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SIMPTOM I SIMBOL ČEŽNJE ZA SLOBODOM

A SYMPTOM AND SYMBOL OF YEARNING FOR FREEDOM

Historija će početak ovog stoljeća upamtiti po ratovima, izbjeglicama, mržnji i strahu koji se poput neke savremene kuge šire svijetom! Zabrinjavajući je broj onih koji/e bi sa pozicije umišljene moći željeli/e nametnuti svoje uske poglede doživljavajući različitosti kao prijetnju, umjesto kao bogatstvo i najveći dar čovjeku.

History will remember the beginning of this century by wars, refugees, hatred, and fear, spreading through the world like a modernday plague! A worrying number of people who, through their position of imagined power, would like to impose their narrow views, experiencing diversity as a threat, rather than as wealth and the greatest gift to humanity.

MESS nas, kao jedno civilizacijsko ogledalo, već decenijama podsjeća na važnost čovjeka i njegovu sposobnost da ovaj svijet podjednako učini lošim, koliko i dobrim mjestom za život. MESS apludira onim ljudima koji nastoje ovaj svijet učiniti boljim – dobrim mjestom. U svojoj 56 godina dugoj misiji, Festival MESS i njegovi i uposlenici/e su, unatoč svemu, uključujući i najdužu opsadu u savremenoj historiji, u nemogućim uvjetima uspjeli da Sarajevo, Bosnu i Hercegovinu, Balkan, Evropu i svijet učine prostorom konstantnog kulturnog utočišta. Ta stalna borba za kreiranje boljeg, pravednijeg i pametnijeg svijeta jeste sam smisao potrage i svega čime se umjetnici/e trebaju baviti. Zbog toga, bez obzira na sve, ta borba će trajati do kraja svijeta ili do trenutka dok svi ne shvatimo da idealni svijet zaista postoji. Umjetnici/e njegovo postojanje osjete doživljavajući ga kao ideju najsvetije domovine koja se, prilikom naših duhovnih i moralnih posrnuća, sakrije od nas samih – u nama samima. MESS će, u duhu svog nasljeđa, ostat mjesto naše savjesti i hrabrosti da se suprotstavljamo nepravdama i svim devijacijama vremena u kojem živimo. Parafraziram izjavu Jana Lauwersa o predstavi Samo za Sarajevo, odigranoj na MESS-u 2014. godine – Festival MESS je praznik beskrajno posvećen budućnosti. MESS je bio i ostat će simptom i simbol ljudske čežnje za slobodom! Nihad M. Kreševljaković

For decades, as the mirror of our civilization, MESS has reminded of the importance of man and his ability to make this world both a good and a bad place for living. MESS applauds those people who are trying to make this world better - to make it a good place. In their 56-year-long mission and in spite of everything, including the longest siege in modern history, MESS Festival and its employees succeeded, under impossible conditions, in making Sarajevo, Bosnia and Herzegovina, the Balkans, Europe, and the world a space of constant cultural haven. This constant struggle to create a better, more just, and smarter world is the very purpose of the quest and everything artists need to work on. Therefore, no matter what, this struggle will last until the end of the world, or until the moment we all realize that the ideal world does exist. Artists feel its existence by experiencing it as an idea of the most sacred homeland that, in the times of our spiritual and moral downfalls, hides from ourselves - within ourselves. Keeping up with the spirit of its heritage, MESS will remain the place of our conscience and of courage to confront the injustices and all deviations of the times in which we live. Paraphrasing the statement of Jan Lauwerson the MESS 2014 performance of Just for Sarajevo, the MESS Festival is a celebration eternally dedicated to the future. MESS has been and will remain a symptom and symbol of the human longing for freedom! Nihad M. Kreševljaković

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Predstave 56. MESS-a tematski i stilski su raznovrsne, ali su sve na određeni način fokusirane na postavljanje dijagnoze bolesti našeg vremena, što za inscenaciju Čehova kaže Oskaras Koršunovas. Bilo da se na duhovit način konfrontiraju sa površnošću komunikacije, bave recentnom prošlošću svojih zemalja zbog čijeg tereta sadašnjost nikako da prodiše, ili se eskplicitno politički obračunavaju sa licemjerjem zapadnih vrijednosti, sve pružaju estetsku i tematsku studioznost. Na MESS-u ćemo gledati interpretacije velikih dramskih klasika, u nekim slučajevima integralno odigranih i suptilno dovedenih u današnji kontekst, u nekim radikalno izmijenjenih, snažno i eksplicitno aktueliziranih. Gledat ćemo predstave koje se hrabro suočavaju sa nacionalizmom sredina iz kojih dolaze i osvjetljavaju ga u svoj njegovoj gluposti i ograničenosti. Gledat ćemo besprijekorne lutkarske vještine, poetična traganja za istinom i prolaznošću, društveni angažman kroz savremeni ples i osnažujući i duhovit pogled na život osobe sa invaliditetom. Konačno ćemo čuti iskustva ljudi koji trenutno prolaze pakao rata, a ne interpretacije njihovih iskustava. U svijetu rigidnih kategorizacija, opasne površnosti u javnom diskursu, konstantnog zastrašivanja od različitosti, MESS je prostor slobode propitivanja.

Performances at the 56th MESS are thematically and stylistically diverse, but in some way they all focus on diagnosing the disease of our time, the phrase used by Oskaras Koršunovas regarding the staging of Chekhov. Whether humorously confronting the superficiality of communication, dealing with the recent past of their countries whose burdensome baggage is preventing the present from blossoming, or explicitly politically tackle the hypocrisy of the Western values, all the performances provide an aesthetic and thematic diligence. At MESS, we will watch interpretations of great classical plays, in some cases integrally performed and subtly positioned in today’s context, and in other cases radically altered, and strongly and explicitly contemporized. We will watch performances that bravely confront the nationalism of the areas they come from, and illuminate it in all its stupidity and narrow-mindedness. We will see flawless puppeteering skills, poetic searches for the truth and transience, social engagement through contemporary dance, and the empowering and humorous look into the life of a person with disability. We will finally hear the experiences of people who are currently living in the hell of war, and not simply the interpretations of their experiences.

Dobro došli/e na još jedno izdanje Festivala MESS!

In the world of rigid categorizations, perilous superficiality in the public discourse, and constant messages that diversity should be feared, MESS is the space of freedom of inquiry.

Selma Spahić

Welcome to another edition of the MESS Festival! Selma Spahić

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MESS Market je produkcijska platforma pokrenuta s namjerom da promovira regionalne projekte iz oblasti scenskih umjetnosti te omogući uspostavljanje regionalnih ali i EU koprodukcija.

MESS Market is a production platform developed with the aim of promoting performing arts regional projects, as well as establishing regional and EU coproductions.

Prostor bivše jugoslavije vrlo je potentan umjetnički prostor, sa više od 20 miliona stanovnika koji baštine iste ili slične jezike i kulturu. Namjera nam je pružiti podršku autorima/cama, proširiti polje njihovog djelovanja, a publici omogućiti kvalitetan i raznolik pozorišni sadržaj. Dugoročni cilj ove platforme je stvorit pozitivnu klimu kao preduslov za uspostavljanje regionalnog fonda za scenske umjetnosti.

The former Yugoslavia region is, artistically speaking, a potent territory, with more than 20 million people who cherish very similar languages and cultures. It is our goal to give authors from this region an opportunity to widen the area they work in, as well as to offer their audiences a quality and diverse theater content. The longterm goal is creating a positive atmosphere for a regional performing arts fund to be established.

MESS Market omogućava autorima/cama susret sa potencijalnim producentima/cama, ali prije svega, nadamo se, saradnicima/ama sa kojima dijele iste vizije i strast.

MESS Market provides authors with a place to meet the potential producers, but above all, it is our hope to provide them with partners who share their own vision and passion.

Zahvaljujemo se parterima/cama i učesnicima/ ama koji/e su prepoznali važnost uspostavljanja MESS Marketa.

We would like to thank all of the partners and the participants who appreciate the importance of establishing the MESS market.

Dobro došli/e na MESS Market!

Welcome to the MESS Market!

Nermin Hamzagić

Nermin Hamzagić

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56. Internacionalni teatarski festival MESS 30. septembar – 9. oktobar 2016. 30.9.2016. / PETAK 18.00 / Sarajevski ratni teatar ISPRAVAK VerTeDanceo.s. / danceWATCH – Karolína Hejnová Režija: Jiří Havelka ČEŠKA REPUBLIKA 19.30 / Narodno pozorište Sarajevo GALEB Katona József Színház Režija: Tamás Ascher MAĐARSKA 1.10.2016. / SUBOTA 20.00 / Kamerni teatar ‘55 DOM EROS VJERA Med a prach Režija: Andrej Kalinka / Ivan Martinka SLOVAČKA 22.00 / Sarajevski ratni teatar KONFERENCIJA PTICA Gledališče Glej Režija: Nina Rajić Kranjac SLOVENIJA 2.10.2016. / NEDJELJA 20.00 / Pozorište mladih Sarajevo IZA KULISA BISKVIT ZEMLJE Touretteshero Autor-ice: Jess Thom / Jess Mabel Jones / Matthew Pountney UJEDINJENO KRALJEVSTVO 3.10.2016. / PONEDJELJAK 20.00 / Sarajevski ratni teatar GORSKI DIVOVI Fortebraccio Teatro Režija: Roberto Latini ITALIJA

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4.10.2016. / UTORAK 19.30 / Narodno pozorište Sarajevo GALEB OKT / Vilniaus miesto teatras Režija: Oskaras Koršunovas LITVANIJA 5.10.2016. / SRIJEDA 18.00 / Pozorište mladih Sarajevo ZVUK VATRE Lagartijas Tiradas al Sol Autori: Lagartijas Tiradas al Sol MEKSIKO 20.00 / Sarajevski ratni teatar KRALJ UBU SNG Drama Ljubljana Režija: Jernej Lorenci SLOVENIJA 6.10.2016. / ČETVRTAK 18.00 / Sarajevski ratni teatar FORECASTING Kaaitheater / UOVO / 1er stratagème / De facto Autor-ica: Giuseppe Chico / Barbara Matijević FRANCUSKA 19.30 / Narodno pozorište Sarajevo DOK SAM ČEKAO Festival d’Avignon / Napoli Teatro Festival / Arab Fund for Arts and Culture Režija: Omar Abusaada SIRIJA 7.10.2016. / PETAK 18.00 / Sarajevski ratni teatar MI SMO ONI NA KOJE SU NAS RODITELJI UPOZORAVALI BNP Zenica Režija: Mirjana Karanović BOSNA I HERCEGOVINA 19.30 / Narodno pozorište Sarajevo RODOLJUPCI Narodno pozorište Beograd Režija: András Urbán SRBIJA


22.00 / Kamerni teatar ‘55 ŽABA Kamerni teatar ‘55 Režija: Elmir Jukić BOSNA I HERCEGOVINA 8.10.2016. / SUBOTA 18.00 / Narodno pozorište Sarajevo TRI ZIME HNK Zagreb Režija: Ivica Buljan HRVATSKA 19.00 i 22.00 / Centar za djecu i omladinu Novo Sarajevo ZA ŠTA BISTE DALI SVOJ ŽIVOT? East West Centar / Teatar Promena / BNP Zenica / Újvidéki Színház Režija: Haris Pašović BOSNA I HERCEGOVINA / SRBIJA 9.10.2016. / NEDJELJA 18.00 / Pozorište mladih Sarajevo WHAT IS EUROPE? Scena MESS Režija: András Urbán BOSNA I HERCEGOVINA 19.30 / Narodno pozorište Sarajevo NAŠE NASILJE I VAŠE NASILJE HAU / HNK Ivana pl. Zajca Rijeka / SMG Ljubljana Režija: Oliver Frljić NJEMAČKA / HRVATSKA / SLOVENIJA 22.00 / Sarajevski ratni teatar EINSTEINOVI SNOVI Naroden teatar Vojdan Černodrinski Prilep Režija: Slobodan Unkovski MAKEDONIJA MESS OFF 1.10.2016. / NEDJELJA 18.00 / Akademija scenskih umjetnosti Sarajevo PROJEKAT: PRAVDA, I DIO Regionalna mreža akademija BOSNA I HERCEGOVINA / SRBIJA / HRVATSKA / CRNA GORA / MAKEDONIJA / SLOVENIJA

2.10.2016. / NEDJELJA 18.00 / Akademija scenskih umjetnosti Sarajevo PROJEKAT: PRAVDA, II DIO Regionalna mreža akademija BOSNA I HERCEGOVINA / SRBIJA / HRVATSKA / CRNA GORA / MAKEDONIJA / SLOVENIJA 6.10 - 8.10.2016. 19.00 / Galerija JAVA Izložba i performans: WakEUp! Heartefact Fund Autori-ce: Andrej Nosov / Srđan Češić / Marko Drobnjaković / Nevena Negojević / Janko Dimitrijević / Jelena Graovac SRBIJA 6.10.2016. / ČETVRTAK 22.00 / Kamerni teatar ‘55 AJMO NA FUKA Program: Teatar i pomirenje Narodno pozorište Mostar / HNK Mostar Režija: Dragan Komadina BOSNA I HERCEGOVINA 7.10.2016. / PETAK 13.00 / Galerija Bosanskog kulturnog centra Okrugli stol: TEATAR U RATU / rat u teatru Program: Teatar i pomirenje Učesnici-a: Dino Mustafić / Gorčin Stojanović / Snježana Banović 14.30 / Galerija Bosanskog kulturnog centra Okrugli stol: O RATU U TEATRU DANAS Program: Teatar i pomirenje Učesnici-a: Dragan Komadina / Almir Imširević / Nerzuk Ćurak / Edita Čolo Zahirović 22.00 / Dom Oružanih snaga BiH KATËR I RADËS. BRODOLOM Teatro Koreja / La Biennale di Venezia Režija: Salvatore Tramacere ITALIJA 8.10.2016. / SUBOTA 13.00 / Galerija Bosanskog kulturnog centra Promocija knjige: Mama, ovdje ima svjetla Autorica: Mirveta Mrkalj-Durben Promotori-ka: Dino Mustafić / Mirsad Duratović / Mirveta Mrkalj-Durben

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56th INTERNATIONAL THEATER FESTIVAL MESS September 30 – October 9, 2016 30.9.2016 / FRIDAY 18.00 / Sarajevo War Theater CORRECTION VerTeDanceo.s. / danceWATCH – Karolína Hejnová Director: Jiří Havelka CZECH REPUBLIC 19.30 / National Theater Sarajevo THE SEAGULL Katona József Színház Director: Tamás Ascher HUNGARY 1.10.2016 / SATURDAY 20.00 / Chamber Theater ‘55 HOME EROS FAITH Med a prah Directors: Andrej Kalinka / Ivan Martinka SLOVAKIA 22.00 / Sarajevo War Theater THE CONFERENCE OF THE BIRDS Gledališče Glej Director: Nina Rajić Kranjac SLOVENIA 2.10.2016 / SUNDAY 20.00 / Youth Theater Sarajevo BACKSTAGE IN BISCUIT LAND Touretteshero Authors: Jess Thom / Jess Mabel Jones / Matthew Pountney UNITED KINGDOM 3.10.2016 / MONDAY 20.00 / Sarajevo War Theater THE MOUNTAIN GIANTS Fortebraccio Teatro Director: Roberto Latini ITALY

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4.10.2016 / TUESDAY 19.30 / National Theater Sarajevo THE SEAGULL OKT / Vilniaus miesto teatras Director: Oskaras Koršunovas LITHUANIA 5.10.2016 / WEDNESDAY 18.00 / Youth Theater Sarajevo THE SOUND OF FIRE Lagartijas Tiradas al Sol Creators: Lagartijas Tiradas al Sol MEXICO 20.00 / Sarajevo War Theater KING UBU SNG Drama Ljubljana Director: Jernej Lorenci SLOVENIA 6.10.2016 / THURSDAY 18.00 / Sarajevo War Theater FORECASTING Kaaitheater / UOVO / 1er stratagème / De facto Creators: Giuseppe Chico / Barbara Matijević FRANCE 19.30 / National Theater Sarajevo WHILE I WAS WAITING Festival d’Avignon / Napoli Teatro Festival / Arab Fund for Arts and Culture Director: Omar Abusaada SYRIA 7.10.2016 / FRIDAY 18.00 / Chamber Theater ‘55 WE ARE THE ONES OUR PARENTS WARNED US ABOUT BNP Zenica Director: Mirjana Karanović BOSNIA AND HERZEGOVINA 19.30 / National Theater Sarajevo THE PATRIOTS Narodno pozorište Beograd Director: András Urbán SERBIA


22.00 / Chamber Theater ‘55 THE FROG Kamerni teatar ‘55 Director: Elmir Jukić BOSNIA AND HERZEGOVINA 8.10.2016 / SATURDAY 18.00 / National Theater Sarajevo THREE WINTERS HNK Zagreb Director: Ivica Buljan CROATIA 19.00 and 22.00 / Center for Children and Youth Novo Sarajevo WHAT WOULD YOU GIVE YOUR LIFE FOR? East West Centar / Teatar Promena / BNP Zenica / Újvidéki Színház Director: Haris Pašović BOSNIA AND HERZEGOVINA / SERBIA 9.10.2016 / SUNDAY 18.00 / Youth Theater Sarajevo WHAT IS EUROPE? Scena MESS Director: András Urbán BOSNIA AND HERZEGOVINA 19.30 / National Theater Sarajevo OUR VIOLENCE AND YOUR VIOLENCE HAU / HNK Ivana pl. Zajca Rijeka / SMG Ljubljana Director: Oliver Frljić GERMANY / CROATIA / SLOVENIA 22.00 / Sarajevo War Theater EINSTEIN’S DREAMS Naroden teatar Vojdan Černodrinski Prilep Director: Slobodan Unkovski MACEDONIA MESS OFF 1.10.2016 / SATURDAY 18.00 / Academy of Performing Arts Sarajevo PROJECT: JUSTICE, PART I Regional Network of Academies BOSNIA AND HERZEGOVINA / SERBIA / CROATIA / MONTENEGRO / MACEDONIA / SLOVENIA

2.10.2016 / SATURDAY 18.00 / Academy of Performing Arts Sarajevo PROJECT: JUSTICE, PART II Regional Network of Academies BOSNIA AND HERZEGOVINA / SERBIA / CROATIA / MONTENEGRO / MACEDONIA / SLOVENIA 6.10. - 8.10.2016. 19.00 / JAVA Gallery Exhibition and Performance: WakeEUp! Heartefact Fund Authors: Andrej Nosov / Srđan Češić / Marko Drobnjaković / Nevena Negojević / Janko Dimitrijević / Jelena Graovac SERBIA 6.10.2016 / THURSDAY 22.00 / Chamber Theater ‘55 LET’S HAVE COFFEE Program: Theater and Reconciliation Narodno pozorište Mostar / HNK Mostar Director: Dragan Komadina BOSNIA AND HERZEGOVINA 7.10.2016 / FRIDAY 13.00 / Gallery of Bosnian Cultural Center Round Table: Theater in War / WAR IN THEATER Program: Theater and Reconciliation Participants: Dino Mustafić / Gorčin Stojanović / Snježana Banović 14.30 / Gallery of Bosnian Cultural Center Round Table: ON War in Theater Today Program: Theater and Reconciliation Participants: Dragan Komadina / Almir Imširević / Nerzuk Ćurak / Edita Čolo Zahirović 22.00 / The House of Armed Forces of B&H KATËR I RADËS. THE SHIPWERCK Teatro Koreja / La Biennale di Venezia Director: Salvatore Tramacere ITALY 8.10.2016 / SATURDAY 13.00 / Gallery of Bosnian Cultural Center Book Promotion: Mom, There is light Author: Mirveta Mrkalj-Durben Promoters: Dino Mustafić / Mirsad Duratović / Mirveta Mrkalj-Durben

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ISPRAVAK CORRECTION

VerTeDanceo.s. danceWATCH – Karolína Hejnová 30/9/16 18.00 Sarajevski ratni teatar – SARTR / Sarajevo War Theater – SARTR Češka Republika / Czech Republic Trajanje / Duration: 60 min.

Režija / Direction: JIŘÍ HAVELKA Koreografija i ples / Choreography and Dance: VERONIKA KNYTLOVÁ MARTA TRPIŠOVSKÁ TEREZA ONDROVÁ MARTINA HAJDYLA LACOVÁ HELENA ARENBERGEROVÁ KAROLÍNA HEJNOVÁ ROBO NIŽNÍK JARO ONDRUŠ RADO PIOVARČI PETR OPAVSKÝ MICHAEL VODENKA Muzika uživo / Live Music: CLARINET FACTORY Dizajn svjetla / Light Design: KATARÍNA ĎURICOVÁ Kostimografija i scenografija / Costume and Stage Design: DÁDA NĚMEČEK Fotografija / Photography: VOJTECH BRTNICKY / RADEK HOLES

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PREDSTAVA

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amislite svijet u kojem ne možete napredovati uprkos svim svojim naporima. Plesna skupina VerTeDance kreirala je jedan izuzetno britak komad o našem pomanjkanju slobode, našem osamljivanju i našoj moći odlučivanja. Ova plesna skupina plete priču od svojih sopstvenih sjenki, a moderna, minimalistička muzika Clarinet Factory-ja stvara izvjesnu fluidnu napetost. Refleksi, naginjanja i savijanja, odguravanja, propinjanja i padanja – svaki nesklad se ispravlja i vraća u ravnotežu. Teatralnošću, koreografskim momentima i suptilnim humorom, Ispravak pokazuje da dostizanje slobode često ide rame uz rame sa gubitkom. Međutim, ovaj komad nadasve pokazuje da nemogućnost samostalnog donošenja odluka može također rezultirati utjehom, olakšanjem, srodnošću, posvećenošću, pa čak i srećom.

REDITELJ

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iří Havelka je reditelj, pisac i glumac koji uglavnom živi i radi u Pragu. 2003. godine je diplomirao na Programu režije i lutkarstva u ateljeu Jana Schmida pri Akademiji scenskih umjetnosti u Pragu (DAMU). Stoga, ne iznenađuje činjenica da se on u svom teatarskom stvaralaštvu uglavnom usredsređuje na grupnu improvizaciju kao metod stvaranja jedinstvenih, originalnih predstava. 2008. godine dodijeljena mu je nagrada Alfred Radok u kategoriji Talenat godine. Režirao je nekoliko međunarodnih projekata uključujući češko-njemačku koprodukciju EXIT 89 (2008) te koncert britanske grupe The Tiger Lillies Here I am, Human! za teatar Archa. Jedan je od ključnih članova Vosto5 grupe koja je na češku teatarsku scenu uvela elemente poput čiste improvizacije, žongliranja riječima, persiflaže i mistifikacije čeških nacionalnih tema. 2013. godine je u DRAK teatru predstavio svoju zapaženu predstavu Poslední trik Georgese Meliése.

PERFORMANCE

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magine a world where you can’t progress despite your best efforts to push forward. VerTeDance have created a beautifully poignant piece about our lack of freedom, reclusion, and our power to make decisions. The cast weaves around their own shadows, whilst a live modern minimalist soundtrack by Clarinet Factory builds a fluid tension. Reflexes, slants and curvatures; pushing off, tipping and falling – every imbalance is corrected and brought back to equilibrium. With theatrics, choreographic moments and subtle humour, Correction shows that the attainment of freedom often goes hand in hand with loss. But above all, it shows that lack of freedom to decide can also result in comfort, relief, familiarity, and devotion – even happiness.

DIRECTOR

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iří Havelka is a director, author, and actor who lives and works mainly in Prague. In 2003, he graduated from the Directing alternative and puppet theater program in Jan Schmid’s atelier at the Academy of Performing Arts in Prague (DAMU). Not surprisingly, in his theatrical artwork he therefore focuses on group improvisation as a method of conceiving unique original performances. In 2008, he received the Alfred Radok award in the Talent of the Year category. He also directed several international projects including Czech-German coproduction EXIT 89 (2008), a concert show of the British band The Tiger Lilies Here I am Human! for Archa theater. He is a core member of the Vosto5 group, which has a tradition of bringing certain elements to the Czech scene, such as pure improvisation, word juggling, persiflage and mystification of, above all, Czech national topics. In 2013, he created an acclaimed show Poslední Trik Georgese Meliése in the DRAK theater.

