kroz razvoj i produkcije Plesne kompanije Bitef. Sa druge strane Bitef teatar će nastaviti da razvija i širi platformu novog, angažovanog dramskog stvaralaštva. Kamerni teatar ‘55 iz Sarajeva počeo je sa radom 7. marta 1955. godine. Iako historija ove kuće nije iznimno duga, “ona je nesumnjivo bogatija, atraktivnija i značajnija od decenija i decenija nečijeg rutinerstva, hladnog shematizma i bezbrižnog tavorenja”, kako je to primijetio jedan ugledni kritičar. U stalnom kritičkom preispitivanju i u žaru traganja za drukčijim, neposrednijim i otvorenijim scenskim izrazom, događala su se, dakako, i lutanja, koja također nisu bila beskorisna i nakon kojih se Kamerni teatar ‘55, ponovo vraćao sebi, još maštovitiji i bolji, ne iznevjeravajući onaj profil kojeg je već u startu definirao njegov osnivač Jurislav Korenić (1914-1974) a koji je, na tragu novih teatarskih stremljenja u tadašnjoj Evropi, bio novost na prostorima bivše Jugoslavije i primjer kojeg su slijedili brojni teatri širom bivše države. Otvarajući širom svoja vrata za naglašeno eksperimentiranje u teatru, za tekstove Beketa, Žarija, Ženea, Joneska, Švarca, Čehova… i čitavu plejadu autora čija je poetika u modernom teatru proizlazila iz “apsurdnog osjećanja života”, Kamerni teatar ‘55 je imao presudan utjecaj na čitave generacije dramskih umjetnika/ca koji su “pozornicu ring”, okruženu gledalištem, umjesto frontalnog tipa scene, sa nepremostivom “rampom”, prepoznali kao priliku za intimniju, prirodniju i iskreniju glumačku igru.

PRODUCTION The Heartefact Fund is an independent regional foundation based in Belgrade, with a mission to promote, support and connect creative and progressive forces that contribute to democratization and European integration of the Balkans. With its theatrical productions, the Heartefact aims to support courageous young artists and promote new models for collaboration between independent organizations and state cultural institutions. The partnership with the Bitef Theatre is one such activity. The first joint project of the two institutions took place May 2011. It was the play “Hypermnesia” directed by Selma Spahić. Naturally followed “Workers Die Singing” by Anđelka Nikolić, “Scratching or How my Grandmother Killed Herself” by Selma Spahić, “Bent” by Andrej Nosov, “Finger” by Ana Tomović. Since its inception in 1989, the Bitef Theatre’s mission was to expand its influence, discover new theatrical voices, and support the artists whose work transcends the boundaries of the traditional stage expression. The Bitef Theatre has a twofold mission – to develop and advance dance theater and Belgrade’s dance scene through the Bitef Dance Company productions, and to develop and expand the platform for a new, socially-minded theater. The Chamber Theater ‘55 from Sarajevo was founded on March 7, 1955. Although it does not have an exceptionally long history, it is “undoubledly richer, more attractive, and more significant then the decades-long routine and cold schematism of other theaters and their careless existence”, as a renowned critic once noted. Through the constant questioning and challenging, as well as fervent search for different, more direct and more open stage expression, there certainly have been wonderings, but not in vain, after which the theater kept returning to its own self, better and with even greater imagination, staying true to its profile defined by its founder Juroslav Korenić (1914-1974) – the profile that was a novelty in this part of the world, and in sync with the tendencies of the European theater at the time. By opening it’s gates to more experimental forms of theater, including the plays by Beckett, Jarry, Genet, Ionesco, Schwartz, Chekov, and the plethora of authors whose poetics in modern theater came from the “feeling of absurdity in life“, The Chamber Theater ‘55 made a decisive influence on generations of young artists who recognized this ring-like stage surrounded by audience as their opportunity for more intimate, natural and sincere performance.

Tekst / Text: BILJANA SRBLJANOVIĆ Režija / Direction: Dino Mustafić Igraju / Cast: Milan Marić Svetozar Cvetković Ermin Bravo Marko Janketić Amila Terzimehić

BALKAN (CON)TEXT

AUTORICA Biljana Srbljanović je rođena 1970. godine u Švedskoj. Diplomirala je na Fakultetu dramskih umjetnosti u Beogradu, na Odsjeku dramaturgije, gdje radi od 1996. godine, trenutno kao vanredna profesorica. Kao studentica, zajedno sa Milošem Radovićem, radila je na stvaranju serije “Otvorena vrata” i napisala je scenario za većinu epizoda. Njene drame su prevedene na preko dvedeset stranih jezika i izvedene u više od stotinu pozorišta širom svijeta, i objavljene na više jezika u Evropi. Napisala je, između ostalog, i drame: “Beogradska trilogija” (1997), “Porodične priče” (1998), “Pad” (2000), “Supermarket” (2001), “Amerika, drugi deo” (2003), “Skakavci” (2005), “Barbelo, o psima i deci” (2007), i “Nije smrt biciklo da ti ga ukradu” (2011), “Mali mi je ovaj grob” (2013). Petostruka je dobitnica Sterijine nagrade, zatim nagrada: Osvajanje Slobode, Dragiša Kašiković, Slobodan Selenić, Godišnje nagrade Grada Beograda za dramsku umjetnost, Statuete Joakim Vujić i najvišeg evropskog priznanja – Premio Europa – Nova pozorišna realnost. Završava naučne doktorske studije iz Teorije dramskih umjetnosti, medija i kulture na Fakultetu dramskih umjetnosti. Alumni je Fulbright stipendije i bila je gostujuća profesorica na univerzitetima u Njujorku, Beču, Milanu i Firenci. Osnivačica je Foruma pisaca i dobitnica francuskog ordena iz reda Viteza umjetnosti i književnosti, borkinja za prava životinja, a nekad i ljudi.

Violončelo / Violoncello: Aleksandar Latković Nebojša Janković Producent / Producer: Andrej Nosov Izvršna producentica / Executive Producer: Milica Milić Dramaturgija / Dramaturgy: Željka Udovičić Božo Koprivica Kompozitor / Composer: Draško Adžić Scenografija / Stage Design: Dragutin Broz Kostimografija / Costume Design: Darinka Mihajlović Koreografija / Choreography: Sonja Vukićević Snimanje i obrada zvuka / Sound Recording and Processing: Dobrivoje Milijanović Scenski govor / Stage Speech: dr. Dejan Sredojević Korepetitorka / Accompanist: Ana Ćosović Fotografija / Photography: Vladimir Miladinović Asistentica režije / Direction Assistant: Tijana Vasić Šef tehnike / Head of the Technical Department: Ljubomir Radivojević Inspicijentica / Stage Manager: Maja Jovanović Dizajneri zvuka / Sound Designers: Miroljub Vladić Nikola Marjanović Dizajneri svijetla / Light Designers: Dragan Đurković Milan Neić Vizuelni identitet / Visual Identity: Hominid studio Video: Srđan Ćešić Produkcija / Production: Hartefakt Bitef teatar Kamerni teatar ‘55 Kazalište Ulysses Testament filmS Festival MESS

1914


Italija / Italy

Sarajevski ratni teatar 22.00 Sarajevo War Theater Trajanje / Running time: 60 min.

09/10/14

<DOB> <AGE>

Jezik: italijanski sa bosanskim i engleskim prijevodom Language: Italian with Bosnian and English Subititles

PREDSTAVA

Projekat <dob> istražuje princip nesigurnosti i sisteme pravila kakve nalazimo u igrama. Izvođači/ ce su tinejdžeri/ke koji su na pragu ili su tek prešli osamnaestu godinu života. U ovom posebnom i kratkotrajnom vremenskom rasponu, odnos sa konceptom vladavine (i u društvenom i u pravnom smislu) je izuzetno specifičan i stalno se mijenja. Tinejdžeri/ke su biološki i hemijski programirani da budu odvažni/e te su samim tim idealni izvođači/ ce u razigranoj, nesigurnoj i pravilima određenoj atmosferi pozorišne scene. Ovaj komad strukturiran je kao “ljudski atlas”, živa taksonomija izvođača/ica. Svaki koreografski materijal nosi specifičan naziv s kojim se izvođači/ce poistovjećuju. Istovremeno, tu je i upitnik od 500 samodefinirajućih pitanja koja postaju filter u selekciji kategorija. Izvođači/ce ne znaju koji parametri (pitanja) će im biti zadani tokom izvedbe i koje pokrete, u skladu s tim, treba da izvedu. Odgovori ove tinejdžerske skupine utemeljeni su na njihovom sopstvenom mišljenju o sebi, a njihova pojava potpuno ogoljuje njihove izbore kao pojedinaca/ki. Svaki segment performansa se razlikuje od ostalih, ne može se uvježbati i neprekidno izaziva nepredvidive reakcije koje proizvode atmosferu izuzetnog intenziteta i prepredene ironije.

PERFORMANCE

The project <age> continues the research on the uncertainty priciple and the systems of rules typical of games. The performers are teenagers, just before or immediately after the threshold of 18 years old. In this particular and ephemeral time span the relationship with the concept of rule (both socially and legally) is extremely specific and constantly shifting. A teenager is biologically and chemically programmed to be a risk-taker and therefore it’s the ideal candidate to be a performer in the ludic, uncertain and regulated environment of a theatre stage. The piece is structured as a “human atlas”, a live taxonomy of the performers. Each choreographic material has a specific nomenclature in order to be identified by the performers. At the same time has been collected a questionnaire of 500 self-defining questions that become a filter of selection in categories. The performers don’t know which parameters (questions) will be asked during the performance and which movement material will be called. The answers of the teen-age group are based on their own opinion on themselves and their presence fully expose their choices as individuals. Each performative event is different from the others, it cannot be rehearsed and it constantly presents unpredictable reactions generating an atmosphere of high intensity and subtle irony.


Francesca Pennini (Ferrara, 1984) prvobitno je bila gimnastičarka, a kasnije se posvetila savremenom plesu. Pohađala je školu baleta u Toskani (Balletto di Toscana) i Laban Dance centru u Londonu, a bavila se i nizom različitih disciplina, od butoh plesa do ronjenja na dah, od borilačkih vještina do takmičenja u disko plesu. Radila je kao nezavisna plesačica za plesnu kompaniju Sasha Waltz&Guests. Njeno istraživanje usredsređeno je na projiciranje i definiranje tijela u savremenom društvu kroz multimedijalne iskaze – od videoplesa do performansa, od fotografije do grafike i tjelesnih instalacija. 2007. godine osnovala je eksperimentalnu plesnu kompaniju CollettivO CineticO koja predstavlja jednu fleksibilnu mrežu izvođača/ica, vizuelnih umjetnika/ca, kompozitora/ki i video umjetnika/ ca. Kao koreografkinja ove kompanije dosad je postavila 23 koreografije koje su joj donijele mnoge nagrade i sa kojima je nastupala na međunarodnoj sceni. Osmislila je brojne načine i didaktičke metode za koreografske kreacije (s posebnim fokusom na metode za tinejdžere/ke i nekonvencionalna tijela), a radi i na edukaciji profesionalnih umjetnika/ca i studenata/tica, održava seminare i radionice i daje časove plesa.

Koncept i režija / Concept and Direction: Francesca Pennini Igra i kreacija / Action and Creation: Tilahun Andreoli Samuele Bindini Thomas Calvez Marco Calzolari Camilla Caselli Jacques Lazzari Matteo Misurati Emma Saba Martina Simonato Dramaturgija / Dramaturgy: Angelo Pedroni Fotografija / Photography: MARCO DAVOLIO

DIRECTOR

Francesca Pennini (Ferrara, 1984) starts off as a gymnast and then devoted herself to contemporary dance. She studied at Balletto di Toscana and Laban Centre in London and practiced a broad range of eterogeneous disciplines: from butoh to free diving, from martial arts to disco-dance competitions. She worked as a freelance dancer for Sasha Waltz & Guests. Her research focuses on perspectives and definitions of the body in the contemporary society through a multimediality of languages that goes from videodance to performance, from photography to graphics and body installations. In 2007 she founds the experimental company CollettivO CineticO as a flexible net of performers, visual artists, composers, videomakers. Until now she created 23 pieces as choreographer of the company, winning many awards and touring internationally. She developed devices and didactic methodologies for choreographic creations (with a particular focus on methods for teenagers and for non-conventional bodies) and teaches to professional artists and students giving seminars, workshops and dance classes.

PRODUKCIJA

CollettivO CineticO je eksperimentalna umjetnička grupa koja djeluje u međuprostoru pozorišta i vizuelne umjetnosti, a koju je 2007. godine osnovala Francesca Pennini. Zamišljena kao fleksibilna mreža multidisciplinarnih umjetnika/ca, grupa uglavnom istražuje formu i status performativnog događaja. Prekretnica reformatorskog pristupa je C/o, koreografska “arhitektura” koja traje jednu deceniju i koja je nastala iz Foucaultovog koncepta heterotopije. 2008. godine, performans “OKO JE BILO UHO” koji predstavlja istraživanje virtualnog okruženja, okrunjen je nagradom Giovani Danz’ Autori. Projekat “Nesigurna scena” dio je evropske produkcije “Umjetnost i nauka u izvedbenim umjetnostima”. Performans <dob> kojeg izvodi grupa tinejdžera osvojio je nagradu “Progetto Speciale Performance 2012: Ripensando Cage” na Romaeuropa festivalu. Škotski magazin “The List” uvrstio je Performans “XD” među 20 najboljih izvedbi na Fringe festivalu u Edinburgu. Od 2013. godine, grupa ima podršku MIBAC-a, Italijanskog ministarstva kulture. Matična kuća grupe ColletivO CineticO je Teatro Comunale di Ferrara, a grupa nastupa u zemlji i inostranstvu na velikom broju lokacija – od pozorišta do muzeja, od urbanih zdanja do web streaminga.

PRODUCTION

CollettivO CineticO is an experimental performing arts group founded in 2007 by Francesca Pennini and working in the interstices between theater and visual arts. Shaped as a flexible net of multidisciplinary artists it mainly investigates the format and the status of the performative event. Cornerstone of the reformatting approach is C/o, a choreographic “architecture” lasting a decade and developed from the Foucault’s concept of heterotopia. In 2008 the piece EYE WAS EAR, a research on the virtual environments, won the Giovani Danz’Autori Award. The project The uncertain scene is part of the european production “Focus on Art and Science in the Performing Arts”. The piece <age>, with a cast of teenagers, won the “Progetto Speciale Performance 2012: Ripensando Cage” premiered at Romaeuropa Festival. The piece XD was classified in the Top 20 of the Edinburgh Fringe Festival by The List. Since 2013 the company is supported by MIBAC, Italian Ministry of Culture. CollettivO CineticO is the resident company at Teatro Comunale di Ferrara and performed in national and international venues with a wide range of locations that goes from theaters to museums, from urban spaces to web streaming.

Koprodukcija / Coproduction: CollettivO CineticO Romaeuropa Festival Armunia / Festival Inequilibrio L’Arboreto Teatro Dimora di Mondaino B.Motion / Operaestate Festival Veneto Festival miXXer / Conservatorio di Ferrara Danae Festival Umjetničke rezidencije / Artistic Residencies: Scarlattine Teatro / Il Giardino delle Esperidi Armunia / Festival Inequilibrio L’Arboreto Teatro Dimora di Mondaino CSC Centro per la Scena Contemporanea / Operaesate Festival

FUTURE MESS IYMT

REDITELJICA


Akademija scenskih umjetnosti 14.00 / 18.00 / 22.00 Academy of Performing Arts Trajanje / Running time: 60 min.

10/10/14

Španija / Spain

Akademija scenskih umjetnosti 14.00 / 18.00 Academy of Performing Arts Trajanje / Running time: 60 min.

