ZOOM FESTIVAL 2012

THIS PROJECT IS FUNDED BY EUROPEAN UNION

četvrtak/ Thursday

06.09.

07.09.

08.09.

09.09.

10.09.

The New Man Ligna/ Njemačka Hartera/ 20:00

petak/ Friday

SUBOTA/ Saturday

Yue Madeleine Yue Jeton Neziraj/ Kosovo HKD NA SUŠAKU/ 20:00 Tri skockana praščića Tala/ Hrvatska HKD NA SUŠAKU/ 11:00

Baja Buf VRUM/ Hrvatska HKD NA SUŠAKU/ 10:00 i 18:00

NEDjELJA/ sunday

More Than Enough Doris Uhlich/ Austrija HKD NA SUŠAKU/ 20:00

PONEDjELJAK/ MONDAY

UTORAK/ tUESDAY

11.09.

12.09.

Tribina: Situacionisti susreću Livingovce i predstavljanje knjige Život teatra Juliana Becka Govore: Zoran Senta, Ivica Buljan I Aleksa Golijanin Molekula/ 18:00

Kriegspiel D.B. Indoš i Tanja Vrvilo/ Hrvatska HKD NA SUŠAKU/ 20:00

Lost in Space United Sorry/ Austrija HKD NA SUŠAKU/ 20:00

SRIJEDA/ Wednesday

kdo je naslednji Janez Janša/ Slovenija HKD NA SUŠAKU/ 20:00

“The European Union is made up of 27 Member States who have decided to gradually link together their know-how, resources and destinies. Together, during a period of enlargement of 50 years, they have built a zone of stability, democracyand sustainable development whilst maintaining cultural diversity, tolerance and individual freedoms.

The European Union is committed to sharing its achievements and its values with countries and peoples beyond its borders”.

Ponovno u pokretu, ovaj put s varijabilnim fokusom, Zoom festival donosi šest predstava za odrasle i dvije za djecu. Sve su predstave moderne i pomodne, gostovale su na XY festivala i izvode ih najbolji izvođači. No, to ionako svi znamo. Ono što ne znamo jesu teme i načini interpretacije. Ako kazalište promatramo kao ritualnu formu, izvedbu slijeda pokreta i govora ne bi li se izrazilo određeno osjećanje i mišljenje, ne bi li se utjecalo na zbilju, onda je način izvedbe ono što nas privlači kazalištu. Kazališna igra se rasprostire izvan vlastitog konteksta, izvan okvira samog teatra u okvir općih ideja u kojima intelektulno i emocionalno – na koncu, zašto ne i moralno – iskustvo dobivaju značenje. U tom smislu kazalište nam ne nudi samo model stvarnosti nego model za stvaranje stvarnosti.

Zoom festival karakterizira fokus ne na modele stvarnosti već na modele stvaranja.

Na javanskom jeziku riječ rasa istovremeno znači i osjećanje i značenje.

Nakon stoljeća racionalizacije, u kojima smo značenja svodili na jedinstveni matematički kod, na znak, gotovo je nevjerojatno susresti se s izvorom značenja, osjećanjem. Naime, osjećanje ukazuje na to da je proces označavanja vezan ne uz to što neki fenomen ili radnja znače po sebi nego što nama znače. Što mi osjećamo kada se to događa. Umjetnost zadržava ovu povezanost osjećanja i značenja, a u kazalištu, mediju prvenstveno određenim vremenom, proces razvoja osjećanja i davanja značenja odvijaju se u laboratorijskim uvjetima. Ta laboratorijska situacija uglavnom nije mišljena da mi nešto propitujemo nego da potvrđujemo, da potvrđujemo sponu između značenja i osjećaja u intelektualnom, emocionalnom i moralnom sustavu tako da ne bismo slučajno krivo interpretirali pojedine situacije.

I danas je umjetnost uglavnom u funkciji ovog potvrđivanja. Pa ipak, ponekad se, kao i u svakom laboratoriju, dogode neočekivane stvari.

U laboratoriju Zoom festivala jak je potencijal neočekivanog. Zbog toga se nadamo se da će svatko od vas ne samo potvrditi ispravnost vlastitih interpretacija, nego da će otkriti i greške u njima. A umjetnici s kojima radimo festival potrudit će se da doživite taj nesklad i uživate u njemu.

Davor Mišković

The ZOOM festival is on the move again. This year it is presenting six plays for adults and two for children. All the plays are modern and popular and have already been performed at numerous festivals by best performers. What’s new are the themes and modes of interpretation.

If we consider theatre as a form of ritual, as a performance of movement and speech that expresses a particular emotion and thought in order to affect reality, then the modes of performance are what attract us to the theatre. Theatre play extends beyond its own context, beyond the very theatre into the realm of general ideas where intellectual, emotional, and if you want moral experiences gain meaning. In that sense theatre offers not only a model for reality but also a model for creating reality. The ZOOM festival 2012 focuses on models for creating reality.

In Javanese the word race means emotion and meaning. After a century of rationalisation where meanings where reduced to a unique mathematical code, a sign, it is almost incredible to encounter the origin of meaning - emotion. Emotion implies that the classifying process is tied not only to how an event or action is defined but also to how we interpret it.

How we feel when it's happening. In art this bond between emotion and meaning is well kept, but in theatre – a medium defined by time – the process of developing emotion and meaning takes place in laboratory conditions. This in turn does not encourage questioning but confirmation, confirmation of the link between meaning and emotion in an intellectual, emotional and moral system, which disables us from misinterpreting particular situations. Even today art still sides with confirmation. But as in every lab, sometimes unexpected things happen.

The ZOOM Festival laboratory has a strong potential for creating the unexpected. And we hope each and everyone will not only confirm the correctness of their own interpretation but will also discover faults. The performers at the festival will help you experience and enjoy disharmony.