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Režija / Direction: Tamás Ascher Uloge / Cast: Blanka Mészáros Andrea Fullajtár András Ötvös Gábor Máté Ervin Nagy Ernő Fekete Zoltán Bezerédi Ági Szirtes Adél Jordán István Dankó László Szacsvay Dániel Baki Endre Papp Dramaturgija / Dramaturgy: Annamária Radnai Scenografija / Stage Design: Zsolt Khell Kostimografija / Costume Design: Fruzsina Nagy Svjetlo / Lights: Tamás Bányai Asistent / Assistant: György Tiwald Fotografija / Photography: Judit Horváth

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A.P. Chekhov

GALEB

THE SEAGULL

Katona József Színház 30/9/16 19.30 Narodno pozorište Sarajevo / National Theater Sarajevo Mađarska / Hungary Trajanje: 170 min. s pauzom Duration: 170 min. with intermission


PREDSTAVA

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d svih Čehovljevih drama, Galeb u najvećoj mjeri sadrži elemente stvarnih radnji stvarnih ljudi. U Mašinoj očajničkoj ljubavi prema Trepljovu možemo prepoznati osjećaje jedne mlade djevojke prema Čehovu, dok je jedna poznata spisateljica Čehovu poklonila medaljon sličan onome koji je Nina poklonila Trigorinu. Slikar Levitan, Čehovljev prijatelj, u lovu je ubio galeba, a nedugo zatim pokušao je izvršiti samoubistvo, baš kao Trepljov. Poznata moskovska glumica Javorskaia piše Čehovu o ovacijama kojima ju je slavila harkovska publika. Čehov svoje misli dijeli sa prijateljima u privatnim pismima kao Trepljov ili Trigorin, a ponekad redovi tih pisama odaju i Dornovo hladno ponašanje – to su tri uloge kroz koje je Čehov sebe sročio u Galebu.

REDITELJ

T

amás Ascher diplomirao je na Akademiji za teatar, film i televiziju. Nakon toga studirao je humanističke nauke. Pozorišnu režiju završio je 1973. godine. Zajedno sa nekoliko vodećih pozorišnih umjetnika/ca, Gábor Zsámbékiga ga je 1978. godine pozvao da se pridruži novouspostavljenom Narodnom pozorištu. Radio je kao gostujući reditelj u teatru Csiky Gergely, a bio je i njegov stalni reditelj do 2003. Pridružio se teatru Katona József 1989. godine. Obavlja funkciju predsjednika Akademije za teatar, film i televiziju od septembra 2006. godine. Član je mađarske Akademije nauka. U Katoni je do sada režirao sljedeće komade: Tri sestre, Povratak, Tri sluškinje u plavom, Platonov, Kralj umire, Izgubljena čast Katarine Blum, Nova kuća, Divlja patka, Glad, Trijumf ljubavi, Dilettanti, Ivanov, Vojcek, Pinokio. Trenutno u Katoni igraju Prve dame i Djeca sunca u njegovoj režiji. Dobitnik je brojnih prestižnih, državnih i profesionalnih nagrada.

PERFORMANCE Among all the Chekhov plays, it is The Seagull which contains most elements of real actions of real people. In Masha’s desperate love for Treplieff we can recognize a young girl’s feelings for Chekhov, and a well-known female writer gave Chekhov a similar medal to the one that Nina gives to Trigorin. The painter Levithan, Chekhov’s friend, kills a seagull during hunting, and soon commits an unsuccessful suicide attempt, just like Treplieff. The famous Moscow actress Javorskaia writes to Chekhov about the ovation with which the Kharkov audience celebrated her. Chekhov shares his thoughts with his friends in his private letters either as Treplieff or as Trigorin, and sometimes Dorn’s cold behaviour is also present in his lines – these are the three roles in which Chekhov composed himself in The Seagull.

DIRECTOR

T

amás Ascher has graduated at the University of Theater, Film and Television. After graduation he had been studying liberal arts. He graduated as a stage director in 1973. In 1978, together with a few leading theater artists, he was invited by Gábor Zsámbéki to join the newly formed National Theater. He had been working as a guest director at Csiky Gergely Theater, and was the leading director until 2003. He joined the company of Katona József Theater in 1989. He has been the president of the University of Theater, Film and Television since September 2006. He is a member of the Hungarian Academy of Sciences. Previous directions at Katona include Three Sisters, The Homecoming, Three Maids in Blue, Platonov, The King is Dying, The Lost Honour of Katharina Blum, The New Home, The Wild Duck, Hunger, The Triumph of Love, Dilettanti, Ivanov, Woyzeck, Pinocchio. Current directions at Katona include Presidents, Light-eaters. He received several prestigious state and professional awards.

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Libretto: ANDREJ KALINKA IVAN MARTINKA MICHAL MIKULÁŠ JURAJ POLIAK Režija / Direction: ANDREJ KALINKA IVAN MARTINKA Igraju / Cast: IVAN MARTINKA MIRIAM KALINKOVÁ MICHAL MIKULÁŠ ADAM MAREC JURAJ POLIAK ANDREJ KALINKA Muzika / Music: ANDREJ KALINKA Lutke i maske / Puppets and Masks: IVAN MARTINKA Scenografija i slikanje uživo / Stage Design and Action Painting: JURAJ POLIAK Kostimografija / Costume Design: IVAN MARTINKA MARKÉTA PLACHÁ Dizajn svjetla / Light Design: MICHAL JUHÁS Fotografija /Photography: MILO FABIAN 20

DOM Eros VJERA Home Eros Faith Med a prach

1/10/16 20.00 Kamerni teatar ‘55 / Chamber Theater ‘55 Slovačka / Slovakia Trajanje / Duration: 70 min.


PREDSTAVA

D

om Eros Vjera je scensko djelo. Ne bismo ga nazvali predstavom jer se u njemu ne radi samo o teatru. Ovo djelo se sastoji od teatarskih, muzičkih i slikarskih elemenata. Svaki od njih je poseban, ali su u određenim kontekstima neodvojivi i kontinuirano utječu jedan na drugog, baš kao i tematika naznačena u naslovu - dom, Eros, vjera. To je jedan dijalog forme / teatra, muzike, likovne umjetnosti / i sadržaja / doma, Erosa, vjere. Pred vašim očima izranjaju slike koje svakom/j promatraču/ici imaju neko drugo značenje. Zvuk, lutka, hljeb, boja, psalmovi... Dom. Eros. Vjera. Tri riječi sa više značenja. O njima rijetko raspravljamo istovremeno, a ni u umjetničkom smislu ih baš ne dovodimo u vezu. Nerijetko nam djeluju kao suprotnosti, a nijedna od njih se ne može izostaviti. One predstavljaju ono što nam je najsvetije u životu. Najbolji način da se ovo scensko djelo izrazi je pomoću ove beskonačne jednadžbe: Dom>Eros<Vjera≠Dom=Vjera<Eros≠Eros=Dom<Vjera

REDITELJI

PERFORMANCE

H

ome Eros Faith is a scenic work. We do not call it a performance, because it is not simply just theater. It consists of theatrical, musical, and artistic elements. They are all individual, but in a certain kind of context they are inseparable and they influence each other continuously, just like the theme set out in the title – home, Eros, faith. It is a dialogue of the form (theater, music, fine arts) and the content (home, Eros, faith). In front of your eyes, pictures emerge with different meanings for each percipient. Sound, puppet, bread, colour, psalms... Home. Eros. Faith. Three words with multiple meanings. We do not often discuss them together, and in an artistic sense we don’t find these topics sitting at one table. Often, they sound like opposites. But none of them can be excluded. They express the most valuable things that we have in life. The best way to express this scenic work is this neverending equation: Home > Eros < Faith ≠ Home = Faith < Eros ≠ Eros = Home < Faith

DIRECTORS

A

A

I

I

ndrej Kalinka (1978) studirao je dirigovanje i komponovanje na Konzervatoriju u Žilini. Kao kompozitor, libretist i reditelj sarađivao je sa prestižnim domaćim i međunarodnim teatarskim kompanijama, komponirajući muziku i režirajući nekoliko nagrađenih produkcija.

van Martinka (1972) diplomirao je lutkarstvo na Akademiji scenskih umjetnosti u Bratislavi. Njegov originalni projekat Shalom Aleicheme - Mir s tobom pomogao je da se nadrastu predrasude odrasle publike prema lutkarskom teatru u Slovačkoj i privukao značajnu pažnju na mnogim međunarodnim festivalima. Glumio je u nekoliko dugometražnih filmova i gostovao u različitim teatrima. Radio je na radiju i televiziji na nekoliko uspješnih programa za djecu.

ndrej Kalinka (1978) studied conducting and composition at the Conservatory in Žilina. As composer, librettist, and director, he worked with prestigious local and international companies, producing music and participating as director in a number of awarded productions.

van Martinka (1972) graduated in puppet theater from the Academy of Performing Arts in Bratislava. His original project Shalom Aleichem – Peace Be with You helped to overcome prejudices of an adult audience against puppet theater in Slovakia and gained a significant attention at many foreign festivals. He acted in a number of feature-length films and guest-performed in different theaters. He worked with the radio and television on a number of successful programmes for children. 21


Režija / Direction: Nina Rajić Kranjac Igraju / Cast: Benjamin Krnetić Petja Labović Blaž Dolenc Nejc Cijan Garlatti Sara Dirnbek Nataša Keser Prijevod / Translation: Danica Geršak Kostimografija / Costume Design: Ljubica Čehovin – Suna Scenografija / Stage Design: Aleksander Vujović Sponzor i savjetnik za scenografiju / Sponsor and Stage Design Advisor: Farzad Koushki Odabir muzike / Music Selection: Lea Čehovin Svjetlo / Lights: Martin Lovšin Izvršna producentica / Executive Producer: Barbara Poček Fotografija / Photography: Sunčan Stone

KONFERENCIJA PTICA

1/10/16 22.00 Sarajevski ratni teatar – SARTR / Sarajevo War Theater – SARTR Slovenija / Slovenia Trajanje:135 min. sa dvije pauze Duration: 135 min. with two intermissions 22

THE CONFERENCE OF THE BIRDS Gledališče Glej


PREDSTAVA

K

onferencija ptica je završni rad rezidente rediteljice u Glej Teatru iz 2015. godine, Nine Rajić Kranjac, te istovremeno njen magistarski rad na programu za Teatarsku i radio režiju na Akademiji za pozorište, radio, film i televiziju Univerziteta u Ljubljani. Tekst pjesnika, hagiografera i teorijskog sufiste Fariduddina Attara 1979. godine su u predstavu pretočili JeanClaude Carrière i Peter Brook, te je tako priča o Simurgu, sufijskom učitelju, i putovanju ptica došla do širokih masa. Predstava, koju je režirala Nina Rajić Kranjac sa šest glumaca i glumica, igra se za publiku koja broji 40 osoba koje zajedno sa glumačkom ekipom krenu otkrivati tekst kroz ozračje koje predstava i ambijent u njima stvaraju, i kroz putovanje kroz vlastito sebstvo. Predstava je podijeljena u tri dijela (koncert, pustinja, sedam dolina), a rediteljičin lični doprinos unosi dozu svježine u predstavu.

REDITELJICA

N

ina Rajić Kranjac je rođena u Beogradu 1991. godine. Završila je osnovnu i srednju školu u Mariboru. Upisala je ljubljansku pozorišnu akademiju 2010. godine s namjerom da postane pozorišna rediteljica. Tokom studija je nastupala i kao glumica. Njena postavka Čehovljeve Tri sestre nagrađena je nagradom za najbolju studentsku predstavu, koja je bila prva u nizu. Predstava 1981, prema tekstu Simone Semenič, proglašena je najboljom predstavom na Međunarodnom festivalu akademija dramskih umjetnosti u Zagrebu, a rediteljica je nagrađena i studentskom Prešernovom nagradom za svoje skorije radove. Postala je rezidentna umjetnica Glej teatra 2015. godine gdje se primarno bavila istraživanjem uloge zvuka u teatru.

PERFORMANCE

T

he Conference of the Birds is the final production of Glej’s 2015 resident Nina Rajić Kranjac, as well as her MA work within the frame of the Theater and Radio Directing program at the Academy of Theater, Radio, Film and Television, University of Ljubljana. In 1979, text of the poet, hagiographer, and theoretical sufist Farid ud Din Attar was transformed into a play by JeanClaude Carrière and Peter Brook, with which the story of Simorgh, a sufist teacher, and the travel of the birds reached the masses. The performance directed by Nina Rajić Kranjac with six actors and actresses is intended for the audience of 40, who, together with the actors, set off on a journey in which they discover the text through settings that the performance and the ambience stir in them, as well as a journey through oneself. The performance is comprised of three parts (conference, desert, seven valleys), and the director’s personal touch brings a breath of fresh air to the play.

DIRECTOR

N

ina Rajić Kranjac was born in Belgrade in 1991. She attended her primary and middle schools in Maribor. She enrolled at the Ljubljana Theater Academy in 2010, studying to be a theater director. During her studies, she also performed as an actress. In 2012, her rendition of Chekov’s Three Sisters won the best student show award, the first of many. Her 1981 by Simona Semenič won best show at the Zagreb International Theater Festival and she also received the Prešeren student award for her recent works. In 2015, she became the artist-in-residence at the Glej theater, where she primarily researched the role of sound in theater.

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IZA KULISA BISKVIT ZEMLJE BACKSTAGE IN BISCUIT LAND Touretteshero

Autor/ice / Authors: JESS THOM JESS MABEL JONES MATTHEW POUNTNEY

2/10/16 20.00 Pozorište mladih Sarajevo / Youth Theater Sarajevo Ujedinjeno Kraljevstvo / United Kingdom Trajanje / Duration: 60 min. 24

Producent/ica / Producers: JOLIE BOOTH MATTHEW POUNTNEY Fotografija / Photography: James Lyndsay


PREDSTAVA

J

ess Thom ima Touretteov sindrom, poremećaj zbog kojeg 16.000 puta dnevno ponovi riječ “biskvit”. To neobično neurološko stanje omogućava joj da ima jedinstven pogled na život, pogled koji ona sad prezentira svijetu. Ova predstava kombinira komediju, lutkarstvo, pjesmu i nevjerovatne tikove kako bi istražila spontanost, kreativnost, invalidnost i sve ono što nikad ne biste ni pomislili da bi vas moglo nasmijati. Jess neurološki nije u stanju držati se teksta te je stoga nemoguće imati dvije iste predstave. I tu počinje sva zabava. UPOZORENJE Jess je jedna od 10% ljudi sa Touretteovim sindromom kojima su i psovke česti tikovi te se može dogoditi da tokom predstave nekontrolirano izgovori riječi koje bi publici mogle biti uvredljive.

AUTOR/ICE

J

essica Thom je autorica, umjetnica i superjunakinja na skraćeno radno vrijeme. 2010. godine pokrenula je teatarski projekat pod nazivom Touretteshero, kao kreativni odgovor na Touretteov sindrom od kojeg boluje. Jess od rane dobi ima tikove, ali joj je prava dijagnoza uspostavljena tek u dvadesetim godinama. Misija projekta Touretteshero ogleda se u pojašnjavanju najneshvaćenijeg poremećaja na svijetu, te postavljanju izazova da se počne drugačije razmišljati i graditi inkluzivnije društvo. Jess je objavljivana kako u vodećoj tako i u štampi namijenjenoj osobama sa invaliditetom (The Guardian, The Observer i Disability Now). 2012. godine objavljuje knjigu Dobrodošli u Biskvit zemlju - godina dana u životu Touretteovog junaka, za koju je predgovor napisao Stephen Fry. 2014. godine se pojavljuje u Glastonburyju, na Fringe festivalu u Edinburghu, DaDaFestu u Liverpoolu i Unlimited festivalu u Southbank centru u Londonu. 2015. godine Jess izvodi svoju predstavu Emitovanje iz Biskvit zemlje u sklopu On Stage Live večernjeg programa na kanalu BBC4. 2013. godine drži TEDx govor o Alhemiji haosa u Royal Albert Hallu i postaje spikerica na kanalu Channel 4 u sklopu njegove sezone pod nazivom Born Risky. Jess je vizualna umjetnica i izvođačica i živi u Londonu. U 2016. godini je sa svojom nagrađivanom predstavom Iza kulisa Biskvit zemlje nastupala diljem Ujedinjenog Kraljevstva i Sjeverne Amerike.

J

ess Mabel Jones je izvođačica, lutkarka i koautorica predstave Iza kulisa Biskvit zemlje. Jess, poznata i pod imenom Chopin, neizostavni je dio Touretteshero porodice. Jedna je od rukovoditeljica teatra Finger in the Pie i rukovoditeljica programa prestižnog Finger in the Pie kabarea. Radila je i na predstavama Ljepotica i Zvijer sa teatarskim kućama Improbable i One of Us, The Table teatra Blind Summit i projektima sa RSC-jem i teatrima Little Angel i The Watermill.

M

atthew Pountney je jedan od suosnivača projekta Touretteshero. Već više od jedne decenije radi sa Jessicom Thom na velikom broju inkluzivnih projekata za djecu i mlade.

PERFORMANCE

J

ess Thom has Tourette’s syndrome, a condition that makes her say ‘biscuit’ 16,000 times a day. Her unusual neurology gives her a unique perspective on life, one she’s unleashing on the world. This show weaves comedy, puppetry, singing, and incredible tics to explore spontaneity, creativity, disability, and things you never knew would make you laugh. Jess is neurologically incapable of staying on script, so no two shows can be the same. And that’s when the fun begins. WARNINGS Jess is one of the 10% of people with Tourette’s syndrome who have swearing tics, so this performance may include the involuntary use of words that some audience members may find offensive.

AUTHORS

J

essica Thom is a writer, artist, and part time superhero. Jess Thom co-founded Touretteshero in 2010 as a creative response to her experience of having Tourette’s syndrome. Jess has had tics since she was a child but wasn’t diagnosed until she was in her twenties. Touretteshero is about reclaiming the most frequently misunderstood condition on the planet, challenging people to think differently, and building a more inclusive society. Jess has written in the mainstream and disability press including The Guardian, The Observer, and Disability Now. In 2012, she published Welcome to Biscuit Land – A Year in the Life of Touretteshero, with a foreword by Stephen Fry. In 2014, she performed at Glastonbury, the Edinburgh Fringe Festival, DaDaFest in Liverpool, and the Unlimited Festival at London’s Southbank Centre. In 2015, Jess performed her Broadcast from Biscuit Land as part of the On Stage: Live from Television Centre evening on BBC4. In 2013, she gave a TEDx talk on The Alchemy of Chaos at the Royal Albert Hall and became a continuity announcer for Channel 4 as part of their Born Risky season. Jess is a visual, performing, and participatory artist based in London. In 2016, Jess toured extensively in the UK and North America with her award winning stage show Backstage in Biscuit Land.

J

ess Mabel Jones is a performer, puppeteer, and co-creator of Backstage in Biscuit Land, Jess, AKA Chopin, is an integral part of the Touretteshero family. She’s also the Associate Director of Finger in The Pie, and the programmer of their prestigious Finger in The Pie Cabaret. Credits include: Beauty and the Beast with Improbable and OneOfUs, Blind Summit’s The Table, and projects with the RSC, Little Angel Theater and The Watermill.

M

atthew Pountney is co-founder of Touretteshero. He’s worked with Jess Thom for over a decade on a large number of creative inclusive projects for children and young people.

25


Luigi Pirandello

GORSKI DIVOVI

THE MOUNTAIN GIANTS Fortebraccio Teatro

3/10/16 20.00 Sarajevski ratni teatar / Sarajevo War Theater Italija / Italy Trajanje: 100 min. s pauzom Duration: 100 min. with intermission 26

Adaptacija i režija / Adaptation and Direction: Roberto Latini Muzika i zvuk / Music and Sound: Gianluca Misiti Svjetlo / Lights: Max Mugnai Sa / With: Roberto Latini Video: Barbara Weigel Elementi scenografije / Set E lements: Silvano Santinelli Luca Baldini Asistenti režije / Assistant Director: Lorenzo Berti Alessandro Porcu Organizacija / Organization: Nicole Arbelli Fotografija / Photography: Simone Cecchetti


PREDSTAVA

O I

vo je treći od Pirandellovih modernih mitova. Nakon religijskog mita (Lazarus) i socijalnog mita (Nova kolonija), Gorski divovi predstavljaju mit umjetnosti. zveden posthumno 1937. godine, komad je posljednje Pirandellovo remek djelo koje je zbog smrti autora ostalo nezavršeno. To je priča o trupi glumaca/ica koja u svojim lutanjima dođe do neodređenog vremena i mjesta: na granici između bajke i stvarnosti nalaze vilu pod nazivom “la Scalogna” (Loša sreća).

REDITELJ

R

oberto Latini je rođen u Rimu 1970. godine. Studirao je na Studiju za glumu i teatarsko istraživanje pod vodstvom Perle Peragallo gdje je i diplomirao 1992. godine. Završio je Metodologiju i kritičko promišljanje scenskih umjetnosti na La Sapienza univerzitetu u Rimu. Dobitnik je brojnih nagrada (Wanda Capodaglio, Prova d’Attore, Bruno Brugnola i Sergio Torresani). 2011. godine dobio je nagradu SIPARIO, 2014. nagradu UBU kao najbolji italijanski glumac, a Nagradu kritike 2015. godine koju dodjeljuje Italijanska asocijacija teatarskih kritičara/ki. Bio je direktor pozorišta San Martino di Bologna (Italija) od 2007. do proljeća 2012. Kao umjetnički direktor, koncipirao je izložbe Serate d’onore, Maestri, Teatrodromo, Luna di scena i, u saradnji sa area06: Come le foglie, Superdownload, Orizzonti mobili, Zo6, Tecnica mista i Grafie teatrali. Odabran je 2006. godine da bude gostujući reditelj u glumačkoj školi Centro Teatrale Santa Cristina, koju vode Luca Ronconi i Roberta Carlotto. Fondacija Pontedera Teatro ga je 2008. godine izabrala za direktora i predavača na Međuregionalnom projektu visokog obrazovanja koji finansira Evropska unija, a radio je kao predavač i na Punta Corsara projektu za Teatro Mercadante u Napulju. Sarađivao je sa osobama kao što su Mario Martone, Aleksandar Popovski, Federico Tiezzi, Fabrizio Arcuri, Antonio Latella i Sandro Lombardi, sa kojima je predstavio L’uomo dal fiore in bocca koji je i režirao. Latini je osnivač trupe Fortebraccio Teatro.

PERFORMANCE This is the third of Pirandello’s modern myths. After a religious myth (Lazarus) and a social myth (New Colony), The Mountain Giants represents the myth of art. Performed posthumously in 1937, it is the last of Pirandello’s masterpieces and was left incomplete due to the death of the author. It is a story about a company of actors who in their wanderings reach an undetermined time and place: at the border between fairy tale and reality, a Villa called “la Scalogna” (the Unlucky).

DIRECTOR

B

orn in Rome in 1970, Roberto Latini studied at the Studio of Acting and Theatrical Research directed by Perla Peragallo, where he graduated in 1992. He graduated with a degree in Methodology and Criticism of the Performing Arts at the University of Rome ‘La Sapienza’. Throughout the years, he won several awards (Wanda Capodaglio, Prova d’Attore, Bruno Brugnola, and Sergio Torresani). In 2011, he won the SIPARIO Prize, winning the UBU Prize in 2014 as Best Italian Actor, and the Critic Prize awarded by the Italian National Association of Theater Critics in 2015. He was the director of the Theater San Martino di Bologna (Italy) from 2007 to the spring of 2012. As the artistic director, he has also conceived the exhibitions Serate d’onore, Maestri, Teatrodromo, Luna di scena and, in collaboration with AREA06,the exhibitions Come le foglie, Superdownload, Orizzonti mobili, Zo6, Tecnica mista and Grafie teatrali. In 2006, he was selected as the guest director for the actors school Centro Teatrale Santa Cristina, directed by Luca Ronconi and Roberta Carlotto. In 2008, he was chosen by the Fondazione Pontedera Teatro as the director and teacher for the Interregional Project of Higher Education funded by the European Union, and was a teacher in the Punta Corsara Project for the Teatro Mercadante in Naples. He also worked with Mario Martone, Aleksandar Popovski, Federico Tiezzi, Fabrizio Arcuri, Antonio Latella and Sandro Lombardi, with whom he presented L’uomo dal fiore in bocca, which he also directed. Latini is the founder of the theater company Fortebraccio Teatro.