11/10/14

MOJE VELIKO DJELO (AMBICIOZNI PROJEKAT) MY GREAT WORK (AN AMBITIOUS PROJECT) Jezik / Language: no problem PREDSTAVA

“Moje veliko djelo” je utopija. Stvarnost u kojoj se mi umjetnici/e stalno krećemo odlikuje se oskudijevanjem i nedostatkom sredstava i upravo na tome je oduvijek bilo težište našeg rada – na osmišljavanju mehanizama kojim bi se nadomjestio taj nedostatak, pravljenju nečega iz ničega, isticanju praznina ne bi li se interesovanje i neuspjeh prikazali kao kreativni pokretači. Budući da se sad nalazimo u teškoj društveno-ekonomskoj situaciji, u kojoj jako malo ljudi sebi može priuštiti ikakav luksuz, čini se da je pravo vrijeme da se pozabavimo našim prvim velikim i jako ambicioznim projektom. Sa “Mojim velikim djelom” želimo napraviti jednu grandioznu predstavu, bez ikakvih ušteda i uz realizaciju svih naših ideja ma koliko one skupe bile, sa svim materijalima i neograničenim umjetničkim timom. Međutim, ima tu jedan mali nedostatak – sve je u HO veličini. Dakle, velika ideja – mala realizacija, uz primjenu jednog arhitektonskog pristupa i tehnike. I dalje propitujući granice teatra i produbljujući zaokupljenost prethodnih projekata sa smislom izvedbe, u ovom djelu nastojimo stvoriti situaciju u kojoj ćemo analizirati značenje velikih projekata i umjetničkih kreacija koje raspolažu velikim sredstvima i čija se stvarna kulturna vrijednost rijetko pokazuje, kolosalnih djela koja su površna, nimalo domišljata i koja pršte od ornamenata, a čija je suština upitna. Ovdje pokušavamo izvesti ono što bismo uradili kada bismo stvarno imali takve uslove. David Espinosa

PERFORMANCE

“My Great Work” is an utopia. The reality in which we have always moved as artists is characterized by precariousness and lack of means, and there has always been precisely the focus of our work: devise mechanisms to solve the lack of resources, make a virtue of necessity, emphasizing gaps to enhance interest and failure as a creative engine. So now that we are in a difficult socio-economic situation, in which very few can afford this luxury, it seems the righttime to tackle our first big project, and ambitious project. In “My Great Work” we plan to build a large-scale show, sparing no expense, developing all the ideas that come up however expensive they could be, material and unlimited artistic team. But, obviously, with a slight draw back: a scale 1:87. That is, thinking big and doing small, using this approach and techniques of an architect. Continuing our questioning of the limits of theater and deepening the interest of previous projects on the idea of performing, in this work we try to create a situation in which to question the meaning of major projects such artistic creations that handle high budgets and whose real cultural value is rarely demonstrable, colossal works very gimmicky and disingenuous, loaded with ornaments but their substance are questioned. While trying to carry out what we would do if we were really able to work under these conditions. David Espinosa


Igraju / Cast: David Espinosa Cia. Hekinah Degul Stručna saradnja / Collaboration: Africa Navarro

REDITELJ

Diplomirao glumu na Visokoj školi dramske umjetnosti (E.S.A.D.) u Valensiji 1998. godine. Od 1994. godine proučava savremeni ples, improvizaciju, improvizaciju kontakta i capoeiru u Valensiji, Briselu i Barseloni. Bio je izvođač u brojnim plesnim kompanijama Mal Pelo, The Malqueridas, Osmosis cie. (Francuska), Lapsus-Alexis Eupierre i Sonia Gómez / General Elèctrica. Kao glumac pojavljuje se u dramama “Tragedija” i “2666” u režiji Alexa Rigole; “Z”, “Vojvode od Vergare Unplugged Vergara” i “De los Condenados” u režiji Sergija Faustina; “Klasni neprijatelj” u režiji Paula Weibela; “Joan el Cendrós” u režiji Carlesa Alberole, i mnogim drugim. 2006. godine, sa Africom Navarro osniva udruženje za kulturu El Local Espacio de Creacion u okviru kojeg su realizirali sljedeće pozorišne projekte: “Mi Gran Obra (un proyecto ambicioso)” (2012), “Desconcierto nº1” (2011), “La Procesadora” (2010), “Felicidad.es” (2009), “Deliriosdegrandez@hotmail. com” (2008), “Desaladas Club” (2007) i “Propriedad Privada” (2005), kao i ulične performanse “Summertime” (2008) i “Agonías de lo imposible” (2006). Njihov rad predstavljen je na međunarodnim festivalima poput Biennal de Venezia, Escena Contemporánea de Madrid, Alt Vigo, Bad Bilbao, TNT de Terrassa, Escena Abierta de Burgos, Ciclo Radicals Lliures Barcelona, Feria de teatro y danza de Huesca, Poblenou a Escena, Cena Contemporânea de Brasilia i F.I.T de Dourados (Brasil), AECID turneji u Meksiku, Gvatemali i El Salvadoru, kao i u brojnim pozorištima i zdanjima u kojima se prikazuju djela savremene španjolske pozorišne scene (Centro Parraga Murcia, la Fundición Bilbao, Manantiales Valencia, Casa Encendida Madrid, Antic Teatre Barcelona, CAS Endanza Sevilla, Circuito de la Red teatros Alternativos…).

DIRECTOR

Bachelor of acting by E.S.A.D. Valencia in 1998. Since 1994 studying Contemporary Dance, Improvisation, CI and Capoeira in Valencia, Brussels and Barcelona. Performer in different dance companies: Mal Pelo, The Malqueridas, Osmosis cie (France), Lapsus-Alexis Eupierre and Sonia Gómez / General Elèctrica. As an actor, working in “Tragedy” and “2666” by Alex Rigola; “Z”, “Dukes of Vergara Unplugged Vergara” and “De los condenados” by Sergi Faustino; “El Enemigo de la clase” by Paul Weibel, and “Joan el Cendrós” by Carles Alberola, among other. In 2006 creates with Africa Navarro El Local Espacio de Creacion, which have created the shows: “Mi Gran Obra (un proyecto ambicioso)” (2012), “Desconcierto nº1” (2011), “La Procesadora” (2010), “Felicidad.es” (2009), “Deliriosdegrandez@hotmail. com” (2008), “Desaladas Club” (2007) and “Propiedad Privada” (2005), and the street shows “Summertime” (2008) and “Agonías de lo imposible” (2006). This works have been presented at the Internationals Festivals Biennal de Venezia, Escena Contemporánea de Madrid, Alt Vigo, Bad Bilbao,TNT de Terrassa, Escena Abierta de Burgos, Ciclo Radicals Lliures Barcelona, Feria de teatro y danza de Huesca, Poblenou a Escena, Cena Contemporânea de Brasilia and F.I.T de Dourados (Brasil), AECID tour in Mexico, Guatemala and El Salvador, and in many teatres and spaces from the contemporary spanish scene (Centro Parraga Murcia, la Fundición Bilbao, Manantiales Valencia, Casa Encendida Madrid, Antic Teatre Barcelona, CAS Endanza Sevilla, Circuito de la Red teatros Alternativos…)

Ton i muzika / Sound and Music: Santos Martinez David Espinosa Scenografija / Stage Design: David Espinosa Air Models and Architecture Projects Fotografija / Photography: DAVID ESPINOSA Produkcija / Production: El Local E.C. / C.A.E.T. U saradnji sa Odjelom za kulturu Vlade autonomne pokrajine Katalonije i I.N.A.E.M. Ministarstva kulture / In collaboration with the Department of Culture of the Generalitat de Catalunya and I.N.A.E.M. – Ministerio de Cultura Distribucija / Distribution: M.O.M. – El Vivero Projekat podržan od strane Programa Umjetnici/e u rezidenciji Bilbaoeszena. / Project grant from the Artists in Residence Program of Bilbaoeszena.

WORLD MESS

Tekst i režija / Script and Direction: David Espinosa


Finska / Finland

Narodno pozorište Sarajevo 20.00 National Theater Sarajevo Trajanje / Running time: 65 min.

10/10/14

ODLAZAK DEPARTURE

Jezik / Language: no problem

PREDSTAVA

U ovoj predstavi se radi o ženi i muškarcu koji imaju zamršen odnos. Zbunjeni, oni stoje na sceni okruženi odjećom. Osjećanja i misli pokazuju se kretnjama tijela, ali i pomjeranjem odjeće koja vodi svoj sopstveni život. “Odlazak” je najnovije ostvarenje vizuelnog pozorišta i cirkuske kompanije WHS. U režiji mađioničara i vizuelnog umjetnika Kalle Nio-a, predstava daje sliku para koji se udaljio i koji sada pluta u snoviđenjima i iluzijama. Inspirirana scenskim iluzijama mađioničara 19. stoljeća, ova predstava stvara jednu tajanstvenu atmosferu u kojoj se međusobno prepliću apsurdni humor i tragedija. Ovaj komad nam nudi jedinstveno teatarsko iskustvo u kojem se stapaju cirkus, magija, ples, modni dizajn i vizuelna umjetnost.

PERFORMANCE

There is a woman and a man, who have a complicated relationship. Confused, they stand on a stage, surrounded by clothes. Feelings and thoughts are expressed through the movement of their bodies – and the movement of the clothes, which have a life of their own. “Departure” is the latest production of visual theatre & circus company WHS. Directed by magician and visual artist Kalle Nio, the performance brings to the stage a couple that has drifted apart from each other and is now floating in the middle of dreamlike imagery and illusions. Inspired by the work of 19th century magicians’ stage illusions, the performance creates a mysterious atmosphere where absurd humor and tragedy alternate. The piece will provide a unique theatre experience in which circus, magic, dance, clothing design and visual arts merge.


Kalle Nio je mađioničar i vizeulni umjetnik iz Helsinkija. Njegov rad temelji se na istraživanju različitih ekspresivnih mogućnosti videa i njegovih kapaciteta kad su u pitanju vrijeme i prostor. U fokusu njegovog rada je veza između magije, kinematografije i pozorišta. Diplomirao je na finskoj akademiji primjenjenih umjetnosti. Kao mađioničar, Nio se specijalizirao za osmišljavanje novih trikova i novih vrsta magije. Njegovi izumi objavljivani su u najznačajnijim stručnim mađioničarskim časopisima (npr. MAGICMagazine). 2000. godine osvojio je treće mjesto na svjetskom prvenstvu mađioničara (FISM) u kategoriji inovacija. Pored svog mađioničarskog angažmana, Nio radi i kao reditelj, animator i urednik televizijskih programa, reklama i kratkih filmova.

Igraju / Cast: Kalle Nio Vera Selene Tegelman Koreografija / Choreography: Vera Selene Tegelman Kalle Nio Kostimografija / Costume Design: Mila Moisio Kaisa Rissanen Muzika i dizajn zvuka / Music and Sound Design: Samuli Kosminen Dizajn svjetla / Light Design: Jere Mönkkönen

DIRECTOR

Kalle Nio is a magician and a visual artist from Helsinki. In his work he examines the different kinds of expression possibilities provided by video image and its capacities related to time and space. His work deals often with the connections between magic, cinema and theatre. He has graduated from The Finnish Academy of Fine Arts. As a magician Nio has specialised in developing new tricks and new kinds of magic. His inventions have been published in the most important professional magic publications such as the MAGIC-Magazine. Year 2000 he won third price in the world championships of magic (FISM) in the Inventions category. In addition to his work as a magician, Nio has worked as a director, editor and animator in TV programs, commercials and short films.

Video: Matias Boettge Kalle Nio Scenski tehničari / Stage Technicians: Mila Moisio Kaisa Rissanen Fotografija / Photography: Tom Hakala Produkcija / Production: WHS Podržali / Supported by: Les Migrateurs / Associés pour les Arts du Cirque The Finnish National Theatre Kone Foundation The Finnish Cultural Foundation Arts Promotion Centre Finland and Alfred Kordelin Foundation

PRODUKCIJA

WHS je vizuelno pozorište / savremena cirkuska skupina iz Finske. Produkcije ove grupe dale su ključni doprinos usponu novog finskog cirkusa koji je zabilježen u posljednjih deset godina. U predstavama ove grupe novi cirkus je postao moderna, nezavisna i promjenjiva ekspresivna forma koju druge umjetnosti, posebno video, upotpunjuju. U medijima su izvedbe grupe WHS nazivane avangardnim također i u širem kontekstu pozorišta i umjetnosti uopće. Te izvedbe su uvijek na samom rubu najnovijih teatarskih, ali i cirkuskih tekovina. Grupa je sa svojim predstavama posjetila više od trideset zemalja, učestvovavši na više od stotinu svjetski poznatih festivala i nastupivši u jednako toliko cirkusa, pozorišta i lutkarskih pozorišta diljem svijeta.

PRODUCTION

WHS is a visual theatre / contemporary circus group from Finland. The productions of the group have been a crucial factor behind the rise of Finnish new circus that has rapidly occurred in the past decade. In the performances of the group new circus has become a very modern, independent and continually changing form of expression, that other arts, especially video image, compliment. In the press the performances have been called avant-garde also in the larger contexts of theatre and art in general. The performances have been on the sharp edge of the latest developments of theatre as well as circus. The group has taken their performances across more than 30 countries, visiting over a hundred world-famous festivals, circuses, theatres and puppet theatres around the globe.

WORLD MESS

Režija / Direction: Kalle Nio

REDITELJ


Međunarodni centar za djecu i omladinu Novo Sarajevo 22.00 International Centre for Children and Youth Novo Sarajevo Trajanje / Running time: 90 min.

10/10/14

Japan

Međunarodni centar za djecu i omladinu Novo Sarajevo 22.00 International Centre for Children and Youth Novo Sarajevo Trajanje / Running time: 90 min.

11/10/14

TAČKE, LINIJE I KOCKA. SVIJET I OSTALI U KOCKI KOJA SIJA. DOTS, LINES AND THE CUBE. A WORLD AND THE OTHERS IN THE CUBE THAT SHINES. Jezik: japanski sa bosanskim i engleskim prijevodom Language: Japanese with Bosnian and English Subititles PREDSTAVA

2001. godine u jednom gradiću, neki čovjek je navodno ubio jednu djevojčicu. Tijelo su pronašli u jarku, a vijest je odijeknula među lokalnom omladinom. Ovaj komad daje živopisan prikaz tih dječaka i djevojčica iz 2001, potom deset godina poslije 2011, a onda i u 2013. godini, s ponekom viješću o toj minuloj svjetskoj tragediji. Autor drastično, ali ipak izvrsno reproducira događaje i sjećanja u jednom ispreturanom hronološkom formatu služeći se brojnim, naglašenim refrenima. Pomenuti refreni prizivaju i vaša sjećanja i vraćaju vas u ono vrijeme u kojem će vam se ponovo uspostaviti ideja o odnosu između pozorišta i publike.

PERFORMANCE

In a small town in 2001, a man was reported to kill a little girl. The body was found in a ditch and the news had repercussions on local young generation. This piece lively presents those boys and girls of 2001, ten years later in 2011 and in their lives of 2013 with some news of the past world tragedy. The author drastically yet exquisitely reproduces characters’ memories and events in a mixed chronological format using number of conspicuous refrains. This refrains would also call your memory and bring you back to those period of time which is promised to rebuild your idea of relationship between theatre and the audience.


Rođen 1985. u Hokkaidu. Diplomirao pozorišnu umjetnost na koledžu slobodnih vještina pri Univerzitetu J. F. Oberlin. 2007. godine osnovao je teatarsku grupu mum&gypsy za koju piše i režira sav repertoar. U njegovim djelima simbolične scene ponavljaju se u vidu “refrena” prikazanih iz različitih perspektiva likova, nalik tehnici brze izmjene scena na filmu. Njegov stil obilježen je jednom novom metodologijom koja podrazumijeva da glumci/ ice, u fazi pripreme, svoje replike dobivaju fonetski, izravno, bez odštampanog teksta. Sa samo 26 godina, Fujita je dobitnik 56. Kishida nagrade za trilogiju “Znak za povratak”, “Očekivana večera” i “Svijet posut solju” koja je prikazivana u periodu od juna do augusta 2011. U januaru 2012. godine bio je koproducent drame “Zdravo školo, doviđenja” koju su izveli srednjoškolci/ke iz Iwakija, Fukushima. Oktobar te iste godine proveo je u gradu Kitakyushu u pokrajini Fukuoka gdje je režirao predstavu “KRAJO→LIK” u izvedbi lokalnih glumaca/ica. U njegov opus mogu se još svrstati i radionice za sve uzraste bez obzira na teatarsko iskustvo, koprodukcija manga stripa “mima-mo-no-gram” u saradnji sa Machiko Kyom, te zbirka kratkih priča.

Tekst i režija / Text and Direction: Takahiro Fujita Igraju / Cast: Aya Ogiwara Shintaro Onoshima Ayumi Narita Satoshi Hasatani JitsukoMesuda Satoko Yoshida Muzika / Music: Yoshio Otani Dizajn svjetla / Light Design: Kaori Minami Dizajn zvuka / Sound Design: Rie Tsunoda Inspicijent / Stage Manager: Susumu Kumaki

DIRECTOR

Born in 1985 in Hokkaido. Majored in Theatre Arts in the Liberal Arts College of J.F. Oberlin University. In 2007, he founded the theater company mum & gypsy and he has written and directed all the works produced by the company. In his works, symbolic scenes are repeated in the form of “refrains” that are presented from different characters’perspectives, much like the technique of quickly shifting scenes in a movie. His style has been characterized by a new methodology in which he delivers lines phonetically and directly to the actors without a text at the beginning of the creation stage. Fujita won the 56th Kishida Drama Award in his age of 26 years old with trilogy of “The Signs to Return” , “Awaiting Dining Table”, “There, It is, The World to Throw Salt on” presented from June to August in 2011. In January 2012, he co-produced “Hello School, Bye Bye” with high school students in Iwaki, Fukushima. The same year in October, he stayed in Kitakyushu city in Fukuoka for a month to create “LAND → SCAPE” with local actors and staff. His recent diverse works include a workshop for all ages for with and without theatre experiences, co-produced manga “mima-mo-no-gram” with Machiko Kyo and a series of short novels.

PRODUKCIJA

mum& gypsy je teatarska grupa koja je osnovana 2007. godine za koju Takahiro Fujita piše i režira sve komade. Kinematografske metode kojima se pribjeglo u predstavi “Shabon na Koro”, a koje su imale za cilj prikazati simbolične scene sa refrenima i iz različitih uglova, privukle su dosta pažnje. Grupa je dobitnica 56. Kishida Kunio nagrade za predstavu “Svijet posut solju” koja je premijerno izvedena 2011. godine. Predstava “Tačke, linije i kocka. Svijet i ostali u kocki koja sija” 2013. godine je imala uspješnu turneju u Japanu, Italiji i Čileu.

PRODUCTION

mum & gypsy is a theatre group formed in 2007, and Takahiro Fujita writes and directs all its pieces. Using cinematic methods to show symbolic scenes with refrains and from different angles for “Shabon no Koro”, the unique directing method drew attention. Won the 56th Kishida Kunio Drama Award with “The World to Throw Salt” on that was premiered in 2011. Performance “Dots, Lines and the Cube. A World and the Others in the Cube That Shines” had a successful world tour in 2013 in Japan, Italy and Chile.

Menadžer turneje i operater titlova / Tour Manager and Subtitle Operator: Miwa Monden Menadžer trupe / Company Manager: Kana Hayashi Fotografija / Photography: Kohichi Iida Produkcija / Production: mum&gypsy Koprodukcija / Coproduction: Steep Slope Studio

WORLD MESS

REDITELJ


Njemačka, Bosna i Hercegovina, Srbija, Turska / Germany, Bosnia and Herzegovina, Serbia, Turkey

Sarajevski ratni teatar 20.00 Sarajevo War Theater Trajanje / Running time: 100 min.