Davor Miťković

Grupa Ligna osnovana je 1997. godine, a čine ju medijski i izvedbeni umjetnici Ole Frahm, Michael Hueners i Torsten Michaelsen, koji od 1990-ih rade na neprofitnoj radio postaji u Hamburgu. Sve njihove predstave povezuje odnos prema publici.

Publika je kolektiv producenata koji utječe na razvoj samog performansa i omogućava događaje koji su neočekivani i koji utječu na regulaciju izvedbenog prostora.

The group LIGNA exists since 1997 and consists of media- and performance artists Ole Frahm, Michael Hueners and Torsten Michaelsen, who have been working since the early nineties at a public non-profit radio station in Hamburg. What all works of LIGNA have in common is that they regard their audience as a collective of producers.

In a temporary association it can produce unforeseeable, uncontrollable effects that challenge the regulation of a space.

Gostovanje ove predstave omogućio je Goethe Institut Kroatien

This event is supported by the Goethe Institut Kroatien

Nakon šoka proživljenog Prvim Svjetskim ratom te konačnim slomom buržoaskog koncepta umjetnosti, mnogi su umjetnici tražili nove funkcije svoje umjetnosti, nove odnose prema životu i zajednici. Taj modernistički impuls proizlazi iz iskustava fašizma i represije staljinizma. Predstava The New Man (Novi čovjek) grupe LIGNA istražuje četiri različita faktora od kojih je četvrti presjek prva tri. Bertolt Brecht razvija tzv. poučne komade, odnosno Lehrstücke u kojima gestikulacije, društveni statusi pa i društvo u cjelini igraju važnu ulogu. Plesač Rudolf von Laban predlaže Bewegungschöre, odnosno zborove kretanja, u kojima vibracije kolektiva raspršuju samu moć. Redatelj Wsewolod Meyerhold u Sovjetskom Savezu eksperimentira s biomehaničkim vježbama za glumce kako bi im obnovio tijela i na taj način postigao novu vrstu subjektivnosti, te konačno komičar Charlie Chaplin koji nailazi na sve te utopijske vizije i njihova obećanja.

The New Man je predstava bez glumaca i pozornice. Nema se što vidjeti osim aktivnosti posjetitelja, koji slušaju radio dramu koja se bavi s već spomenuta četiri estetska faktora i predlaže gestikulacije i pokrete prema različitim nacrtima novoga čovjeka. No publika ne sluša istovremeno istu stvar, već je podjeljena u grupe u kojima svaka grupa petnaest minuta sluša jedan od četiri faktora. Nakon petnaest minuta program se mijenja i uloga prelazi na drugu grupu.

Na kraju svaka grupa odsluša i testira sve faktore. Igraju istu predstavu četiri puta, ali u različitim ulogama i istovremeno su i glumci i promatrači. The New Man traži da se gestikulacije i pokreti pretvore u javnu, kolektivnu stvar.

The New Man je predstava u trećem licu koja iskorištava dekonstrukciju gestikulacije te iznova propituje estetske paradigme Brechtova Lehrstücka.

After the shock of the First World War and the final breakdown of the bourgeois concept of art various artists looked for a new function for their art, searching for a new relation to life and society. This modernist impulse is buried under the experience of fascism and the repression of Stalinism. LIGNA’s performance The New Man explores four different positions - where the fourth cuts across the other three. The poet Berthold Brecht develops the Lehrstücke for a state without classes, where gestures, social positions and society as a whole come into play.

The dancer Rudolf von Laban proposes Bewegungschöre, choirs of movement, in which the collective vibrations disperse power itself. The director Wsewolod Meyerhold experiments in the young Soviet Union with biomechanical exercises for his actors to renew their bodies and shape a new kind of subjectivity. Finally the comedian Charlie Chaplin stumbles

across all of these utopian visions and their promises.

The New Man is a performance without actors and stage. There is nothing to see except the activity of visitors. They listen to a radio play that not only deals with four aesthetic positions mentioned above, but also proposes gestures and movements according to the different blueprints of the new man. But the audience does not hear the same thing at the same time. It is split up into four groups.

For fifteen minutes each group listens to one of these positions, then the program changes and their role is transferred to another group. In the end each group of listeners will have tested and quoted every attitude. They play the same play four times with different roles, being actors and viewers at the same time. The New Man calls for turning the production of gestures and movements into a public, collective affair.

The New Man is a play in the third person, exploiting the deconstruction of the gesture and thus reconsidering the aesthetical paradigms of Brecht’s Lehrstueck.

THE NEW MAN

produkcija/ produced by

Qendra Multimedia autor/ author

Jeton Neziraj režija/ director

Blerta Rrustemi oblikovanje svjetla i scene/ stage and light design

Nico De Rooij

zvuk i kompozicija/ sound and music composer

Gabriele Marangoni kostimograf/ costume design

asistentica kostimografkinje/ assistant costume design

Dorothy Barnes/ Amber Givens koreografija/ choreography

Gjergj Prevazi glume/ actors

Adrian Morina/ Anisa Ismaili/ Fisnik Syka/ Kujtim Paçaku/ Fitore Broqi/ Bajram Kinolli video/ video

Yll Citaku & Koperativa glazba/ musician

Susanna Tognella tehničar svjetla/ lighting technician

Skender Latifi organizator scene/ stage manager

Adelina Berisha prevoditelj/ translator

Qerim Ondozi fotografija i dizajn/ photography and design

Agon Çeta

Yue Madeleine Yue je najnovija predstava kosovskog dramaturga Jetona Neziraja.

Fokus ove tragikomedije apsurda je romska obitelj koja je nasilno preseljena iz Njemačke na Kosovo gdje pokušava preživjeti novu političku i društvenu realnost.