27


Režija i scenografija / Direction and Stage Design: Oskaras Koršunovas Uloge / Cast: Nele Savicenko Martynas Nedzinskas Darius Meskauskas Gelmine Glemzaite Agnieska Ravdo Vytautas Anuzis Kirilas Glusajevas Airida Gintautaite Rasa Samuolyte Darius Gumauskas Dainius Gavenonis Kirilas Gulsajevas Giedrius Savickas Kostimografija / Costume Design: Dovile Gudaciauskaite Kompozitor / Composer: Gintaras Sodeika Video umjetnica / Video Artist: Aurelija Maknyte Svjetlo i postavka svjetlosne instalacije / Lighting Designer and Lighting Installation Author: Eugenijus Sabaliauskas Tehnički direktor / Technical Director: Mindaugas Repsys Inžinjer zvuka / Sound Engineer: Ignas Juzokas Inspicijentica / Stage Manager: Malvina Matickiene Asistentice režije / Director Assistants: Agnija Leonova Kamile Gudmonaite Titlovi / Subtitling: Aurimas Minsevicius Menadžerica turneja / Touring Manager: Audra Zukaityte Fotografija / Photography: Dmitrijus Matvejevas 28

A.P. Chekhov

GALEB

THE SEAGULL

OKT / Vilniaus miesto teatras 4/10/16 19.30 Narodno pozorište Sarajevo / National Theater Sarajevo Litvanija / Litvania Trajanje: 180 min. s pauzom Duration: 180 min. with intermission


PREDSTAVA

P

ostaviti Čehova na scenu znači postaviti dijagnozu bolesti našeg vremena, boli naše duše, koristeći intonacije kao skalpele. Upustiti se u Čehovljeve drame za glumca donekle je slično kao polagati Hipokritovu zakletvu za ljekara jer svaki trenutak u Čehovljevom komadu predstavlja metastazu sudbine. Nažalost, često strast, ljubav, ljubomora i mržnja koje su prisutne u Čehovljevim dramama bivaju ušutkane, utopljene u magli manje bitnih intelektualnih elegija, razgovora uz čaj, dok život jednostavno prolazi. Ali sve je to samo akademska, zapravo istinska politička cenzura. Ustvari, život ne prolazi u Čehovljevim dramama, on se otvara za likove i publiku svom silinom svoje ljubavi i egzistencijalnog horora – rekao je Koršunovas. Reditelj i njegova grupa glumica i glumaca nastoje prodrijeti u samu srž drame, koja je prečesto bivala prikrivana kitnjastim kostimima, raskošnim scenografijama i visokim intonacijama. Galeb je rođen u laboratoriji OKT studija. Na dnu i Krapova posljednja traka postavljene su na njegovu scenu, a Hamlet i Miranda su svoje prve korake napravili u ovom otvorenom, intimnom, neukrašenom i autentičnom prostoru. Reditelj uviđa veoma blisku vezu između Galeba i predstava Hamlet i Na dnu.

REDITELJ

O

skaras Koršunovas (1969) diplomirao je na litvanskoj Akademiji za muziku i teatar gdje je i magistrirao teatarsku režiju. Već tada se kao mladi reditelj isticao svojim neobičnim teatarskim jezikom. Iako su njegove prve predstave stvorene pod okriljem litvanskog Akademskog dramskog pozorišta (koji se danas zove Litvansko narodno dramsko pozorište), često su smatrane zasebnim radom, nekom vrstom teatra u teatru. Savremeni teatarski kritičari/ke su u naslovima poput Teatar Oskarasa Koršunovasa? predvidjeli neizbježni nastanak jednog novog teatra. Osnovao je 1998. godine nezavisni teatar pod nazivom Oskaro Koršunovo Teatras, poznat pod kraticom OKT. Koršunovas je, uz pomoć gostujućih reditelja/ica, napravio čvrst repertoar koji obuhvata i savremenu dramu i klasične komade. Prema njegovom mišljenju, savremeni teatar mora odražavati današnjicu, nekada čak ići i ispred svog vremena, predviđati budućnost i djelovati kao upozorenje. Šekspirov Hamlet (2008) i proces rada na toj predstavi označili su novu fazu u Koršunovasovoj biografiji. Reditelj je pronašao novi radni prostor, OKT studio, i krenuo je u smjeru laboratorijskih istraživanja. Tokom rada na Hamletu, reditelj i glumci/ice su se više bavili kreativnim procesom nego samim komadom. Na dnu i Galeb predstavljaju nastavak tog procesa koji je Hamletom započet. Tokom godina, prikupio je brojne nagrade i međunarodna priznanja. Turneje po međunarodnim festivalima, predstave i projekti u inostranim pozorištima odvijali su se u Sjedinjenim Državama, Južnoj Koreji, Australiji, Argentini, kao i na teritoriji koja se među njima nalazi. Svake godine OKT nastupa na više od deset različitih scena u različitim dijelovima svijeta. Stoga je moto reditelja i njegovog teatra: samo bivanjem “tamo”, možemo ostati “ovdje”.

PERFORMANCE

T

o stage Chekhov is to diagnose the diseases of our time, the gouts of our soul, using intonations like scalpels. For an actor to venture into playing in Chekhov’s plays is somewhat similar to a doctor taking the Hippocratic Oath because every moment in a Chekhovian drama is a metastasis of fate. Unfortunately, often the passion, love, jealousy, and hatred present in Chekhov’s plays have been hushed up, drowned in the fog of minor intellectual elegies, tea-table talks, with life merely passing by. But all this is nothing but academic and, in fact, truly political censorship. In truth, life does not pass by in Chekhov’s plays – it opens up for the characters and the audience with all the power of its love and existential horror – Koršunovas said. The director and his group of actors are trying to get to the very core of the play, which has often been concealed under ornate costumes, sumptuous set designs, or uplifting intonations. The Seagull was born in the laboratory space of the OKT studio. The Lower Depths and Krapp’s Last Tape were staged and Hamlet and Miranda took their first steps in this open, intimate, unadorned, authentic space. The director sees a very close relationship between The Seagull and Hamlet and The Lower Depths.

DIRECTOR

O

skaras Koršunovas (1969) graduated from the Lithuanian Academy of Music and Theater with a Master’s degree in Theater Directing. Already, the young director stood out for his unusual theatrical language. Although the first performances were created under the aegis of the Lithuanian State Academic Drama Theater (now called Lithuanian National Drama Theater), they were often referred to as a separate body, a theater within a theater. Contemporary theater critics, titling their articles simply: Oskaras Koršunovas Theater? envisaged the inevitable emergence of a new theater. In 1998, he founded an independent theater, called Oskaras Koršunovas Theater, shortened to just OKT. Koršunovas, assisted by guest directors, has built a solid repertoire, which encompasses both contemporary drama and classic staging. In his opinion, contemporary theater must reflect the present day and sometimes even be ahead of the time, predict the future, and act as a warning. Shakespeare’s Hamlet (2008) and the play’s work-in-progress marked the beginning of a new phase in Koršunovas’ biography. The director discovered a new work space, the OKT studio, and turned in the direction of laboratory explorations. During the work on Hamlet, the director and the actors were more concerned with the creative process itself than with the play. The Lower Depths and The Seagull were the continuation of progress, started while working on Hamlet. Throughout the years, he has received multiple awards and international recognition. The tours in international festivals, performances, and projects in foreign theaters include the United States, South Korea, Australia, Argentina, and the territory in between. Each year, the OKT theater appears on more than ten different stages in different parts of the world. Hence, the motto of the director and his theater: only by being “there” can we stay “here.”

29


ZVUK VATRE THE SOUNd OF FIRE

Lagartijas Tiradas al Sol 5/10/16 18.00 Pozorište mladih Sarajevo / Youth Theater Sarajevo Meksiko / Mexico Trajanje / Duration: 90 min. Kreirali / Creation: LAGARTIJAS TIRADAS AL SOL Koordinacija i tekst / Coordination and Text: LUISA PARDO GABINO RODRÍGUEZ Igraju / Cast: FRANCISCO BARREIRO LUISA PARDO GABINO RODRÍGUEZ Tehnički direktor / Technical Director: SERGIO LÓPEZ VIGUERAS Video montaža / Video Set-up: CARLOS GAMBOA Dizajn i ikonografsko istraživanje / Design and Iconographic Investigation: JUAN LEDUC Video: YULENE OLAIZOLA Dizajn svjetla / Light Design: MARCELA FLORES JUAN PABLO AVENDAÑO Asistent / Assistant: MARIANA VILLEGAS Makete / Models: FRANCISCO BARREIRO Glumci/ica u video zapisima / Actors in Video: HAROLD TORRES CESAR RÍOS MARIANA VILLEGAS Tehnički konsultant za video zapise / Technical Consultant in Video: EMILIANO LEYVA Fotografija / Photography: ANDREA LÒPEZ 30


PREDSTAVA

Š

ezdesetih godina prošlog vijeka mladi meksički revolucionari uzeli su oružje u svoje ruke u očajničkom nastojanju da mijenjaju društvo. Nekoliko decenija poslije, djeca tih gerilaca krenut će stopama svojih starijih, otkrivajući to mračno poglavlje meksičke historije kroz osobna iskustva jedne žene – Margarite Urías. Predstava Zvuk vatre spaja pripovijedanja svjedoka/inja, arhivske snimke i makete, dok glumci/ice istovremeno otkrivaju artefakte skorije prošlosti. Crpeći snagu historije, trupa Lagartijas Tiradas al Sol stvorila je jednu odvažnu dokumentarnu dramu koja ponovo oživljava političko naslijeđe svojih predaka. Ona predstavlja jedan silovit napad na našu obamrlu svijest i prijeku molbu da se prošlost ne zaboravi. Može li kritičko ispitivanje prošlosti promijeniti budućnost? U kakvom su svijetu živjeli naši očevi? Kakve bitke su vođene prije našeg rođenja? Kako izgleda pobuna u 21. stoljeću? Kako danas izražavamo neslaganje? Kako graditi bolju zemlju? Ovaj projekat se bavi potrebom da se pogledamo očima drugih ljudi, da sagledamo svoju sadašnjost u odnosu na druge generacije. Naivno je pomisliti da svijet napreduje zbog puke činjenice da vrijeme prolazi; isto tako je naivno misliti da je prošlost bila bolja zbog toga što su ta vremena prošla.

AUTORI

L

agartijas Tiradas al Sol predstavlja umjetničku zajednicu koju su 2003. godine osnovali Luisa Pardo i Gabino Rodriguez. Od svog nastanka trupa kreira projekte koji služe kao mehanizam za povezivanje rada i života te ukidanje granica. Njihov rad nastoji imati smisao, nastoji artikulirati, prekinuti i razotkriti sve ono što nestaje u svakodnevnici i ono što nam u njoj promakne. On nema nikakve veze sa zabavom, već predstavlja prostor za razmišljanje. Zanimaju ih odabrani događaji iz prošlosti – rade na njihovoj rekonstrukciji ističući proizvoljnost na kojoj je historija konstruirana, a potom generiraju jedno novo tumačenje koje je također proizvoljno, ali njihovo. Ne teže tome da prepravljaju činjenice, oni jednostavno pomjeraju težište na nešto drugo. Mijenjaju naratora/ku, postaju akteri/ke prošlosti koju su ili proživjeli ili nisu, to onda stavljaju u fokus, izmišljajući nove priče. Njihov rad se temelji na konceptima biografije, dokumenata i historije. Predstavljali su se diljem Meksika i u inostranstvu na Automne festivalu u Parizu, festivalu Kunstenfestivaldesarts u Briselu, Wiener Festwochen u Beču; na savremenoj sceni u Madridu, na festivalu Transameriques u Montrealu, festivalu Theater Spektakel u Cirihu i mnogim drugim. Dobitnici su brojnih priznanja, a Luisa Pardo i Gabino Rodriguez nominirani su za učešće u programu Rolex Mentor and Protege Initiative 2008. Dobitnici su Nagrade publike na festivalu Impatience u Parizu 2011. godine (Odeon Theater i Centquatre) i nagrade ZKB Foldpreis u Cirihu 2011. godine.

PERFORMANCE

I

n 1960s Mexico, young revolutionaries took up arms in a desperate attempt to change society. A few decades later, the children of those guerilleros retrace the struggles of their elders, revealing this murky chapter of Mexican history through the personal experiences of one woman, Margarita Urías. The Sound of Fire blends witness accounts, archive film, and scale models as the actors unearth the artefacts of recent history. Nourished by the force of history, Lagartijas Tiradas al Sol has concocted a bold documentary play that reignites the political heritage of their ancestors. It is a blistering attack on our benumbed consciousness, and a necessary plea not to forget the past. Can a critical examination of the past transform the future? What was the world like for our fathers? What battles were fought before we were born? What is rebellion in the twenty-first century? How do we express dissent today? How do you build a better country? This project concerns the need to look at ourselves as we are reflected in others, to look at our current time in relation to other generations. It is naive to think that the world is improving for the simple fact that time passes; it is equally naive to think that the past was better for being in the past.

AUTHORS

L

agartijas Tiradas al Sol is a community of artists founded in 2003 by Luisa Pardo and Gabino Rodriguez. Since then, they develop projects as a mechanism to link the work and life, to erase borders. Their work seeks to make sense, articulate, disrupt, and unravel what everyday practice merges and overlooks. It has nothing to do with entertainment, it is a space to think. They are interested in select events of the past and they work on their construction, highlight the arbitrariness with which history is constructed, and generate another reading – just as arbitrary, but their own. They do not want to correct the record, but simply to put the emphasis elsewhere, change the narrator, become actors of the past that they have lived or not, put this in perspective by making up stories. Their work has revolved around the notions of: biography, document, and history. They have presented their work in much of Mexico and abroad: Festival d’Automne in Paris, the Kunstenfestivaldesarts in Brussels, Wiener Festwochen, contemporary scene in Madrid, Montreal TransAmériques, Theater Spektakel of Zurich, among many others. The troupe received several awards, among them the nomination of Luisa Pardo and Gabino Rodriguez as candidates for participating in the Rolex Mentor and Protégés Arts Initiative 2008, the Audience Award at the festival Impatience in Paris 2011 (Odéon Théâtre and Centquatre) and ZKB Foldpreiss in Zurich 2011.

31


Po motivima drame Kralj Ubu Alfreda Jarrya; sabrana djela ansambla Ubu / Based on the motifs of the play Ubu the King by Alfred Jarry; collected works of the Ubu ensemble Režija / Direction: Jernej Lorenci Igraju / Cast: Jernej Šugman Nina Valič Bojan Emeršič Jurij Zrnec Klemen Slakonja Sabina Kogovšek Boris Mihalj Gregor Zorc Žan Perko Dramaturgija / Dramaturgy: Matic Starina Koreografija / Choreography: Gregor Luštek Scenografija / Stage Design: Branko Hojnik Kostimografija / Costume Design: Belinda Radulović Muzika i izbor citata / Original and Selected Music: Branko Rožman

KRALJ UBU UBU THE KING SNG Drama Ljubljana

Dizajn svjetla / Light Design: Pascal Mérat Savjetnica za jezik / Language Consultant: Tatjana Stanič Asistentica dramaturga / Dramaturg Assistant: Katja Markič Fotografija / Photography: Peter Uhan / SNG Drama Ljubljana 32

5/10/16 20.00 Sarajevski ratni teatar / Sarajevo War Theater Slovenija / Slovenia Trajanje: 155 min. s pauzom Duration: 155 min. with intermission


PREDSTAVA

S

vako doba ima svog kralja Ubua. Svojom predstavom, rađenoj po predlošku beskrupulozne, urnebesne, mračne drame Alfreda Jarryja Kralj Ubu (1896), Lorenci nam pruža vlastitu viziju brutalnosti i primitivizma našeg doba. Skandal koji je 1896. podijelio publiku nakon premijernog izvođenja drame Kralj Ubu, tada dvadesettrogodišnjeg Alfreda Jarrya, neočekivano je nagovijestio događaje u umjetnosti i društvenom životu 20, a čini se i 21. stoljeća. Na polju umjetnosti, Kralj Ubu je nagovijestio nadrealizam, dadaizam, pa čak i teatar apsurda, dramu apsurda, te ludizam, avangardne struje koje su pomele tradicionalne forme, dok je u društvu najavio nadolazeću lavinu pohlepe i svirepog ubijanja. Sve to upakovano je u jednu beskrupuloznu, provokativnu predstavu punu crnog humora. Bezobzirnu, pohlepnu i lakomu kukavicu Tatu Ubua njegova žena Mama Ubu, parodijska verzija Lady Macbeth, tjera da nasilno preuzme vlast te počne vladati na još okrutniji i totalitarniji način, iz čega se bude brojne asocijacije.

REDITELJ

J

ernej Lorenci (1973) je pozorišni reditelj i profesor na Akademiji za pozorište, radio, film i televiziju u Ljubljani. Dobitnik je brojnih nagrada: Grand Prix za najbolju predstavu i najboljeg reditelja na festivalu Borštnikovo srečanje, nagradu Šeligo za najbolju predstavu na Sedmici slovenske drame, nagradu dnevnog lista Politika za najbolju režiju na BITEF festivalu 2013. godine, nagradu za najbolju režiju na Međunarodnom pozorišnom festivalu Zlatni lav, te nagradu za najbolju predstavu koju mu je dodijelio slovenski ogranak Međunarodnog udruženja pozorišnih kritičara/ki. Radio je u svim slovenskim pozorištima, Zagrebačkom kazalištu mladih, Hrvatskom narodnom kazalištu u Zagrebu, te u pozorištima u inostranstvu.

PERFORMANCE

E

very era has its own King Ubu. Lorenci’s performance creates its own vision of brutality and primitivism of our time, based on Jarry’s unscrupulous, rowdy and black-humoured play Ubu the King (1896). The scandal that divided the audience after the 1896 premiere performance of Ubu the King of then merely 23-year-old Alfred Jarry, unexpectedly heralded the developments of the 20th and seemingly also the 21st century, in the fields of both art and social life. In the arts, Ubu the King foreshadowed the avant-garde currents that swept away traditional forms, including Surrealism, Dadaism, and even the Theater of the Absurd, absurd drama, and the subsequent Luddism. In terms of society, it announced the forthcoming avalanche of greed and brutal slaughter. All this comes in the form of an unscrupulous, rowdy, and black-humoured play. The reckless, greedy, avaricious, but actually cowardly Papa Ubu, incited by his wife, Mama Ubu, a parodied version of Lady Macbeth, to brutally seize power and govern in an even crueller and more totalitarian manner, evokes many allusions.

DIRECTOR

J

ernej Lorenci (1973) is a theater director and senior lecturer at the Academy of Theater, Radio, Film and Television in Ljubljana. He received numerous awards for his work: Grand Prix for Best Performance and Best Direction Award at the Borštnikovo srečanje Festival, Šeligo Award for Best Performance at the Week of Slovenian Drama, Politika Award for Best Direction at BITEF 2013, Best Direction Award at the International Theater Festival ZlatniLav, Best Performance Award as chosen by the Slovene section of AICT/IATC. He has worked in all Slovenian theater institutions, in Zagreb Youth Theater, in Croatian National Theater Zagreb and other theaters abroad.

33


FORECASTING

Kaaitheater / UOVO / 1er stratagème / De facto 6/10/16 18.00 Sarajevski ratni teatar - SARTR / Sarajevo War Theater - SARTR Francuska / France Trajanje / Duration: 50 min. Jezik: engleski / bez titlova 34

Autor/ica / Authors: GIUSEPPE CHICO BARBARA MATIJEVIĆ Izvodi / Performed by: BARBARA MATIJEVIĆ Video: GIUSEPPE CHICO Zvuk / Sound: VIKTOR KRASNIĆ Patch Max: NICCOLO GALLIO Fotografija / Photography: FLORIAN LEDUC


PREDSTAVA

F

orecasting se zasniva na zbirci amaterskih snimaka preuzetih sa najveće svjetske internet stranice za dijeljenje video zapisa, YouTube-a. Performans se služi ovim okvirom kao okidačem fiktivnog, kao skladištem znakova i značenja, sumom artikulacija koje posjetitelju/ki, korisniku/ci nameću da procesuira informacije između fragmentirane empirijske neposrednosti i hiperapstrakcije. Na sceni, izvođačica drži laptop na čijem monitoru se prikazuju video zapisi sa Youtube-a, odabrani da odgovaraju prirodnoj ljudskoj veličini. Iz ovog jednostavnog kriterija proizilazi niz prostornih i vremenskih pomjeranja. Monitor postaje mjesto gdje se ukrštavaju tijelo izvođačice i dvodimenzionalni svijet slika koje predstavljaju neke druge ljude na nekim drugim mjestima. Rezultat toga je jedno vrtoglavo, hibridno iskustvo, zona neodređenosti koju potpomaže sama priroda video zapisa koji prikazuju banalnost svakodnevnih situacija, pokreta i predmeta, a koji istovremeno nude mogućnost da se transformiraju u nove alate samonaracije. Forecasting je treći dio trilogije pod nazivom Teorija predstojećeg performansa ili jedini način da izbjegnemo masakr je da postanemo njegovi autori?

AUTOR/ICA

PERFORMANCE

F

orecasting is based on a collection of amateur videos taken from the world’s largest video-sharing website: YouTube. The performance uses this framework as a fiction trigger, a store of signs and meanings, a sum of articulations that impose on its visitor / user an exercise in information processing between fragmentary empirical immediacy and hyper abstraction. On the stage, a performer manipulates a laptop showing YouTube videos that had been selected to fit the human size scale. From this simple criterion arises a set of spatial and temporal displacements. The screen becomes the site of intersection between the body of the performer and the two-dimensional world of images that represent other people in other places. The result is a dizzying hybrid experience, a zone of indeterminacy informed by the very nature of videos ranging from the banality of everyday situations, movements, and objects, and the possibility of their transformation into new tools of self-narration. Forecasting is the third part of the trilogy Theory of the performance to come or the only way to avoid the massacre is to become its authors?