11/10/14

BOJNO POLJE SJEĆANJA BATTLEFIELD MEMORY

Jezik: bosanski, njemački, engleski i srpski Language: Bosnian, German, English and Serbian PREDSTAVA

Kada neko pomisli na Prvi svjetski rat u Njemačkoj, referentne tačke su prvenstveno bojna polja zapadnog fronta. Schlachtfeld Erinnerung 1914/2014 (Bojno polje sjećanja 1914/2014) mijenja ovu perspektivu i istražuje različite nacionalne historiografije u Jugoslaviji, kasnije u Srbiji i Bosni i Hercegovini, kao i u Turskoj, Njemačkoj i Austriji. Šta je to što ostaje upamćeno, i gdje i kako? Kakve se slike neprijatelja konstruišu, a sa kakvim se likovima identifikuje? Koje su uloge odigrali u nedavnom ratu u bivšoj Jugoslaviji? Režiser Hans-Werner Kroesinger i filmska stvarateljka Regine Dura proveli su istraživanje koje je finansirao Goethe-Institut u Beogradu, Istanbulu i Sarajevu. Svjetska premijera u teatru HAU Hebbel am Ufer uspoređuje tekstove pronađene u sklopu ovog istraživanja u Sarajevu, Beogradu i Istanbulu: historijske novinske članke, vojne izvještaje, putne vodiče, lična sjećanja. Izvođači iz gore pobrojanih stanica se pojavljuju u ulozi trgovačkih putnika međusobno se natječući u nuđenju različitih historijskih tumačenja. Da li je napad na prijestolonasljednika Austro-Ugarske Franz Ferdinanda bio teroristički ili revolucionaran čin? I da li je napadač Gavrilo Princip ekstremista ili heroj? Koji je istinski cilj saveza između Njemačke i Osmanskog carstva? Na osnovu svojih iskustava nastalih u prezentacijama radionica režiser, režiserka i izvođači postavljaju i druga pitanja: na koji način kontekst mijenja značenje dokumenta? Šta nam različite verzije historije govore o sadašnjosti? Koja je svrha ovih različitih priča?

PERFORMANCE

When one thinks about the First World War in Germany, the reference points are primarily the battlefields on the Western Front. Schlachtfeld Erinnerung 1914/2014 (Battlefield of Memory 1914/2014) changes the viewpoint, examining the different national historiographies in Yugoslavia, later Serbia, Bosnia and Herzegovina, as well as in Turkey, Germany and Austria. What is remembered where and how? What images of the enemy get constructed, and what figures of identification? What role did these play in the recent way in the former Yugoslavia? Director Hans-Werner Kroesinger and filmmaker Regine Dura conducted research commissioned by the Goethe Institutes in Belgrade, Istanbul and Sarajevo. The world premiere at HAU Hebbel am Ufer compares the research materials acquired in Sarajevo, Belgrade and Istanbul with one another–historical newspaper articles, military reports, travel guides, person memories. The performers from the previous stations appear as competing traveling salespeople in matters of historical interpretation. Is the attack on the Austro-Hungarian heir apparent Franz Ferdinand viewed as a terrorist act or as a revolutionary one? And is the attacker Gavrilo Princip an extremist or a hero? What was the real purpose of the alliance between Germany and the Ottoman Empire? Based on their experiences in workshop performances, directors and performers ask other questions: How does the context alter the meaning of a document? What do the various versions of history say about the present? What is the objective behind each of the narratives?


Hans-Werner Kroesinger rođen je u Bonu 1962. Od 1983. do 1988. studira dramaturgiju, teatarsku umjetnost i medije na Institutu za primijenjenu dramsku umjetnost u Giesenu sa Andrzej Wirthom i Hans-Thies Lehmannom. Tokom studija radi kao dramaturg i asistent Robert Wilsonu. Angažovan je na Wilsonovom “Hamletmaschine” u New Yorku, “Salome” u Mailandu i “The Forest” u Berlinu. Godine 1989. postaje umjetnički saradnik Heinera Müllera na produkciji “Hamlet/Hamletmaschine” u pozorištu Deutsche Theater Berlin. Njegove produkcije prikazane su u velikom broju pozorišta od 1993. pa nadalje: Berliner Ensemble, Staatstheater Stuttgart, Bayrische Staatschauspiel i Maxim Gorki Theater Berlin. Kroesingerove predstave odigrane su i na mnogim nezavisnim scenama kao što su: HAU Hebbel am Ufer, Sophiensaelen, Radialsystem, Staatsbank i Podewil Berlin, FFT Düsseldorf, Festspielhaus Dresden-Hellerau i Theaterhaus Gessnerallee Zürich. Njegova djela izvedena su na poznatim nacionalnim i internacionalnim festivalima poput Politik im freien Theater (Hamburg 2003), Cultura Nova (Herleen 2008) i Impulse (NRW 2009). Godine 2007. osvaja nagradu Brüder-Grimm-Preis des Landes Berlin za svoju predstavu namijenjenu omladini “Kindertransporte” u Berliner Theater an der Parkaue, a 2012. radi kao gostujući predavač na Univerzitetu Ruhr Bochum na predmetu scensko pisanje. Njegove najnovije produkcije u HAU su “Feldpost 2012”, “Wellenartillerie Telefunken”, “Darfur – Mission Incomplete”, “CAPITALPolitics” i “Ruanda Revisited”.

Hans-Werner Kroesinger was born in Bonn in 1962 and studied Drama, Theater and Media from 1983 until 1988 at the Institute for Applied Drama in Gießen with Andrzej Wirth and Hans-Thies Lehmann. During his studies he worked as Robert Wilson’s assistant and dramaturg for two years. He was involved in Wilson’s “Hamletmaschine” in New York, “Salome” in Mailand and “The Forest” in Berlin. In 1989 he became the artistic collaborator of Heiner Müller for the production “Hamlet/Hamletmaschine” at the Deutsche Theater Berlin. His own productions have been shown in numerous theatres since 1993, for example the Berliner Ensemble, the Staatstheater Stuttgart, the Bayrische Staatschauspiel or the Maxim Gorki Theater Berlin. Kroesinger’s plays have also been shown on many stages of the free scene such as the HAU Hebbel am Ufer, the Sophiensaelen, at the Radialsystem, at theStaatsbank and at Podewil Berlin, at the FFT Düsseldorf, at Festspielhaus Dresden-Hellerau and the Theaterhaus Gessnerallee Zürich. His works have been invited to renowned national and international festivals such as Politik im freien Theater (Hamburg 2003), Cultura Nova (Herleen 2008) or Impulse (NRW 2009). In 2007 he obtained the Brüder-Grimm-Preis des Landes Berlin for his youth play “Kindertransporte” at the Berliner Theater an der Parkaue. In 2012 he was a guest lecturer at the Ruhr University Bochum for “Scenic Writing”. His latest productions at HAU were: “Feldpost 2012”, “Wellenartillerie Telefunken”, “Darfur – Mission Incomplete”, “CAPITALPolitics” and “Ruanda Revisited”.

Sa svoje tri pozornice, HAU1, HAU2 i HAU3, HAU Hebbel am Ufer predstavlja savremene umjetničke tokove na raskršću teatra, plesa i performansa. Pored toga, ključni dio programa su također i muzika, vizualna umjetnost i javne diskusije. U nacionalnom i internacionalnom kontekstu, HAU – pod umjetničkim vodstvom Annemie Vanackare, koja vodi teatar od septembra 2012 – je jedna od najvažnijih pozornica za međunarodne koprodukcije i putujuće pozorišne trupe, kao i za projekte lokalne i (inter) nacionalne plesne i teatarske scene. Njeguje se redovna i dugoročna saradnja koreografa/kinja iz Berlina i svih dijelova svijeta. HAU Hebbel am Ufer je dio evropske mreže House on Fire i DÉPARTS. Nadalje, HAU svake godine organizuje Tanz im August, koji je jedan od najpoznatijih plesnih festivala u Evropi.

Igraju / Cast: Benjamin Bajramović Damjan Kecojević Lajos Talamonti Armin Wieser Dramaturgija i “Otvoreni prostori” / Dramaturgy and “Open Spaces”: Regine Dura Scenografija i kostimografija / Stage and Costume Design: Valerie von Stillfried Izložba i scenografija / Exhibition and Stage Design: Dominik von Stillfried Zvuk / Sound: Daniel Dorsch

DIRECTOR

PRODUKCIJA

Režija / Direction: Hans-Werner Kroesinger

WORLD MESS

REDITELJ

Dizajn svjetla / Light Design: Thomas Schmidt Asistent reditelja / Assistant Director: Gregor Schuster Pomoćnica za opremu / Equipment Assistant: Doreen Back Fotografija / Photography: David Baltzer / Zenit Produkcija / Production: David Baltzer / Zenit Koprodukcija / Coproduction: Goethe-Institut HAU Hebbel am Ufer Centar za kulturnu dekontaminaciju SARTR

PRODUCTION

With its three stages, HAU1, HAU2 and HAU3, HAU Hebbel am Ufer stands for current artistic positions at the interface of theatre, dance and performance. Additionally, music, visual arts, and public discussions are also essential components oft the programme. Both in national and international contexts, HAU – under the artistic direction of Annemie Vanackere since September 2012 – is one of the most significant stages for international co-productions and touring companies as well as projects by the local and (inter)national dance and theatre scene. Long-term and regular collaboration is fostered with both Berliners and choreographers from all over the world. HAU Hebbel am Ufer is part of the European networks House on Fire and DÉPARTS. Furthermore, HAU annually organises Tanz im August, one of the most renowned dance festivals in Europe.

1914


Bosna i Hercegovina / Bosnia and Herzegovina

Akademija scenskih umjetnosti 16.00 Academy of Performing Arts Trajanje / Running time: cca 60 min.

12/10/14

IVOR MARTINIĆ

DRAMA O MIRJANI I OVIMA OKO NJE A PLAY ABOUT MIRJANA AND THOSE AROUND HER Jezik: bosanski sa engleskim prijevodom Language: Bosnian with English translation PREDSTAVA

“Drama o Mirjani i ovima oko nje” je ispitna predstava studenata/tica treće godine glume u klasi profesora Ermina Brave i više asistentice Džane Pinjo. Autor drame Ivor Martinić kaže da se drama bavi pitanjima: “Ko smo mi? Jesmo li mi samo ono što smo u odnosu s drugim ljudima, a onda smo mi ono što su ti ljudi oko nas.” Mirjana je, kao i svi oko nje, utopljena u apatičnost i rutinu svakodnevnog života. Svi se bave stvaranjem slike o životu, a niko ga zapravo ne živi. Žive u zajednici, ali ipak svako za sebe. Od suočavanja sa svojim životima bježe. Pristaju na mehanizaciju svakodnevnog niza rituala po ustaljenom i nametnutom rasporedu, koje obavljaju tek da bi se smatrali živima, a što za posljedicu ima zaboravljanje umijeća komunikacije sa dragim bićima. Upoznajemo Mirjanu i ljude iz njenog života. Međusobno ih veže osjećaj nedostatka suštinskog, više nego međusobne veze. Mjesto radnje predstave je kupatilo, gdje smo svi obično najinitmniji i najranjiviji. Gledatelji/ce svoja privatna osjećanja zebnje i nedostaka nečeg bitnog iz svojih života mogu lako projektovati u junake/inje i tako izvući na površinu ono skriveno.

PERFORMANCE

“A Play about Mirjana and Those around Her” is an exam performance for the third year students in the class of Ermin Bravo, Associate Professor and Džana Pinjo, Senior Assistant. The author of the play, Ivor Martinić, says that it deals with the following questions: “Who are we? Are we only what we are in relationship with other people? If so, we are what people around us are.” Mirjana is like everyone else around her: drowned in the apathy and the rutine of everyday life. Everyone is trying to make an image of life and no one is actually living it. They live in a community, but in reality, they live for themselves only. They escape facing their lives. They are fine with the mechanical everyday rituals played according to the settled, imposed schedule, only to be formally alive, which results in losing the ability to communicate with their loved ones. We meet Mirjana and the people in her life. They all feel the lack of something quintessential, rather than the relationship between them. The play takes place in a bathroom, that place where we are most intimate and most vulnerable. The audience can easily project their feelings of anxiety and of missing something important on life on the play’s characters and find out the missing pieces of the puzzle.


Rođen je u Splitu 1984. godine. Godine 2003. upisao je dramaturgiju na Akademiji dramske umjetnosti u Zagrebu. Od 2005. radi kao dramaturg i autor adaptacija na produkcijama u Dječjem kazalištu Dubrava, kazališu Mala scena, Teatru &TD, na Eurokazu, na Riječkim ljetnim noćima i u ZKM-u. Često surađuje s Hrvatskim radijem u čijem su dramskom programu izvedene sve njegove drame. Godine 2005. dobija nagradu Marin Držić Ministarstva kulture Republike Hrvatske za dramu “Jednostavno: (nesretni)”. Za dramu “Ovdje piše naslov drame o Anti” dobio nagradu Fabrique et Croatie društva REZ i nagradu Mali Marulić Festivala hrvatske drame za djecu. Drama je praizvedena u Gradskom kazalištu mladih u Splitu u režiji Ivice Šimića u svibnju 2009. “Drama o Mirjani i ovima oko nje” praizvedena je u febrauru 2010. u Jugoslovenskom dramskom pozorištu u režiji Ive Milošević. Ista drama postavljena je i u Mestnom gledališču ljubljanskom u režiji Dušana Jovanovića i Hrvatskom narodnom kazalištu u režiji Anje Maksić Japundžić. Drame su mu prevedene na engleski, francuski, njemački, bugarski, norveški, portugalski, slovenski, italijanski i španjolski jezik, a neki od prijevoda su i objavljeni. Jedan je od osnivača web portala hrvatske drame Drame.hr. U sezoni 2010/11. u Zagrebačkom kazalištu mladih je napravio adaptaciju bajke “Ružno pače” H.C. Andersena za istoimenu produkciju, u režiji Roberta Waltla.

AUTHOR

Born in Split in 1984. In 2003 he enrolled at the Academy of Dramatic Arts in Zagreb to study dramaturgy. Since 2005 has been working as a dramaturge and author of adaptations for productions at the Children’s Theatre Dubrava, Little Stage Theatre, Theatre & TD, Eurokaz, at the Summer Nights in Rijeka and in ZKM. Often collaborates with the Croatian Radio, in whose dramatic programmes all his plays have been performed. In 2005 he received the Marin Držić award for the play “Simply: (Unhappy)”. For the play “Here Stands Title of the Play about Ante” he received the Fabriqué et Croatie award from the society REZ, and the Mali Marulić award at the Festival of Croatian Drama for the Children. The play pre-premiered at the Split Youth City Theatre in May in 2009, and was directed by Ivica Šimić. “The Play About Mirjana and Those Around Her” premiered at the Yugoslav Drama Theatre, directed by Iva Milošević (the performance was shown in the competitive selection of Sterijino Pozorje 2010). This text was staged at the Ljubljana City Theatre, under the direction of Dušan Jovanović, and at the Croatian National Theatre in Zagreb, under the direction of Anja Maksić Japundžić. Martinić’s plays have been translated to English, French, German, Bulgarian, Norwegian, Portuguese, Slovenian, Italian and Spanish, and some of those translations have been published. He is one of the founders of the Croatian drama web site Drame.hr. In the 2010-2011 season at the Zagreb Youth Theater he adapted the H.C. Andersen fairy tale “The Ugly Duckling”, directed by Robert Waltl.

PRODUKCIJA

Akademija scenskih umjetnosti Sarajevo je počela sa radom 1981. godine, kada je upisala prvu generaciju studenata/ica na Odsjeku za glumu. Potom je uslijedilo otvaranje Odsjeka za režiju (1989), a u ratnoj 1994. godini pokrenut je Odsjek za dramaturgiju. Bitan segment rada Akademije ostvaruje se na Otvorenoj sceni Obala, kultnom sarajevskom pozorištu, gdje se studenti/ ice predstavljaju svojim radovima, ali gdje i profesionalni glumci/ce, reditelji/ ce i pisci/spisateljice svojim radom obogaćuju teatarski život Sarajeva i Bosne i Hercegovine.

PRODUCTION

Academy of Performing Arts Sarajevo began its work in 1981, when the first generation of students enrolled in the Department of Acting. This was followed by the opening of the Department of Directing (1989), and in 1994, during the war, the Department of Dramaturgy was created. An important segment of the Academy’s work is staged on the Obala Open Scene, a legendary Sarajevo theater, where students present their work, and where professional actors, directors, and writers, through their work, enrich the theatrical life of Sarajevo and Bosnia and Herzegovina.

Tekst / Text: IVOR MARTINIĆ Mentor/ica / Mentors: ERMIN BRAVO DŽANA PINJO Igraju / Cast: Dina Mušanović Anđela Kusić Mirjana Đan Dino Sarija Nadia Cvitanović Aleš Kranjec Mia Čotić Marko Braić Dizajn svjetla / Light Design: OSMAN ARSLANAGIĆ Tehničari svjetla i zvuka / Light and Sound Tehnicians: RUSMIR EFENDIĆ adMIR šatara Dizajn plakata / Poster Design: NIRVANA ŽIŠKO Produkcija / Production: Akademija scenskih umjetnosti Sarajevo

FUTURE MESS IYMT / BALKAN (CON)TEXT

AUTOR


*Ovaj naziv ne dovodi u pitanje status Kosova i u skladu je s Rezolucijom 1244 i odlukom ICC-a o kosovskoj Deklaraciji o neovisnosti *This label does not prejudge the status of Kosovo and is in accordance with Resolution 1244 an the opinion of ICJ on Kosovo’s declaration of independence

Ujedinjeno Kraljevstvo, Bosna i Hercegovina, *Kosovo / United Kingdom, Bosnia and Herzegovina, *Kosovo

Sarajevski ratni teatar 18.00 Sarajevo War Theater Trajanje / Running time: 75 min.