Madeleine, romska djevojčica, jedan dan padne u rupu novootvorene građevinske tvrtke. Dok se djevojčica u komi bori za život, njezin je otac, u nastojanju trženja pravde, suočen s birokratskim procedurama iz kojih ne vidi izlaz. To je politička drama o poslijeratnom Kosovu, ali, iznad svega, to je predstava za Rome u Europi danas.

Yue Madeleine Yue inteligentna je drama koja opisuje emotivno stanje tisuće Roma koji bivaju podvrgnuti nasilnim procesima povratka.

Yue Madeleine Yue is the newest play by the Kosovar playwright Jeton Neziraj.

In the central focus of this musical tragicomedy of the absurd is a Roma family, which was forcedly expelled from Germany to Kosovo. Found in a new reality, this family will have to face the challenges of the recently newborn state. A Roma girl, Madeleine, one day falls in a hole opened by a construction company. And while the girl in coma fights for her life, her father, striving to pursue justice, faces bureaucratic officers, businessmen, policemen and embassy employees. This is a political drama about chaotic post-war Kosovo, but, before all, it is a drama about unwanted Roma in Europe.

Yue Madeleine Yue is an intelligent drama that excellently reviews the emotional process that thousands of Roma people from Europe undergo, yielding to violent processes of repatriation.

Jeton Neziraj dramski je pisac te bivši umjetnički ravnatelj Nacionalnog kazališta na Kosovu. Napisao je preko petnaest drama koje su postavljene u kazalištima diljem Europe i Amerike te prevedene na više stranih jezika (njemački, engleski, francuski, makedonski, slovenski, hrvatski, rumunjski, bosanski, španjolski, turski, bugarski, itd.). Neziraj također piše o kazalištu za lokalne i međunarodne časopise i magazine.

Blerta Rustemi studirala je psihologiju na Sveučilištu Lumiere Lyon 2 u Francuskoj, te trenutno završava studij režije na Sveučilištu u Prištini. Režirala je predstave za kazalište Dodona te za Qendra Multimediju. Osim toga sudjeluje u mnogim lokalnim i međunarodnim kazališnim projektima te vodi projekt “Forum Teatar u Kosovu.

JETON NEZIRAJ former Artistic Director of the National Theatre of Kosovo, is a playwright from Kosovo. He has written over 15 plays which have been staged and performed in Europe and in the USA, as well as been translated and published in many other languages. Neziraj is also the author of many articles about theatre, published in local and international theatre magazines and journals.

BLERTA RRUSTEMI studied Psychology at the University Lumiere Lyon 2, France, and is currently finishing her degree at the Theatre Directing department, University of Pristina. She has been directing plays for Dodona Theatre and for Qendra Multimedia and was involved in many local and international theatre projects.

She is running the “Forum Theatre� project in Kosovo.

Qendra Multimedia je kulturna produkcijska kuća iz Prištine, koja se od 2001. bavi umjetnošću i kulturom.

Qendra producira i koproducira kulturne aktivnosti za svaku dob, lokalno i međunarodno. Naglasak daju suvremenom teatru i dramaturgiji.

Qendra Multimedia, based in Pristina, Kosovo, is a cultural production company, working in the field of arts and culture since 2002. Qendra produces and co-produces cultural activities for all ages, locally and internationally. Its main focus is contemporary theatre and dramaturgy.

yue madeleine yue

autorice/ authors

Larisa Navojec & Tamara Curić

igraju/ performers

Larisa Navojec/ Maja Kovač/ Tamara Curić/ Katarina Opić/ Damir Klemenić/ Sivio Vovk/ Petar Cvirn/ Zoran Pribičević

dramaturginja/ dramaturgy

Ana Tonković Dolenčić originalna glazba/ original music

Willem Miličević

scenografkinja i kostimografkinja/ set design and costumes

Zdravka Ivandija

Predstava Tri skockana praščića koristi okvir poznate dječje priče kako bi istražila određene prepoznatljive obrasce ponašanja kod pojedinca i njihov utjecaj na dinamiku, odnosno stvaralačku snagu grupe. Predstava naglašava važnost zajedništva i ljepotu zajedničkog stvaranja, ali i propituje načine kojima se do toga dolazi.

Predstava će dakle ponuditi i mogući model kojim se negativne i štetne osobine u određenim motivacijskim kombinacijama sklapaju u čudesan stvaralački mehanizam: bez osude i bez ruganja.

Priča o praščićima lako usmjerava dječju pažnju iz imaginarnog svijeta u svakodnevicu, vrlo jednostavno komunicirajući s prepoznatljivim problemima i kvalitetama; od lijenosti, destrukcije, nespretnosti i nediscipline, pa sve do prihvaćanja, zajedništva i kreativnosti. Predstava je namijenjena djeci od 3-6.g. starosti, te je interaktivnog karaktera, što znači da djeca aktivno sudjeluju u predstavi.

The performance three pigs in a box starts with a familiar story in order to explore well-known behavioural patterns and their influence on the dynamics, i.e. the creative force of the group. The performance emphasises the importance of unity and the beauty of working together.

It also examines the model by which even negative traits in certain motivational contexts are transformed into an amazing creative mechanism, without any judgment or mockery.

The story about the three little pigs easily redirects the children’s attention from the world of imagination to everyday life, confronting the child with the usual shortcomings and problems, as well as with virtues: laziness, destructivity, clumsiness, rejection and as their antipodes acceptance, unity and creativity. The play is aimed at children aged 3-6. It is interactive, meaning that children actively participate in the play.

Plesni centar Tala, neprofitna je umjetnička organizacija osnovana 2000. godine.

Osnivači su Larisa Navojec i Tamara Curić.