AUTHORS

G

G

B

B

iuseppe Chico rođen je 1974. godine u Bariju (Italija). S teatrom se upoznao još kao dječak, najprije gledajući operete, a s deset godina je započeo s teatarskim obrazovanjem u teatru Abeliano Tina Tempesta i Antonella Porfido u Bariju. Nekoliko godina kasnije, nakon prekida profesionalne košarkaške karijere, vraća se teatru radeći sa Robertom McNeerom u teatru Kismet. Nekoliko puta je sarađivao i sa scenografom Paolom Baronijem. 2000. godine seli u Pariz i započinje studij plesa i kompozicije sa Joaom Fiadeirom, Verom Montero, Julyenom Hamiltonom, Markom Tompkinsom, Verom Orlock, Poohom Kayeom, KJ Holmesom i Olivierom Bessonom. Dugi niz godina je nastupao sa trupom Mille Plateaux Associés, a sarađivao je i sa Georgeom Appaixom, Anjom Hempel i Magalijem Desbazeilleom. 2007. godine se pojavljuje u Čistilištu autora i reditelja Jorisa Lacostea. 2007. godine započinje saradnju sa Barbarom Matijević. Živi u Parizu.

arbara Matijević rođena je 1978. godine u Našicama (Hrvatska). Ples je studirala u Zagrebu sa koreografkinjom i profesoricom Kilinom Cremonom, a radila je i sa nekoliko hrvatskih koreografa/ kinja (Irmom Omerzo, Ivom Nerinom Gattin, Katjom Šimunić, cie TRAFIK). 2003. godine udružuje se sa dramaturgom i rediteljem Sašom Božićem i plesačicom i koreografkinjom Željkom Sančanin u trupi Kombinirane operacije, gdje aktivno sudjeluje kao plesačica, asistentica pokreta, glumica i koreografkinja (Re-Play, 2002; Hard To Dig It, 2003; Vertigo, 2007). Nakon završenog studija književnosti na Fakultetu umjetnosti pri Sveučilištu u Zagrebu, odlazi u Pariz na poziv Borisa Charmatza. Godinu dana (2004-2005) učestvuje u projektu Bocal koji je okupio 15 umjetnika/ca iz različitih žanrova oko ideje o stvaranju jedne kratkotrajne škole koja bi se bavila istraživanjem performativnih pristupa podučavanja plesa. 2006/2007. se pojavljuje u Čistilištu kojeg je napisao i režirao Joric Lacoste. 2005. godine sa fotografima/kinjom Igorom Kuduzom, Anom Opalić i Jasenkom Rasolom realizira projekat Photomorgana kojeg predstavljaju na Zagrebačkom salonu mladih 2006. Od 2005. do 2008. godine sarađuje sa slovenačkim rediteljem Bojanom Jablanovecom (projekat VIA NEGATIVA: Would Would Not, 2005; Viva Verdi, 2006; Superbia, 2008). 2007. godine, sa Sašom Božićem, osniva trupu deFacto i počinje saradnju sa Giuseppeom Chicom. Od 2004. godine podučava ples na osiječkoj Akademiji umjetnosti, Hrvatska. Živi u Zagrebu.

iuseppe Chico was born in Bari (Italy) in 1974. He was introduced to theater as a child, first by watching operettas and then, at the age of 10, by taking classes at the theater Abeliano Tina Tempesta and Antonella Porfido in Bari. After several years interruption during which he played professional basketball, he pursued his theater practice with Robert McNeer at the theater Kismet. On several occasions, he also worked with the set designer Paolo Baroni. In 2000, he moved to Paris and began studying dance and composition with Joao Fiadeiro, Vera Montero, Julyen Hamilton, Mark Tompkins, Vera Orlock, Pooh Kaye, KJ Holmes, Olivier Besson. For several years, he performed with the company Mille Plateaux Associés. He also collaborated with George Appaix, Anja Hempel, Magali Desbazeille. In 2007, he performed in Purgatory, written and directed by Joris Lacoste. Also in 2007, he started a collaboration with Barbara Matijević. He lives in Paris.

arbara Matijević was born in Našice (Croatia) in 1978. She studied dance with the choreographer and teacher Kilina Cremona in Zagreb, and worked with a number of Croatian choreographers (Irma Omerzo, Iva Nerina Gattin, Katja Šimunić, cie TRAFIK). In 2003, she joined the dramaturge / director Saša Božić and dancer / choreographer Željka Sančanin in the company Kombinirane operacije, where she was active as a dancer, movement assistant, actress, and choreographer (Re-Play, 2002; Hard To Dig It, 2003; Vertigo, 2007). After graduating with a degree in literature from the Faculty of Arts at the Zagreb University, she went to Paris at the invitation of Boris Charmatz. For one year (2004-2005), she participated in the project Bocal, which brings together 15 artists from different backgrounds around the idea of an ephemeral school, exploring performative approaches to teaching dance. In 2006/07, she performed in Purgatory, written and directed by Joris Lacoste. In 2005, she realized the interdisciplinary project Photomorgana with the photographers Igor Kuduz, Ana Opalić, and Jasenko Rasol, presented at the Zagreb Youth Salon 2006. From 2005 – 2008, she collaborated with Slovenian director Bojan Jablanovec (project VIA NEGATIVA: Would Would Not, 2005; Viva Verdi, 2006; Superbia, 2008). In 2007, together with Saša Božić, she founded the company De facto and began a collaboration with Giuseppe Chico. Since 2004, she has been teaching dance at the Art Academy in Osijek, Croatia. She lives in Zagreb. 35


Mohammad Al Attar

DOK SAM ČEKAO WHILE I WAS WAITING

Festival d’Avignon / Napoli Teatro Festival / Arab Fund for Arts and Culture / Pôle Arts de la scène - Friche La Belle de Mai Marseille / Theater Spektakel Zürich / Onassis Cultural Centre Athens / Vooruit Gent / La Batie Festival de Genève / Les Bancs publics / Les Rencontres à l’échelle Marseille / Festival d’Automne à Paris

Režija / Direction: Omar Abusaada Igraju / Cast: Amal Omran Mohammad Alarashi Nanda Mohammad Fatina Laila Mouiad Roumieh Mohamad Al Refai Scenografija / Stage Design: Bissane Al Charif Svjetlo / Lights: Hasan Albalkhi Video: Reem Al Ghazzi

6/10/16 19.30 Narodno pozorište Sarajevo / National Theater Sarajevo Sirija / Syria Trajanje / Duration: 100 min.

Muzika / Music: Samer Saem Eldahr (Hello Psychaleppo) Tehnička direktorica / Technical Direction: Camille Mauplot Izrada scenografije / Set Construction: Sylvain Georget Patrick Vindimia Fotografija / Photography: Didier Nadeau

36


PREDSTAVA

T

aim je brutalno pretučen, pod misterioznim okolnostima, nakon što je prešao jedan od mnogih kontrolnih prijelaza u Damasku. U bolnicu je primljen bez svijesti. Doktori njegovoj porodici saopštavaju da je u komi. Ovaj tragični događaj tjera njegovu porodicu da se suoči sa bolnim izazovima i spoznajama koje su godinama bile sakrivene. Nakon što im je otac preminuo, 2000. godine, te nakon skandala kojeg je njegova smrt otkrila, čini se da ova porodica nije u stanju nositi se sa ovom nesrećom iz 2015. godine, bez da se neke stvari iz temelja ne promijene. U narednim godinama Taim, još uvijek u stanju kome, posmatra transformacije svoje porodice i bliskih prijatelja/ica, ali i samog grada Damaska, koji mu postaje stran i okrutan. Koma je i priča o današnjoj Siriji, koja visi u sivoj zoni, između života i smrti, nade i očaja.

REDITELJ

O

mar Abusaada je sirijski pozorišni reditelj, rođen 1977. godine. Nakon što je 2001. godine diplomirao na Visokom institutu za dramsku umjetnost u Damasku, počeo je raditi kao dramaturg i reditelj. Jedan je od osnivača pozorišne trupe Studio Theater u Damasku, čija je prva predstava Insomnia izvedena 2004. godine. Režirao je Al affich 2006. godine, te Praštanje, kao i improvizaciju u kojoj su učestvovali momci iz zatvora za maloljetnike, Almirwad wa almikhala, 2009. godine. Režirao je Pogledaj ulice... ovako izgleda nada, 2011. godine, Možeš li gledati u kameru, molim te, 2012. godine, Intima, 2013, Sirijske Trojanke, 2013, Antigona Shatila, 2014. godine. Uveo je drugačije ideje u savremeno pisanje i dokumentarni teatar u Siriji. Godinama je radio u nepristupačnim mjestima širom Sirije, kao i u lokalnim zajednicama u Siriji, Egiptu i Jemenu. Učestvovao je na mnogim međunarodnim festivalima. Trenutno vodi veliki broj radionica na temu savremenog pisanja i režije.

PERFORMANCE

T

aim was brutally beaten under mysterious circumstances after crossing one of the numerous security checkpoints in Damascus. He was admitted to the hospital unconscious. The doctors informed his family that he was comatose. This tragic event compels his family members to face painful challenges and revelations, buried during the past years. After surviving their father’s death in 2000 and the scandal it revealed, the family seems unable to overcome the new shock in 2015 of Taim’s coma without undergoing fundamental changes. Over the course of a year, Taim, still in a coma, observes the transformations in the lives of his family members and close friends, as well as those of his city, Damascus, which is becoming crueller and stranger. The coma is also the story of Syria today, a grey zone suspended between life and death, hope and despair.

DIRECTOR

O

mar Abusaada is a Syrian theater director born in 1977. After finishing his theatrical studies at the High Institute of Dramatic Arts in Damascus in 2001, Omar started working as a dramaturge and director. He co-founded a theatrical troup called Studio Theater in Damascus and in 2004 they had their first performance Insomnia. He went on to direct Al affich in 2006, Forgiveness, an improvisation work with a group of boys in a juvenile prison, Almirwad wa almikhala in 2009. In 2011, he directed Look at the Streets... This is What Hope Looks Like, Could You Please Look into the Camera? in 2012, Intimacy in 2013, Syria Trojan Women in 2013, Antigone of Shatila in 2014. Omar introduced different ideas of contemporary writing and documentary theater for professionals working in Syria. He also worked in remote villages for years, and in local communities in Syria, Egypt, and Yemen. His works were shown at different international festivals. Omar runs many workshops in the fields of contemporary theater writing and directing.

37


Dubravko Mihanović

ŽABA

THE FROG

Kamerni teatar ’55 6/10/16 22.00 Kamerni teatar ’55 / Chamber Theater ‘55 Bosna i Hercegovina / Bosnia and Herzegovina Trajanje / Duration: 90 min.

Režija / Direction: Elmir Jukić Igraju / Cast: Emir Hadžihafizbegović Mirsad Tuka Aleksandar Seksan Moamer Kasumović Kostimografija i scenografija / Costume and Stage Design Vanja Popović Asistent kostimografije i scenografije / Costume and Stage Design Assistant: Dženita Huseinović Muzika / Music: Dino Šukalo Inspicijent / Stage Manager: Senad Bešić Tehnički direktor / Technical Director: Mirsad Imamović Svjetlo / Lights: Elvedin Bajraktarević Nino Brutus Zvuk / Sound: Edin Hajdarević Edina Hajdarević Fotografija / Photography: ALMIN ZRNO 38


PREDSTAVA

Ž

aba je priča o svima nama, ljudima današnjeg vremena, dobu nerazumijevanja i usamljenosti i potrage za ljubavlju i smislom. Predstava na gotovo hirurški način dijagnosticira vrijeme u kojem živimo. Ona donosi likove koji se ne snalaze u tranzicijskom vremenu i dobu promijenjenih vrijednosti. Tekst se bavi problemima današnjeg vremena koji su isti ili slični u BiH, Hrvatskoj ili Srbiji. To je prvenstveno problem nepostojanja komunikacije i nemogućnosti da čujemo tuđe mišljenje. Ovaj tekst ima jednu sjajnu tezu, a to je da uvijek u svemu tražimo krivca, propuštajući da sami napravimo bitne promene u svojim životima. Zbog stvari, poput pitanja loših života i situacije u kojoj živimo, u stalnoj smo potrazi za krivcima, umjesto da se za sebe sami izborimo. Moramo se umiješati u vlastite sudbine, umjesto što nad njima samo žalimo. Žaba je tekst autora mlađe generacije Dubravka Mihanovića iz Zagreba, koji je za ovaj dramski tekst višestruko nagrađivan – osvojio je nagradu Marin Držić za najbolji dramski tekst na 14. Marulićevim danima, održanim 2004. godine. Predstava Žaba se izvodi već sedam godina u Kamernom teatru ‘55 i svoje 200. igranje je doživjela 19. decembra 2015. godine, i dobitnica je mnogih nagrada u BiH i regionu.

REDITELJ

E

lmir Jukić rođen je u Sarajevu 1971. godine. Završio je režiju na Akademiji scenskih umjetnosti u Sarajevu, 2000. godine. Režirao je u pozorištu i na televiziji. U Narodnom pozorištu u Sarajevu režirao je predstave: Proces (Franz Kafka), U Zvorniku ja sam ostavio svoje srce (Abdulah Sidran), kao i Priviđenja iz srebrenog vijeka (Almir Bašović). Filmovi koje je režirao su: Čovjek koji je kuću zamjenio za tunel – kratki dokumentarni film, Ram za sliku moje domovine – kratki igrani film, i Majka – kratki igrani film. Također je režiser i televizijskih humorističkih serija Lud, zbunjen, normalan, Dva smo svijeta različita i Kriza. Predaje režiju na Akademiji scenskih umjetnosti u Sarajevu.

PERFORMANCE

T

he Frog is a story about each and every one of us; about the age of misunderstanding, loneliness and the pursuit of love and meaning. The play, with almost surgical precision, makes a diagnosis of the time we live in. Its characters are not able to cope with the transition and the change of values. The problems it addresses are the same or of fairly similar nature, be it in Bosnia and Herzegovina, Croatia or Serbia. One of the main issues is the lack of communication and the inability to hear other people’s opinions. The play has an excellent point to it: we tend to blame others for the bad things that happen to us, failing to seek ways to change them ourselves. The bad quality of life and the situation we are in, make us place responsibility on others, and not ourselves. It is important to get involved in our own destinies and stop feeling sorry for ourselves. The Frog is a text written by a younger generation author, Dubravko Mihanović, from Zagreb. He won numerous awards for it, one of them being the Marin Držić Award for the Best Dramatic Text in 2004. The play has been performed for seven years in the Chamber Theater ‘55 and, on 19 December 2015, it was officially performed for the 200th time. It has won numerous awards, both in Bosnia and Herzegovina, and in the region.

DIRECTOR

E

lmir Jukić was born in Sarajevo in 1971. He graduated from the Academy of Performing Arts in Sarajevo in 2000 and has since worked in both, theater and TV. In the Sarajevo National Theater, he staged Franz Kafka’s Process, Abdulah Sidran’s In Zvornik, I Have Left My Heart, and Almir Bašović’s Apparitions from the Silver Age. He directed three short feature films: The Man Who Traded His House for a Tunnel, The Frame for the Picture of My Homeland and Mother. He is also the director of comedy series: Lud, zbunjen, normalan, Dva smo svijeta različita and Kriza. He teaches directing at the Sarajevo Academy of Performing Arts.

39


Tanja Šljivar

MI SMO ONI NA KOJE SU NAS RODITELJI UPOZORAVALI WE ARE THE ONES OUR PARENTS WARNED US ABOUT BNP Zenica

7/10/16 18.00 Sarajevski ratni teatar – SARTR / Sarajevo War Theater – SARTR Bosna i Hercegovina / Bosnia and Herzegovina Trajanje / Duration: 75 min. 40

Tekst / Text: TANJA ŠLJIVAR Režija, scenski pokret i koreografija / Direction, Stage Movement and Choreography: MIRJANA KARANOVIĆ Igraju / Cast: MIRJANA KARANOVIĆ ENES SALKOVIĆ Scenografija i kostimografija / Stage and Costume Design: SABINA TRNKA Muzika / Music: DRAŠKO ADŽIĆ Saradnica za scenski pokret / Stage Movement Assistant: SONJA VUKIĆEVIĆ Asistent režije / Assistant Director: EMIN HAJRIĆ Lektorica / Editor: ALICA ARNAUT Producent / Producer: HAZIM BEGAGIĆ Izvršna produkcija / Executive Production: DENIS KRDŽALIĆ Inspicijent / Stage Manager: ABIDIN ČOLAKOVIĆ Fotografija / Photography: MUHAMED TUNOVIĆ


PREDSTAVA

M

i smo oni na koje su nas roditelji upozoravali je drama koja koncept role playa, kao i sve druge narativne tehnike kojima se koristi, kako monološke, tako i dijaloške, pa i jezik sam, izvrće u njihove suprotnosti i pokazuje nemogućnost jednostavnog pokušaja – ispričati sopstveni život nepoznatoj osobi tokom jedne večeri. U junu, u javnom toaletu, Mara, žena u četrdesetim godinama i Milan, koji te večeri slavi rođendan, još uvijek tinejdžer, (slučajno?) se sreću i pokušavaju da ispričaju jedno drugom sopstvene živote. Kao okidače za sjećanja koriste slučajne natpise po pločicama toaleta, a nepouzdanost i nepostojanost bilo kog tjelesnog, emotivnog ili mentalnog sjećanja se kroz četiri scene u kojima igraju arhetipske odnose majka-sin, otac-kćerka, brat-sestra i ljubavnica-ljubavnik, pokazuju se kao jedine istine koje je o samom sebi moguće izreći. Kada sam prvi put pročitala ovaj tekst, preplavile su me emocije koje izbijaju iz njega. Prepoznala sam u njemu slojeve moje duše. Moje tuge, strahove, čežnje, praznine koje ostaju iza ljudi koje sam voljela. U njemu sam prepoznala sva moja bića koja uporedo žive u meni. Devojčicu koja čezne za pažnjom svog oca, prazninu majke koja više nema svog sina, neizmernu ljubav devojke prema bratu i žudnju zrele žene za životom. - Mirjana Karanović

REDITELJICA

M

irjana Karanović je pozorišna, televizijska i filmska glumica, pozorišna rediteljica i pedagoginja. Diplomirala je glumu na Fakultetu dramskih umetnosti u Beogradu. U pozorištu je tumačila najširi dijapazon uloga u predstavama klasičnog i savremenog repertoara, produciranih u srpskim, hrvatskim i bosanskohercegovačkim teatrima. Sarađujući sa istaknutim pozorišnim rediteljima/cama sjajne glumačke kreacije ostvarila je u predstavama: Mrešćenje šarana i Pazarni dan, Dozivanje ptica, Bure baruta, Rodoljupci, Talijanska noć, Pred penzijom, Fedrina ljubav, Barbelo, o psima i djeci, Drama o Mirjani i ovima oko nje, Rođeni u YU, Noževi u kokoškama, Helverova noć, Tramvaj zvan žudnja itd. Za glumačka ostvarenja u pozorištu nagrađivana je na značajnim teatarskim festivalima. Osim toga, ostvarila je uloge u mnogim filmovima među kojima su: Pad Italije Lordana Zafranovića, Život je lep Bore Draškovića, Obećana zemlja Veljka Bulajića, Sabirni centar Dušana Kovačevića, Vreme čuda Gorana Paskaljevića, Podzemlje i Život je čudo Emira Kursturice, Bure baruta Gorana Paskaljevića, Svjedoci Vinka Brešana, Go west Ahmeda Imamovića, Grbavica Jasmile Žbanić itd. Za glumačka ostvarenja na filmu nagrađivana je na filmskim festivalima u Puli, Nišu, Briselu, Palma de Mallorci. Dugogodišnja je profesorica glume na Akademiji umetnosti u Beogradu. Za ukupno stvaralaštvo i doprinos razvoju teatarske umjetnosti, za svoj humanitarni rad i društveni angažman, Mirjana Karanović je dobila nekoliko značajnih nagrada i društvenih priznanja.

PERFORMANCE

W

e Are the Ones Our Parents Warned Us About is a drama that twists the concept of role-play, as well as all other narrative techniques it uses, both the monologue and the dialogue, as well as the language itself, into their opposites, and demonstrates the impossibility of a simple attempt – to tell a story about one’s own life to an unknown person in the span of one night. In June, in a public toilet, Mara, a woman in her forties, and Milan, still a teenager, celebrating his birthday that evening, (accidentally?) meet and attempt to tell each other about their own lives. They use random inscriptions on the toilet wall as triggers for memories, and the unreliability and volatility of any corporeal, emotional, or mental memory are presented as the only truth one can tell about his/her-self through four scenes in which they play the archetypal relations of mother-son, fatherdaughter, brother-sister, and lover-lover. When I read this text for the first time, I was overwhelmed with emotions emerging from it. I recognized the layers of my soul in it. My sadness, fears, desires, emptiness that remain after the people I once loved. I recognized in it all of the creatures living side by side within me. The girl, craving her father’s attention, the emptiness of a mother who no longer has her son, the immense love of a sister toward her brother, and the desire of a mature woman for life. - Mirjana Karanović

DIRECTOR

M

irjana Karanović is theater, television, and film actress, theater director, and pedagogue. She graduated from the department of acting at the Faculty of Dramatic Arts in Belgrade. She played the broadest range of roles within classical and contemporary repertoire, produced in Serbian, Croatian, and Bosnian-Herzegovinian theaters. She reached great acting achievements in collaborations with prominent theater directors in the following plays: Spawning Carp and Market Day, Calling the Birds, Cabaret Balkan, Patriots, Italian Night, Just Before Retirement, Phaedra’s Love, Barbelo, Of Dogs and Kids, Drama About Mirjana and Those Around Her, Born in YU, Knives in Hens, Helver’s Night, Streetcar Named Desire, etc. She received many awards for acting at many important theater festivals. In addition, she played the roles in many movies, including: The Fall of Italy by Lordan Zafranović, Life is Beautiful by Bora Drašković, Promised Land by Veljko Bulajić, The Meeting Point by Dušan Kovačević, Time of Miracles by Goran Paskaljević, Underground and Life is a Miracle by Emir Kusturica, Cabaret Balkan by Goran Paskaljević, Witnesses by Vinko Brešan, Go west by Ahmed Imamović, Grbavica by Jasmila Žbanić, etc. She was awarded for film acting achievements at film festivals in Pula, Niš, Brussels, Palma de Mallorca. She is a long-term professor at the Academy of Drama Arts in Belgrade. Mirjana Karanović has received several important awards and social acknowledgements for her life’s work and contribution to development of theatrical arts, humanitarian work and social engagement. 41


Jovan Sterija Popović

RODOLJUPCI THE PATRIOTS

Narodno pozorište Beograd

7/10/16 19.30 Narodno pozorište Sarajevo / National Theater Sarajevo Srbija / Serbia Trajanje / Duration: 95 min.

Režija i scenografija / Direction and Stage Design: ANDRÁS URBÁN Igraju / Cast: SLOBODAN BEŠTIĆ ANASTASIA MANDIĆ SUZANA LUKIĆ PAVLE JERINIĆ NELA MIHAILOVIĆ HADŽI NENAD MARIČIĆ NIKOLA VUJOVIĆ PREDRAG EJDUS BRANKO JERINIĆ BOJAN KRIVOKAPIĆ Muzičari / Musicians: NEMANJA AĆIMOVIĆ IVAN MARKOVIĆ ĐORĐE ANTIĆ Dramaturg i saradnik reditelja / Dramaturg and Director’s Associate: SUZANA VUKOVIĆ Dramaturgija / Dramaturgy: SLAVKO MILANOVIĆ

42

Kompozitorica / Composer: IRENA POPOVIĆ Kostimografija / Costume Design: MARINA SREMAC Scenski govor / Stage Speech: LjILjANA MRKIĆ POPOVIĆ Realizacija scenografije / Stage Construction: MIRAŠ VUKSANOVIĆ Scenski pokret / Stage Movement: TAMARA ANTONIJEVIĆ Asistent reditelja / Assistant Director: MAKSIM MILOŠEVIĆ Izvršni producent / Executive Producer: MILORAD JOVANOVIĆ Organizacija / Organization: JASMINA UROŠEVIĆ Fotografija / Photography: VICENCIO ŽAKNIĆ


PREDSTAVA

G

odina je 1848. i revolucija se proširila od Francuske, preko Italije, Mađarske do male banatske varoši Vršca, gdje se grupica lokalnih skorojevića i bankrotiranih trgovaca nameće za srpske predstavnike. Jedini kriterij njihove reprezentativnosti je – rodoljublje, koje oni shvataju prema ličnim interesima; na početku su ponizne “mađarske patriote” (diče se svojim mađarizovanim imenima, liturgiju drže na mađarskom jeziku – doduše izmišljenom, kite se mađarskim kokardama itd.), a kada saznaju za srpsku pobunu i zahtjev za stvaranjem Srpske Vojvodine, istog časa postaju ratnohuškačke kolovođe. Ali njihovo rodoljublje će biti na stalnom iskušenju – u zavisnosti od stanja na bojnom polju. Kada Mađari pobjeđuju, oni ponovo na sebe stavljaju mađarske kokarde, a kada pobijede Srbi, oni, kao lokalna vlast, brutalno pljačkaju, hapse i ubijaju svoje mađarske susjede. Uvijek sa ratnički pjevanim rodoljubivim pjesmama na usnama, ubit će i jedinog poštenog i razumnog među sobom – uglednog trgovca Gavrilovića. A poslije mađarske kontraofanzive 1849, bježe u Beograd, gdje bogati i mirne savjesti lamentiraju nad svojom “zlom srećom” pjevajući nježnu Sterijinu ljubavnu pjesmu o važnosti “čistog srca”.