12/10/14

BOLERO

Jezik: bosanski i engleski sa bosanskim i engleskim prijevodom Language: Bosnian and English with Bosnian and English subtitles PREDSTAVA

“Bolero” je realiziran u koprodukciji Sarajevskog ratnog teatra, Nottingham Playhouse-a iz Nottinghama i Oda Teatra iz Prištine. Originalni koncept projekta potpisuje Michael Pinchbeck, pisac, live artist i umjetnik performansa iz Nottinghama, koji je na ovom projektu okupio internacionalnu ekipu. Partner projekta je British Council Bosne i Hercegovine. Ovaj projekat finansira Evropska unija. Francuski kompozitor Maurice Ravel je 1928. godine u Parizu napisao orkestarsko djelo “Bolero”. 1984. godine britanski olimpijci u umjetničkom klizanju Jayne Torvill i Christopher Dean su izveli svoju tačku plešući uz muziku “Bolera” na Zimskim olimpijskim igrama u Sarajevu. Jayne i Christopher su upravo u Sarajevu postali klizački par koji je dobio najveće ocjene u historiji umjetničkog klizanja. Osam godina kasnije sportska dvorana u kojoj su nastupali je granatirana. Radeći sa muzikom kao mostom koji povezuje ove dvije priče, Michael Pinchbeck polazi na put od Pariza do Sarajeva, od 1928. do 1984, od Zimskih olimpijskih igara do bosanskog rata. “Bolero” istražuje stvaranje muzike i stvaranje historije uz tu muziku, sa osvrtom na to kako je u Sarajevu olimpijska slava nekoliko godina kasnije prekrivena krvlju. Radi se o zaplitanju i rasplitanju kulturne i političke historije koja nikoga ne može ostaviti ravnodušnim. Projekat polazi na konceptualno putovanje od kreativnosti do propadanja, od kompozicije do konflikta, da bi odgovorio na strukturu Ravelove muzike i koreografiju plesne tačke na ledu.

PERFORMANCE

“Bolero” is realized in co-production of the Sarajevo War Theatre, Nottingham Playhouse from Nottingham, and ODA Theatre in Pristina. The author of the project’s original concept is Michael Pinchbeck, a writer, and live and performance artist from Nottingham, who brought together an international team for this project. Project partner is the British Council in Bosnia and Herzegovina. In 1928 in Paris, French composer Maurice Ravel wrote the orchestral piece “Bolero”. At the Winter Olympics in Sarajevo in 1984, British Olympians in figure skating, Jayne Torvill and Christopher Dean, performed their set dancing to the music of “Bolero”. In Sarajevo, Jayne and Christopher became the highest scoring duo in the history of figure skating. Eight years later, the sports hall in which they performed was shelled. Working with music as the bridge that connects these two stories, Michael Pinchbeck departs on a journey from Paris to Sarajevo, from 1928 to 1984, to Winter Olympics, to the Bosnian War. “Bolero” explores the creation of music and making history with this music, looking back on how the glory of the Sarajevo Olympics was covered in blood a few years later. It is about the intertwining and unfolding of cultural and political history that leaves no one indifferent. The project embarks on a conceptual journey from creativity to deterioration, from the composition to the conflict, in order to respond to the structure of Ravel’s music and the choreography of the dance numbers on ice.


Michael Pinchbeck je pisac, live artist i teatarski autor koji živi u Nottinghamu (UK). Posvećen je osobnim i snažnim pričama. Uvijek pokušava pronaći inovativne strukture za oblikovanje originalnih i riskantnih naracija. Priča priče koje spajaju razna vremena i mjesta, uvezujući ih u jednu dinamičnu naraciju. Michael je studirao teatar i kreativno pisanje na Univerzitetu u Lancasteru. Suosnivač je teatarske skupine Metro-Boulot-Dodo 1996. godine. Napisao je dvije predstave za Nottingham Playhouse: “Bijeli album” (2006) i “Pepeo” (2011). 2012. godine bio je kreativni ambasador festivala World Event Young Artists u Nottinghamu. Michael je trenutačno na turneji trilogije izvedbi inspiriranih Shakespeareovim dramama: “Početak”, “Sredina” i “Kraj”. Njegova djela su tri puta odabrana za Edinburgh Showcase British Council-a. Michael Pinchbeck je završio magistarske studije iz scenske umjetnosti i live art-a na Nottingham Trent Univerzitetu, a na Loughborough Univerzitetu trenutno privodi kraju doktorski studij u sklopu kojeg istražuje ulogu dramaturga u suvremenom teatru. Michael je jedan od direktora Hatch-a, live art platforme za regiju East Midlands. Predaje dramu na Univerzitetu u Lincolnu. Pisao je o dramaturgiji za Dance Theatre Journal, Studies in Theatre and Performance i Contemporary Theatre Review.

Michael Pinchbeck is a writer, live artist and theatre maker based in Nottingham (UK). He is committed to telling stories that are personal and powerful. He aims to find innovative structures to scaffold those stories that are original and risk-taking. He tells stories that take place across time and space and weaves together these different threads into a dynamic narrative. Michael studied Theatre and Creative Writing at Lancaster University and co-founded Metro-Boulot-Dodo Theatre Company in 1996. He has written two plays for Nottingham Playhouse: “The White Album” (2006) and “The Ashes” (2011). In 2012, he was a creative ambassador for World Event Young Artists in Nottingham. Michael is currently touring a trilogy of devised performances inspired by Shakespeare plays: “The Beginning”, “The Middle” and “The End”. His devised work has been selected for the British Council’s Edinburgh Showcase three times. He has an MA in Performance and Live Art from Nottingham Trent University and is currently finishing a PhD at Loughborough University exploring the role of the dramaturge in contemporary performance. Michael is a co-director of Hatch, a live art platform in the East Midlands, and lectures in drama at the University of Lincoln. He has written on dramaturgy for Dance Theatre Journal, Studies in Theatre and Performance and Contemporary Theatre Review.

Smješten u samom srcu Nottinghama, teatar Nottingham Playhouse nudi širok repertoar drama, muzike, plesa, komedije, i naravno, legendarne Nottingham Playhouse pantomime. Od svog osnivanja 1948. godine, Nottingham Playhouse jedna je od vodećih teatarskih kuća u Ujedinjenom Kraljevstvu. Iako sa svojim predstavama nastupa u zemlji i inostranstvu, Playhouse ostaje duboko ukorijenjen u svom treptavom, rodnom gradu u kojem njegova prostrana, modernistička zgrada u čijem predvorju se nalazi “Nebesko ogledalo” Anisha Kapoora, predstavlja jednu od najpopularnijih znamenitosti regije. Pod vodstvom umjetničkog direktora Gilesa Crofta i generalne direktorice Stephanie Sirr, Playhouse uživa međunarodnu reputaciju. Nezavisni teatar ODA osnovan je krajem 2002. godine na inicijativu glumca Liraka Çelaja i reditelja Florenta Mehmetija. 1. marta 2003. teatar se prvi put predstavio predstavom “Vaginini monolozi”. 5. januara 2004. godine ODA teatar otvorio je vrata svoje zgrade (jedini teatar ove vrste na Kosovu), u kojoj do danas radi. ODA teatar je jedini nezavisni teatar na Kosovu koji ima vlastite prostorije. Pored sopstvenih produkcija, na sceni ODA teatra nastupaju i gostujuće kompanije, ne samo sa Kosova, već i iz Albanije, Makedonije i ostalih zemalja Balkana, Evrope i Sjedinjenih Američkih Država. ODA je nezavisna organizacja posvećena profesionalnom razvoju teatarske umjetnosti koja podstiče stvaranje veza sa ostalim vidovima umjetnosti i gradi jake umjetničke i kulturne temelje za buduće generacije. ODA teatar je odlučan u svojoj namjeri da da svoj doprinos u jačanju kulturnog sektora u društvu i da snažno utječe na izgradnju demokratskog i otvorenog Kosova. Sarajevski ratni teatar SARTR utemeljen je 17. maja 1992. godine na inicijativu reditelja Dubravka Bibanovića i Gradimira Gojera, ing. Đorđa Mačkića i pisca Safeta Plakala, a okupio je glumce/ice i ine saradnike/ce iz tri profesionalna sarajevska teatra koja su, zbog agresije na Bosnu i Hercegovinu, morala obustaviti svoj rad. U augustu 1992. SARTR je konstituiran kao vojna jedinica pri Regionalnom štabu Oružanih snaga BiH Sarajevo, a 12. januara 1993. godine Odlukom Ratnog Predsjedništva Skupštine grada Sarajeva kao javna ustanova iz oblasti kulture od posebnog interesa za odbranu grada. Odlukom Skupštine Kantona Sarajevo od 24. jula 1997. ulogu osnivača SARTR-a preuzeo je Kanton Sarajevo. Godine 2003. Sarajevski ratni teatar SARTR je dobio Šestoaprilsku nagradu Grada Sarajeva. Predstave SARTR-a su višestruko nagrađivane.

Dramaturgija / Dramaturgy: Florent Mehmeti Inspicijentica / Stage Manager: Anneke van de STEGE Fotografija / Photography: VELIJA HASANBEGOVIĆ

DIRECTOR

PRODUKCIJA

Razvili i igraju / Developed by and Cast: Michael Pinchbeck Vera Molitor Nicki Hobday Ollie Smith Benjamin Bajramović Jasenko Pašić Amila Terzimehić

PRODUCTION Situated in Nottingham city centre, Nottingham Playhouse puts on a wide variety of drama, music, dance, comedy and, of course, the legendary Nottingham Playhouse pantomime. Nottingham Playhouse has been one of the United Kingdom’s leading producing theatres since its foundation in 1948. Touring work nationally and internationally, the Playhouse remains firmly rooted in its vibrant home city, where its spacious modernist building – fronted by Anish Kapoor’s “Sky Mirror” – is one of the region’s most popular landmarks. Under the leadership of Artistic Director Giles Croft and Chief Executive Stephanie Sirr, the Playhouse enjoys an international profile. The Independent ODA Theatre was founded at the end of 2002 through the initiative of actor Lirak Çelaj and director Florent Mehmeti. On March 1st, 2003, it was promoted through its first play, the “Vagina Monologues”. On January 5th, 2004, ODA Theatre promoted its facilities (the only of its kind in Kosovo), where it continues to work today. ODA Theatre is the only independent theatre in Kosovo with its own space. Beside its own productions, ODA Theatre has had, and will continue to have on its stage guest theatre companies, not only from Kosovo, but also from Albania, Macedonia, and other Balkan countries, Europe, and USA. ODA is an independent organization committed to professional development of the theatrical art, encouraging interrelations with other arts, building strong arts and culture foundations for coming generations. ODA is determined to play its role in strengthening the cultural sector in the society and powerfully influence building of a democratic and open Kosovo. Sarajevo War Theatre SARTR was established on 17 May 1992 at the initiative of the directors Dubravka Bibanović and Gradimir Gojer, eng. Đorđe Mačkić, and writer Safet Plakalo, bringing together actors and various associates of three professional Sarajevo theatres which, because of the aggression against Bosnia and Herzegovina, had to suspend their work. In August 1992, SARTR was constituted as a military unit at the Regional Headquarters of the Armed Forces of Bosnia and Herzegovina in Sarajevo, and on January 12th, 1993, by a Decree of the War Presidency of the Assembly of Sarajevo, it was instated as a public institution in the field of culture of particular interest to the defence of the city. By the Decision of the Sarajevo Canton Assembly on July 24th, 1997, the Sarajevo Canton assumed the role of the founder of SARTR. In 2003, Sarajevo War Theatre SARTR received the Sixth of April Award. SARTR’s performances won multiple awards.

Bolero je dio Connecting Creatively – Connecting Theatres projekta. Ovaj projekt implementira British Council u suradnji s lokalnim i međunarodnim partnerima, a finanSira Europska unija unutar Fondacije “Sarajevo, Srce EVrope” u sklopu obilježavanja stogodišnjice početka Prvog svjetskog rata. Bolero is a part of the Connecting Creatively – Connecting Theatres project. This project is implemented by the British Council in cooperation with local and international partners and supported by the European Union within the “Sarajevo, Heart of Europe” foundation marking the centenary of the beginning of World War I.

This project is funded by the European Union. Ovaj projekt financira Europska unija.

The contents of this publication are the sole responsibility of MESS Festival and can in no way be taken to reflect the views of the European Union. Sadržaj ove publikacije je isključiva odgovornost festivala MESS i ni u kom slučaju ne predstavlja stanovišta Europske unije.

FUTURE MESS IYMT

Režija / Direction: Michael Pinchbeck

REDITELJ


Belgija / Belgium

Narodno pozorište Sarajevo 20.00 National Theater Sarajevo Trajanje / Running time: cca 120 min.

12/10/14

SAMO ZA SARAJEVO (VRIJEME IZMEĐU DVIJE GREŠKE) JUST FOR SARAJEVO (THE TIME BETWEEN TWO MISTAKES) Jezik / Language: no problem PREDSTAVA

Kultna (teatarska) kompanija Needcompany prezentira predstavu posebno kreiranu za Festival MESS. “Samo za Sarajevo (Vrijeme između dvije greške)” naziv je jedinstvene predstave Grace Ellen Barkey, Jana Lauwersa and Needcompany-a specijalno kreiranu za zatvaranje festivala. Od sredine osamdesetih godina, flamanski umjetnik Jan Lauwers i Needcompany, čiji je Jan i osnivač, razvili su jedinstveno estetsko istraživanje, koje ukrštava izraze različitih disciplina: ples, teatar, vizuelne umjetnosti, muziku i film. Ukoliko priroda teži Kaosu, Umjetnost tada kreira protutezu ovom entropičnom impulsu. “Poslije rata i kanibalizma, umjetnost je najhisteričniji način civilizacijskog izražaja”, riječi su Jana Lauwersa. Ljepota je davna čežnja naših predaka, ružnoća je simptom siromašnih misli. Sve ono što ne želimo podijeliti je bezvrijedno. Prikazujemo slike koje nemaju neposredna objašnjenja, zamišljene od grupe ljudi koji su sposobni da kreiraju, dok drugi to nisu u stanju. Ne znamo nikada kakav će biti konačni ishod, ili kakav bi trebao biti. “Samo za Sarajevo (Vrijeme između dvije greške)” je proslava, praznik sjećanja na proslavu, jedan praznik beskrajno posvećen budućnosti.

PERFORMANCE

A renowned (theatre) company Needcompany presents a performance especially created for the MESS Festival. “Just for Sarajevo (The Time between Two Mistakes)” is the title of a unique evening by Grace Ellen Barkey, Jan Lauwers and Needcompany, specially conceived for the Festival’s closure. From the mid-80’s onwards, Flemish artist Jan Lauwers and Needcompany (Lauwers is a co-founder) have developed a unique aesthetic research employing different artistic forms - dance, theatre, visual arts, music and film. Whereas nature aspires to chaos, art aspires to counterbalance this entropic impulse. “After war and cannibalism, art is the most hysterical expression of civilisation. Beauty is a pristine aspiration of our ancestors, ugliness is a lack of thought. Anything we do not want to share is worthless. We show images that do not explain themselves and are made by a group of people who do something that other groups of people are unable to do. We never know what the final result will or should be. “Just for Sarajevo (The Time between Two Mistakes)” is a celebration, a celebration of the memory of a celebration, an endless celebration of the future.


REDITELJ

Jan Lauwers (Antwerp, 1957) je umjetnik koji djeluje u skoro svakom mediju. U posljednjih dvadeset godina najviše se proslavio svojim scenskim radom za teatarsku kuću Needcompany koja je osnovana u Briselu 1986. godine. Od 2009. godine, umjetnička rezidencija grupe Needcompany je pozorište Burgtheater u Beču. Vremenom je Lauwers prikupio i značajan opus umjetničkih djela koja su bila izložena u BOZAR centru 2007. godine. Jan Lauwers nosilac je “Zlatnog ordena časti za zasluge prema Republici Austriji” (2012). Jan Lauwers studirao je slikarstvo na Umjetničkoj akademiji u Gentu. Krajem 1979. godine oko sebe je okupio nekolicinu ljudi i osnovao grupu Epigonenensamble. Ova grupa je 1981. godine preimenovana u Epigonentheater zlv, a pozorišni svijet je osvojila sa svojih šest predstava. Tako je Jan Lauwers početkom osamdesetih zauzeo svoje mjesto u pokretu za radikalne promjene u Flandriji i dospio na međunarodnu scenu. Epigonentheater zlv zagovara jedan direktan, konkretan i izrazito vizuelan teatar koji muziku i jezik koristi kao svoje strukturalne elemente. Jan Lauwers je raspustio ovu grupu i osnovao Needcompany 1986. godine.

Sa / With: Grace Ellen Barkey Hans Petter Dahl Benoît Gob Anneke Bonnema Maarten Seghers Mohamed Toukabri Jan Lauwers Lot Lemm Elke Janssens Sung-Im Her Julien Faure Jules Beckman Romy Louise Lauwers Rombout Willems et.al. Muzika / Music: Maarten Seghers Hans Petter Dahl Rombout Willems Kostimi / Costumes: Lot Lemm

DIRECTOR

Jan Lauwers (Antwerp, 1957) is an artist who works in just about every medium. Over the last twenty years he has become best known for his pioneering work for the stage with Needcompany, which was founded in Brussels in 1986. Needcompany has been artist-inresidence at the Burgtheater in Vienna since 2009. Over the years he has also built up a substantial body of art work which was shown in an exhibition at BOZAR (Brussels) in 2007. Jan Lauwers is awarded with the “Decoration of Honour in Gold for Services to the Republic Austria” (2012). Jan Lauwers studied painting at the Academy of Art in Ghent. At the end of 1979 he gathers round him a number of people to form the Epigonenensemble. In 1981 this group is transformed into the Epigonentheater zlv collective which takes the theatre-world by surprise with its six stage productions. In this way Jan Lauwers takes his place in the movement for radical change in Flanders in the early ‘80, and makes his international breakthrough. Epigonentheater zlv presents direct, concrete, highly visual theatre that uses music and language as structuring elements. Jan Lauwers disbands this collective and founds Needcompany in 1986.