Program plesnog centra je popularizacija suvremenog plesa kod djece, mladeži i odraslih.

Plesni centar Tala broji više od 600 polaznika. 2010.g. osnovali su svoj plesni ansambl. Pokrenuli su i od 2000.g. organiziraju manifestaciju Platforma.hr.

Uspješno surađuju s mnogim kazalištima, festivalima i organizacijama u zemlji i inozemstvu.

TALA Dance Centre is a non-profit art organization that aims to make contemporary dance popular with children, youth and adults. It was founded in the year 2000 by Larisa Navojec and Tamara Curić.

The Tala Dance Centre has more than 600 participants, and employs its own dance ensemble since 2010. Since 2000. TALA organises the Platforma.hr manifestation and successfully cooperates with foreign dancers, choreographers, cultural institutions, dance centres and organizations in Europe and worldwide.

tri skockana praščića

koncept/ concept

Sanja & Till Frühwald izvedba/ performance

Sanja Frühwald/ Till Frühwald/ Asher O'Gorman/ Raphael Nicholas/ Ivan Grčić glazba/ music

Damir Šimunović set design i kostimi/ set design and costumes

VRUM

grafičko oblikovanje/ graphic design

Dinko Uglešić produkcija/ production

VRUM & Špancirfest/ Kreativfest

Baja Buf je događanje, predstava i igra.

Kreirana je za i sa osam beba u starosti 12 - 20 mjeseci i četiri izvođača, a odvija se u velikom i mekanom prostoru koji nudi mirno i sigurno okružje.

Djeca u toj dobi imaju prirodnu želju za spontanim i slobodnim kretanjem, istražujući sebe, prostor u kojem se nalaze i svijet oko njih svojim vlastitim tijelom kao primarnim sredstvom komunikacije. Režirajući svoj vlastiti pokret bebe stupaju u interakciju sa izvođačima i nepredvidljivi i zaigrani dijalog slobodnog tijeka govora tijela kreće... između odraslih, beba i izvodjača gradi se povjerenje koje omogućava djeci, čak i onoj najsramežljivijoj, da povedu igru i prihvate razgovor, potičući razvoj i učenje komunikacijskih vještina i pokreta i malenih i velikih na jednostavan, ali inventivan i originalan način - zajedničkom izvedbom predstave, kroz zabavu.

Svi prisutni zajedno kreiraju uvijek novu predstavu u kojoj - bilo da direktno sudjeluju ili svjedoÄ?e - postaju povezani kroz novi naÄ?in promatranja, kretanja i komuniciranja.

Baja Buf is an event, a play and a game. It has been created for and with eight babies between 12 and 20 months and four performers. It takes place in a large soft tent providing a safe and calm environment.

Games function well within this age group because children of this age have a natural desire for spontaneous, free movement, investigating the space they find themselves in and the world around them, using their body as their primary means of communication.

Through the prompting of their own motion, the babies interact with the performers, and this unpredictable playful dialogue of free expression goes on between adults, babies and performers alike, building confidence and enabling children, even the shiest ones, to lead the game and engage in the discourse. This in turn encourages the development of communication skills and movement, both large

and small, in a simple, inventive and original way - with the joint performance providing entertainment for all.

Everyone present creates a new play every time, either by participating in it or by bearing witness, and becomes connected through a new way of observing, moving and communication.

Izvedbeno umjetnički kolektiv VRUM, sa svojom umjetničkom voditeljicom Sanjom Tropp Frühwald, strukturiran je kao kolektiv čiji je primarni interes u polju suvremene plesne umjetnosti, njegove izvedbenosti i teorije, iako se njegovi interesi šire i na suvremeni teatar, vizualnu umjetnost, glazbu i fotografiju.

The performing arts collective VRUM with its artistic leader Sanja Tropp Frühwald is structured as a collective whose main interest is primarily based on contemporary dance, but is as well spreading into contemporary theatre, visual arts, music and photography.

baja buf

U okviru programa Zoom festivala održat će se i Ljetna škola koje će se baviti temama s područja izvedbenih umjetnosti.

The programme of Zoom festival includes a Summer school that address topics in the field of the performing arts.

Voditelji radionica u okviru Ljetne škole su umjetnički kolektiv ligna - ole FraHM i torSten micHaeLSen (De)/ janez janŠa (SLo)/ ivan marUŠićkLiF (Hr)/ igor rUžić (Hr)

Summer school Workshop leaders are the art collective liGna – ole FraHM anD torSten micHaeLSen (De)/ janez janŠa (SLo)/ ivan marUŠić-kLiF (Hr)/ igor rUžić (Hr)

Svakodnevni radio/ Everyday life radio Voditelji radionice/ Workshop presenters

LIGNA - Ole Frahm/ Torsten Michaelsen Na radionici će se eksperimentirati načinima korištenja radija koji iskorištavaju mogućnosti medija - njegovu sveprisutnost, istovremenost i nevidljivost. Polaznici će raditi radijske prijenose koji prodiru u svakodnevne prostore poput restorana, dućana, automobila - sve kako bi propitali njihov normalitet i strukture moći koje ga podržavaju. Radijski prijenosi će biti site specific u toliko što će se obraćati ili publici direktno u prostorima vozačima u autu,

kupcima u dućanu ili će se obraćati slušateljima radija koji redovno prate program.

Grupa LIGNA već neko vrijeme eksperimentira učincima koje posredovni kolektiv, većinom slušatelja radija, može imati na svakodnevene prostore koji su tehnički nadzirani ili regulirani obostranom kontrolom posjetitelja. Ono što povezuje radove jest da publiku doživljavaju kao kolektiv producenata.