REDITELJ

A

ndrás Urbán je rođen 1970. u Senti. Još kao sedamnaestogodišnjak stvara samostalnu pozorišnu i književnu radionicu kao autor, reditelj i glumac. Studira filmsku i pozorišnu režiju na novosadskoj Akademiji umjetnosti u klasi prof. Vlatka Gilića, režira u subotičkom Narodnom pozorištu. U prvoj trećini devedesetih napušta studije, rad u pozorištu i godinama živi povučeno. Diplomira 2000. u klasi prof. Bora Draškovića i ponovo intenzivno radi u pozorištu. Uz podršku segedinskog MASZK­-a i vlastitog ansambla (Ansambl Andrása Urbána) stvara nezavisne pozorišne predstave. Od 2006. je direktor Mađarskog gradskog pozorišta Dezso Kosztolany u Subotici. Osnivač je internacionalnog pozorišnog festivala Desiré Central Station. Režirao je 40-­ak profesionalnih predstava u Subotici, Nišu, Novom Sadu, Beogradu, Segedinu, Bitolju, Ljubljani, Berlinu, Klužu, Varni, Mariboru, Rijeci, Sarajevu. Na pozorište gleda kao na prosvijetljeni prostor ponekad provokativne akcije, gdje se misli, govori i organizira specifičan vid umjetničke stvarnosti. Predstava je za njega komunikacija i druga stvarnost koja postoji za sebe, ali nastaje i ispoljava se u odnosu između izvođača/ica, izvođene stvarnosti i gledatelja/ica. Režiju ostvaruje preko interaktivne komunikacije s glumcem/icom. Njegove režije i predstave su nagrađene na festivalima: Sterijino pozorje, Festival profesionalnih pozorišta Vojvodine, Infant, JoakimFest, Tvrđava fest, Teatarfest, Festival alternativnih pozorišta Republike Mađarske, Festival mađarskih pozorišta, BITEF, MESS, MOT, Dani satire u Zagrebu.

PERFORMANCE

I

t’s the year of 1848 and the revolution has spread from France, through Italy, Hungary, to a small town of Vršac in Banat, where a small group of local upstarts and bankrupt retailers impose themselves as Serbian representatives. The only criteria for their representability is – patriotism, which they understand according to their own interests; at the beginning, they are humble “Hungarian patriots” (they are proud of their Magyarized names, they run liturgy in Hungarian language – even if it’s actually made up, they decorate themselves with Hungarian cockades, etc.), but when they find out about the Serbian rebellion and the movement for creation of Serbian Vojvodina, they immediately became war-mongering ringleaders. But their patriotism will be constantly tested – depending on the situation at the battlefield. When the Hungarians are winning, they again deck themselves in Hungarian cockades, and when the Serbs win, they, as the local authority, brutally rob, arrest, and kill their Hungarian neighbours. Constantly singing the war patriot songs, they will also kill the only honest and reasonable person among them – the reputable merchant Gavrilović. Following the Hungarian counteroffensive in 1849, they flee to Belgrade where, wealthy and with clear consciousness, they lament their “bad luck” while singing Sterija’s gentle love song about the importance of a “pure heart”. DIRECTOR

A

ndrás Urbán was born in Senta in 1970. As a seventeen year old, he establishes an independent theater and literary workshop as an author, director and actor. He starts studying directing at the Academy of Arts in Novi Sad, under mentoring of Professor Vlatko Gilić, where he studies film and stage directing; he directs plays in the National Theater in Subotica. At the beginning of 1990’s he leaves the university, stops directing in theater and then lives in seclusion for years. Urban graduates in stage directing in 2000, mentored by Professor Boro Drašković, and again intensively works in theater. With support of MASZK from Szeged and his own ensemble (The Andraš Urban’s Ensemble) he produces independent theater performances. Since 2006, he has been a Manager of Hungarian Theater Dezso Kosztolany in Subotica. He is the founder of an Inter­national Theater Festival Desiré Central Station. He directed plays in Subotica, Niš, Novi Sad, Belgrade, Szeged, Bitola, Ljubljana, Berlin, Cluj, Varna, Maribor, Rijeka, Sarajevo. He sees the theater as an enlightened space for, sometimes, provocative action, where one thinks, speaks and organises a specific vision of creative reality. A production is, in his opinion, a com­munication and the other reality, which exists in its own right, but is created and presented in the relationship between a per­former, p resented reality and the viewer. He directs through an interactive communication with the actor/actress. His stage directing and productions won awards at the Festival of Professional Theaters of Vojvodina, Sterija Festival, Infant, Joakimfest, Fortress Fest, Teatarfest, Festival of Alternative Theaters of the Republic of Hungary, Festival of Hungarian Theaters, Bitef, Mess, MOT, the Days of Satire Zagreb. 43


Tena Štivičić

TRI ZIME

THREE WINTERS HNK Zagreb

8/10/16 18.00 Narodno pozorište Sarajevo / National Theater Sarajevo Hrvatska / Croatia Trajanje: 180 min. s pauzom Duration: 180 min. with intermission

Režija / Direction: IVICA BULJAN Igraju / Cast: KSENIJA MARINKOVIĆ DRAGAN DESPOT JADRANKA ĐOKIĆ LUCA ANIĆ BARBARA VICKOVIĆ MISLAV ČAVAJDA BOJAN NAVOJEC NINA VIOLIĆ FRANJO KUHAR SINIŠA POPOVIĆ MADA PERŠIĆ SILVIO VOVK ALMA PRICA SLAVKO JURAGA Dramaturgija / Dramaturgy: MIRNA RUSTEMOVIĆ Scenografija / Stage Design: ALEKSANDAR DENIĆ Kostimografija / Costume Design: ANA SAVIĆ GECAN Muzika / Music: MITJA VRHOVNIK SMREKAR Svjetlo / Lights: SONDA4 Video: TONI SOPRANO Asistent reditelja / Assistant Director: PAOLO TIŠLJARIĆ Asistentica scenografkinje / Assistant Stage Designer: VANJA MAGIĆ

Asistentica kostimografkinje / Assistant Costume Designer: TEA BAŠIĆ Fotografija / Photography: MARA BRATOŠ 44


PREDSTAVA

D

rama Tri zime prati sudbine snažnih žena iz četiriju naraštaja povezanih jednom kućom. Tena Štivičić je kao ishodište svoje drame uzela priču iz vlastite porodice, nadahnuta teškim životom svoje prabake koja je za vrijeme Kraljevine Jugoslavije rodila izvanbračno dijete. U zimi 1945. godine, majka i kći s mužem i tek rođenom djevojčicom po partijskome ključu useljavaju u vilu endehaškoga emigranta. Kuća je naizgled prazna, ali ipak krije jednu preostalu stanarku i majčinu staru poznanicu. U zimi 1990. godine porodica Kos okuplja se u istoj kući na karminama. Vrijeme je uoči Domovinskog rata, nova država je još u povojima, a nekadašnje podjele i stare polemike ponovo izlaze na površinu. U zimi 2011. godine u kući se priprema vjenčanje i porodica Kos je ponovo na okupu. U osvit ulaska u Evropsku uniju zatvaraju se neka porodična poglavlja i prekidaju duge šutnje dok novi moćnici, vođeni ideologijom kapitala, kroje sudbinu kuće u kojoj se i dalje talože godine i sjećanja…

PERFORMANCE

D

rama Three Winters follows the destinies of strong women from four generations connected to one house. Tena Štivičić took a story from her own family as the starting point of her drama, inspired by the hard life of her great-grandmother who gave birth to an illegitimate child during the Kingdom of Yugoslavia. In the winter of 1945, as per the party decree, a mother and a daughter with her husband and a new-born baby girl move into the mansion of an NDH immigrant. The house seems be empty, but it hides one remaining tenant and the mother’s old acquaintance. In the winter of 1990, the Kos family gathers in the same house after the funeral. It’s the time just before the Homeland War, the new country is still in its infancy, and former divisions and old controversies are surfacing again. In the winter of 2011, a wedding is being prepared in the house and the Kos family is together again. On the eve of joining the European Union, certain family chapters are being closed and long silences are being broken, while the new powers guided by the ideology of capital determine the fate of the house in which years and memories are still being deposited…

REDITELJ

I

vica Buljan je studirao političke nauke, francuski jezik i komparativnu književnost na Sveučilištu u Zagrebu. Nekoliko godina radi kao pozorišni kritičar i novinar u različitim redakcijama. Član je uredništva u pozorišnoj reviji Novi Prolog, suosnivač teorijskog pozorišnog časopisa Frakcija, te saradnik međunarodnih pozorišnih revija Primer acto (Madrid), Ubu (Pariz, London) i Maska (Ljubljana). Kao pedagog radio je na projektima Eksperimentalne pozorišne akademije u Parizu, Briselu i Moskvi. Gost je predavač na školi La Mamma Ellen Stewart u New Yorku. Suosnivač je i umjetnički savjetnik Mini teatra u Ljubljani. Član je međunarodnih udruženja ETC u Briselu, Instituta za Mediteransko pozorište u Madridu i ITI-UNESCO u Parizu. S Dubravkom Vrgoč utemeljitelj je i umjetnički direktor Festivala svjetskog kazališta u Zagrebu od 2003. Od 2014. preuzeo je i upravljanje Dramom Hrvatskoga narodnog kazališta u Zagrebu. Predstave su mu nagrađivane na Kubi i u Slovačkoj, Ljubljani i Zagrebu, a gostovale su na međunarodnim festivalima u više od 30 različitih zemalja. Dobitnik je nagrade Sterijinog pozorja i Vjesnikove nagrade Dubravko Dujšin.

DIRECTOR

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vica Buljan studied political sciences, French, and comparative literature at the University of Zagreb. For several years, he worked as a theater critic and journalist in various newsrooms. He is a member of the editorial board in theater magazine Novi Prolog, a co-founder of theoretical theater magazine Frakcija, and the associate of international theater magazines Primer acto (Madrid), Ubu (s, London), and Maska (Ljubljana). As a pedagogue, he worked on projects of the Experimental Theater Academy in Paris, Brussels, and Moscow. He is a guest lecturer at the school of Ellen Stewart, La Mamma in New York. He is a co-founder and artistic advisor of the Mini Theater in Ljubljana. He is a member of international associations ETC in Brussels, Institute for Mediterranean Theater in Madrid, and ITI-UNESCO in Paris. He is the founder and artistic director of the Festival of World Theater since 2003, together with Dubravka Vrgoč. Since 2014, he took over the management of Drama within the Croatian National Theater in Zagreb. He was awarded for his performances in Cuba, Slovakia, Ljubljana, and Zagreb, and his guest performances were hosted at international festivals in more than 30 different countries. He was awarded the Sterija Theater Award and Vjesnik’s Dubravko Dujšin Award.

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ZA ŠTA BISTE DALI SVOJ ŽIVOT? WHAT WOULD YOU GIVE YOUR LIFE FOR?

8/10/16 19.00 22.00 Centar za djecu i omladinu Novo Sarajevo / Center for Children and Youth Novo Sarajevo Bosna i Hercegovina, Srbija / Bosnia and Herzegovina, Serbia Trajanje / Duration: 120 min.

East West Centar / Teatar Promena Novi Sad / BNP Zenica / Újvidéki Színház Novi Sad

Muzika / Music: Rastko Ilić Svjetlo / Lights: Nikola Marinkov Asistentica reditelja / Assistant Director: Elma Islamović Autori / Authors: Haris Pašović ANSAMBL / ENSEMBLE Režija / Direction: Haris Pašović Igraju / Cast: Katarina Bradonjić Amar Čustović Lana Delić Fedor Đorović Sanela Krsmanović-Bistrivoda Miloš Lazić Peđa Marjanović Mina Pavlica Dražen Pavlović Gabor Pongo Mia Simonović Ema Stojanović Marko Vasiljević Dušan Vukašinović Nikola Živanović Scenografija / Stage Design: Lada Maglajić Vedad Orahovac Kostimografija / Costume Design: Irma Saje Koreografija / Choreography: Thomas Steyaert

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Grafički dizajn / Graphic Design: Enes Huseinčehajić Fizička priprema / Physical Training: Peđa Marjanović Korepetitorica / Accompanist: Ema Stojanović Tehnički direktori / Technical Direction: Elfad Baručija (BNP ZENICA) Atila rapoti (Újvidéki Színház) Marketing: Elvir Škiljo (BNP ZENICA) Asistenti produkcije / Production Assistants: Irfan avdić (east west) ALEKSANDRA MRĐEN (TEATAR PROMENA) Izvršna produkcija / Executive Production: Ismar Hadžiabdić Menadžerica projekta / Project Manager: Lejla Abazović-Muratović Producenti / Producers: Haris Pašović (East West) DUŠAN VUKAŠINOVIĆ (TEATAR PROMENA) Hazim Begagić (BNP Zenica) Valentin Vencel (Újvidéki Színház) Fotografija / Photography: MILOŠ ČUBRILO


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deja za ovu predstavu se začela na časovima master programa iz predmeta Gluma na Akademiji umetnosti u Novom Sadu prije nekoliko mjeseci dok sam radio sa studentima glume u klasi prof. Borisa Isakovića. Radili smo teatarske portrete nekoliko ljudi koji su dali život za svoju ideju. Pitao sam glumce: Za šta biste vi dali svoj život? Kada se izuzme porodica, za koju bi većina ljudi žrtvovala svoj život, ostaje pitanje da li postoji ideja ili projekat za koje bi smo dali svoj život? Tako je započeo ovaj izuzetno uzbudljivi proces u kojem razmatramo sudbine, ideje, filozofije, uvjerenja, i paralelno – nove teatarske forme. Vrijeme Sveopšte Komunikacije u kojem živimo mijenja paradigmu komunikacije. Ko su identiteti koji komuniciraju u virtualnom prostoru? (…) Pripovjedači u našoj predstavi se nalaze iza IP adresa; manje je važno ko su oni i gdje su oni, od onoga šta oni govore; njihovi identiteti komuniciraju u virtuelnom intelektualnom prostoru/vremenu. Ljudi o kojim oni govore, pojavljuju se i nastaju u mentalnom prostoru grupe identiteta koji komuniciraju. Svaki identitet ima pristup cjelini priče, slijedi je i oblikuje je svojim doprinosom. Možda ovo zvuči na trenutak komplikovano, ali zapravo nije. Radi se samo o savremenom diskursu koji prevazilazi tradicionalne dramaturške forme jer su one nedostatne za novu paradigmu u kojoj živimo. Teatar koji stvaramo je intelektualni teatar, ali on nije otuđen od gledaoca koji nema visoko obrazovanje ili ne posjeduje mnoštvo informacija. Naš je teatar dostupan svakom gledaocu; ideje pripadaju svima. Haris Pašović

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aris Pašović, međunarodno priznati teatarski i filmski reditelj, ime je izgradio u kasnim 1980-im sa znamenitom produkcijom Wedekindovog Buđenje proljeća u Beogradu. Kada je Sarajevo palo pod opsadu, Pašović se vratio u grad. Bio je direktor Međunarodnog teatarskog i filmskog festivala MES od 1993. do 1997. MES je transformirao iz nekada lokalnog festivala u međunarodni događaj. Tokom tog traumatičnog perioda bio je aktivan, režirao je predstave i pokrenuo prvi Sarajevo Film Festival nazvan Poslije kraja svijeta. Pašović je producirao sada već legendarnu predstavu Čekajući Godoa koju je režirala Susan Sontag. Uspio je u još jednom iznimnom poduhvatu tokom opsade Sarajeva kada je predvodio Sarajevski festivalski ansambl na turneji po Francuskoj sa predstavama Svileni bubnjevi, prema klasičnom japanskom No teatru, i U zemlji posljednjih stvari Paula Austera. Turneja je započela dvosedmičnim gostovanjem u Parizu u Bouffes du Nord Petera Brooka, a nastavila se u brojnim francuskim gradovima, nakon čega su se Pašović i ansambl vratili u opkoljeni grad! U proteklim godinama, Klasni neprijatelj Nigela Williamsa u njegovoj režiji učestvovao je na Međunarodnom festivalu u Edinburgu, Festivalu umjetnosti u Singapuru i brojnim drugim festivalima. Predstava Fudbal, fudbal bila je uvrštena u programe Napoli Teatro Festivala, Italia, Festivala umjetnosti u Singapuru i Narodnog festivala umjetnosti Južne Afrike. Njegov dokumentarni film Greta o Greti Ferušić koja je preživjela Aušvic i opsadu Sarajeva, učestvovao je na festivalima u New Yorku, Londonu, Amsterdamu, San Franciscu, Rimu, Stockholmu, Sarajevu, Ljubljani i drugim gradovima. U aprilu 2012, Sarajevska crvena linija bila je komemoracija onima koji su ubijeni tokom opsade grada prije dvadeset godina. Sarajevska crvena linija sastojala se od koncerta i vizualne instalacije sa 11.541 crvenih stolica postavljenih na glavnoj sarajevskoj ulici, po jedna za svaku žrtvu. Osvajanje sreće, Pašovićev spektakularni teatarski događaj, inspiriran tekstovima Bertranda Russella, 2013. godine imao je svjetsku premijeru u Ujedinjenom Kraljevstvu u sklopu manifestacije Grad kulture Derry/Londonderry. Pašović je 2014. godine režirao masivni multimedijalni događaj Stoljeće mira nakon stoljeća ratova u Sarajevu na mjestu Sarajevskog atentata povodom obilježavanja stogodišnjice od početka Prvog svjetskog rata. Koproducent je bila francuska Mission Centenaire. Posljednji multimedijalni projekat Nada o nestalim osobama u Srebrenici bio je 2015. godine u zvaničnoj selekciji Festival d’Avignon, najvećeg teatarskog festivala na svijetu. Pašović je direktor East West Centra Sarajevo i profesor teatarske i filmske režije na Akademiji scenskih umjetnosti u Sarajevu. Predaje na univerzitetima u Sloveniji i Srbiji, a drži predavanja i radionice i u drugim zemljama. Piše drame, eseje i članke. Njegov esej Božanska neizvjesnost i pad nacionalizma otvorio je prošle godine seriju emisija BBC-a o Prvom svjetskom ratu.

PERFORMANCE The idea for this performance was born a couple months ago during my MA Acting classes at the Academy of Arts in Novi Sad where I taught the students of prof. Boris Isaković. We worked on the theatrical portraits of several people who gave their lives for their ideas. I asked the actors, all in their early 20’s, what would they give their life for? When we put aside the family that most people would sacrifice their lives for, the question is whether there exists an idea or a project that we would give our lives for? That is how this extremely exciting process began in which we considered ideas, philosophies, beliefs, and, in parallel, also investigated new theatrical forms. Ours is the Age of Universal Communication which changes the paradigm of our communication. Who are the identities that communicate in virtual space? (…) The storytellers in our performance are the entities behind IP addresses; it is less important who and where they are than what they are saying. Their identities communicate in a virtual intellectual space/time. People they talk about appear and emerge in a mental space of a group of identities that communicate. Each identity has access to the totality of the story, follows it, and co-constructs it with its own contribution. This may sound complicated, but it is not. It is a contemporary discourse that goes beyond the traditional dramaturgical forms, as they are insufficient for the new paradigm we live in. We create an intellectual theater, but not one alienated from the viewer regardless of his/her education or erudition. Our theater is accessible to everyone; ideas belong to everyone. Haris Pašović

DIRECTOR

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aris Pašović, internationally acclaimed theater and film director, made his name in the late 1980’s with his landmark production in Belgrade of Wedekind’s Spring Awakening. When Sarajevo fell under siege, Pašović returned to the city. He was director of the International Theater and Film Festival MES from 1993 to 1997. He transformed MES from a local festival into an international event. He remained active throughout this traumatic period, directing plays and creating the first Sarajevo Film Festival themed Beyond the End of the World. Pašović produced the now legendary Waiting for Godot directed by Susan Sontag. He also managed to make another exceptional venture during the siege of Sarajevo when he led the Sarajevo Festival Ensemble on tour in France with Silk Drums, based on the Japanese classical theater Noh, and In the Country of Last Things by Paul Auster. The tour started with a two-week presentation in Paris at Peter Brook’s Bouffes du Nord, continued in several French cities after which Pašović and his ensemble returned to the besieged Sarajevo! In recent years, his Class Enemy by Nigel Williams took part in the Edinburgh International Festival, Singapore Arts Festival and many other festivals. Football, Football was in the programs of Napoli Teatro Festival Italia, Singapore Arts Festival and National Arts Festival of South Africa. His documentary Greta about Greta Ferušić, a survivor of the Auschwitz death camp and the Siege of Sarajevo, was shown on documentary film festivals in New York, London, Amsterdam, San Francisco, Rome, Stockholm, Sarajevo, Ljubljana, etc. In April 2012, Sarajevo Red Line commemorated those who were killed in the city’s siege twenty years earlier. Sarajevo Red Line was a concert and a visual art installation with 11,541 red chairs placed on Sarajevo’s central street, one for each victim. In 2013, The Conquest of Happiness, Pašović’s spectacular theater event inspired by writings of Bertrand Russell, had its World Premiere in the UK at the Derry/Londonderry City of Culture. In 2014, Pašović directed a massive multimedia event A Century of Peace After the Century of the Wars in Sarajevo on the very site of the Sarajevo Assassination to mark the First World War centenary. The show was co-produced by French Mission Centenaire. His latest multimedia project Hope about the missing persons in Srebrenica was part of the official selection of 2015 Festival d’Avignon, the biggest theater festival in the world. Pašović is a director of the East West Centre Sarajevo and a professor of theater and film directing at the Preforming Arts Academy of Sarajevo. He teaches at universities in Slovenia and Serbia and gives lectures and workshops internationally. He also writes plays, essays, and articles. His essay Divine Uncertainty and Fall of Nationalism opened last year the BBC World Service series The Great War.

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NAŠE NASILJE I VAŠE NASILJE

OUR VIOLENCE and YOUR VIOLENCE

HAU Hebbel am Ufer / Wiener Festwochen / SMG Ljubljana / Kunstfest Weimar / Zürcher Theaterspektakel / HNK Ivana pl. Zajca Rijeka / MESS

Režija / Direction: Oliver Frljić Igraju / Cast: Barbara Babačić Daša Doberšek Uroš Kaurin Dean Krivačić Jerko Marčić Nika Mišković Draga Potočnjak Matej Recer Blaž Šef Dramaturgija / Dramaturgy: Marin Blažević Kostimografija / Costume Design: Sandra Dekanić Scenografija / Stage Design: Igor Pauška Svjetlo / Lights: Dalibor Fugošić

9/10/16 19.30 Sarajevski ratni teatar – SARTR / Sarajevo War Theater – SARTR Njemačka, Hrvatska, Slovenija / Germany, Croatia, Slovenia Trajanje / Duration: 75 min. 48

Umjetnički savjetnik / Artistic Advisor: Aenne Quiñones Asistentica reditelja / Assistant to the director: Barbara Babačić Producent / Producer: Hannes Frey Fotografija / Photography: Alexi Pelekanos Dražen Šokčević


PREDSTAVA

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redstava Naše nasilje i vaše nasilje promatra Evropu naivno zatečenu izbjegličkom krizom, Evropu koja spremno zaboravlja na svoju kolonijalnu prošlost dok jednako tako spremno zatvara granice hiljadama koje bježe pred posljedicama evropske i američke politike. Dvadeseto stoljeće kao da je uporno radilo na poticanju nacionalnih narcizama koji su jednu masu učili da je bolja od drugih. Dvadeset i prvo stoljeće nastavlja istim lekcijama, koristeći se nepogrešivim oružjem: strahom. Sliku snažne, sjajne Europe nagriza rastuća paranoja i od svukud nam se šalje poruka: nigdje više niste sigurni. Strah je ipak najsigurniji preduvjet za mržnju.Jesmo li svjesni da naše blagostanje ovisi o hiljadama mrtvih na Bliskom Istoku? U trenutku jedne od najvećih svjetskih kriza nakon Drugog svjetskog rata trebamo li se s ponosom nazivati Evropljanima ili se Evrope trebamo sramiti? Jesmo li spremni snositi posljedice evropske stoljetne dominacije? Oplakujemo li jednako žrtve terorističkih napada u Parizu i Briselu, kao i onih u Bagdadu? U kojem smo trenutku povjerovali da smo gospodari istine i da je naš Bog svemoćniji od drugih? I gdje se u svemu tome nalazimo mi, gledatelji/ ce dok plačemo u polumraku dvorane pred fikcionalnim prizorima, ali ostajemo ravnodušni pred stvarnim ljudima u izbjegličkim kampovima?