Video: Jan Lauwers Benoît Menadžer produkcije / Production Manager: Chris Vanneste Direktorica tehnike / Technical Manager: Marjolein Demey Zvuk / Sound: Bart Aga Fotografija / Photography: Jan Lauwers Produkcija / Production: Needcompany

PRODUKCIJA

Needcompany je umjetnička kompanija koju su 1986. godine osnovali reditelj i umjetnik Jan Lauwers i koreografkinja Grace Ellen Barkey. Njih dvoje čine okosnicu kompanije koja obuhvata sve njihove umjetničke napore: teatar, ples, performans, vizuelnu umjetnost, književnost, muziku, film itd. Od samog početka, Needcompany se predstavlja kao jedna međunarodna, višejezična, inovativna i multidisciplinarna kompanija. Njena svestranost najbolje se ogleda u samom ansamblu kojeg u prosjeku sačinjavaju umjetnici/e sedam različitih nacionalnosti.

PRODUCTION

Needcompany is an artists’ company set up by the theatre-maker and artist Jan Lauwers and the choreographer Grace Ellen Barkey in 1986. They form the core of the company, and it embraces all their artistic work: theatre, dance, performance, visual art, writing, music, film etc. Since the very beginning, Needcompany has presented itself as an international, multilingual, innovative and multidisciplinary company. This diversity is reflected best in the ensemble itself, in which on average 7 different nationalities are represented.

Uz podršku flamanskih vlasti / With the support of the Flemish authorities

WORLD MESS

Koncept / Concept: Grace Ellen Barkey Jan Lauwers


Ujedinjeno Kraljevstvo, Portugal / United Kingdom, Portugal

Kamerni teatar ‘55 22.00 Chamber Theater ‘55 Trajanje / Running time: 70 min.

12/10/14

ŠTA SAM ČUO O SVIJETU What I Heard About the World

Jezik: engleski sa bosanskim prijevodom Language: English with Bosnian translation PREDSTAVA

Ima jedno mjesto gdje svoje grijehe ispovijedate govornoj pošti. Ima jedno mjesto gdje na CD-u možete kupiti lijek za usamljenost. Ima jedno mjesto gdje možete unajmiti strance/kinje da vam plaču na sahrani. Ima jedno mjesto gdje se sluša radio stanica koja emituje tišinu. Ima jedno mjesto gdje postoji samo pet zvaničnih muških frizura. Ima jedno mjesto gdje, ako su vam tatu poslali u vojsku, pošalju vam njegovu izrezanu sliku u prirodnoj veličini da vam pravi društvo. Teatarski komad sa pjesmama od kojih je jedna originalna, a jedna karaoke verzija. Pridružite se kompanijama Third Angel i mala voadora u njihovom pokušaju da opišu svijet; u pokušaju da zadrže tačnu sliku cijelog svijeta u svojim glavama. Svijeta koji svakim danom postaje sve veći. Kako možete, za Boga miloga, znati sva ona mjesta na kojima ste bili, a kamoli ona na kojima niste? “ovaj izvanredni teatarski komad... navodi vas da razmišljate o svijetu, da mu se smijete; čini da se osjećate sretnim/om što se i vi dio tog svijeta u svoj njegovoj ludosti.” Total Theatre Review “podsjetnik na ono najbolje i na ono najgore u ljudskom ponašanju; na momente urnebesno smiješno i dirljivo” Daily Telegraph

PERFORMANCE

There’s a place where you confess your sins to voicemail. There’s a place where you can buy a cure for loneliness on CD. There’s a place where you can rent strangers to cry at your funeral. There’s a place where they listen to a radio station that broadcasts silence. There’s a place where there are only five official haircuts for men. There’s a place where, if the army send your Dad overseas, they give you a life-size cut-out version to keep you company. A theatre piece with songs: one original, one karaoke. Join Third Angel and mala voadora as they attempt to describe the world. As they try to hold an accurate picture of the whole world in their heads. A world that seems to get bigger by the day. How on earth can you know all the places you’ve been, let alone the places you haven’t? “this gorgeous piece of theatre...makes you think about the world, makes you laugh about the world, makes you glad to be part of the world in all its madness.” Total Theatre Review “a reminder of the best and worst of human behaviour, by turns hilarious and moving” Daily Telegraph


PRODUKCIJA

Third Angel je teatarska kompanija sa sjedištem u Sheffieldu, UK, koja se bavi produkcijom zabavnih i originalnih, savremenih predstava koje se publici obraćaju izravno, iskreno i angažirano. Osnovana 1995. godine, kompanija se bavi radom koji obuhvata performans, teatar, live art, instalaciju, film, video umjetnost, dokumentarac, fotografiju i dizajn. Third Angel poseže za stilovima, tehnikama i interesovanjima otkrivenim u našem nešto eksperimentalnijem radu za druge kuće kako bi kreirala jedan novi teatar koji se poigrava konvencionalnim formama, a istovremeno ostaje pristupačan i konvencionalnoj publici. Djela ove kompanije razvijaju, režiraju i dizajniraju njena dva umjetnička direktora i osnivača Rachael Walton i Alexander Kelly, u saradnji sa glavnim umjetnikom Chrisom Thorpeom i umjetnicom Lucy Ellinson, te jednom rastućom grupom umjetnika/ca koji djeluju u nekoliko disciplina. Njeni projekti gostuju diljem Evrope i šire, noseći sa sobom niz utjecaja iz kultura koje nas okružuju: vizualne umjetnosti, tekućih pitanja, romana, časopisa, stripova, filma, televizije, muzike, radijskih kontakt emisija... “Ono što je izvanredno kod kompanije Third Angel je to što nikad ne znate šta ćete dobiti... Božanstveno.” The Guardian “Dosljedno inovativni i izazovni... izvanredne izvedbe.” The Times “Dosljedno odlični Third Angel” MusicOHM.com mala voadora je teatarska kompanija čije sjedište se nalazi u Lisabonu. Osnovana je 2003. godine, a osnivači su njeni umjetnički direktori Jorge Andrade i José Capela. Rad ove kompanije usredsređen je na savremena pitanja, neka od njih se bave socijalnim temama, dok neka, opet, istražuju prirodu teatralnosti i same “spektakularnosti”. U svojoj umjetničkoj praksi, eksperimenti kompanije vrte se oko odnosa između prirode dramaturškog materijala koji se uzima kao polazište za svako djelo i postupaka koji obrazuju svaki pojedinačni kreativni proces. Za svaki određeni projekat formira se novi umjetnički tim.

PRODUCTION

Third Angel is a theatre company based in Sheffield, UK, making entertaining and original contemporary performance that speaks directly, honestly and engagingly to its audience. Established 1995, the company makes work that encompasses performance, theatre, live art, installation, film, video art, documentary, photography and design. Third Angel uses styles, techniques and interests discovered in our more experimental work for other spaces, to create new theatre that plays with conventional forms while remaining accessible to a mainstream audience. The work is devised, directed and designed by the two Artistic Directors and founders, Rachael Walton and Alexander Kelly, in collaboration with core Artists Chris Thorpe and Lucy Ellinson and an expanding group of associated artists from a range of disciplines. Projects tour throughout Europe and further afield, and carry a range of influences from the culture around us: visual art, current affairs, novels, magazines, comics, film, television, music, radio chat shows. “The great thing about Third Angel is that you never know what you’re going to get....Heavenly work.” The Guardian “Consistently innovative and challenging... extraordinary performances.” The Times “The consistently excellent Third Angel.” MusicOHM.com mala voadora is a Lisbon-based theatre company founded in 2003 by its coartistic directors Jorge Andrade and José Capela. The company’s work has been focusing on contemporary issues, some of which are concerned with social themes, while others explore the nature of theatricality and ‘spectacularity’ itself. In its artistic practice the company’s experimentation has revolved around the relationship between the nature of the dramaturgical material adopted as departure for each work and the procedures that constitute each individual creative process. For every specific project a different artistic team is created.

U saradnji sa / In collaboration with: José Capela Rachael Walton Istraživanje, video i dokumentacija / Research, Video & Documentation: Lauren Stanley Dramaturgija / Dramaturgy: Johanna Wall Dizajn svjetla / Light Design: James Harrison Direktor tehnike i rasvjeta/ Technical Manager & Relight: Craig Davidson Generalna menadžerica / General Manager (Third Angel): Hilary Foster Producent / Producer (mala voadora): Manuel Poças Fotografija / Photography: Craig Fleming A co-production with Sheffield Theatres & Teatro Maria Matos Lisbon in association with Worldmapper.org.

FUTURE MESS IYMT

Razvili, napisali i izvode / Devised, Written and Performed by: Jorge Andrade Alexander Kelly Chris Thorpe


Genijalni genije The INGenial Genius

PLUMB BO-BO, ZU JURI MURI PLEŠE U AFRICI JURI MURI IN AFRICA DANCES


Hrvatska / Croatia

Kamerni teatar ‘55 12.00 Chamber Theater ‘55 Trajanje / Running time: 50 min.

11/10/14

Genijalni genije The INGenial Genius

Jezik: hrvatski Language: Croatian PREDSTAVA

PERFORMANCE

“Leonardo da Vinci jedan je od najbriljantnijih i najsvestranijih umova koji su ikada živjeli. Iako većinu svojih izuma nikada nije proveo u djelo, neki od njih izrađeni su stoljećima kasnije - među njima i automobil, tenk, strojnica, ronilačko odijelo.... U našoj je verziji neshvaćeni genije često sam sebi najveći neprijatelj jer dopušta svojim sumnjama i strahovima da preuzmu kontrolu. Oni su na sceni utjelovljeni u Ljudima – okolini koja ne shvaća ni njega ni njegove izume. Iako su Ljudi samo u njegovoj glavi, to ne znači da za njega nisu stvarna prijetnja. Za Leonarda su on i njegov vjerni pomoćnik Francesco sami protiv cijelog svijeta. No na kraju se sa svojim strahovima ipak hvata u koštac...”

“Leonardo da Vinci is the one of the most brilliant and most versatile minds that ever lived. Although most of his inventions were never implemented in practice, some of them were made centuries later – such as a car, tank, machine gun, diver’s suit... In our version, the misunderstood genius is often his own worst enemy because he allows his doubts and fears to take over the control. On the scene, they are represented as People – the environment that fails to understand both him and his inventions. Although the People are only in his head, this does not mean that they are not a threat to him. For Leonardo, he and his loyal assistant Francesco are alone against the whole world. But at the end, he grapples with his fears after all...”

Nina Horvat

Nina Horvat

Uzrast: 4-9

Age Limit: 4-9


Tamara Kučinović rođena je1984. u Zagrebu gdje je od malih nogu pohađala Dramski studio Zagrebačkog kazališta mladih. Nakon završene Jezične gimnazije u Zagrebu, 2004. godine upisuje Umjetničku akademiju u Osijeku (smjer gluma i lutkarstvo) na kojoj je diplomirala 2008. godine kao studentica prve generacije te akademije. Svoje školovanje nastavlja na Akademiji pozorišne umjetnosti u St. Petersburgu u klasi Nikolaya Petrovicha Naumova (smjer reditelj/ica kazališta lutaka) gdje je diplomirala 2012. godine predstavama “Dobri doktor Jojboli” (Dječije kazalište Branka Mihaljevića u Osijeku) i “Kako se vjetar spustio među ljude” (Gradsko kazalište lutaka Split). Nakon toga, svoj stvaralački rad nastavlja predstavama “Zmrdek in Zmrdica” u Lutkovnom gledališću Maribor, “Grga Čvarak” (Dječije kazalište Branka Mihaljevića u Osijeku ), “Kućni duhovi ili nevidljivi recept za sreću” (Dječije kazalište Dubrava u koprodukciji sa pozorišnom družinom Pinklec), te “Maček z vrečo opotečo” (Lutkovno gledališće Maribor). Od 2013. godine radi na Umjetničkoj akademiji u Osijeku u zvanju asistentice na Odsjeku glume i lutkarstva.

Igraju / Cast: Sanja Zalović Paola Slavica Robert Košta Dramaturgija / Dramaturgy: Nina Horvat Grafički dizajn / Graphic Design: Guljnaz Fatihova Muzika / Music: Hrvoje Radnić Dizajn svjetla / Light Design: Ivo Nižić Frane Papić Inspicijentica / Stage Manager: Radojka Kozulić

DIRECTOR

Tamara Kučinović was born in 1984 in Zagreb, where she joined the Drama Studio of the Zagreb Youth Theatre when she was little. After graduating from the Language Gymnasium in Zagreb, in 2004 she enrolled at the Academy of Art in Osijek (at the department of acting and puppetry), from which she graduated in 2008 as a student of the first generation at the Academy. She continued her studies at the Academy of Theatre Arts in u St. Petersburg, in the class of Nikolay Petrovich Naumov (at the department of directing at the puppet theatre), where she graduated in 2012 with the plays “The Good Doctor Ouch” (Children’s Theatre Branko Mihaljević in Osijek) and “How the Wind Came Down Among the People” (City Puppet Theatre in Split). After that, she continued creating, with the plays “Mr. and Mrs. Stinky” at the Puppet Theatre in Maribor, “Grga Čvarak” (Children Theatre Branko Mihaljević in Osijek), “House Ghosts or the Invisible Recipe for Happiness” (Children Theatre Dubrava in coproduction with the theatre troupe Pinklec), and “The Cat with the Fickle Bag” (Puppet Theatre Maribor). Since 2013, she works at the Academy of Art in Osijek as the Assistant at the Department of Acting and puppetry.

Voditelj tona / Sound Manager: Mate Petričević Voditelj svjetla / Light Manager: Frane Papić Kostimi / Costumes: Nataša Perović Izrada scenografije i lutaka / Creation of Scenery and Puppets: Guljnaz Fatihova Tamara Kučinović Darko Petković Robert Košta Marijan Nižić Dragan Sinovčić Fotografija / Photography: Iva Perinčić

PRODUKCIJA

Kazalište lutaka Zadar osnovano je 1951. godine, a profesionalni status dobilo je 1960. godine. U više od šezdeset godina svog profesionalnog rada Kazalište lutaka Zadar ostavilo je trajan pečat u hrvatskom lutkarstvu. Brojne nagrade za režiju, likovne kreacije i animaciju dobile su predstave koje svojom umjetničkom razinom autoritativno predstavljaju djela hrvatske baštine i savremenu hrvatsku kulturu. Izvedeno je više od 300 naslova domaćih i stranih autora/ica, predstave su obišle brojne festivale u zemlji i inozemstvu. Kazalište lutaka Zadar svoj rad temelji prije svega na kvalitetnim lutkarskim predstavama i saradnji sa različitim autorima/cama i umjetnicima/ama iz mnogih područja. Njeguje raznovrsne tipove lutkarskih tehnika, kao i pozorište živog glumca, te predstave za djecu i mlade. Posebna pozornost posvećena je produkciji lutkarskih predstava za odrasle nastalih prema djelima starije hrvatske književne baštine.

PRODUCTION

Zadar Puppet Theatre was founded in December 1951, and was established as a professional institution in 1960. In more than sixty years of existence, the Zadar Puppet Theatre has left a permanent mark on Croatian puppetry. Numerous prizes for direction, visual art creations, and animation have been awarded to productions whose artistic level has authoritatively presented the works from Croatian heritage and contemporary Croatian culture. More than 300 titles by domestic and writers from abroad have been performed, and the Theatre’s shows have participated in numerous festivals, both in Croatia and outside its borders. Zadar Puppet Theatre bases its work primarily on the production of quality puppet and theatre performances, and its co-operation with artists from different artistic environments. The Theatre fosters various types of techniques in puppeteering, as well as live theatre, and plays for children and youth. Special care is given to the production of puppet plays for adults based on the works of older Croatian literary heritage.

CHILDREN MESS

Režija / Direction: Tamara Kučinović

REDITELJICA


Gradsko kino Visoko 17.00 City Cinema Visoko Trajanje / Running time: 30 + 40 min.