The workshop experiments with forms of radio usage, that exploit the possibilities of the medium – its ubiquity, simultanity and invisibility: participants will create radio broadcasts, that infiltrate everyday life spaces – like restaurants, shops, cars – in order to question their normality and the power structures, that sustain it. The radio broacasts will be site specifically, they can either address the public in the spaces directly – the drivers in the car, the buyers in the shop. Or it will only talk to a conspiracy of radio listeners, which follows the radio and a ratio of its own.

The group LIGNA experiments already for some time with the effects a mediated – in most of the cases radio listening - collective can have on every day life spaces, which are either technically surveilled or regulated be the mutual control its visitors exert on each other. The common trait in their work is that they regard their audience as a collective of producers.

Izvedba dokumenta/ Performing document voditelj radionice/ workshop presenter

Janez Janša Cilj radionice je razviti kreativan pristup povijesti. Rekonstrukcije su postale izuzetno važan dio izvedbenih umjetnosti, te odražavaju naš odnos prema povijesnim događajima kao i prema samoj povijesti izvedbe. Umjesto da rade na povijesnom događaju, polaznici će izmisliti neki povijesni događaj (stariji od 30 godina) koji će rekonstruirati kroz razne pristupe. Cilj je pokazati kako se povijest stvara kreiranjem lažnih dokaza. Rad uključuje i maštu i istraživanje

određenog povijesnog razdoblja. Polaznici će kroz vlastita istraživanja učiti o povijesti izvedbe na vrlo praktičan način.

Stvorit će nepostojeći događaj, a prezentacija dokaza o tome događaju biti će predstavljena kroz izvedbenu formu koja može biti kombinacija dokumentarnog kazališta, rekonstrukcije, predavanja kao izvedbe ili neakademskog predavanja.

The intention of the workshop is to develop a creative approach to history. Reenactments have become an extremely important practice in performing arts which reflects our relation to historical events as well as to the history of performance.

Instead of working on a historical event, the participants are invited to invent an event in the distant past (at least 30 years ago) which they will reconstruct through various approaches. The aim of the workshop is to show how history is constructed by creating forged evidence. The work will contain both imagination in history

as well as research in the historical period.

The participants will learn through their own research about the history of performance in a very practical way.

They will create a nonexisting event and the presentation of evidence on that event will be developed into a new performative format, which might be combination of documentary theatre, reenactment, lecture performance or non-academic lecture.

1/ MOLEKULA/ DELTA 5

5/ Hotel Neboder/ STROSSMAYEROVA 1

2/ HKD NA SUŠAKU/ STROSSMAYEROVA 1

6/ Omladinski hostel Rijeka/ Šetalište XIII. divizije 23

3/ HARTERA/ RUŽIĆEVA BB 4/ TUNEL bar&cafe/ ŠKOLJIĆ 12

»

3

4

5 2

1

»

rijeka

6

Dobar dan, mi radimo jednu predstavu i trebali bi neki video...

Hello, we’re doing a show and we need a video... voditelj radionice/ workshop presenter

Ivan Marušić – Klif Radionica se bavi upotrebom videa u izvedbenim umjetnostima, s naglaskom na sam kreativni proces te na interakciju između scenskog i tehnološkog.

Polaznici će kroz rad dobiti uvid u upotrebu tehnologije na kreativan način, i zajedno će raditi i na samoj razradi projekata. Na radionici će biti prezentiran široki spektar kreativnih tehnika: od vrlo bazičnih kombinacija kamera-projektor, preko upotrebe

unaprijed snimljenih materijala, do live video samplinga i mapiranja projekcije. Cilj je kroz istraživački proces napraviti kratke performanse u okviru kojih će polaznici imati priliku istraživati različite taktike upotrebe videa u izvedbenim umjetnostima.

The workshop deals with the use of video in the performing arts and focuses on the creative process as well as the interaction between theatre and technology.

Through the work the participants will get an insight into the use of technology in a creative way and will work together on the elaboration of the project. The workshop will present a wide range of creative techniques: from very basic combination of camera and projector, through the use of prerecorded material, to live video projection, mapping and sampling.

The objective is to make short performances through the research

process in which the participants have the opportunity to explore different tactics using video in the performing arts.

Medijska slika kazališta The media image of theatre voditelj radionice/ workshop presenter

Igor Ružić

Radionica se fokusira na medijskoj prezentaciji i percepciji izvedbenih umjetnosti. S obzirom da festival nije samo mjesto prezentacije umjetnosti nego i njezine provodivosti i prevodivosti, upravo na ta dva aspekta koncentrirat će se polaznici radionice. Oni u njoj postaju gledatelji sa zadatkom, pri čemu je taj zadatak širi, a možda i važniji od misije onih kojima se ta sintagma obično prišiva – kazališnih kritičara. Radionica ostavlja samim polaznicima mogućnost

izbora: multimedijska prezentacija, rad na tekstu, izvještaju ili klasičnijoj kritici, te međuformatima poput intervjua, okruglog stola, radijske ili televizijske/video kritike, eseja, crtice... Tijekom radionice naglasak će biti, uz ipak zadržanu dozu fundiranosti ili dubine argumentacije, na poentiranju i osobnom stavu, kako bi polaznici otkrili i svoje načine čitanja kazališta te posljedičnog pisanja ili govorenja o njemu.

The focus of the workshop is media presentation and perception of performing arts.

This festival is not just a place for presenting art; it is also a place for implementing and translating art. Therefore the participants of the workshop will focus on these two aspects and they will become spectators on assignment. Their assignment is probably broader and even more important than that of theatre critics.