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livera Frljića dugo su nazivali enfant terrible balkanskog pozorišta. Međutim, danas, kad je u “pristojnim” četrdesetim godinama, Frljića teško da se može smatrati djetetom, a njegova kreativnost doseže mnogo dalje od prostora Balkana. Jedno je ipak sigurno: oni koji se nadaju da će provokacije, kritike i kreativno uzbuđenje na koje nas je navikao prestati, uzalud se nadaju. Oliver Frljić je teoretičar, umjetnik, reditelj i dobitnik mnogih, veoma bitnih pozorišnih nagrada. Diplomirao je na Akademiji dramske umjetnosti u Zagrebu. Njegovi originalni projekti, ali i radikalne interpretacije klasičnih djela ne prestaju nas oduševljavati i šokirati. Njegove provokativne predstave uspjele su dići prašinu publike od Ljubljane i Kranja, preko Zagreba i Beograda, do Düsseldorfa, Graza i Krakowa. Neke od tema kojima se bavio bile su debata o cenzuri u Hrvatskoj, koja je potakla žustru raspravu; otvorio raspravu o bolnoj temi izbrisanih u Sloveniji, kao i o učešću Poljaka u holokaustu u Poljskoj.

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he performance Our Violence and Your Violence observes Europe naively stunned by the refugee crisis, Europe which willingly forgets its colonial past and as willingly closes its borders to thousands who run from the consequences of the American and European politics. The twentieth century seems like it has persistently worked on encouraging national narcissisms which taught one mass that it is better than the others. Twenty-first century continues with the same lessons, using the infallible weapon: fear. The image of strong, bright Europe is eroded by a growing paranoia and the message comes at us from every corner: you are no longer safe, anywhere. The fear is, indeed, the safest prerequisite for hatred. Are we aware that our prosperity depends of thousands of dead in the Middle East? In the moment of one of the world’s greatest crises after the World War II, should we proudly call ourselves Europeans or should we be ashamed of Europe? Are we ready to bear the consequences of the hundred-year long European domination? Do we mourn the same for victims of terrorist attacks in Paris and Brussels, as for those in Baghdad? At what moment did we start believing that we are the masters of truth and that our God is more powerful than other Gods? And where in all this are we, the audience, while we cry in a dimly-lit hall, watching scenes of fiction, yet we remain indifferent before real people in refugee camps?

DIRECTOR

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liver Frljić was long called the enfant terrible of the Balkan theater. Now, on the cusp of his “respectable” forties, Frljić can’t exactly be called a child and his space of creativity goes way beyond the Balkans. Only those who expect that he will stop provoking, criticising and (creatively) exciting with his creations are probably waiting in vain. Frljić, a theorist, performer, actor, director, winner of many important theater awards, graduated from the Academy for Dramatic Arts in Zagreb. He enthuses and shocks with his original projects and radical interpretations of the classical plays. His provocative performances stir up audiences from Ljubljana and Kranj through Zagreb, Belgrade to Düsseldorf, Graz and Krakow; among other things, he sparked an inflammable public debate about censorship in Croatia, opened the painful topics of the erased in Slovenia and the participation of the Poles in the Holocaust in Poland.

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Po motivima Lászla Végela / Based on the motifs of Lászlo Végel Režija / Direction: András Urbán Igraju / Cast: Benjamin Bajramović Amar Čustović Dženana Džanić Mirna Kreso Sanin Milavić Vedrana Seksan Dramaturgija / Dramaturgy: Bojana Vidosavljević Muzika / Music: Irena Popović Scenografija / Stage Design: András Urbán Kostimografija / Costume Design: Lejla Hodžić Asistentica scenografije / Assistant Stage Designer: Jasmina Koluh Grafički dizajn / Graphic design: Bojan Mustur Asistent režije / Assistant Director: Zulfikar Filandra

WHAT IS EUROPE?

Ratni obred / A War Ritual Scena MESS

9/10/16 18.00 Pozorište mladih Sarajevo / Youth Theater Sarajevo Bosna i Hercegovina / Bosnia and Herzegovina Trajanje / Duration: 90 min. 50

Organizacija i izvršna produkcija / Organization and Executive Production: Belma Jusufović Aida Mujković Ira Isović Producenti / Producers: Dino Mustafić SELMA SPAHIĆ Inspicijent / Stage Manager: Nihad Kapić Svjetlo / Lights: Ognjen Martinović Moamer Šaković Haris Kalkan Ton / Sound: Momo Lađević Denis Šparavalo Fotografija / Photography: Velija Hasanbegović


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vropa je utopija. Uz njeno ime vežemo kulturne, istorijske, humanističke vrijednosti, vladavinu prava i zakona, poštivanje kvaliteta ljudskog života i njegove važnosti. Put prema Evropi je zamišljeni put u bolje sutra i sretniju budućnost. No, slike budućnosti nema. Iz pozicije autsajdera sa rubnih područja, neki od nas se potajno raduju da će sve promjene koje se odvijaju na globalnom planu dovesti do raspada Evropske unije, baš kao što su krajem osamdesetih godina prošlog stoljeća dovele do raspada Jugoslavije. Evropa se neće raspasti. Možda će se transformisati i artikulisati na novi način, sa novim vrijednostima koje neće nužno biti pozitivne. Naseljavanje Evrope od “neevropljana” desnica tumači kao napad na evropski identitet. Strah i radikalne akcije, teror i odbrana. Želja za integracijom je upitna, kao i mogućnost te zajednice. Pravila su jasna. Ako si ovdje, živiš po našim zakonima. Pravila su nejasna. Nema integracije. Postoji samo asimilacija ili poraz. Život se mijenja... Svijet također. Predstava je rađena, kako po motivima tri eseja Lászla Végela objavljenih pod zajedničkim naslovom Priče iz donjih predela, tako i prema vježbama, tekstovima, te improvizacijama koji/e su sami/e glumci/ice osmislili/e unutar teatarskog procesa. Pozorište je prije svega način zabave. Saznanja o sebi samima. What is Europe je pitanje. What is Europe je odgovor. Nema konačne pobjede. Nepokopani leš Jugoslavije zuri u nas, pripadnike/ce barbarikuma sa rubnih područja. András Urbán i Bojana Vidosavljević

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ndrás Urbán je rođen 1970. u Senti. Još kao sedamnaestogodišnjak stvara samostalnu pozorišnu i književnu radionicu kao autor, reditelj i glumac. Studira filmsku i pozorišnu režiju na novosadskoj Akademiji umjetnosti u klasi prof. Vlatka Gilića, režira u subotičkom Narodnom pozorištu. U prvoj trećini devedesetih napušta studije, rad u pozorištu i godinama živi povučeno. Diplomira 2000. u klasi prof. Bora Draškovića i ponovo intenzivno radi u pozorištu. Uz podršku segedinskog MASZK­a i vlastitog ansambla (Ansambl Andraša Urbana) stvara nezavisne pozorišne predstave. Od 2006. je direktor Mađarskog gradskog pozorišta Deže Kostolanji u Subotici. Osnivač je internacionalnog pozorišnog festivala Desiré Central Station. Režirao je 40-­ak profesionalnih predstava u Subotici, Nišu, Novom Sadu, Beogradu, Segedinu, Bitolju, Ljubljani, Berlinu, Klužu, Varni, Mariboru, Rijeci, Sarajevu. Na pozorište gleda kao na prosvijetljeni 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 i ispoljava se u odnosu između izvođača/ica, izvođene stvarnosti i gledatelja/ ica. Režiju ostvaruje preko interaktivne komunikacije s glumcem/ icom. Njegove režije i predstave su nagrađene na festivalima: Sterijino pozorje, Festival profesionalnih pozorišta Vojvodine, Infant, JoakimFest, Tvrđava fest, Teatarfest, Festival alternativnih pozorišta Republike Mađarske, Festival mađarskih pozorišta, BITEF, MESS, MOT, Dani satire u Zagrebu.

PERFORMANCE

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urope is a utopia. With its name we often associate cultural, historic, and humanistic values, rule of law, appreciation and importance of quality life. The road to Europe is an imaginary road to a better tomorrow and happier future. However, that future cannot be seen on the horizon. From the perspective of complete outsiders, some of us secretly desire that the global political changes will bring about the breakup of the European Union, in the similar fashion they brought about the breakup of Yugoslavia in the ninety eighties. Europe will not break up. It may transform and reshape itself, embracing new, not necessarily positive values. The far right sees the settlement of Europe by non-Europeans as an assault on European identity. Fear. Radical actions. Terror. Defense. Questionable is the desire for integration, as is the possibility of such a community to succeed. The rules are clear. If you live here, you live by our laws. The rules are not clear. There is no integration. There is only assimilation or failure. Life changes…and the world does, too. The performance is based on three essays by Laszlo Vegel, collectively published under the title Stories from the Lower Areas, as well as on the exercises and improvisations the actors had thought out within the theatrical process. Theater is above all fun. The knowledge of a self. What is Europe is a question. What is Europe is an answer. There is no ultimate victory. The unburied corpse of Yugoslavia is staring at us folks populating the border areas of the Barbaricum. András Urbán and Bojana Vidosavljević

DIRECTOR

A

ndrás Urbán was born in Senta in 1970. As a seventeen year old, he establishes an independent theater and literary workshop as an author, director and actor. He starts studying directing at the Academy of Arts in Novi Sad, under mentoring of Professor Vlatko Gilić, where he studies film and stage directing; he directs plays in the National Theater in Subotica. At the beginning of 1990’s he leaves the university, stops directing in theater and then lives in seclusion for years. Urban graduates in stage directing in 2000, mentored by Professor Boro Drašković, and again intensively works in theater. With support of MASZK from Szeged and his own ensemble (The Andraš Urban’s Ensemble) he produces independent theater performances. Since 2006, he has been a Manager of Hungarian Theater Dezso Kosztolany in Subotica. He is the founder of an Inter­national Theater Festival Desiré Central Station. He directed plays in Subotica, Niš, Novi Sad, Belgrade, Szeged, Bitola, Ljubljana, Berlin, Cluj, Varna, Maribor, Rijeka, Sarajevo. He sees the theater as an enlightened space for, sometimes, provocative action, where one thinks, speaks and organises a specific vision of creative reality. A production is, in his opinion, a com­munication and the other reality, which exists in its own right, but is created and presented in the relationship between a per­former, p resented reality and the viewer. He directs through an interactive communication with the actor/actress. His stage directing and productions won awards at the Festival of Professional Theaters of Vojvodina, Sterija Festival, Infant, Joakimfest, Fortress Fest, Teatarfest, Festival of Alternative Theaters of the Republic of Hungary, Festival of Hungarian Theaters, Bitef, Mess, MOT, the Days of Satire Zagreb.

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Režija / Direction: Slobodan Unkovski Igraju / Cast: Marija Spirkoska Ilijeska Natalija Teodosieva Jasmina Micovska Stankoska Katerina Čakmakoska Klinčeska Simona Dimkovska Ivana Pavlaković Igor Trpčeski Vladimir Gjorgjijoski Dimitar Gjorgjievski Aleksandar Todeski Dimitar Crcoroski Martin Manev Ilija Volčeski Dramatizacija / Dramatization: Rusomir Bogdanovski Dramaturgija / Dramaturgy: Ivana Nelkovska Lidija Mitoska-Gjorgjievska Muzika / Music: Zlatko Origjanski Kostimografija / Costume Design: Roza Trajčeska Ristovska Inspicijent / Stage Manager: Blagoja Pepeljugoski Tonski tehničar i dizajn zvuka / Sound Technician and Sound Design: Tome Temelkoski Svjetlo / Lights: Riste Grkoski Fotografija: FAN PRODUKCIJA 52

Alan Lightman

EINSTEINOVI SNOVI EINSTEIN’S DREAMS Naroden teatar Vojdan Černodrinski Prilep

9/10/16 22.00 Sarajevski ratni teatar / Sarajevo War Theater Makedonija / Macedonia Trajanje / Duration: 120 min.


PREDSTAVA

U

predstavi Einsteinovi snovi istražuju se različiti aspekti vremena, a relativnost vremena prikazana je nizom razigranih svjetova. U nekim od tih svjetova vrijeme teče unazad, dok je u drugim kružno. Nekada vrijeme leti, a nekada stoji u mjestu. Nekim ljudima život traje samo jedan dan, drugima – čitavu vječnost. U nekim svjetovima život se ponavlja u nedogled, dok je u drugim podijeljen u nekoliko paralelnih pravaca. Stanovnici/ce ovih svjetova kao da su dijelovi nekog čudnog mehanizma ili lutke koje se kreću, govore i djeluju, ali umjesto da djeluju u skladu sa sopstvenom voljom, njima upravlja njihov gosposdar – Vrijeme. U određenim trenucima svjedočimo njihovim očajničkim pokušajima da uzmu sudbinu u svoje ruke i savladaju vrijeme. Ipak, ono ostaje nedodirljivo i nastavlja postavljati vlastita pravila. Neki će u ovim nestvarnim likovima možda prepoznati sebe, ili će u ovom kolažu različitih svjetova pronaći slike iz vlastitih života i vlastite stvarnosti.

REDITELJ

S

lobodan Unkovski studirao je pozorišnu režiju na Fakultetu dramskih umjetnosti u Beogradu, Srbiji. Diplomirao je 1971. Pored Makedonije, radio je u brojnim pozorištima na području bivše Jugoslavije, u Moskvi, Štokholmu, Antwerpu, Wiesbadenu, Trstu, Bostonu, Atini, Solunu itd. Sa svojim predstavama gostovao je na brojnim prestižnim festivalima kao što su BITEF, Sterijino Pozorje, LIFT u Londonu, Teatar nacija, festivalima u Caracasu, Bogoti, Istanbulu, nekoliko festivala u Rusiji ... Unkovski je osvojio većinu najznačajnijih pozorišnih nagrada u Makedoniji i regiji. Također je predavao pozorišnu režiju na dodiplomskim i postdiplomskim studijama u Skoplju, Atini, koledžu Brooklyn i Harvardu. Trenutno radi kao umjetnički direktor pozorišta Navigator Cvetko.

PERFORMANCE The performance Einstein’s Dreams inspects various aspects of time and displays its relativity through an array of playful worlds. In some of those worlds time flows backwards, while in others it is circular. Sometimes it flies, other times it doesn’t flow at all. To some people, life lasts only for a day, and to others – an eternity. In some of those worlds, life repeats itself countless times, while in others it divides in several parallel directions. The inhabitants of these worlds leave the impression of being parts of some strange mechanism, or some kind of puppets who are able to move, speak and act, but instead of acting in accordance with their own will, they are controlled by their master – Time. There are moments when we can feel their desperate attempts to take their destiny in their own hands and to seize time. However, time is always beyond reach and sets its own rules. Some may recognize parts of themselves in these unreal characters, or images of their life and their reality in this patchwork of different worlds.

DIRECTOR

S

lobodan Unkovski has studied theater directing at the Faculty of Dramatic Arts in Belgrade, Serbia, from which he graduated in 1971. Apart from Macedonia, he has worked in many theaters in former Yugoslavia, as well as in Moscow, Stockholm, Antwerp, Wiesbaden, Trieste, Boston, Athens, Thessaloniki, etc. His performances have been a part of many famous festivals, such as BITEF, Sterijino Pozorje, LIFT in London, Theater of Nations, in Caracas, Bogota, Istanbul, several festivals in Russia... Unkovski has won most of the significant theater awards in the region and in Macedonia. He has also worked as theater directing professor at the undergraduate and postgraduate studies in Skopje, Athens, Brooklyn College, andHarvard University. Currently, he is the artistic director of the theater Navigator Cvetko.

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PROJEKAT: PRAVDA PROJECT: JUSTICE

WakEUp! AJMO NA FUKA

LET’S HAVE COFFEE

TEATAR U RATU / rat u teatru Theater in War / WAR IN THEATER

O RATU U TEATRU DANAS ON War in Theater Today

KATËR I RADËS. BRODOLOM KATËR I RADËS. THE SHIPWERCK

Mama, ovdje ima svjetla Mom, There is light

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PROJEKAT: PRAVDA, I DIO

PROJECT: JUSTICE, PART I Regionalna mreža akademija / Regional Network of Academies

1/10/16 18.00 Akademija scenskih umjetnosti Sarajevo / Academy of Performing Arts Sarajevo Bosna i Hercegovina, Srbija, Hrvatska, Crna Gora, Makedonija, Slovenija / Bosnia and Herzegovina, Serbia, Croatia, Montenegro, Macedonia, Slovenia Trajanje / Duration: 85 min.

Fotografija / Photography: Luka Dubroja 56

REGIONALNA MREŽA AKADEMIJA / Regional Network of academies: ADU Zagreb FDU Beograd AU Novi Sad ASU Sarajevo FDU Cetinje FDU Skopje AGRFT Ljubljana


Kristina Bojanić: ČAČKALICA / TOOTHPICK Režija / Direction: Tamara Damjanović Igraju / Cast: Filip Đuretić, Jovan Dabović, Jelena Đukić, Marija Labudović Producentica / Producer: Jelena Odalović Trajanje / Duration: 25 min. Mila Jovanović: ŠAH-MAT LJUBAVI MOJA / CHECKMATE MY LOVE Režija / Direction: Sara Lucu Igraju / Cast: Dragan Sekulić, Mina Obradović, Dunja Stojanović, Andrea Ržaničanin, Aleksandra Bibić Trajanje / Duration: 15 min. Balša Poček: TU SAM JA, BRECHT / IT IS ME, BRECHT Režija / Direction: Dino Pešut Igraju / Cast: Ilija Volčeski, Viktor Arsov, Nikola Kuzelov, Angela Stojanovska, Simona Dimkovska, Riste Gjorgjievski Producentica / Producer: Jovana Miškoska Trajanje / Duration: 20 min. Dino Pešut: ZEZANJE / FOOLING AROUND Režija / Direction: Irfan Avdić Igraju / Cast: Petra Svrtan, Roko Sikavica, Denis Bosak, Ivan Colarić, Lucija Dujmović Producent / Producer: Matej Merlić Trajanje / Duration: 25 min. Ostali učesnici/e u premijernoj izvedbi u Zagrebu / Other participants at the premiere in Zagreb: Scenografija / Stage Design: Iva Mandurić, Antonia Dajak, Ema Pečenković, Dominik Brebrić, Karla Lojen, Fran Blažeković, Bruno Lang-Kosić, Ivona Lerga, Eda Tutić Kostimografija / Costume Design: Mihovil Bilić, Mirela Mitak Dramaturgija / Dramaturgy: Lucija Klarić, Nina Bajsić Produkcija / Production: Sabrina Herak, Matej Merlić, Dalia Alić, Nina Vrdoljak, Ivona Zulim, Marin Leo Janković, Laura Vuksan, Adrijana Dimić, Romana Brajša, Ana Sikavica Dizajn plakata / Poster Design: Leona Vertuš

PROJEKAT

U

sklopu Pozorišne platforme međunarodnog projekta Regionalna mreža akademija koji je ADU s partnerskim akademijama i fakultetima započela u junu 2013. godine, na 9. reviji KRADU organizirano je javno čitanje studentskih dramskih tekstova na temu pravde, izabranih na konkursu provedenom na fakultetima i akademijama iz Ljubljane, Beograda, Novog Sada, Cetinja, Skoplja, Sarajeva i Zagreba. Tokom 2015. i 2016. godine sedam je umjetničkih timova na partnerskim akademijama pripremalo dramske komade, koji se objedinjeni premijerno prikazuju na 10. Kazališnoj reviji Akademije dramskih umjetnosti pod zajedničkim nazivom Projekat: Pravda.

PROJECT As part of the Theater platform of the international project Regional Network of Academies which ADU initiated in June 2013 with partner academies and universities, a public reading of student drama texts on the subject of justice was organized at the 9th KRADU revue, selected through competition conducted at universities and academies in Ljubljana, Belgrade, Novi Sad, Cetinje, Skopje, Sarajevo, and Zagreb. During 2015 and 2016, seven artistic teams at partner academies prepared drama pieces, which were consolidated and have premiered at the 10th KRADU, under a mutual name Project: Justice.

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PROJEKAT: PRAVDA, II DIO

PROJECT: JUSTICE, PART II

2/10/16 18.00 Akademija scenskih umjetnosti Sarajevo / Academy of Performing Arts Sarajevo Bosna i Hercegovina, Srbija, Hrvatska, Crna Gora, Makedonija, Slovenija / Bosnia and Herzegovina, Serbia, Croatia, Montenegro, Macedonia, Slovenia Trajanje / Duration: 90 min.

Regionalna mreža akademija / Regional Network of Academies

REGIONALNA MREŽA AKADEMIJA / Regional Network of academies: ADU Zagreb FDU Beograd AU Novi Sad ASU Sarajevo FDU Cetinje FDU Skopje AGRFT Ljubljana 58

Fotografija / Photography: Luka Dubroja


Mirza Skenderagić: TERAPIJA / THERAPY Režija / Direction: Dragana Stojčevska Igraju / Cast: Aleksa Ilić, Damjan Cvetanovski Trajanje / Duration: 25 min. Borna Vujčić: NE ČUJEM PEČAT, JOSIPE / I DON’T HEAR THE STAMP, JOSIP Režija / Direction: Marko Jovičić Igraju / Cast: Mak Čengić, Darja Badnjević, Zoran Dragićević Trajanje / Duration: 45 min. Sara Radojković: POPOKATEPETL / POPOCATÉPETL Režija / Direction: Mirko Radonjić Igraju / Cast: Lev Mastnak Trobentar, Tina Bonča, Gašper Markun, Dominik Vodopivec Trajanje / Duration: 20 min Ostali učesnici/e u premijernoj izvedbi u Zagrebu / Other participants at the premiere in Zagreb: Scenografija / Stage Design: Iva Mandurić, Antonia Dajak, Ema Pečenković, Dominik Brebrić, Karla Lojen, Fran Blažeković, Bruno Lang-Kosić, Ivona Lerga, Eda Tutić Kostimografija / Costume Design: Mihovil Bilić, Mirela Mitak Dramaturgija / Dramaturgy: Lucija Klarić, Nina Bajsić Produkcija / Production: Sabrina Herak, Matej Merlić, Dalia Alić, Nina Vrdoljak, Ivona Zulim, Marin Leo Janković, Laura Vuksan, Adrijana Dimić, Romana Brajša, Ana Sikavica Dizajn plakata / Poster Design: Leona Vertuš

PROJEKAT

U

sklopu Pozorišne platforme međunarodnog projekta Regionalna mreža akademija koji je ADU s partnerskim akademijama i fakultetima započela u junu 2013. godine, na 9. reviji KRADU organizirano je javno čitanje studentskih dramskih tekstova na temu pravde, izabranih na konkursu provedenom na fakultetima i akademijama iz Ljubljane, Beograda, Novog Sada, Cetinja, Skoplja, Sarajeva i Zagreba. Tokom 2015. i 2016. godine sedam je umjetničkih timova na partnerskim akademijama pripremalo dramske komade, koji se objedinjeni premijerno prikazuju na 10. Kazališnoj reviji Akademije dramskih umjetnosti pod zajedničkim nazivom Projekat: Pravda.

PROJECT As part of the Theater platform of the international project Regional Network of Academies which ADU initiated in June 2013 with partner academies and universities, a public reading of student drama texts on the subject of justice was organized at the 9th KRADU revue, selected through competition conducted at universities and academies in Ljubljana, Belgrade, Novi Sad, Cetinje, Skopje, Sarajevo, and Zagreb. During 2015 and 2016, seven artistic teams at partner academies prepared drama pieces, which were consolidated and have premiered at the 10th KRADU, under a mutual name Project: Justice.

59


WakEUp!

48 sati budnosti / 48 hours of awakeness Heartefact Fund

6/10/16 19.00 Galerija JAVA / JAVA Gallery Autori/ce / Authors: Andrej Nosov Srđan Ćešić Marko Drobnjaković Nevena Negojević Janko Dimitrijević Jelena Graovac

Fotografija / Photography: Marko Drobnjaković 60


PERFORMANS

PERFORMANCE

48 sati budnosti Autori koncepta: Andrej Nosov, Srđan Ćešić Izvođači/ce i koautori/ce programa: Janko Dimitrijević, Nevena Negojević, Jelena Graovac

48 hours of awakeness Concept authors: Andrej Nosov, Srđan Ćešić Performers and co-authors of the programme: Janko Dimitrijević, Nevena Negojević, Jelena Graovac

Mikrofon. Stolica. Galerija. 48 sati budnosti.