11/10/14

Centar za kulturu Sarajevo 11.00 Cultural Center Sarajevo

12/10/14

Bosna i Hercegovina / Bosnia and Herzegovina

Centar za kulturu Goražde 12.00 Goražde Center for Culture

13/10/14

PLUMB BO-BO, ZU

Jezik / Language: no problem

PREDSTAVA

“Plumb BO-BO, ZU” je predstava za djecu uzrasta od 0 do 3 godine, za trudnice, roditelje i sve zainteresirane. Nikad nije prerano početi sa edukacijom djece, osjećaj i potreba prema umjetnosti se razvijaju još dok je dijete u stomaku. Predstava “Plumb BO-BO, ZU” se bavi smiješnim i tužnim, pokretom i zvukom, oblikom i bojom. Aparat teatar traži način da komunicira sa publikom koja još “ne govori”. Pri tome se oslanjaju na sposobnosti teatra kao žive umjetnosti da bez ikakvih tehničkih efekata zainteresira publiku. Ova predstava pomaže odraslima da progovore jezikom djece. I ne znamo koliko toga nam najmlađi/e mogu reći na “svom jeziku”! Aparat teatar želi obratiti pažnju na bebe koje imaju svoje potrebe i te potrebe nikada nije prerano ispuniti. Prepuštaju se eksperimentu otvorenog srca. Potruditi će se da nikog ne prepadnu, malo će da sviraju, malo će da plešu i da se služe prastarim trikovima klaunovske igre. Ono što je u teatru posebno lijepo je da mi rastemo zajedno sa našom publikom, učeći se uzajamno novim pravilima. Moto Aparat teatra jeste: Samo jednom se prvi put ide u pozorište! Uzrast: 0-3

PERFORMANCE

“Plumb BO-BO, ZU” is a play for children between the ages of zero and three, for pregnant women, parents, and all interested parties. It is never too early to start educating children, as the feeling and the need for art start developing while the child is still in the womb. The play “Plumb BO-BO, ZU” deals with the funny and sad, movement and sound, shape and color. Aparat theater is looking for a way to communicate with an audience that is still “non-verbal”. In doing so, they rely on the ability of theater as a living art to intrigue the audience without any technical effects. This play helps adults to speak the language of children. We still do not know how much the youngest among us can tell us using “their language”! Aparat Theater wants to give attention to the babies who have their own needs and it is never too early to attend to these needs. They give theirselves in to the experiment with an open heart. They will make sure not to scare anybody, they are going to play a little bit of music, they will dance a little, and they will use the age-old clown tricks. What is especially nice in theater is that we grow along with our audience, we teach each other new rules. The motto of the Aparat Theater is: You can go to the theater for the first time only once! Age Limit: 0-3


Belma Lizde-Kurt rođena je u Sarajevu gdje završava Akademiju scenskih umjetnosti, Odsjek za glumu u klasi prof. Miralema Zubčevića i Aleksandra Jevđevića. Pored veoma uspješne glumačke karijere u zadnjih nekoliko godina, bavi se i ostalim aspektima teatarske umjetnosti: režija, scenografija, kostimografija i koreografija. Važnije uloge: - “Leonce i Lena”, režija Manfred Weber, produkcija Narodno pozorište Sarajevo - “Die Verlobung von San Domingo”, režija Manfred Weber, produkcija Kleisttheater, Frankfurt na Odri - “Woyzek”, režija Manfred Weber, produkcija Narodno pozorište Sarajevo - “Babylon”, režija Herbert Gantschacher, produkcija ARBOS Klagenfurt - “Magbeth”, režija Dino Mustafić, produkcija MESS, Sarajevo - “Košmar o Bosni”, režija Faruk Lončarević, Pozorište mladih Sarajevo - “Mjera za mjeru”, režija Aleš Kurt, Narodno pozorište Sarajevo - “Revizor”, režija Dritero Kasapi, produkcija Narodno pozorište Sarajevo - “Trg ratnika”, režija Dino Mustafić, Pozorište mladih Sarajevo - “Bog, Rat i ostalo”, režija Aleš Kurt, SARTR - “Muholovac”, režija Aleš Kurt, Kamerni teatar ‘55 Režija: - “Pinokio u nevolji”, adaptacija A.Kurt, produkcija Aparat teatar (2010) - “Plumb BO-BO, ZU”, režija i koncept, scenografija i kostimografija, koprodukcija Aparat teatar / SARTR (2014) - “Zaljubljeni vuk”, koprodukcija Edus / Aparat teatar / SARTR (2014) DIRECTOR

Belma Lizde-Kurt was born in Sarajevo, where she graduated from the Academy of Dramatic Arts, department of acting, under the tutelage of prof. Miralem Zubčević and prof. Alexander Jevđević. In addition to a very successful acting career, in the recent years she worked on the other aspects of theater: directing, set design, costume design, and choreography. Important roles: - “Leonce and Lena”, directed by Manfred Weber, produced by the National Theatre Sarajevo - “Die Verlobung von San Domingo”, directed by Manfred Weber, produced by the Kleisttheater, Frankfurt an der Oder - “Woyzek”, directed by Manfred Weber, produced by the National Theatre Sarajevo - “Babylon”, directed by Herbert Gantschacher, produced by ARBOS Klagenfurt - “Macbeth”, directed by Dino Mustafić, produced by MESS, Sarajevo - “A Nightmare about Bosnia”, directed by Faruk Lončarević, Youth Theatre Sarajevo - “Measure for Measure”, directed by Aleš Kurt, National Theatre Sarajevo - “Auditor”, directed by Dritero Slashing, production National Theatre Sarajevo - “Warrior Square”, directed by Dino Mustafić, Youth Theatre Sarajevo - “God, War, and the Other Things”, directed by Aleš Kurt, SARTR - “Flycatcher”, directed by Aleš Kurt Chamber Theatre ‘55 Directing: - “Pinocchio in Trouble”, Adaptation A.Kurt, production Aparat Theatre (2010) - “Plumb BO-BO, ZU”, concept and directing, set design and costume design, co-production Aparat Theatre / SARTR (2014) - “The Wolf in Love”, co-production Edus / Aparat Theatre / SARTR (2014) PRODUKCIJA

Aparat teatar je nastao prije par godina na incijativu grupe umjetnika/ca s jakom željom da nešto nabolje promijene u teatru, i da ga učine socijalno angažiranijim. Pored Belme Lizde-Kurt (rediteljice, kostimografkinje i scenografkinje) i Aleš Kurta (reditelja i pisca), dio Aparat teatra su ostali stalni saradnici/e: glumica Maja Zećo, kompozitor i performer Dušan Vranić, koreograf Branko Potočan i mnogi drugi. U okviru svog angažmana, kreiraju predstave, rade profesionalne teatarske radionice, te radionice sa ranjivim socijalnim grupama. Aparat teatar je producirao “Pinokia u nevolji”, provokativnu predstavu, koja provocira razgovor između odraslih i djece o osjetljivim temama. Ova predstava je odigrana diljem BiH, i postigla je veliki uspjeh kod gledatelja/ica i kritike. Kreirali smo radionicu “How to fly in Europe”, koja se bavi unaprijeđenjem glumačkog pokreta, i razvija scenske mogućnosti glumaca/ica u novim pravcima. Posebna predstava je urađena tokom prošle sezone u suradnji sa SARTR-om i EDUS-om, a to je projekat socijalne inkluzije “Zaljubljeni Vuk”. U ovoj predstavi su igrala djeca iz jedne sarajevske osnovne škole zajedno sa djecom sa poteškoćama u razvoju iz EDUS-ovog obrazovnog programa. “Plum BO-BO, ZU” je prva predstava za bebe u BiH. Pored ovog kompleksnog zadatka, ona je i veoma zabavna predstava za svu teatarsku publiku koja voli neverbalni teatar.

PRODUCTION

Aparat Theatre was created a few years ago, at the initiative of a group of artists with a strong desire to change something for the better in theater, and to make it more socially engaged. In addition to Belma Lizde-Kurt (director, costume designer, and set designer) and Aleš Kurt (director and writer), a part of the Aparat Theatre are its other permanent contributors: actress Maja Zećo, composer and performer Dušan Vranić, choreographer Branko Potočan, and many others. Within the scope of their activities, they create plays, and do professional theater workshops, as well as workshops with vulnerable social groups. Aparat Theatre has produced “Pinocchio in Trouble”, a provocative play that provokes conversation between adults and children about sensitive topics. This performance was played throughout BiH, and has achieved great success with the viewers and critics. They have created a workshop, “How to Fly in Europe”, which deals with improving the actor’s movements, and develops theatrical possibilities of actors in new directions. A special play was staged in the last season, in collaboration with the PI SARTR, and EDUS, and that was a project of social inclusion titled “The Wolf in Love”. In this play, children from a Sarajevo elementary school acted alongside children with developmental disabilities, from EDUS’s educational program. “Plumb BO-BO, ZU” is the first play for babies in BiH. In addition to this complex task, it is also a very fun play for theatre audiences who enjoy non-verbal theatre.

Režija i koncept / Direction and Concept: Belma Lizde-Kurt Igraju / Cast: Maja Zećo Dušan Vranić Muzika / Music: Dušan Vranić-Duco Scenografija i kostimografija / Stage and Costume Design: Belma Lizde-Kurt Dizajn / Design: Bojan Mustur Fotografija / Photography: VELIJA HASANBEGOVIĆ BOJAN MUSTUR

CHILDREN MESS

REDITELJICA


Slovenija / Slovenia

Međunarodni centar za djecu i omladinu Novo Sarajevo 12.00 International Centre for Children and Youth Novo Sarajevo Trajanje / Running time: 45-55 min.

12/10/14

JURI MURI PLEŠE U AFRICI JURI MURI IN AFRICA DANCES

Jezik / Language: no problem

PREDSTAVA

Ko još ne zna priču o Juri Muri, dječaku koji je pao sa kruške, mora da je previše mlad, ali evo prilike da je čuje. Juri Muri se ne želi kupati te pobjegne u Afriku gdje shvati da čovjek “... može naići na gostoljubive i otvorene ljude koji će ga prihvatiti i naučiti šta je u životu ispravno, a šta pogrešno, šta je zabluda, a šta predrasuda, i koliko je u konačnici važno biti uzor čistoće, ne samo tjelesne, već i one unutrašnje čistoće koja stvara istinske prijateljske veze”, riječi su Saše Pavček o očevoj priči. Uz pomoć afričkih ritmova, muzike uživo, lutaka neobične veličine i mnogo plesa, reći će vam nešto o geografiji, bojama i razlikama ovog svijeta. Uzrast: 4-9

PERFORMANCE

Anyone who does not already know the story about Juri Muri, about a boy who fell from a pear tree, is too young and will soon learn about it. Juri Muri does not want to bathe and escapes to Africa, where he realizes that a man “... can find a hospitable and open people who accepts him and teaches him what in life is right and what is wrong, what is delusion and what prejudice, and ultimately how important it is to be a role model of cleanliness, not only the bodily, but as well that inner cleanliness which weaves the true bonds of friendship.” says Saša Pavček about the story by her father. With the help of African rhythms, live music, puppets of unusual size, and a lot of dancing they’ll tell you a bit about geography, colors and differences in this world. Age Limit: 4-9


Ivana Djilas je pozorišna rediteljica koja je režirala preko četrdeset predstava u svim profesionalnim slovenačkim pozorištima. Većinom su to izvedbe za djecu i omladinu. Studirala je pozorišnu režiju na Fakultetu dramskih umjetnosti u Beogradu, a zatim magistrirala na Akademiji za pozorište, radio, film i televiziju u Ljubljani. Trenutno radi doktorat na Fakultetu za obrazovanje u Ljubljani. Njen rad je veoma raznolik, i uključuje klasični teatar, lutkarske predstave, muziku i plesno pozorište, ali uvijek sadrži osobitu poetiku rediteljice, čiji je rukopis lako prepoznatljiv. Ona je ljubiteljica savremene drame, slovenačke i strane, ali ne režira uvijek prema dramskom tekstu, već radi i adaptacije romana, slikovnica, poezije, pa čak i novinskih članaka. Njena velika ljubav su predstave za djecu. Osvojila je važne nagrade za svoj rad uključujući Borštnikovu nagradu za režiju predstave “Zasebno življenje” u SNG Drama Ljubljana (2010).

Koreografija / Choreography: MAŠA KAGAO KNEZ Muzika / Music: BLAŽ CELAREC Maske i kostimografija / Masks and Costume Design: JELENA PROKOVIĆ Sukreatori i izvođači / Cocreators and Performers: BLAŽ CELAREC JOSE–JOSEPH NZOBANDORA MAŠA KAGAO KNEZ VITO WEIS Savjetnik za lutkarsku animaciju / Puppet Animation Advisor: NINA SKRBINŠEK

DIRECTOR

Ivana Djilas is a theatre director who directed more than forty plays in all Slovenian professional theatres. More than half of those are performances for children and youth. She studied theatre directing at the Faculty of drama arts in Belgrade, obtained her master’s degree at the Academy for theatre, radio, film and television in Ljubljana, currently she is working on her PhD at the Faculty of Education in Ljubljana. Her work is very diverse, from classical theatre, puppet shows, music, to dance theatre as well but always with a distinctive poetics of a director, whose handwriting is clearly identifiable. She likes modern drama, Slovenian and foreign but she does not direct performances always from dramatic proposal, but also adaptations of novels, picture books, poetry, she also dramatized a column from a newspaper. Performances for children have always been her great love. She has received important awards for her work including the Maribor Theatre Borštnik Award for directing the performance “The Private Life” at SNG Drama Ljubljana (2010).

Dizajn svjetla / Light Design: JANKO OVEN Scenografija / Stage Design: ZORAN SRDIĆ JERNEJ REMŠE Izrada maski, lutaka i kostima / Mask, Puppet and Costume Make: ZORAN SRDIĆ ZALA KALAN MARJETKA VALJAVEC Muzičari na snimci / Musicians on the Recording: ANDRAŽ MAZI NINO DE GLERIA BLAŽ CELAREC Fotografija / Photography: Luka Gorjup

PRODUKCIJA

Plesno pozorište Ljubljana (PTL) osnovala je Ksenija Hribar 1984. kao prvi profesionalni plesni ansambl u bivšoj zajedničkoj državi Jugoslaviji. Krajem devedesetih PTL otvara vrata prvog pozorišta za savremeni ples u glavnom gradu i prerasta u središnji NVO za savremenu plesnu umjetnost. Većina današnjih koreografa/kinja savremenog plesa ili potječu iz ili sarađuju sa PTL-om. U svom pozorištu PTL publici predstavlja raznolik program odabranog slovenačkog i međunarodnog savremenog plesa. PTL također sarađuje i pokreće koprodukcije sa umjetnicima/ ama, festivalima i pozorištima iz svih dijelova svijeta.

PRODUCTION

Dance Theater Ljubljana, also known as PTL, was founded in 1984 by Ksenija Hribar as the first professional contemporary dance company in our former common state Yugoslavia. At the end of the nineties PTL opened the doors of the first theater venue for contemporary dance in the capital and outgrew into the central NGO for contemporary dance art. Most of today’s contemporary dance choreographers in Slovenia emerged from or collaborated with PTL. In its theater venue PTL presents to the public a diverse programme of selected Slovenian and international contemporary dance creativity. PTL also enters in international collaborations and coproductions with artists, festivals and theaters.

Producentica / Producer: KATJA SOMRAK Produkcija / Production: PLESNI TEATER LJUBLJANA U saradnji sa / In Collaboration with: LUTKOVNO GLEDALIŠČE LJUBLJANA

CHILDREN MESS

Režija / Direction: IVANA DJILAS

REDITELJICA


PROJEKAT / PROJECT

KOLEKCIJA BUDUĆEG NASLJEĐA FUTURE HERITAGE COLLECTION IZLOŽBA / EXHIBITION

OTVORENI PROSTORI OPEN SPACES

FEMINISTIČKI RAZGOVORI / FEMINIST TALKS

Žene Bosne i Hercegovine u (post)jugoslovenskom vremeplovu Women in Bosnia and Herzegovina in (Post)Yugoslav Time Machine


Austrija, Bosna i Hercegovina / Austria, Bosnia and Herzegovina

Galerija Java 12.00-20.00 Java Gallery

03-12 /10/14

KOLEKCIJA BUDUĆEG NASLJEĐA FUTURE HERITAGE COLLECTION

Šta je za vas lično važan dio kulturnog nasljeđa Bosne i Hercegovine? Donesite taj predmet u kancelariju “Kolekcije budućeg nasljeđa”! Zašto trebamo sačuvati kulturno nasljeđe? U mnogim se gradovima i zemljama svijeta prikuplja i čuva njihovo kulturno nasljeđe. U prvom redu da bi se kulturni razvoj u određenoj sredini učinio razumljivim za buduće generacije, te da se sačuva ono što su njihovi preci smatrali važnim. Ali, šta se može učiniti kad kulturne institucije grada, regiona i zemlje više nisu u mogućnosti sistemski prikupljati i zaštititi kulturno nasljeđe? Pozivamo građane/ke Bosne i Hercegovine, kao i građane/ ke Evrope i svijeta koji trenutno posjećuju Sarajevo da učestvuju u stvaranju “Kolekcije budućeg nasljeđa”. Zbog toga nam je neophodno aktivno učešće građana/ki koji žele postati kolekcionari/ke svog kulturnog nasljeđa i pozivamo ih da donesu svoje priloge “Kolekciji budućeg nasljeđa”, kolekciji bez političkog ili nacionalnog filtera. Svi mogu pridonijeti Kolekciji donoseći predmete kao što su: umjetnička djela, predmeti iz svakodnevnog života, iz domaćinstva, dijelovi namještaja, odijevni predmeti, ručni radovi, knjige, pjesme… Predmeti će biti sakupljeni, izloženi, fotografisani i katalogizirani za vrijeme trajanja Internacionalnog teatarskog festivala MESS i zatim vraćeni vlasnicima/ama. “Kolekcija budućeg nasljeđa” će biti dostupna u formi arhiva na web stranici http://www.futureheritagecollection.net/ “KOLEKCIJA BUDUĆEG NASLJEĐA” je projekt umjetnice Azre Akšamije (Boston/Graz) u saradnji sa Lejlom Hodžić (Sarajevo), Margarethe Makovec (Graz), Antonom Ledererom (Graz), Internacionalnim teatarskim festivalom MESS (Sarajevo) i Centrom za savremenu umjetnost <ROTOR> (Graz). Finansijska podrška: Kancelarija regionalne vlade Štajerske, Odjel za kulturu, Evropu i međunarodne poslove (Austrija).

What is an important part of the cultural heritage of Bosnia and -Herzegovina for you personally? Bring it to the office of the “Future Heritage Collection”! What is the need for cultural heritage preservation? Many municipalities and countries of the world collect and preserve their cultural heritage, primarily in order to make cultural developments in a particular area more understandable for future generations, and to preserve what our ancestors considered to be important. But, what is to be done, when cultural institutions of a city, region, or a country are no longer able to systematically gather and protect cultural heritage? Citizens of Bosnia and Herzegovina, as well as the citizens of Europe and the world who are currently visiting Sarajevo, are invited to participate in the creation of the “Future Heritage Collection”. Therefore, we need the active participation of citizens who are willing to become collectors of their own cultural heritage and to bring us their contributions for the “Future Heritage Collection”, a collection without political or national filter. Anyone can contribute to the collection and bring in objects: these could be recognisable objects of art and culture, but also objects of everyday life, household goods, furniture, items of clothing, handicraft, books, poems… These items will be collected, displayed, photographed, and catalogued during the International Theater Festival MESS, and then returned to their owners. “Future Heritage Collection” will be made available as an archive at the web page http://www.futureheritagecollection.net/ “FUTURE HERITAGE COLLECTION” is a project by the artist Azra Akšamija (Boston/Graz) in collaboration with Lejla Hodžić (Sarajevo), Margarethe Makovec (Graz), Anton Lederer (Graz), International Theater Festival MESS (Sarajevo), and <ROTOR> Center for Contemporary Art (Graz). Financial Support: Office of the regional government of Styria, Department Culture, Europe and International Affairs (Austria).