The participants can choose between different forms: multimedia presentation; work on script, report or classic critic; interview; round table, radio/television/

video critic; essay or notes. During the workshop the emphasis will be on sound argumentation, facts/detail and personal opinions that will enable participants to explore their own ways of reading theatre, writing and talking about it.

photo: Andrea Salzmann

koreografija/ choreorraphy

Doris Uhlich dramaturgija/ dramaturgy

Andrea Salzmann & Judith Staudinger igraju/ performance

Doris Uhlich & Tale Dolven produkcija/ production

Marlies Pillhofer koprodukcija/ coproduction

Doris Uhlich/ brut Wien/ Les Subsistance/Lyon uz podršku / with support from the

Odjel za kulturu Grada Beča i Saveznog ministarstva obrazovanja, umjetnosti i kulture The Cultural Department of the City of Vienna and the Federal Ministry for Education, the Arts and Culture

Gostovanje ove predstave omogućila je INTPA - INTERNATIONAL NET FOR DANCE AND PERFORMANCE AUSTRIA of Tanzquartier Wien sredstvima BMUKK i BMeiA

This event is made possible

by INTPA -INTERNATIONAL NET FOR DANCE AND PERFORMANCE AUSTRIA of Tanzquartier Wien from funds

by BMUKK and BMeiA

U predstavi Doris Uhlich preispituje sebe i publiku kako tijelo može postati zaštitni znak i što to znači. Doris Uhlich, koju često u novinskim kritikama nazivaju korpulentnom plesačicom, propituje važnost vanjskog plašta i mesa ispod kože. Koliko je unutar plesne izvedbe dominantna vanjska slika tijela? Postoji li neko tijelo koje percipiramo kao savršenim plesnim tijelom? Te konačno: tko je lijep, a tko nije? I što uopće znači ta riječ lijep?

U telefonskim razgovorima uživo Uhlich razgovara s ljudima čija tjelesna građa ne odgovara standardima lijepog i koji su zbog toga postali zaštitni znak?

Stvaraju li ljudi sami taj zaštitni znak ili im ih drugi stvaraju? Kakav je to čudan fenomen gdje svi želimo biti posebni, ali nitko ne želi izaći izvan okvira?

Barokno razdoblje u kojem vlada preobilje stvara temelj za tjelesnu i tekstualnu diskusiju o tijelu i raskoši u

kojem se tjelesna aktivnost odra탑ava u prethodnim radovima Doris Uhlich.

In More than enough Doris Uhlich asks herself and her audience how the body can become a trademark and what this means. Doris Uhlich – who is often called a corpulent dancer in newspaper reviews - questions the importance of the outer mantle and the meat underneath the skin. How dominant is the outer image of a body within the reception of a dance performance? Is there such a thing as the perfect body for dance? And finally: Who is beautiful and who isn’t?

What does the word beautiful mean?

In live interviews over the phone Uhlich talks to people whose bodies don’t meet the beauty standards and who have therefore become trademarks. Do these people create such trademarks by themselves or do others do this for them?

What strange phenomenon are we currently witnessing where everybody wants to be unique yet no one breaks ranks?

The Baroque epoch with its urge for overabundance creates the basis for a bodily and textual discussion of flesh and opulence where the activity of bodies will be mirrored in the previous works of Doris Uhlich.

Doris Uhlich rođena je 1977. godine u Gornjoj Austriji. Diplomirala je pedagogiju plesa na Konzervatoriju u Beču.

Od 2002. do 2009. bila je članica Theatercombinata. Samostalne projekte radi od 2006.godine. 2008. godine dobiva priznanje Remarkable Emerging Choreographer u godišnjaku Ballettanz, te plesnu nagradu Ministarstva obrazovanja, umjetnosti i kulture za predstavu Spitze.

Doris Uhlich, born in 1977 in Upper Austria, holds a degree in Pedagogy for Contemporary Dance/ Conservatory of Vienna, was a member of theatercombinat and realizes her own projects since 2006. She was called Remarkable Emerging Choreographer in the Yearbook of Ballettanz 2008 and won the dance prize of the ministry of education, art and culture (bm:ukk) for Spitze 2008.

more than enough

autori i izvođači/ authors and performers

Damir Bartol Indoš/ Tanja Vrvilo/ Helge Hinteregger/ Ivan Marušić-Klif grlena glazba/ throat music

Helge Hinteregger nadzorne slike/ surveillance images

Ivan Marušić-Klif šahtofonija/ schachtophonia

Damir Bartol Indoš svjetlo/ light

Damir Kruhak produkcija/ production

DB Indoš - ekstremno muzičko kazalište

Ludimus effigiem belli. Igramo efigiju rata po grafičkim bilješkama 55 pozicija u Kriegspielu Guyja Deborda & Alice Becker-Ho.

Ludimus effigiem belli. What we play is a representation of war according to 55 graphic notes that illustrate the game of war (Kriegspiel) devised by Guy Debord and Alice Becker-Ho.

Godine 1965. francuski filozof i kritičar totalizirajućeg društva spektakla Guy Debord patentirao je Igru rata, poznatu i kao Kriegspiel, koju je izumio deset godina ranije. Knjiga Kriegspiel prvi je put objavljena kao niz grafičkih bilješki koje predstavljaju sve poteze dvaju protivnika (Guyja Deborda i Alice Becker-Ho), upotpunjenih kratkim komentarima koji opisuju namjere i ishod svakog napada i uzvrata. Knjiga je podnaslovljena Bilješke niza položaja svih snaga tijekom igre i osnovno je nadahnuće ovog umjetničkog projekta. U to je vrijeme distribuirana i osnovna verzija ove dijalektike svih sukoba koja dovodi u igru operacije dvije vojske istih snaga, a svaka nastoji, manevrima i bitkama, uništiti svojeg protivnika. Svi taktički i strateški odnosi utjelovljeni u igri u skladu su s principima koje je postavila Clausewitzeva teorija rata, utemeljena na klasičnom ratovanju 18. stoljeća i dalje razvijena u razdoblju Francuske revolucije

i Carstva. Osnovna je misao Debordovog Kriegspiela da svi elementi neprijateljske igre, kao i njihovo kretanje moraju biti u otvorenim linijama komunikacije.