Microphone. Chair. Gallery. Awake for 48 hours.

48 sati neprekidnog javnog čitanja stotina stranica teksta: ličnih ispovijesti izbeglica i tekstova o izbjegličkoj sudbini, koji od antičkih do današnjih dana prikazuju nesreću onih koji su morali da napuste svoje domove. Pred svijetom je poziv na humanost, poziv na solidarnost, poziv na ne-ćutanje, poziv na djelovanje.

48 hours of uninterrupted public reading of hundreds of pages of text: personal stories of refugees, and texts about the fates of refugees from antiquity to the present day, demonstrating the misfortune of those who have been forced to leave their homes. It is a call to the world for humanity, for solidarity, forspeaking out, and for action.

IZLOŽBA

EXHIBITION

Na putu Autor izložbe: Marko Drobnjaković Kustos/ica: Srđan Ćešić, Nevena Negojević

On the road Exhibition author: Marko Drobnjaković Curators: Srđan Ćešić, Nevena Negojević

Izložba fotografija Marka Drobnjakovića, fotografa porijeklom iz Beograda, koji je proteklih mjeseci intenzivno bilježio crno-bijelu svakodnevicu izbjeglica sa Bliskog Istoka na njihovom putu ka Starom kontinentu. Dvadeset i pet radova, koji precizno i više nego emotivno dočaravaju život u izbjeglištvu, potcrtavajući razliku između života uljuljkanog u mir svakodnevice i života prožetog strahom i neizvjesnošću na putu ka boljem sutra.

Belgrade photographer Marko Drobnjaković’s exhibition consists of photos which were taken intensively over the course of a few months. They capture the black and white everyday life of refugees from the Middle East on their way towards the old continent. Twenty-five photos that accuratelyand very emotionally portray refugeehood, emphasising the difference between comfortable, peaceful, everyday life, and a life tainted by fear and uncertainty on the road towards a better tomorrow.

VIDEO

VIDEO

Violončelo Autor: Srđan Ćešić Igra: Jelena Graovac

Cello Author: Srđan Ćešić Musician: Jelena Graovac

Video rad Violončelo projektuje fotografije Marka Drobnjakovića u lokalni kontekst, kroz narativne sekvence koje se kroz metaforu bave osjećajem neizvjesnosti.

The video Cello projects Marko Drobnjaković’s photos into a local context, and places them in a narrative sequence, which deals with the feelings of uncertainty through the use of metaphor.

Solidarnost Autor: Andrej Nosov Montaža i postprodukcija: Bojan Kanačković

Solidarity Author: Andrej Nosov Editing and post-production: Bojan Kanačković

Video Solidarnost nastao je iz 48 sati materijala, i on samo opisuje odustajanja, gužve, sve događaje u tih 48 sati.

The video Solidarity was created from 48 hours of material, and it simply shows people giving up, the crowds, all the events that happened in those 48 hours. 61


Režija / Direction: DRAGAN KOMADINA Igraju / Cast: SAŠA ORUČEVIĆ ROBERT PEHAR Scenografija / Stage Design: DAVORIN BRIŠEVAC Koreografija / Choreography: EDITA HUJDUR Kostimografija i maske / Costume Design and Masks: MAIDA KOVAČEVIĆ Svjetlo / Lights: ZORAN ĆORLUKA ALEM DENJO Ton / Sound: MLADEN ANDRIJANIĆ TARIK DENJO

PROGRAM: TEATAR I POMIRENJE / Theater and Reconciliation

AJMO NA FUKA LET’S HAVE COFFEE

Narodno pozorište Mostar / HNK Mostar 6/10/16 22.00 Kamerni teatar ’55 / Chamber Theater ‘55 Bosna i Hercegovina / Bosnia and Herzegovina Trajanje / Duration: 60 min. 62

Zvučni efekti / Sound Effects: ANDRIJAN ZOVKO Video: MARIO BOŠNJAK Video produkcija / Video Production: SLAVEN MARINČIĆ DAMIR JURICA MARIN MARGETA Glas iz off-a / Off Voice: NEDŽAD MAKSUMIĆ Muzička matrica “Brazil” / Music Matrix “Brazil”: BOJAN BERIBAKA Inspicijentice / Stage Managers: ELVISA BEŠO AZRA MERDAN Fotografija / Photography: SLAVEN MARINČIĆ


PREDSTAVA

PERFORMANCE

J

edan grad, dvije obale, tri razine: to je aritmetika prve drame o poslijeratnom Mostaru, koju potpisuje Dragan Komadina, a glumački utjelovljuju Robert Pehar (Hrvatsko narodno kazalište u Mostaru) i Saša Oručević (Narodno pozorište Mostar). Riječ je o apsurdistički intoniranoj predstavi o mostarskom ratu i miru, o prošlosti i sadašnjosti ovoga grada, koje se na bolan i tragikomičan način isprepliću u životima dva lika. Ova je predstava posveta cijeloj jednoj generaciji mladih ljudi gurnutih u rat, koji nisu bili nikakvi genetski zločinci/ke, niti hladnokrvne ubice, nego prije svega velika djeca. Ipak, njezina najveća vrijednost leži u činjenici da ona vrlo sugestivno i iskreno progovora o besmislu rata i razlozima zbog kojih je vođen. Ovo je prije svega antiratna predstava koja, evocirajući ratne traume, istodobno utire put njihovom zacjeljenju, te razumijevanju i suočavanju s onim što se događalo. No, ona jednako tako upozorava i na hladni rat koji se vodi već dvadeset godina. I tu je najdragocjenija njezina recepcija kod mlađe publike. Kao opomena. Ili što bi rekao Romain Rolland: od rata jedino više mrzim one što pjevaju o ratu u kojemu nikad nisu bili.

O

ne city, two coasts, three levels: that is the arithmetic of the first drama about the post-war Mostar, authored by Dragan Komadina, and embodied by actors Robert Pehar (Croatian National Theater in Mostar) and Saša Oručević (National Theater Mostar). It is a play with absurdist intonations which speaks about war and peace in Mostar, about the past and the present of this city that intertwine in a painful and tragicomic manner in the lives of two characters. This play is dedicated to an entire generation of young people pushed into the war, people who were no natural born criminals, nor cold-blooded murderers, but big kids, above all. However, its greatest value lies in the fact that it speaks very suggestively and honestly about the absurdity of the war and the reasons for which it was led. This is primarily an anti-war play which, through evoking war traumas, is also paving the way for their healing, as well as for understanding and dealing with what had happened. However, it also warns of the cold war that has been raging for the past twenty years. And that is its most valuable function, especially in terms of its reception by the young audience. As a warning. Or as Romain Rolland would say: I find war detestable but those who praise it without participating in it even more so.

Gostovanje predstave Ajmo na fuka i program Teatar i pomirenje podržani su kroz USAID-ov projekat PRO-Budućnost, koji implementira CRS sa partnerima. The guest performance of the play Let’s Have Coffee and program Theater and Reconciliation are supported through USAID project PRO-Future, implemented by CRS and partners.

REDITELJ

D

ragan Komadina diplomirao je na Odsjeku za dramaturgiju na Akademiji scenskih umjetnosti u Sarajevu, gdje trenutno radi kao viši asistent na predmetima dramaturgija i pisanje za teatar. Kao dramaturg radio je na brojnim predstavama. U sezoni 2012/2013. režirao je predstavu Nigdje nikog nema prema tekstu Edvarda Bonda u HNK Mostar. Potpisan je i kao reditelj dva dokumentarna filma In hercegoVino veritas iz 2009. godine i Stariji od vremena iz 2011. godine. Nagrađivan je više puta u Mostaru, Jajcu i Zenici. Objavljuje i pozorišne kritike, recenzije, te predstavlja teatrološke knjige i monografije. Bio je član žirija festivala u Beogradu, Mostaru i Bugojnu. Umjetnički je savjetnik u HNK Mostar od 2012. godine.

DIRECTOR

D

ragan Komadina graduated from the Department of Dramaturgy at the Academy of Performing Arts in Sarajevo, where he currently works as a senior assistant for dramaturgy and writing for theater. As a dramaturge, he has worked on numerous plays. In the season 2012/2013, he directed the play Have I none based on the text by Edward Bond in HNK Mostar. He is the director of two documentaries, In hercegoVino veritas from 2009, and Older than Time from 2011. He received several awards in Mostar, Jajce, and Zenica. Komadina publishes theater criticism, recensions, and theatrological books and monographs. He was a member of the jury of festivals in Belgrade, Mostar, and Bugojno. He has been the artistic adviser at HNK Mostar since 2012.

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Okrugli stol Teatar u ratu / rat u teatru PROGRAM: TEATAR I POMIRENJE 7.10.2016. / 13.00 Galerija Bosanskog kulturnog centra

Round Table Theater in war / war in theater PROGRAM: Theater and Reconciliation 7.10.2016 / 13.00 Gallery of Bosnian Cultural Center

Učesnici/a: Dino Mustafić, Gorčin Stojanović, Snježana Banović

Participants: Dino Mustafić, Gorčin Stojanović, Snježana Banović

Okrugli stol Teatar u ratu / rat u teatru zamišljen je kao panel diskusija na temu odnosa teatra i društvenopolitičkog konteksta ratova ‘90-tih godina na području bivše Jugoslavije. Sam program diskusije predstavlja svojevrstan nastavak rada u sklopu opsežnijeg istraživalačkog projekta pri Institututu za teatar, film i medije univerziteta koji se kroz razne aktivnosti bavi upravo navedenim fenomenima pozorišnog stvaranja u okviru ratne realnosti i njenih posljedica.

Round Table Theater in War / War in Theater was conceived as a panel discussion on the relationship between theater and the socio-political context of the 1990s wars in the former Yugoslavia. The program of the discussion itself is a continuation of work within the more extensive research project of the Institute for theater, film, and media of the University, which is, through a variety of activities, engaged in precisely the above mentioned phenomena of theatrical creation in the context of the reality of war and its consequences.

Proširujući diskusiju o teatarskim fenomenima vezanima za historijski i društveno-politički kontekst ratne realnosti devedesetih, planirani okrugli stol će u raspravu uključiti teatarske stručnjake/inje iz regije čija su profesionalna iskustva duboko obilježena upravo spomenutim uvjetima življenja i stvaranja. Program je podržan od strane austrijskog Ministarstva kulture kao i Austrijske ambasade u BiH.

By expanding the discussion about theater phenomena related to historical and socio-political context of the war reality of the nineties, the planned Round Table will include theater professionals from the region whose professional experiences are deeply marked by the aforementioned conditions of life and creation. The program is supported by the Austrian Ministry of Culture and the Austrian Embassy in Bosnia and Herzegovina.

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Okrugli stol O ratu u teatru danas PROGRAM: TEATAR I POMIRENJE 7.10.2016. / 15.00 Galerija Bosanskog kulturnog centra

Round Table On War in Theater Today PROGRAM: Theater and Reconciliation 7.10.2016 / 15.00 Gallery of Bosnian Cultural Center

Učesnici/a: Dragan Komadina, Almir Imširević, Nerzuk Ćurak, Edita Čolo Zahirović

Participants: Dragan Komadina, Almir Imširević, Nerzuk Ćurak, Edita Čolo Zahirović

Panel diskusija O ratu u teatru danas posmatrati će različite perspektive i uloge teatra u procesima pomirenja nakon završetka konflikta u Bosni i Hercegovini. Tokom prezentacija predavača/ica i razgovora sa učesnicima/ama, postaviti će se pitanja i pokušati pronaći odgovori o ulozi kulturnih institucija i radnika/ca, te vladinih i nevladinih organizacija u nastojanjima ostvarenja stabilnog i trajnog mira.

Panel discussion On War in Theater Today will observe different perspectives and roles of theater in reconciliation processes after the end of conflict in Bosnia and Herzegovina. During the presentations by speakers and discussions with participants, questions will be asked and answers sought regarding the role of cultural institutions and workers, as well as governmental and non-governmental organizations in their efforts to achieve a stable and lasting peace.

Razgovor će ponuditi i primjere saradnje mirovnih projekata i teatra, koji su ostvareni pod okriljem USAIDovog projekta PRO-Budućnost, a koji implementira Catholic Relief Services (CRS) sa partnerima. Tokom 2015. godine, pod okriljem PRO-Budućnosti, predstava u koprodukciji Narodnog pozorišta Mostar i Hrvatskog narodnog kazališta Mostar Ajmo na fuka, pored svoje umjetničke kvalitete, pronašla je i svoje mjesto u intenzivnom mirovom radu, djelujući iscjeljujuće na publiku pred kojom je bila prikazana, ali i motivirajuće za sve pojedince/ke i institucije kojima bliska saradnja sa drugima i drugačijima još uvijek nije bila opcija. Gostovanje predstave Ajmo na fuka i program Teatar i pomirenje podržani su kroz USAID-ov projekat PROBudućnost, koji implementira CRS sa partnerima.

The talk will also offer examples of cooperation of peacekeeping projects and theater, realized under the auspices of USAID’s project PRO-Future, implemented by Catholic Relief Services (CRS) with partners. During 2015, the play Let’s Have Coffee, co-produced by the National Theater Mostar and the Croatian National Theater Mostar, under the auspice of PRO-Future, has found its place in the intensive peace work, having a healing effects on the audiences, but also being motivating for all individuals and institutions for whom close co-operation with others and those who are different was not an option at the time. The guest performance of the play Let’s Have Coffee and program Theater and Reconciliation are supported through USAID project PRO-Future, implemented by CRS and partners.

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KATËR I RADËS. BRODOLOM

KATËR I RADËS. THE SHIPWRECK Teatro Koreja / La Biennale di Venezia 7/10/16 22.00 Dom Oružanih snaga BiH / The House of Armed Forces of B&H Italija / Italy Trajanje / Duration: 45 min.

Muzika / Music: ADMIR SHKURTAJ (1969) Libretto: ALESSANDRO LEOGRANDE prema reportaži Il naufragio koju je objavila naklada Feltrinelli 2011 / from the report Il naufragio, published by Feltrinelli in 2011 Režija / Direction: SALVATORE TRAMACERE Muzički reditelj / Music Director: PASQUALE CORRADO Izvode / Performed by: SIMONA GUBELLO, soprano HERSJANA MATMUJA, soprano STEFANO LUIGI MANGIA, eksperimentalni glas / experimental voice MARIA LUISA CASALI, soprano EMANUELA PISICCHIO, glumica / actress ANNA CHIARA INGROSSO, glumica / actress FABIO ZULLINO, glumac / actor Asistentica reditelja / Assistant Director: EMANUELA PISICCHIO Scenografija i dizajn svjetla / Stage and Light Design: MICHELANGELO CAMPANALE Kostimografija / Costume Design: STEFANIA MISCUGLIO Scenska produkcija / Set Production: MARIO DANIELE 68

Harmonika i analogni oscilatori / Accordion and Analogic Oscillators: ADMIR SHKURTAJ Bas klarinet i BB klarinet / Bass Clarinet and BB Clarinet: MARCO IGNOTI BB truba i elektronski zvuk / BB Trumpet and Live Electronics: GIORGIO DISTANTE Violončelo / Cello: JACOPO CONOCI Klavir / Piano: VANESSA SOTGIU Cupa Cupe i udaraljke / Cupa Cupe and Percussions: PINO BASILE Polifoni hor - albanske tradiocionalne pjesme / Polyphonic Choir Traditional Songs from Albania: NAZO ÇELAJ NIKOLIN LIKAJ MELEQ ÇELA SALI BRAHIMAJ VALTER HODO Fotografija / Photography: TEA PRIMITERRA Kamerna opera za Venecijansko bijenale Chamber Opera / Commissioned by Venice Biennale


PREDSTAVA

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atër i Radës nije samo opera sjećanja. Ovaj komad je muzičko nastojanje da se kroz muziku prikaže svijet ljudi koji su se suočili sa jednom od brojnih tragedija koje su se dogodile u vodama Mediterana – tragediju albanskog brodića nakrcanog muškaracima, ženama i djecom koji je potonuo u martu 1997. godine u blizini talijanske obale. U samo jedan čin stali su Davljenici i Spašeni, oni koji su preživjeli i oni koji su umrli, njihovi glasovi, njihove misli, a naročito njihovo putovanje u tamu puno velikih strepnji i malih želja, snova i strahova, digresija, ukazanja, naglih prisjećanja... Alessandro Leogrande

REDITELJ

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alvatore Tramacere rođen je 1956. godine. Studirao je filozofiju sa Nicolom Savareseom, a pravi interes za teatar pokazao je nakon što je upoznao Cèsara Briea. Radio je sa umjetnicima Iben Nagel Rassmussen i Eugeniom Barbom u teatru Odin Teatret. Karijeru počinje 1985. godine sa fondacijom Cantieri Teatrali Koreja, gdje počinje sa glumom i režijom brojnih scenskih djela. Također je radio i u Wuppertalu u Teatru Pine Baush. Dugi niz godina radi sa istom glumačkom postavom i istražuje teatarsko polje kroz muziku i savremene metode istraživanja. U posljednjih nekoliko godina radi na brojnim projektima umjetničke saradnje na Balkanu i u Istočnoj Evropi i kreira radionice i predstave. U njegova skorija ostvarenja ubraja se K-la trilogia prema romanu F. Kafke, muzičko djelo kompozitora Luce Mosce, koje je izvedeno na Venecijanskom bijenalu, koje je Tramacere režirao 2000. godine. 2001. godine režira Brechtov ples u kojem se pojavljuje i Raiz, pjevač grupe Almamegretta. 2003. godine režira Mnogo buke ni oko čega za Culture 2000, a u sklopu projekta Teatro dei Luoghi. 2004. godine režira muzički projekat pod nazivom Večer Kurta Weilla, i predstavu Io al mio santo ci credo. U sezoni 2004/2005. održava IFTS kurs režije za stručnjake/inje iz oblasti socijalnog teatra. Od 1998. do 2005. godine bio je voditelj kursa pod nazivom Praksa u potrazi za teorijom za teatar Koreja. U istom tom periodu je predavao u sklopu druga dva projekta međunarodne umjetničke saradnje, održavajući radionice u Smederevu, a režirao je i predstavu Rom opera prema Prosjačkoj operi Johna Gaya, koja je izvedena na BITEF festivalu u Beogradu. 2006. godine režira Pinterov Lift za Kuhinju, 2008. predstavu La passione delle Troiane, a 2009. predstavu Doktor Frankenstein u saradnji sa Fabriziom Puglieseom. Posljednja rediteljska ostvarenja su mu Gogoljev Brak (2014) i KATËR I RADËS. Brodolom (2015), u koprodukciji sa Venecijanskim bijenalom.

PERFORMANCE

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atër i Radës is not just an opera of the memory. It’s an effort to portray, though music, the universe of the people who were faced with one of the many tragedies in the Mediterranean: the one of a small Albanian boat overloaded with men, women, and children, which sank in March 1997 in front of the Italian coast. In a single act, cramped are the Drowned and the Saved, those who survived and those who died, their voices, their thoughts, and especially their journey into the dark, full of great anxieties and small wishes, dreams and fears, digressions, apparitions, sudden recollections. Alessandro Leogrande

DIRECTOR

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alvatore Tramacere was born in 1956. He studied Philosophy with Nicola Savarese and has showed interest in theater since meeting with Cèsar Brie. He has worked with Iben Nagel Rassmussen and Eugenio Barba at the Odin Teatret.His career began in 1985 with the foundation of Cantieri Teatrali Koreja, where he began acting in and directing theater works. He has also been working in Wuppertal, at Pina Baush’s theater. For the past several years, he has worked with the same team of actors, exploring the theatrical field through music and contemporary research. In the past years, he has been involved in several artistic cooperation projects in the Balkans and East Europe, creating workshops and theater performances. His recent work includes K-la trilogia by Kafka, musical work composed by Luca Mosca and performed at the Biennal of Venice, directed by Tramacere in 2000. In 2001, he directed Brecht’s Dance with participation of Raiz, the singer of the Almamegretta band. In 2003, he directed Much ado about nothing produced for Culture 2000 within the framework of the project Teatro dei Luoghi. He directed a musical project, the Kurt Weil evening, in 2004. Also in 2004, he directed the show Io al mio santo ci credo. In 2004/2005, he taught at the IFTS course in direction for social theater experts. From 1998 to 2005, he was the Director of the course Practice in search of Theory at the Koreja Theater. During the same time, he was a teacher within the framework of two other international artistic cooperation projects, holding his workshops in Smederevo, and has directed the play Rom Opera based on John Gay’s The beggar’s opera, performed at the BITEF festival in Belgrade. In 2006, he directed The dumb waiter, by Pinter, in 2008 La Passione delle Troiane, and in 2009, with Fabrizio Pugliese, he directed Doctor Frankenstein. His latest directing works are The Marriage by Gogol (2014), and KATËR I RADËS. Il Naufragio (2015), in coproduction with La Biennale di Venezia.

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PROMOCIJA KNJIGE MAMA, OVDJE IMA SVJETLA 8.10.2016. / 13.00 Galerija Bosanskog kulturnog centra

BOOK PROMOTION MOM, THERE IS LIGHT 8.10.2016 / 13.00 Gallery of Bosnian Cultural Center

Autorica: Mirveta Mrkalj-Durben

Author: Mirveta Mrkalj-Durben

Promotori/ka: Dino Mustafić, Mirsad Duratović, Mirveta Mrkalj-Durben

Promoters: Dino Mustafić, Mirsad Duratović, Mirveta Mrkalj-Durben

Međunarodna organizacija za ljudska prava IGFM, koja je 1972. godine osnovana da pomaže progonjenim licima u diktatorskim režimima, i da štiti ljudska prava, ponosna je da je njena članica, Mirveta Mrkalj-Durben, napisala knjigu o vlastitim stravičnim iskustvima, o svojim doživljajima u Prijedoru, u vrijeme agresije na BiH 1992. Autorica ove potresne dokumentarističke proze želi ostaviti trajno sjećanje na nevino ubijene, a generacije, koje nose teret takvog naslijeđa, svojim humanističkim porukama želi prosvijetliti i podariti im više miroljubivosti i smisla za pravdu. Svako, ko živi u slobodi, trebalo bi da pročita ovu knjigu, da bi mogao shvatiti kako je dobro nama koji živimo slobodno i kako je bolno biti obespravljen. Pročitati, obavezno! Katrin Bornmüller, predsjednica njemačke sekcije međunarodne organizacije za ljudska prava u Frankfurtu (IGFM)

International human rights organizations IGFM, founded in 1972 to help the persecuted persons in dictatorial regimes, and to protect human rights, is proud that its member, Mirveta Mrkalj-Durbe, wrote a book about her own horrifying experiences, about her life in Prijedor during the war in BiH in 1992. The author of this touching documentary prose wants to leave a lasting memory of the innocent who were killed, and through its humanistic message it wants to enlighten and give more peacefulness and sense of justice to the generation that carries on its back the burden of such heritage. Anyone enjoying the life of freedom should read this book, in order to understand how good it is to live freely and how painful it is to be deprived of its rights. A mustread, for sure! Katrin Bornmüller, president of the German section of the International Human Rights Organization in Frankfurt (IGFM)

Mirveta Mrkalj-Durben rođena je 1964. godine u Bišćanima kod Prijedora, Bosna i Hercegovina. U ljeto 1992. godine je u Prijedoru ubijen njen muž i oko sto njenih bliskih prijatelja i rođaka. Ona je preživjela zahvaljujući igri sudbine. Izbjegla je sa svoje dvoje male djece ispred sigurne smrti. Danas Mirveta Mrkalj-Durben živi u Njemačkoj i radi kao tumačica i prevoditeljica. Angažirana je u njemačkom Caritasu, regionalnom udruženju Rhein-Mosel-Ahr i članica je Internacionalnog udruženja za ljudska prava (IGFM). Ovu, svoju prvu knjigu, pisala je duboko svjesna da vrijeme brzo odnosi u zaborav sve što nije zapisano, i u želji da se ovim zapisom suprotstavi toj prolaznosti i zaboravu. Bilježila je istinu o nezapamćenom stradanju nevinih, i bespomoćnih oslanjajući se samo na ono što je lično vidjela i preživjela, kao i na dnevničke zapise koje je vodila u vrijeme neviđenog terora nad nesrpskim stanovništvom Prijedora i okoline.