06-13 /10/14 Muzej književnosti i pozorišne umjetnosti BiH 18.00 Museum of Literature and Performing Arts of B&H

OTVORENI PROSTORI

OPEN SPACES

Izložba “Otvoreni prostori” sastavni je dio predstave “Bojno polje sjećanja 1914/2014”, projekta koji govori o Prvom svjetskom ratu u Jugoistočnoj Evropi (projekat Goethe-Instituta u Atini), u sklopu kojeg su reditelj dokumentarnog teatra Hans-Werner Kroesinger i rediteljica dokumentarnih filmova Regine Dura krenuli tragom Velikog rata u Sarajevu, Beogradu i Istanbulu i vodili se različitim historijskim narativima koji se dovode u vezu sa nacionalnim historijama ovih zemalja. Izložba predstavlja kolekciju istraženog materijala, fotografija, video zapisa, audio intervjua i dokumenata, i stavlja ih u dijalog sa radovima učesnika/ca na radionicama “NARRATING WAR” održanim u Istanbulu i Sarajevu u martu i septembru 2014. godine. Koncept izložbe / video zapisi: Regine Dura Dizajn izložbe: Dominik von Stillfried Dizajn zvuka: Daniel Dorsch Fotografija: David Baltzer

The “Open Spaces” are part of the “Battlefield Memory 1914/2014” performance project on World War 1 in South Eastern Europe (initiated by Goethe-Institute Athens) where documentary theatre director HansWerner Kroesinger and documentary filmmaker Regine Dura have been researching traces of the Great War in Sarajevo, Belgrade and Istanbul following the differing historical narratives linked to national histories. The exhibition brings together research material, photos, video and audio interviews and documents, and puts it into dialogue with the works of participants of the workshops “NARRATING WAR” in Istanbul and Sarajevo in March and September 2014. Exhibition Concept / Videos: Regine Dura Exhibition Design: Dominik von Stillfried Sound Design: Daniel Dorsch Photography: David Baltzer


Bosna i Hercegovina / Bosnia and Herzegovina

Hotel Europe 10.30-14.30

11/10/14

Žene Bosne i Hercegovine u (post)jugoslovenskom vremeplovu Women in Bosnia and Herzegovina in (Post)Yugoslav Time Machine

Feministički razgovori o kulturi i aktivizmu žena Bosne i Hercegovine kroz (post)jugoslovenski vremeplov jesu poziv na kritičko promišljanje sjećanja. U okviru prvog panela, teoretičarke i umjetnice razgovaraju o dominantnim ideološkim obrascima i primjerima kreativnih izbjegavanja nametnutih praksi kulturne produkcije jugoslovenskog perioda u BiH. U drugom panelu, aktivistkinje i teoretičarke razgovaraju o ženskim reakcijama na rat u BiH, o pravljenju mreža solidarnosti i sopstvenom iskustvu postajanja feministkinjom. Feminističke razgovore vode: Svetlana Slapšak, antropologinja i književnica iz Ljubljane, Šejla Šehabović, književnica iz Sarajeva, Danijela Majstorović, teoretičarka kulture iz Banje Luke, Stanojka Cana Tešić, aktivistkinja iz Bratunca, Jadranka Miličević, aktivistkinja iz Sarajeva, Jasmina Husanović, aktivistkinja i teoretičarka kulture iz Tuzle i Ana Miškovska Kajevska, sociologinja iz Skoplja.

The Feminist Talks about culture and activism of women in Bosnia and Herzegovina through the (post) Yugoslav time machine are an invitation to critically rethink memories. Within the first panel, theoreticians and artists will talk about the dominant ideological patterns and examples of creative circumvention of imposed cultural production practices of the Yugoslav period in Bosnia and Herzegovina. In the second panel, activists and theoreticians will discuss women’s reactions to the war in Bosnia and Herzegovina, creation of solidarity networks and their personal experience of becoming feminists. The Feminist Talks will involve: Svetlana Slapšak, an anthropologist and writer from Ljubljana, Šejla Šehabović, an author from Sarajevo, Danijela Majstorović, a cultural theoretician from Banja Luka, Stanojka Cana Tešić, an activist from Bratunac, Jadranka Miličević, an activist from Sarajevo, Jasmina Husanović, an activist and cultural theoretician from Tuzla, and Ana Miškovska Kajevska, a sociologist from Skopje.


FEMINISTIČKI RAZGOVORI / FEMINIST TALKS PROGRAM 10.30 -11.00

Registracija / Registration

Dominantni obrasci i subverzivni iskoraci u (popularnoj) kulturi / The Dominant Patterns and the Subversive Moves in the (Popular) Culture 11.00 -12.30

Učesnice / Participants: • Svetlana Slapšak (antropologinja / Antrophologist; Ljubljana) • Šejla Šehabović (spisateljica / Writer; Sarajevo) • Danijela Majstorović (teoretičarka kulture / Cultural Theoretician; Banja Luka)

Akcije solidarnosti i postajanje feministkinjom u ratu / Solidarity Actions and Becoming a Feminist in War 13.00 -14.30

Učesnice / Participants: • Stanojka Cana Tešić (Forum žena, Bratunac) • Jadranka Miličević (CURE Foundation, Sarajevo) • Jasmina Husanović (aktivistkinja i teoretičarka kulture / Activist and Cultural Theoretician, Tuzla) • Ana Miškovska Kajevska (sociološkinja / Sociologist, Skoplje)


RAZGOVOR SA UMJETNIKOM PAOLOM MAGELLIJEM ZA TEATARSKE PROFESIONALCE/KE, STUDENTE/ICE UMJETNIČKIH AKADEMIJA, GOSTE I GOŠĆE FESTIVALA ARTIST TALK WITH PAOLO MAGELLI MASTER CLASS FOR THEATRE PROFESSIONALS, STUDENTS OF ARTS ACADEMIES, GUESTS OF THE FESTIVAL

Osmišljavanje pomoću autobiografije i istraživanja RADIONICA za glumce/ice, reditelje/ice, studente/ ice režije i glume, DRAMSKE PISCE/SPISATELJICE Devising from Autobiography and Research workshop FOR ACTORS / ACTRESSES, DIRECTORS, DIRECTING AND ACTING STUDENTS, PLAYWRIGHTS

RAZGOVOR SA UMJETNIKOM JANOM LAUWERSOM ZA TEATARSKE PROFESIONALCE/KE, STUDENTE/ICE UMJETNIČKIH AKADEMIJA, GOSTE I GOŠĆE FESTIVALA

ARTIST TALK WITH JAN LAUWERS MASTER CLASS FOR THEATRE PROFESSIONALS, STUDENTS OF ARTS ACADEMIES, GUESTS OF THE FESTIVAL

HOD I POKRET RADIONICA za teatarske reditelje/ice, glumce/ ice, performere/ke, studente/ice režije i glume Walking and Movement workshop FOR THEATRE DIRECTORS, ACTORS / ACTRESSES, PERFORMERS, DIRECTING AND ACTING STUDENTS


ART DEPO ARS AEVI - Centar Skenderija 13.00

03/10/14

RAZGOVOR SA UMJETNIKOM PAOLOM MAGELLIJEM / Teatro Metastasio ZA TEATARSKE PROFESIONALCE/KE, STUDENTE/ICE UMJETNIČKIH AKADEMIJA, GOSTE I GOŠĆE FESTIVALA Paolo Magelli rođen je u Pratu. Sa nepunih dvadeset godina postao je direktor teatra Teatro Studio Metastasio. Sarađivao je sa Giorgiom Strehlerom na nacrtu svoje sada već slavne reforme teatra u Toscani, a zatim i italijanskog teatra – dva prijedloga koja su bila osuđena na propast, nakon čega, sredinom 70-tih godina, napušta Prato. 1974. godine u Beogradu, Magelli je započeo projekat koji će mu omogućiti saradnju sa svim velikim centrima bivše Jugoslavije i donijeti mu brojne nagrade. 1985. seli se u Zagreb gdje je bio umjetnički direktor ZKM teatra. 1989. godine pozvan je na trajnu saradnju kao reditelj u Wuppertaler Bühnen u teatru Pine Bausch gdje je ostao do 1995. Početak rata ga je zatekao u Zagrebu gdje je radio na Horvathovom komadu “Vjera, ljubav, nada”. Veoma brzo je došao u sukob s Tuđmanovim režimom i bio mu je zabranjen pristup hrvatskim teatrima. 1995. godine (nakon tri godine zabrane) vratio se na zagrebačku scenu i sam finansirao predstavu “Višnjik” u djelimično uništenom foajeu teatra Gavella. 2000. godine radi sa Palestinskim narodnim pozorištem u Ramallahu i izraelskim pozorištima u Tel Avivu, Akkou i Haifi. 2003. godine seli u Dresden, gdje radi do 2009. u teatru Staatschauspiel. 2010. godine postao je reditelj u teatru Metastasio Stabile della Toscana u sklopu kojeg nastavlja saradnju sa teatrima u Srbiji, Hrvatskoj i Njemačkoj.

ARTIST TALK WITH PAOLO MAGELLI / Teatro Metastasio MASTER CLASS FOR THEATRE PROFESSIONALS, STUDENTS OF ARTS ACADEMIES, GUESTS OF THE FESTIVAL Paolo Magelli was born in Prato. Not yet twenty-year-old, he became Director of Teatro Studio of Metastasio. He worked with Giorgio Strehler in drafting his now famous reform of Tuscan theatre, first, and Italian theatre later – two proposals doomed to be “buried”, then he left Prato in the mid 70’s. In 1974 in Belgrade Magelli started a job that will take him to collaborate with all the big centres of Ex-Yugoslavia, earning innumerable prizes. In 1985 he moved to Zagreb to become artistic director of the theatre ZKM. In 1989 he was invited to collaborate on a permanent basis as a director at the Wuppertaler Bühnen of Pina Bausch where he stayed until 1995. The breakout of the war took him by surprise. He was in Zagreb working on “Faith, Hope, and Charity” by Horvath. Very soon he came into conflict with the Tuđman regime and he was banned from Croatian theatre. In 1995 (after three years of being banned) he put back onto the scene in Zagreb, self-funding “The Cherry Orchard”, in the partially destroyed foyer of the Gavella theatre. In 2000 he worked with the Palestinian National Theatre of Ramallah and with the Israeli theatres of Tel Aviv, Akko and Haifa. In the 2003 he moved to Dresda, where he will work stably until 2009 to the Staatschauspiel. In 2010 he became Director of Teatro Metastasio Stabile della Toscana continuing to collaborate with theatres in Serbia, Croatia and Germany.


Osmišljavanje pomoću autobiografije i istraživanja RADIONICA za glumce/ice, reditelje/ice, studente/ice režije i glume, DRAMSKE PISCE/SPISATELJICE

10/10/14 11/10/14

Predavači: Alexander Kelly / Jorge Andrade

Jorge Andrade diplomant je lisabonske Visoke škole teatra i kinematografije (Escola Superior de Teatro e Cinema) na kojoj je neko vrijeme i predavao. 2004. godine upisao se na kurs teatarske režije kompanije Third Angel pri fondaciji Fundação Calouste Gulbenkian (Kurs kreativnosti i umjetničke kreacije). 2002. godine, Jorge Andrade je sa Joseom Capelom osnovao kompaniju mala voadora. Rad ove kompanije usredsređen je na savremena pitanja, a neka od njih se bave društvenim temama, dok neka, opet, istražuju prirodu teatralnosti i same “spektakularnosti”. Žiri za dodjelu nagrade Maria Madalena de Azeredo Perdigão dodijelio mu je časnu spomenicu za predstavu “Pravedni”. 2007. godine, pozvan je da režira predstavu za kulturni forum “O Estado do Mundo”, kao sastavni dio programa obilježavanja 50. godišnjice fondacije Fundação Calouste Gulbenkian. 2012. godine, predstava “Overdrama” nominirana je za SPA/ RTP nagradu u kategoriji najbolje predstave. Te iste godine, predstava “Šta sam čuo o svijetu”, koja je rezultat saradnje kompanije mala voadora i britanske kompanije Third Angel, nominirana je za prestižnu nagradu Total Theatre Award za inovacije.

O RADIONICI

Umjetnički direktori kompanija Third Angel (Alexander Kelly) i mala voadora (Jorge Andrade) održat će radionicu na kojoj će ispitivati mogućnosti vježbi korištenih u stvaranju njihove uspješne predstave “Šta sam čuo o svijetu”, ali i svoju širu praksu. Predstavit će igre osmišljavanja utemeljene na određenim pravilima, prepričavanje, male istraživačke projekte i vježbe koje polučuju tekst, radnju i interakciju.

Devising from Autobiography and Research workshop FOR ACTORS / ACTRESSES, DIRECTORS, DIRECTING AND ACTING STUDENTS, PLAYWRIGHTS Teachers: Alexander Kelly / Jorge Andrade

Alexander Kelly is Co-Artistic Director of the Sheffield-based theatre company Third Angel, with whom he devises, directs, writes, designs and performs. The company makes a range of work connecting the territories of theatre, live art, installation, film, video, photography and digital & online media, which tours throughout Britain, mainland Europe and beyond. Alex is an experienced educator, and is Senior Lecturer in Performance Practice at Leeds Beckett University. He regularly mentors other artists and companies with Third Angel and through his role at Leeds. Recently this has included working with RashDash, Daniel Bye and Action Hero, co-devising “Tea Is An Evening Meal” with Faye Draper/Northern Stage, and devising and directing “A Conversation With My Father” with Hannah Nicklin. Alex has recently published writing and drawing about Third Angel’s work in the handbook DIY, in Performance Research journal volumes “On Value” (2013) and “On Foot” (2012), “Journal of Writing in Creative Practice”, Contemporary Theatre Review and the SIBMAS Conference Proceedings as well as co-creating the artists’ book “The Dust Archive” with Annie Lloyd. Jorge Andrade is a graduate of Lisbon’s Escola Superior de Teatro e Cinema, where he has also teached. In 2004 he undertook Third Angel’s theatre director course at Fundação CalousteGulbenkian (Criativity and Artistic Creation course). In 2002 Jorge Andrade created mala voadora with José Capela. The company’s work has been focusing on contemporary issues, some of which are concerned with social themes, while others explore the nature of theatricality and “spectacularity” itself. He was distinguished with an honorable mention by the jury of the Maria Madalena de Azeredo Perdigão award for the staging of “The Justs”. In 2007 was invited to stage a show for “O Estado do Mundo”, as part of of the celebratory program of Fundação Calouste Gulbenkian’s 50 year anniversary. In 2012 the show “Overdrama” was nominated for the SPA/RTP awards in the best show category. Also in 2012 the show “What I heard about the world”, a co-creation between mala voadora and British company Third Angel, was nominated for a prestigious Total Theatre Award for Innovation.

ABOUT THE workshop

Co-artistic Directors of Third Angel (Alexander Kelly) and mala voadora (Jorge Andrade) present a workshop exploring the type of exercises utilised in the creation of their acclaimed show “What I Heard About the World”, and their wider practice. Rule-based devising games, story-telling, mini-research projects and exercises that generate text, action and interaction.

Velika koncertna dvorana Bosanskog kulturnog centra Sarajevo 10.00-16.00 Big Concert Hall of the Bosnian Cultural Center Sarajevo

Alexander Kelly je umjetnički direktor teatarske kompanije Third Angel čije je sjedište u Sheffieldu, u čijem okrilju osmišljava, režira, piše, dizajnira i izvodi. Kompanija u svom radu nastoji povezati domen teatra, live art-a, instalacije, filma, video-zapisa, fotografije, digitalnih i online medija, a svoje predstave izvodi diljem Britanije, kontinentalne Evrope i šire. Alex je iskusan edukator i viši je predavač na predmetu Izvedbena praksa na Leeds Beckett univerzitetu. Često je i mentor drugim umjetnicima/ ama i kompanijama, kako posredstvom kompanije Third Angel, tako i zahvaljujući svom angažmanu u Leedsu. Među značajnije pothvate ubraja se njegova nedavna saradnja sa teatrom RashDash, Danielom Byeom i kompanijom Action Hero, a radio je i na osmišljavanju predstave “Čaj je večera” zajedno sa Faye Draper/Northern Stage, te osmišljavanju i režiji predstave “Razgovor s ocem” sa Hannom Nicklin. Alex je nedavno objavio svoje tekstove i crteže o radu kompanije Third Angel, objedinivši ih u priručniku DIY (Uradi sam), u tomovima zbornika Performance Research pod nazivom “On Value” (2013) i “On Foot” (2012), u zbornicima “Journal of Writing in Creative Practice”, Contemporary Theatre Review i SIBMAS Conference Proceedings, a također je jedan od tvoraca knjige “Arhiv prašine” zajedno sa Annie Lloyd.