Naša strateška igra stvara nove linije komunikacije između situacionističke teorije i umjetničke prakse tijekom boravka Living Theatera u Parizu 1960-ih.

In 1965 Guy Debord, a French philosopher and critic of the totalitarian society of spectacle, designed the Game of War, Kriegspiel. The book Kriegspiel was first published as a set of graphic notes representing all the moves of opposing players (Guy Debord and Alice BeckerHo) accompanied by short commentaries recording each move and it's outcome.

The book is subtitled A record of all the movements made by the forces in the course of the game and this inspired us to produce our art project. The basic dialectic of all conflicts was published

along with the book and it highlights all manoeuvres and battles of the two armies that are each trying to destroy the other.

All strategies described in the game are inspired by the military theory of Carl von Clausewitz and are based on classic warfare of the 18th century that was further developed in the French Revolution.

The key idea behing Debord's Kriegspiel is that all elements of the opponents game must be layed out in open lines of communication.

Our strategic game creates new lines of communication between the Situationist theory and art practice during the Living Theatre's tour in Paris in the 1960s.

Damir Bartol tijekom studija sudjeluje u radu neoavangardne studentske kazališne grupe Kugla Glumište. Kao DB Indoš-Kuća ekstremnog muzičkog kazališta, tijekom 1990-ih, ostvaruje niz projekata i gostovanja. U koprodukciji s Kulturom promjene – Teatar ITD i autorskom suradnjom s Tanjom Vrvilo realizira više predstava. U bivšoj alatnici tvornice Jedinstvo pokrenuo je radionicu i izvedbeni prostor pod naslovom Parainstut Indoš. Stalni je suradnik Teatra ITD i Centra za dramsku umjetnost iz Zagreba. Dobitnik je prve nagrade na 05. T-HT MSU natječaju za Šahtofon.

Tanja Vrvilo kao koautorica i izvođačica radi s neoavangradnim performerom DB Indošem / Ekstremnim muzičkim kazalištem i umjetnikom Zlatkom Burićem te s Bacačima Sjenki. Osnivačica je i umjetnička direktorica filmološkog kustoskog festivala-simpozija Filmske mutacije: festival nevidljivog filma. Prevodi i piše tekstove o filmu i kazalištu, kustosica je brojnih filmskih programa.

Damir Bartol began collaborating with the student theatre group Kugla Glumište.

In 1991 he began collaborating with numerous international and local artists under the name DB Indoš - The House of Extreme Music Theatre. Since 2005 Damir has produced several performances in coproduction with Culture of Change - ITD Theatre and in collaboration with Tanja Vrvilo. He regularly collaborates with ITD Theatre and the Centre for Drama Art in Zagreb. Indoš recently won the first prize on the 5th T-HT MSU award for the play Šahtofon.

Tanja Vrvilo as co-author and performer she worked with neo-avant-garde performer Damir Bartol Indoš / The Extreme Music and alternative artists Zlatko Burić and Shadow Casters. She is the founder and artistic director of curatorial festival symposium Film Mutations: Festival of Invisible Cinema. She writes and translates essays on film and performance art, and curated many film programmes.

kriegspiel

izvedba/ performance by

United Sorry/ Frans Poelstra & Robert Steijn scenografija i kostimografija/ set and costumes

Roland Rauschmeier & Anke Philipp svjetlo/ light

Andreas Schwarzbauer zvuk/ sound

Vladislav Tchapanov produkcija/ production management

Nicolas Cadet

organizatorica gostovanja/ tour management

Nicole Schuchardt koprodukcija/ co-production

United Sorry & Kazalište Brut iz Beča United Sorry & Brut Theater Wien podrška/ supported by

Odjel za kulturu Grada Beča The Cultural Department of the City of Vienna zahvala/ thanks to

Ed Hauswirth

This event is supported by Gostovanje ove predstave omogućio je Austrijski kulturni the Austrian Cultural Forum Zagreb forum Zagreb

United Sorry trebao je pauzu od politike današnjeg svijeta te se katapultirao daleko u beskonačnost svemira kako bi shvatili zašto se osjećaju tako nepovezanim s trenutnim javnim raspravama. Hoće li pronaći ključ nekoj novoj uključenosti putujući između zvijezda ili će se zauvijek izgubiti?

United Sorry je bečki duo koji čine Mister United (Frank Poelstra) i Deejay Sorry (Rober Steijn) i koji pokušavaju umjetnosti dati polu intelektualna, polu sentimentalna i elementarno konceptualna iskustva.

United sorry needed a break from the world as it manifests itself in present-day politics. They catapulted themselves far into the infinite space, to reflect on why they feel so disconnected from the current public debates. Will they find the key to a new engagement by travelling between the stars, or will they get lost forever?

United sorry is a Viennabased duo consisting of Mister United (Frans Poelstra) and Deejay Sorry (Robert Steijn), aiming to deliver semi-intellectual, semi-sentimental and rudimentarily conceptual experiences in the field of art.

United Sorry čine Frank Poelstra i Robert Steijn. Frank Poelstra, koji živi u Beču, svoju je karijeru započeo kao koreograf i plesni improvizator. Rober Steijn, koji živi nomadski život u Europi, započeo je kao dramaturg da bi postao kazališni izvođač. Suradnju su započeli 2003. godine i zajedno rade predstave i instalacije za kazališta, galerije i festivale. United Sorry je platforma za: preispitivanje stvarnosti kojoj su potrebni iscrpljujući monolozi, oklijevajući dijalozi, mučna sanjarenja i kreativne halucinacije. Naprimjer, dovedimo naš um i tijelo izvan trenutne situacije, dajmo si vremena, suočimo se s okolinom i poslušajmo mirnoću drveća.