Mirveta Mrkalj-Durben was born in 1964 in Bišćani near Prijedor, in Bosnia and Herzegovina. In the summer of 1992, her husband and about a hundred of her close friends and relatives were killed in Prijedor. She survived only by chance. With her two young children in tow, she escaped certain death. Currently, Mirveta MrkaljDurben lives in Germany and works as an interpreter and translator. She is engaged at the German Caritas, Rhein-Mosel-Ahr regional association, and is a member of the International Society for Human Rights (IGFM). She wrote this book, her very first publication, deeply aware that time quickly obliterates everything that hasn’t been written down, with a desire to confront this transience and oblivion through her writing. She recorded the truth about the unprecedented suffering of the innocent and the helpless, relying only on what she witnessed and survived personally, and the entries of a diary she kept at the time of an unprecedented terror against non-Serb population in the Prijedor.

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Savremeno pozorište i drama u Slovačkoj

CONTEMPORARY THEATER AND DRAMA IN SLOVAKIA

LENI

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PREDAVANJE Savremeno pozorište i drama u Slovačkoj 2.10.2016. / 12.30 Bijeli salon Narodnog pozorišta

LECTURE CONTEMPORARY THEATER AND DRAMA IN SLOVAKIA 2.10.2016 / 12.30 White Salon / National Theater Sarajevo

Predavačica: Juliana Beňová

Lecturer: Juliana Beňová

Teatrologinja i historičarka Juliana Beňová predstavlja i objašnjava kontekst savremenog slovačkog pozorišta i drame. Nastojeći opisati savremeno slovačko pozorište usredotočit će se na njegova polazišta, posebno ona koja su se desila nakon “baršunaste revolucije” 1989. godine, približit će promjene u strukturi i finansiranju pozorišta, kao i najvažnije tekstove izvorne drame.

Juliana Beňová, a theatrologist and historian, represents and explains the context of the Slovakian contemporary theater and drama. In this endeavour, she will focus on its beginnings, with an emphasis on the events happening after the 1989 Velvet Revolution. She will dwell on the changes in structure and financing of theaters, as well as the most important texts of the original drama.

Društveno-političke promjene u zemlji uvjetovale su i utjecale na kulturu i estetiku u svim vrstama umjetnosti, ne izuzevši pozorište. U posljednjih dvadeset godina slovačko pozorište dobilo je novu formu. Izmjene generacija, dolazak osebujnih pjesnika/inja, otvoreni kontakti s modernim evropskim pozorištem kao i izmjenjena pozorišna mreža osnovni su atributi savremene slovačke scene.

Social and political developments in the country conditioned and influenced its culture and aesthetics in all forms of art, including the theater. Over the last twenty years, Slovakian theater has, therefore, acquired a new form. Present-day Slovakian theater has witnessed a change of generations and the arrival of unique poets, as well as an open connection with the modern European theater and a reformed theater network.

Savremenu formu slovačkog pozorišta prikazat će kratkim ulomcima iz uradaka slovačkih reditelja/ki te pomoću fotografija iz predstava. U kratkim crtama, i općenito, predstavit će produkciju ostale drame i režijskih rukopisa Slovačke, njen raznovrstan tematski i žanrovski opus, kao i podjelu generacija.

Juliana Beňová je teatrologinja, historičarka, lingvistkinja. Radila je kao stručni asistent na Odsjeku za slovački jezik na Filozofskom fakultetu Univerziteta Komenskog u Bratislavi, gdje je vodila seminare iz opće lingvistike i kulture jezika. U periodu od 2001. do 2005. radila je kao lektorica za slovački jezik i kulturu na Šleskom univerzitetu u Katovicama i u periodu od 2006. do 2012. godine na jednakoj funkciji na Univerzitetu u Beogradu, na Filološkom fakultetu na Odsjeku za slavistiku. Od 2012. godine radi u Pozorišnom institutu u Bratislavi, koji je voditelj Centra za istraživanje pozorišta. U svom znanstvenom radu usredotočava se na istraživanje historije slovačkog profesionalnog pozorišta i na ličnosti pozorišta Slovačke. Kao autorica potpisnica je mnogih stručnih studija posvećenih savremenoj slovačkoj i slavenskoj drami i pozorištu. Piše recenzije, te prevodi s poljskog i sa srpskog jezika.

She will use short video excerpt by Slovakian directors and photographs from performances to represent the contemporary Slovakian theater. She will touch upon the theater production and the Slovakian scenic writing, the different genres and topics and the generational division it encompasses.

Juliana Beňová is a theatrologist, historian and a linguist. She worked as a teaching assistant at the Slovak Studies Department, Faculty of Philosophy, Comenious University in Bratislava. She taught linguistics and language culture classes. In the period between 2001 and 2005, she worked as a language lector at the University of Silesia in Katowice, and in the period between 2006 and 2012, at the University of Belgrade (Slavic Studies Department). She has been working as the head of Theater Research Centre at the Theater Institute in Bratislava since 2012. Her focus is on the history of professional Slovak theater and the important people in the Slovak theater history. She is the author of numerous studies exploring the contemporary Slovak and Slavic drama and theater work. She writes reviews and translates from Polish and Serbian languages.

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SCENSKO ČITANJE DRAME LENI 2.10.2016. / 14.00 Kamerni teatar ’55 Autor/ica: Roman Olekšák Valeria Schulczová Prijevod: Adisa Zuberović Režija: Irfan Avdić Ova originalna slovačka drama autorskog dvojca Valerije Schulczove i Romana Olekšáka govori o zamišljenom susretu dvoje stvarnih ljudi – legendarnog voditelja Johnnyja Carsona, čiji je Večernji šou sa Johnnyjem Carsonom bio jedna od najgledanijih talk show emisija u Americi, i kontroverzne Leni Riefenstahl, omiljene rediteljice Adolfa Hitlera. Godina je 1974, Johnny je na vrhuncu karijere, a Leni u Americi prezentira svoj prvi završeni projekat od poraza Njemačke – fotografije iz Afrike – Posljednji Nubi. Johnny, međutim, zna šta njegovu publiku zanima više od umjetnosti. Leniina prošlost postaje glavno pitanje koje zasjenjuje i novu ljubavnu vezu sa njenim četrdesetak godina mlađim pomoćnikom Horstom. Johnny na vidjelo iznosi Leniin lični stav prema fašizmu i holokaustu i želi saznati koliki je njen osjećaj krivice. Sve napetija talk show atmosfera sve više raspaljuje njemačku gledateljicu Berthu. Njeno planirano učešće u emisiji samo služi za otvaranje daljih pitanja. Kakvu odgovornost umjetnica snosi za svoja djela? Postoji li granica između zagovaranja ideologije i aktivnog učešća u stvaranju režima i umjetničkog stvaranja? Da li je moguće snositi odgovornost za period u kojem stvaramo? Johnny Carson želi saznati što više i nije ga strah dotaknuti se i onih najintimnijih tema. Ovo je jedna neobična životna priča jedne od najboljih filmskih autorica na svijetu koja se istaknula filmovima rađenim po narudžbi Trećeg Rajha. 76

Roman Olekšák rođen je 1978. godine u Slovačkoj. Studirao je Teatarsku režiju i dramaturgiju na Akademiji muzičkih i dramskih umjetnosti u Bratislavi. Radio je kao reditelj u nekoliko teatarskih kuća (Samuel Beckett - Kraj igre, Marius von Mayenburg Paraziti, Ivan A. Gončarov – R. Olekšák, Oblomov, Biljana Srbljanović, Porodične priče). Bio je i dramaturg na brojnim predstavama. Autor je drama poput: Na kraju hodnika, Nešto više, nešto manje, Negativci, Nježnost, Tišina, grad u suprotnom smjeru... Radio je i kao scenarista za televiziju i film te kao prevoditelj. Valeria Schulczová je rođena 1975. godine u Slovačkoj. Studirala je teatarsku režiju i dramaturgiju (magisterij odbranila 1999; doktorat 2009.) na Akademiji muzičkih i dramskih umjetnosti u Bratislavi. Radila je kao rediteljica u teatrima u Češkoj Republici i Slovačkoj. Također je radila kao dramaturginja na oko deset ostvarenja u teatru Rokoko u Pragu od 2004. do 2006. godine, a u periodu od 2000. do 2005. godine sarađivala je kao dramaturginja sa teatrom HaTheater u Brnu. Od 2004. godine radi za komercijalne televizijske kuće u Češkoj Republici i Slovačkoj, gdje uglavnom radi kao kreativna producentica, urednica i scenaristica. Sa Romanom Olekšákom je napisala tri drame - Leni i Domoroci za Slovačko narodno pozorište, te Doktor Macbeth za Gradsko pozorište P.O. Hviezdoslava u Bratislavi. Uradili su i adaptaciju romana Rimljanka Alberta Moravije za Državni teatar u Košicama.


STAGE READING of the play LENI 2.10.2016. / 14.00 Chamber Theater ‘55 Authors: Valeria Schulczová Roman Olekšák Translation: Adisa Zuberović Direction: Irfan Avdić This original Slovak play by Valeria Schulczová and Roman Olekšák is about the fictional meeting between two real people. Legendary host Johnny Carson, whose The Tonight Show Starring Johnny Carson was one of America’s most watched talk shows, and controversial Leni Riefenstahl, Adolf Hitler’s filmmaker. It is the 1974, Johnny is at the top of his career and Leni is presenting her first completed project since the defeat of Germany in America – photos of Africa – The Last of Nubu. However Johnny knows what interests his viewers more than art. Leni’s past becomes a major issue that overshadows her budding relationship with her assistant Horst, some forty years younger than her. Johnny reveals Leni’s personal attitude towards fascism and the holocaust. He wishes to find out just how much of a feeling of guilt she has. The thickening talkshow atmosphere further inflames German viewer Bertha. Her planned participation in the shoot only serves to open up further questions. What is responsibility does the artist bear for their work? What is the boundary between ministering ideology and active participation in the building of a regime and artistic creation? Is it possible to bear responsibility for the period in which we create? Johnny Carson wants to learn as much as possible and is not afraid to touch even the most personal topics. This is an unusual life story of one of the best filmmakers in the world who shined through on-demand movies for the Third Reich.

Roman Olekšák was born in Slovakia in 1978. He studied Theater Directing and Dramaturgy Study at Academy of Music and Dramatic Arts, Bratislava. He worked in theaters as a director (Samuel Beckettv - Endgame, Marius von Mayenburg, The Parasites, Ivan A. Gončarov – R. Olekšák, Oblomov, Biljana Srbljanović, Family Stories). Also, he was a dramaturge to numerous plays, and a author of theater plays such as: At the End of Passage, More of Some Less Of, The Negativists, Tenderness, Silence, City in the Opposite Direction... He was also a scriptwriter for television and film, and a translator. Valeria Schulczová was born in Slovakia in 1975. She studied Theater Directing and Dramaturgy Study (Master degree in 1999; Artis doctor in 2009) at Academy of Music and Dramatic Arts, Bratislava. She worked in theaters in Czech Republic and Slovakia as a director. Also she was a dramaturge in Rokoko Theater in Prague in 2004 – 2006 for approximately 10 productions and in the years 2000 – 2005 she has cooperated as a dramaturge with HaTheater in Brno. Since 2004 she is working also for commercial televisions in Czech and Slovak Republic. Mainly she works as a creative producer, story editor and scriptwriter. She wrote three plays together with Roman Olekšák – Leni and Natives for Slovak National Theater and Doctor Macbeth for Municipal Theater P.O. Hviezdoslava in Bratislava. Also they have adapted Alberto Moravia´s novel Woman of Rome for State Theater in Košice.

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Činiti pozorište dostupnim MAKING Theater ACCESSIBLE

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Fotografija / Photography: Matthew Pountney

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MESS IYMA RADIONICA Činiti pozorište dostupnim ZA PozorišnE stvaratelje/ke, izvođačE/ice, UPOSLENIKE/ce teatRa

MESS IYMA WORKSHOP MAKING Theater ACCESSIBLE FOR Theater MAKERS, PERFORMERS, Theater VENUE STAFF

3.10.2016. 10.30-12.00 Pozorište mladih Sarajevo

3.10.2016 10.30-12.00 Youth Theater Sarajevo

Max broj učesnika/ca: 20

Max number of participants: 20 Facilitators: Jess Thom and Matthew Pountney / Touretteshero

Voditelj/ica: Jess Thom i Matthew Pountney / Touretteshero Ova radionca će istražiti širok spektar pitanja o tome kako pozorište učiniti dostupnijim. Uključivat će diskusiju o Opuštenom izvođenju, fizičkoj dostupnosti i Društvenom modelu invaliditeta. Radionica je otvorena za sve koji/e su zainteresirani/e za razvoj pozorišta dostupnog osobama sa invaliditetom. Jessica Thom je autorica, umjetnica i superjunakinja na skraćeno radno vrijeme. 2010. godine pokrenula je teatarski projekat pod nazivom Touretteshero, kao kreativni odgovor na Touretteov sindrom od kojeg boluje. Jess od rane dobi ima tikove, ali joj je prava dijagnoza uspostavljena tek u dvadesetim godinama. Misija projekta Touretteshero ogleda se u pojašnjavanju najneshvaćenijeg poremećaja na svijetu, te postavljanju izazova da se počne drugačije razmišljati i graditi inkluzivnije društvo. Jess je objavljivana kako u vodećoj tako i u štampi namijenjenoj osobama sa invaliditetom (The Guardian, The Observer i Disability Now). 2012. godine objavljuje knjigu Dobrodošli u Biskvit zemlju - godina dana u životu Touretteovog junaka, za koju je predgovor napisao Stephen Fry. 2014. godine se pojavljuje u Glastonburyju, na Fringe festivalu u Edinburghu, DaDaFestu u Liverpoolu i Unlimited festivalu u Southbank centru u Londonu. 2015. godine Jess izvodi svoju predstavu Emitovanje iz Biskvit zemlje u sklopu On Stage Live večernjeg programa na kanalu BBC4. 2013. godine drži TEDx govor o Alhemiji haosa u Royal Albert Hallu i postaje spikerica na kanalu Channel 4 u sklopu njegove sezone pod nazivom Born Risky. Jess je vizualna umjetnica i izvođačica i živi u Londonu. U 2016. godini je sa svojom nagrađivanom predstavom Iza kulisa Biskvit Zemlje nastupala diljem Ujedinjenog Kraljevstva i Sjeverne Amerike. Matthew Pountney je jedan od suosnivača projekta Touretteshero. Već više od jedne decenije radi sa Jessicom Thom na velikom broju inkluzivnih projekata za djecu i mlade.

This workshop will explore a wide range of issues on how to make theater more accessible. It will include discussion of Relaxed Performance, physical accessibility and the Social Model of disability. This workshop is open to anyone who is interested in making theater that is accessible to disabled people. Jessica Thom is a writer, artist, and part time superhero. Jess Thom co-founded Touretteshero in 2010 as a creative response to her experience of having Tourette’s syndrome. Jess has had tics since she was a child but wasn’t diagnosed until she was in her twenties. Touretteshero is about reclaiming the most frequently misunderstood condition on the planet, challenging people to think differently, and building a more inclusive society. Jess has written in the mainstream and disability press including The Guardian, The Observer, and Disability Now. In 2012, she published Welcome to Biscuit Land – A Year in the Life of Touretteshero, with a foreword by Stephen Fry. In 2014, she performed at Glastonbury, the Edinburgh Fringe Festival, DaDaFest in Liverpool, and the Unlimited Festival at London’s Southbank Centre. In 2015, Jess performed her Broadcast from Biscuit Land as part of the On Stage: Live from Television Centre evening on BBC4. In 2013, she gave a TEDx talk on The Alchemy of Chaos at the Royal Albert Hall and became a continuity announcer for Channel 4 as part of their Born Risky season. Jess is a visual, performing, and participatory artist based in London. In 2016, Jess toured extensively in the UK and North America with her award winning stage show Backstage in Biscuit Land. Matthew Pountney is co-founder of Touretteshero. He’s worked with Jess Thom for over a decade on a large number of creative inclusive projects for children and young people.

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The City, A Scene for Stories of Difference International Theatre Conference and General Assembly 6 â&#x20AC;&#x201C; 10 October 2016, Sarajevo

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E

vropska teatarska konvencija (ETC) je mreža evropskih javnih pozorišta osnovana 1988. godine da promovira savremeni dramski teatar, podržava mobilnost umjetnica i umjetnika te radi na umjetničkoj razmjeni diljem Evrope i šire. Svojim programima, inicijativama i projektima, ETC se svrstava u društveno angažiran teatar. U sklopu svog rada, nude profesionalne platforme i forume za jačanje kapaciteta u oblastima kojima se međunarodna teatarska zajednica bavi. Teme na kojima trenutno rade usko su povezane sa ulogom teatra u pružanju vrijednih iskustava svojoj publici, u predstavljanju mjesta

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za susrete, ali i u bavljenju aktualnim društvenopolitičkim pitanjima. U svom radu, doprinose kapacitetima teatra razmjenom ali i otvorenim dijalogom o pojedincu/ki, umjetnosti i društvu, nude građanstvu kohezivan i integrativan kulturni program ohrabrujući ih da djeluju demokratski i razumno u jednoj pluralističkoj zajednici.


T

he European Theater Convention (ETC) is a network of European public theaters founded in 1988 to promote contemporary drama theater, to support the mobility of artists, and to develop artistic exchange throughout Europe and beyond. Through its programs, initiatives and projects, the ETC stands for socially engaged theater. As part of their work program they offer professional platforms and capacity enhancing forums for matters of the international theater community. Topics that they are currently working on are closely linked to the role of theater in relation to the valuable experiences it offers its

audiences, as a meeting place, but also when dealing with current socio-political affairs. In their work they nourish theaterâ&#x20AC;&#x2122;s capacities via exchange and open dialogue about the individual, art and society, to offer citizens a cohesive and integrative cultural program encouraging them to act democratically and reasonably in a pluralistic community.

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Nagrada Sound of MESS dodjeljuje se za najbolje korištenje muzike i zvuka u teatru za auditivnost pozornice, muzikaliziranje pozorišnog izraza, ili muzikom generisanu predstavu, a kojom se skreće pažnja na značaj koji muzika ima u pozorišnoj predstavi. Nagradu su 2009. godine pokrenuli portal i radijski program Radio Sarajevo i Festival MESS, sa ciljem da se uspostavi adekvatno vrednovanje zvuka kao važnog segmenta savremenog teatra. Namjera pokretača nagrade bila je da se markiraju rastući standardi u korištenju muzike i zvuka u umjetnosti teatra, te da se kontinuirano skreće pažnja publike na rad autora/ica u ovoj oblasti. Nagradu Sound of MESS predstavlja Ptica, rad akademskog kipara Fikreta Libovca. Dosadašnji laureati nagrade Sound of MESS su: 2009 - No Shadows, Shamal Amin i Nigar Hasib, produkcija Lalish Teater 2011 - Radio Mujezin, Stefan Kaegi; produkcija Rimini Protokoll 2012 - Magnificat, Marta Gornicka, produkcija Zbigniew Raszewski Theater Institut 2013 - King Size, Christoph Marthaler, produkcija Theater Basel 2014 - Samo za Sarajevo, Jan Lawers, produkcija Needcompany 2015 - Antigona - 2000 kasnije, Lenka Udovički; produkcija Teatar Ulysses / Scena MESS

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The Sound of MESS Award is given for the best use of music and sound in theater, for auditivity of the stage, musicalization of theatrical expression, or a play generated through music, drawing attention to the importance that music has in a theater play. The award was initiated in 2009 by the portal and radio station Radio Sarajevo and MESS Festival, with the aim to establish an adequate valuation of sound as an important segment of contemporary theater. The intention of the award initiators was to mark the rising standards in the use of music and sound in theater, and to continually draw the public attention to the work of the authors in this field. The Sound of MESS Award is the Bird, work of sculptor Fikret Libovac. Past laureates of the Sound of MESS are: 2009 - No Shadows, Shamal Amin i Nigar Hasib; production Lalish Teater 2011 - Radio Muezzin, Stefan Kaegi; production Rimini Protokoll 2012 - Magnificat, Marta Gornicka; production Zbigniew Raszewski Theater Institut 2013 - King Size, Christoph Marthaler; production Theater Basel 2014 - Just for Sarajevo, Jan Lawers; production Needcompany 2015 - Antigone – 2000 years later, Lenka Udovički; production Teatar Ulysses / MESS


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GENERALNI SPONZOR / GENERAL SPONSOR

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FESTIVAL FINANSIRALI / FINANCED BY

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FESTIVAL POMOGLI / SUPPORTED BY

Ministry of Foreign Affairs and Trade of Hungary

АМБАСАДА НА РЕПУБЛИКА МАКЕДОНИЈА AMBASADA REPUBLIKE MAKEDONIJE EMBASSY OF THE REPUBLIC OF MACEDONIA САРАЕВО – SARAJEVO

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OFICIJELNO VOZILO FESTIVALA / OFFICIAL VEHICLE FESTIVAL

OFICIJELNO PIÄ&#x2020;E FESTIVALA / OFFICIAL DRINK FESTIVAL

SPONZORI I PRIJATELJI FESTIVALA / SPONSORS AND FRIENDS OF THE FESTIVAL

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SPONZORI I PRIJATELJI FESTIVALA / SPONSORS AND FRIENDS OF THE FESTIVAL

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GENERALNI MEDIJSKI Pokrovitelji / GENERAL MEDIA SPONSOR

MEDIJSKI PARTNERI / MEDIA PARTNERS

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SUORGANIZATORI FESTIVALA / CO-ORGANIZERS

g a l e r i j a

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DIREKTOR / DIRECTOR: Nihad Kreševljaković

UREDNICA / EDITOR: Belma Jusufović

UMJETNIČKA RUKOVODITELJICA / ARTISTIC DIRECTOR: Selma Spahić

ADAPTACIJA TEKSTOVA / TEXT ADAPTATIONS: Nejra Babić

IZVRŠNI PRODUCENT / EXECUTIVE PRODUCER: Dino Mustafić SELEKTORI/ICE FESTIVALA / FESTIVAL PROGRAMMERS: Giorgio Ursini Uršić Dino Mustafić Selma Spahić DIREKCIJA / DIRECTORATE: Naida Đugumović Dajana Gurda Nermin Hamzagić Lejla Hasanbegović Ira Isović Oliver Jović Belma Jusufović Jasmina Koluh Nihad Kreševljaković Mirna Ler Aida Mujković Dino Mustafić Bojan Mustur Dragana Radulović Zana Rapa Ismar Salimović Selma Spahić Mirsada Škrijelj ODNOSI SA JAVNOŠĆU / PUBLIC RELATIONS: Una Bejtović Emir Muhamedagić Benjamin Bajramović Rasim Pavica Jasmina Đikoli FOTOGRAFI / PHOTOGRAPHERS: Velija Hasanbegović Nikola Blagojević Video: Spektroom 96

PRIJEVOD / TRANSLATION: Selma Asotić Merima Dervišić Nedžla Idrizbegović D. Sarzinski Aida Spahić Jovan Eranović DIZAJN / DESIGN: Fabrika DTP: Bojan Mustur IZDAVAČ / PUBLISHER: J.U. MES - Međunarodni teatarski festival – Scena MESS Public Institution MES - International Theater Festival – MESS Scene ZA IZDAVAČA / FOR PUBLISHER: Nihad Kreševljaković ŠTAMPA / PRINT: Amosgraf TIRAŽ / COPIES: 1.000


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J.U. MES - MEĐUNARODNI TEATARSKI FESTIVAL - SCENA MESS Maršala Tita 54/I, 71000 Sarajevo, Bosna i Hercegovina Tel: +387 33 200 392, Fax: +387 33 211 972 E-mail: mess@mess.ba www.mess.ba

56th International Theater Festival MESS  

Official cataloque

56th International Theater Festival MESS  

Official cataloque

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