ART DEPO ARS AEVI - Centar Skenderija 13.00-14.30

11/10/14

RAZGOVOR SA UMJETNIKOM JANOM LAUWERSOM / Needcompany ZA TEATARSKE PROFESIONALCE/KE, STUDENTE/ICE UMJETNIČKIH AKADEMIJA, GOSTE I GOŠĆE FESTIVALA Jan Lauwers (Antwerp, 1957) je umjetnik koji djeluje u skoro svakom mediju. U posljednjih dvadeset godina najviše se proslavio svojim scenskim radom za teatarsku kuću Needcompany koja je osnovana u Briselu 1986. godine. Od 2009. godine, umjetnička rezidencija grupe Needcompany je pozorište Burgtheater u Beču. Vremenom je Lauwers prikupio i značajan opus umjetničkih djela koja su bila izložena u BOZAR centru 2007. godine. Jan Lauwers nosilac je “Zlatnog ordena časti za zasluge prema Republici Austriji” (2012). Jan Lauwers studirao je slikarstvo na Umjetničkoj akademiji u Gentu. Krajem 1979. godine oko sebe je okupio nekolicinu ljudi i osnovao grupu Epigonenensamble. Ova grupa je 1981. godine preimenovana u Epigonentheater zlv, a pozorišni svijet je osvojila sa svojih šest predstava. Tako je Jan Lauwers početkom osamdesetih zauzeo svoje mjesto u pokretu za radikalne promjene u Flandriji i dospio na međunarodnu scenu. Epigonentheater zlv zagovara jedan direktan, konkretan i izrazito vizuelan teatar koji muziku i jezik koristi kao svoje strukturalne elemente. Jan Lauwers je raspustio ovu grupu i osnovao Needcompany 1986. godine.

ARTIST TALK WITH JAN LAUWERS / Needcompany MASTER CLASS FOR THEATRE PROFESSIONALS, STUDENTS OF ARTS ACADEMIES, GUESTS OF THE FESTIVAL Jan Lauwers (Antwerp, 1957) is an artist who works in just about every medium. Over the last twenty years he has become best known for his pioneering work for the stage with Needcompany, which was founded in Brussels in 1986. Needcompany has been artist-in-residence at the Burgtheater in Vienna since 2009. Over the years he has also built up a substantial body of art work which was shown in an exhibition at BOZAR (Brussels) in 2007. Jan Lauwers is awarded with the “Decoration of Honour in Gold for Services to the Republic Austria” (2012). Jan Lauwers studied painting at the Academy of Art in Ghent. At the end of 1979 he gathers round him a number of people to form the Epigonenensemble. In 1981 this group is transformed into the Epigonentheater zlv collective which takes the theatre-world by surprise with its six stage productions. In this way Jan Lauwers takes his place in the movement for radical change in Flanders in the early ‘80, and makes his international breakthrough. Epigonentheater zlv presents direct, concrete, highly visual theatre that uses music and language as structuring elements. Jan Lauwers disbands this collective and founds Needcompany in 1986.


HOD I POKRET RADIONICA za teatarske reditelje/ice, glumce/ice, performere/ke, studente/ice režije i glume Predavač: Takahiro Fujita

O RADIONICI

Narodno pozorište Sarajevo - Mala scena 13.00-19.00 National Theater Sarajevo - Small Stage

Rođen 1985. u Hokkaidu. Diplomirao pozorišnu umjetnost na koledžu slobodnih vještina pri Univerzitetu J. F. Oberlin. 2007. godine osnovao je teatarsku grupu mum&gypsy za koju piše i režira sav repertoar. U njegovim djelima simbolične scene ponavljaju se u vidu “refrena” prikazanih iz različitih perspektiva likova, nalik tehnici brze izmjene scena na filmu. Njegov stil obilježen je jednom novom metodologijom koja podrazumijeva da glumci/ice, u fazi pripreme, svoje replike dobivaju fonetski, izravno, bez odštampanog teksta. Sa samo 26 godina, Fujita je dobitnik 56. Kishida nagrade za trilogiju “Znak za povratak”, “Očekivana večera” i “Svijet posut solju” koja je prikazivana u periodu od juna do avgusta 2011. U januaru 2012. godine bio je koproducent drame “Zdravo školo, doviđenja” koju su izveli srednjoškolci/ke iz Iwakija, Fukushima. Oktobar te iste godine proveo je u gradu Kitakyushu u pokrajini Fukuoka gdje je režirao predstavu “KRAJO→LIK” u izvedbi lokalnih glumaca/ica. U njegov opus mogu se još svrstati i radionice za sve uzraste bez obzira na teatarsko iskustvo, koprodukcija manga stripa “mima-mono-gram” u saradnji sa Machiko Kyom, te zbirka kratkih priča.

12/10/14

Radionica će početi intervjuima koje će Fujita voditi sa svakim od učesnika/ca. Nakon što intervjuira sve učesnike/ ce, Fujita će osmisliti teatarski komad koji će se temeljiti na svakodnevnici učesnika/ca, onako kako su je predstavili u intervjuu. Na kraju će učesnici/ce radionice izvesti kratku predstavu.

Born in 1985 in Hokkaido. Majored in Theater Arts in the Liberal Arts College of J.F. Oberlin University. In 2007, he founded the theater company mum & gypsy and he has written and directed all the works produced by the company. In his works, symbolic scenes are repeated in the form of “refrains” that are presented from different characters’perspectives, much like the technique of quickly shifting scenes in a movie. His style has been characterized by a new methodology which he delivers lines phonetically and directly to the actors without a text at the beginning of the creation stage. Fujita won the 56th Kishida Drama Award in his age of 26 years old with trilogy of “The Signs to Return”, “Awaiting Dining Table”, “There, It is, The World to Throw Salt on” presented from June to August in 2011. In January 2012, he co-produced “Hello School, Bye Bye” with high school students in Iwaki, Fukushima. The same year in October, he stayed in Kitakyushu city in Fukuoka for a month to create “LAND → SCAPE” with local actors and staff. His recent diverse works include a workshop for all ages for with and without theatre experiences, co-produced manga “mima-mo-no-gram” with Machiko Kyo and a series of short novels.

ABOUT THE workshop This workshop begins from the interviews for each participant by Fujita. After all interview of every participants, he will make a theatrical piece based on the daily life of participants which was discovered by interview. At the end, a small performance will be held by the participants.

13/10/14

Narodno pozorište Sarajevo - Mala scena 12.00-16.00 National Theater Sarajevo - Small Stage

Walking and Movement workshop FOR THEATRE DIRECTORS, ACTORS / ACTRESSES, PERFORMERS, DIRECTING AND ACTING STUDENTS Teacher: Takahiro Fujita


KRAJ IGRE

Endgame

U Beketovom pozorištu junaci nisu ti koji biraju, nešto bira za njih i oni se nalaze u svijetu izvan svake mogućnosti izbora i situacije u kojoj se nalaze. Tako nije bilo izbora pred opakom bolešću za preminulog reditelja Sulejmana Kupusovića koji je esencijalno razumijevao avangardno Beketovo pozorje ljudskog života. To je velika literatura zato što nas primorava da do kraja shvatimo te posljednje i neizbježne istine o našim životima. Kada je prije 40 godina na scenu Kamernog teatra ‘55 postavljen “Kraj igre”, bila je to antologijska režija Kupusovića, kritika je sa ushićenjem najavila dolazak mladog reditelja koji će obilježiti više epoha bh. teatra. Ta debitantska predstava biva višestruko nagrađivana na mnogim nacionalnim festivalima, na MESS-u 1974. godine, a dobitnik je i Grand Prix-a na festivalu Servantino u Meksiku 1976. godine. Ovom tekstu Kupusović se vratio nakon 23 godine, na obnovljenom Festivalu MESS, 1997. godine, sada u produkciji Pozorišta mladih iz Sarajeva. I ponovo pravi veliku i važnu predstavu, sa nagrađenim Admirom Glamočakom za najbolju mušku ulogu na Festivalu MESS 1997. godine. Nisam imao privilegiju svjedočiti starijoj postavci ove predstave, ali su se o njoj širile legende o briljantnoj glumi i režiji, sjajnom konceptu koji je tragikomično upozoravao na otuđenje individualnosti sedamdesetih godina 20. vijeka. Tako Ham i Klov iz 1997. godine traju svoje posljednje dane u opustošenom svijetu, života opustošenih približavanjem smrti. Sjećanje na predstavu je nekada skriveno u scenskom detalju, čijih se značenja sjećamo kao slika naličja života. Niko nije mogao ni sanjati da će Beket iz 1997. biti naša proživljena bliska prošlost opsade i rata, da će to postati realističan komad. Nije slučajno Kupusović volio Beketa, to je pisac velike dramske formule ljudske usamljenosti, u kojoj se nalazi svaki reditelj nakon premijere i u svom umjetničkom životu. A Sulejman Kupusović ih je imao na stotine, u raznim gradovima i na mnogim scenama. Odlaskom pozorišnog čovjeka poput njega uvijek se pomjera osjetljiva ravnoteža pozorišnog svijeta za jednu sredinu i kulturu kojoj je posvetio mnogo toga. Zato ima značenjske podudarnosti u mom sjećanju na “Kraj igre” iz 1997. godine, sa prikazom organskog raspadanja svijeta vrijednosti u koji smo vjerovali i usamljenosti kao posljednje istine našeg postojanja. Pozorišni život je često zamršen i natrpan svakojakim sukobima, dilemama i stvaralačkim konvulzijama, iza kojih ipak ostaje samo sjećanje koje nas stalno opsjeda i vraća se dok traju predstave. A one traju kao slike pojedinih prizora koje ne možemo zaboraviti, jer nam otkrivaju i nas same. Takve su bile predstave koje nas nikada neće napustiti poput “Gamleta”, “Romana o Londonu”, “Bjesnila”,”Kralja Lira”, “Braće Karamazovi” i nekih drugih, koje će ostati pod reflektorom sjećanja na jedan dinamičan i smislen pozorišni život. Vrijeme, koje curi kao u Beketa, stavlja stvari na svoje zasluženo mjesto.

In Beckett’s theatre, the characters are not the ones who make the choice; something is making it for them, and they find themselves in a world void of any choice, and outside of the situation they are in. In the same manner, for the late director Sulejman Kupusović, there was no choice to be made when he faced a terrible illness as he essentially understood Beckett’s avant-garde theatre of human life. It is a grand collection of literature because it forces us to fully understand those final and inevitable truths about our lives. When “Endgame” was first staged at the Chamber Theatre ‘55 forty years ago, and it was a part of Kupusović’s directing anthology, the critics were thrilled to announce the coming of a young director who will leave his mark on several epochs of the BH theatre. The debut play was received numerous awards at many national festival, including the MESS Festival in 1974, and also won the Grand Prix at the Servantino Festival in Mexico in 1976. Kupusović revisited this text after 23 years at the re-born MESS Festival in 1997, now in the production of the Youth Theatre in Sarajevo. And yet again, he created a grand and important play, with Admir Glamočak winning the award for best male lead role at the MESS Festival ’97. I did not have the chance to observe the previous ensemble of this play, but the legends spread about the brilliant acting and superb directing, about its magnificent concept which tragicomically warned of the estrangement of individuality in 1970’s. Thus in 1997, Hamm and Clov spend their last days in a devastated world, with their lives devastated by death’s imminent approach. A recollection of a play is occasionally hidden in a detail of the set, the meaning of which we recall as a picture of the flipside of life. No one could even dream that Beckett from 1997 could reflect our recent past of siege and war, that it will become a realistic play. Kupusović liked Beckett, and not by chance; Beckett is the creator of a large drama formula of human loneliness, which every director finds himself in after the premiere, and throughout his artistic life. Sulejman Kupusović had hundreds of these, in various cities, and on many stages. The loss of such a man of theatre as Kupusović always shifts the delicate balance of the theatre world in an environment and culture to which he devoted much and more. That is why, in my memory, there are striking similarities of the “Endgame” from 1997 with the depiction of the decomposition of the organic world of values we believed in, and loneliness as the final truth of our existence. Theatre life is often tangled and rife with all types of conflicts, dilemmas, and creative convulsions, which leave behind them only a memory, to haunt us for all eternity and resurface for the duration of the plays. And they last as the images of certain scenes we cannot forget, because they reveal ourselves to us, as well. Such were the plays that will never leave us, like “Gamlet”, “A Novel About London”, “Frenzy”, “King Lear”, “The Brothers Karamazov”, and other plays that will forever remain under the spotlight of memory of a dynamic and meaningful theatrical life. The time that flows like it does in Beckett’s works, puts things in their rightful place.

Dino Mustafić, reditelj

Dino Mustafić, director


Fotografija / Photography: Velija Hasanbegović

Sulejman Kupusović, rođen 7. aprila 1951. u Kladnju, preminuo u Sarajevu 16. augusta 2014, bio je bosanskohercegovački pozorišni i filmski reditelj.

Suleiman Kupusović, born on April 7th, 1951 in Kladanj, died in Sarajevo on August 16th, 2014, was a Bosnian theatre and film director.

Diplomirao je pozorišnu, filmsku, televizijsku i radio režiju na Akademiji pozorišne i filmske umjetnosti u Zagrebu 1974. godine, a filozofiju i komparativnu književnost na zagrebačkom Sveučilištu. Režirao je u pozorištima širom bivše Jugoslavije, te u Rumuniji, Bugarskoj i Turskoj. Njegove predstave su izvođene u Meksiku, Gvatemali, Francuskoj, Njemačkoj, Španiji, Turskoj, Mađarskoj, Rumuniji, Bugarskoj, Švedskoj, Italiji i Austriji. Režirao je i prvu bošnjačku operu, “Hasanaginicu”, koja je premijerno izvedena u Sarajevu 18. marta 2000. U naslovnoj ulozi nastupila je primadona sarajevske Opere Amila Bakšić.

In 1974, he earned a degree in Theatre, Film, Television, and Radio Directing at the Academy of Theatre and Film Arts in Zagreb, and degrees in Philosophy and Comparative Literature at the University of Zagreb. He has directed at theatres throughout the former Yugoslavia and in Romania, Bulgaria, and Turkey. His plays have been performed in Mexico, Guatemala, France, Germany, Spain, Turkey, Hungary, Romania, Bulgaria, Sweden, Italy, and Austria. He also directed the first Bosniak opera, “Hasanaginica,” which premiered in Sarajevo on March 18th, 2000. The lead role was performed by the prima donna of the Sarajevo Opera, Amila Bakšić.

Kupusovića će bh. publika pamtiti po predstavama koje je režirao, kao što su: “Kralj Lear”, “Kraj igre”, “Gamlet”, “Propercije”, “Bjesnilo”, “Braća Karamazovi”, “Veliki vezir”, “Roman o Londonu”, “Hasanaginica”, “Kidaj od svoje žene”, “Derviš i smrt”, “Hanka”, “Tvrđava”, “Legenda o Ali-paši”, “Balada o Omeru i Merimi”, “Hamlet u selu Mrduša donja ili Hamlet zna što narod ne zna”. Dobitnik je mnogobrojnih nagrada na nacionalnim i međunarodnim teatarskim i televizijskim festivalima. Pored pozorišnih predstava, režirao je i nekoliko TV-drama, TV-serija, dokumentarnih i muzičkih programa.

Kupusović will be remembered by the audience in Bosnia and Herzegovina for the plays he directed, such as: “King Lear”, “Endgame”, “Gamlet”, “Propertius”, “Frenzy”, “The Brothers Karamazov”, “Grand Vizier”, “A Novel About London”, “Hasanaginica”, “Run from Your Wife”, “Death and the Dervish”, “Hanka”, “Fortress”, “The Legend of Ali Pasha”, “The Ballad of Omer and Merima”, “Hamlet in the Village of Mrduša Donja or Hamlet Knows What People Don’t”. He had won numerous awards in national and international theater and television festivals. In addition to theater, he had directed several TV dramas, TV series, documentaries, and music programs.


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INTERNACIONALNI TEATARSKI FESTIVAL MESS 2014 INTERNATIONAL THEATER FESTIVAL MESS 2014 ŽIRI / JURY: Nataša Matjašec-Rošker, predsjednica / President Carmen Mehnert-Havekost Nermin Hamzagić

SELEKTORI/ICE FESTIVALA / FESTIVAL PROGRAMMERS: Giorgio Ursini Uršić Dino Mustafić Selma Spahić Zala Dobovšek DIREKCIJA / DIRECTORATE: Una Bejtović Dajana Gurda Lejla Hasanbegović Ira Isović Belma Jusufović Mirna Ler Aida Mujković Dino Mustafić Bojan Mustur Selma Spahić Mirsada Škrijelj SARADNICI/E / ASSOCIATES: Irma Alimanović-Alihodžić Maša Alihodžić Nejra Babić Almin Berbić Zdenko Bevanda Nikola Blagojević Julija Ćeman Jovan Eranović Senada Ferušić Velija Hasanbegović Lejla Kadrispahić Ognjen Martinović Sandra Milanović Emir Muhamedagić Berin Mujković Rasim Pavica Antonija Putić Edna Slipčević Maja Zećo

VIZUELNI IDENTITET FESTIVALA / FESTIVAL’S VISUAL IDENTITY: Fabrika IZDAVAČ / PUBLISHER: J.U. MES - Međunarodni teatarski i filmski festival Sarajevo Public Institution MESInternational Theater and Film Festival Sarajevo ZA IZDAVAČA / FOR PUBLISHER: Dino Mustafić UREDNICA / EDITOR: Belma Jusufović ADAPTACIJA TEKSTOVA / TEXT ADAPTATIONS: Nejra Babić PRIJEVOD KATALOGA / CATALOGUE TRANSLATION: Merima Dervišić Nedžla Idrizbegović Amira Sadiković D. Sarzinski DIZAJN / DESIGN: Fabrika DTP: Bojan Mustur ŠTAMPA / PRINT: Amosgraf TIRAŽ / COPIES: 1.000

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


MEĐUNARODNI TEATARSKI I FILMSKI FESTIVAL MESS SARAJEVO INTERNATIONAL THEATER AND FILM FESTIVAL MESS SARAJEVO Maršala Tita 54/1, 71000 Sarajevo, Bosna i Hercegovina Tel.: +387 33 200 392, Fax: +387 33 211 972 E-mail: info@mess.ba www.mess.ba

54th International Theater Festival MESS  

54th International Theater Festival MESS Official cataloque

54th International Theater Festival MESS  

54th International Theater Festival MESS Official cataloque

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