Frank Poelstra and Robert Steijn form together united sorry. Frans Poelstra started as a choreographer and improvising dancer. Robert Steijn, who lives a nomadic live in Europe, started as a dramaturge to become performance artist.

Frans and Robert make performances and installation art for theatres, galleries, and festivals. United sorry provides a platform: for rethinking reality, we need exhausting monologues, hesitating dialogues, bothering day dreams & creative hallucinations, let’s bring our bodies and mind, outside the heat of the moment, let’s take time, let’s face our environment, and listen to the stillness of trees for example.

lost in space

koncept i režija/ concept and direction

Janez Janša igraju/ performers

Adriano Wilfert Jensen/ Boštjan Narat/ Jelena Rusjan/ Irena Tomažin/ Vito Weis/ Grega Zorc/ Nataša Živković/ Barbara Krajnc dramaturgija/ dramaturgy

Simona Semenič tekst/ text

Simona Semenič and creators oblikovanje svjetla i tehnički postav/ technical director and light design

Igor Remeta

izvršni producent/ excutive producer

Tina Dobnik

odnosi s javnošću/ public relations

Urška Comino produkcija/ production

Maska Ljubljana koprodukcija/ co-production

Tanzquartier, Wien (AU)/ Inkonst, Malmö (SE)

Predstava otvara pitanja o odgovornosti pojedinca u suvremenom društvu recesije, šoka, nesigurnosti, neizvjesnosti i ravnodušnosti. Koji je to čin koji može izazvati promjenu? Je li demokracija samo isprazni ritual beskonačnih dijaloga koji ne vode nikuda? Tko će preuzet odgovornost za djelovanje? Tko će ići do kraja?

Je li nasilje jedino rješenje?

Predstava otvara ta pitanja kroz kombinaciju dokumentarnog i fikcijskog pristupa. Tko je sljedeći? sastoji se od filma, glazbe i koreografije te stvara prostor u kojem mnogi igrači i mnoga imena pregovaraju o pokretanju akcije. Gledatelji su uključeni. Nema sumnje da se nešto mora učiniti i to hitno. No pitanje je što treba učiniti i tko će to učiniti? Može li se nešto učiniti u kazalištu? Je li kazalište mjesto djelovanja?

The performance opens questions of individual responsibility in the contemporary society marked by recession, shock, precariousness, uncertainty and indifference.

What is an act that can trigger change? Is democracy just an empty ritual of endless dialogues, which lead nowhere? Who is going to take responsibility to act, to go all the way? Is violence the only solution?

The performance unfolds this question using a combination of documentary and fictional approach. Who is next? is composed of film, music and choreography and thus creates a field where many players and many names negotiate about doing action - spectators included. There is no doubt that something has to be done, urgently. The questions are what should be done and who is going to do it? Can we do something in the theatre? Is theatre the place of action?

Janez Janša (*1964., Rijeka, Hrvatska) studirao je sociologiju i režiju na Sveučilištu u Ljubljani te teoriju izvedbenih umjetnosti na Sveučilištu u Antwerpu u Belgiji. Janša je jedan on najkontroverznijih autora, režisera i umjetnika interdisciplinarnih projekata u Sloveniji. Njegovi radovi uvijek izazivaju reakcije kako slovenske i međunarodne publike tako i političkog vrha. Janša je jedan od tri umjetnika koji je 2007. godine promijenio ime i prezime u Janez Janša, ime tadašnjeg slovenskog premijera i time pokrenuo lavinu polemika koje su aktualne i danas.

Od 1999. godine direktor je neprofitne organizacije Maska, koja se bavi izdavaštvom, produkcijom i edukacijom, sa sjedištem u Ljubljani. Za svoj je rad primio nekoliko nagrada u Sloveniji i inozemstvu.

Janez Janša (*1964, Rijeka, Croatia) has studied sociology and theatre directing at the University of Ljubljana, Slovenia and performance theory at the University of Antwerp, Belgium. As author, director and performer of interdisciplinary projects, he is one of the most controversial artists in Slovenia. His actions again and again stir up both the Slovenian and international public as well as generate reactions from the highest political authorities. Janša is one of three artists who in 2007 officially adopted the name and surname of Janez Janša, the then Slovenian Prime Minister, and triggered an avalanche of polemics still actual to this day. Since 1999 he is the director of Maska, non-profit organization active in publishing, production and education, based in Ljubljana, Slovenia.His work won him several awards in Slovenia and abroad.

kdo je naslednji

Tribina Situacionisti susreću Livingovce i predstavljanje knjige Život teatra Juliana Becka/ Izdavačka kuća DAF Tribinu vode: Ivica Buljan, kazališni redatelj i Aleksa Golijanin, Anarhija blok 54 iz Beograda/ knjigu predstavlja: Zoran Senta, urednik izdavačke kuće DAF Debate Situationists meet the Living Theatre and book presentation Julian Beck: The Life of the Theatre/ DAF publishing house Discussion with theatre director: Ivica Buljan and translator and editor Aleksa Golijanin, Anarhija blok 54, Belgrade/ book presentation: Zoran Senta, editor, DAF publishing house

Tribina Situacionisti susreću Livingovce uspostavlja nove linije komunikacije između situacionističke teorije i umjetničke prakse tijekom boravka Living Theatera u Parizu 1960-ih. Julian Beck susreće Guyja Deborda, dvije žive knjige (Kriegspiel i Život teatra) zamjenjuju povijesne uloge, postavljajući pitanje što bi se dogodilo da su izvedbene umjetnosti prihvatile cjelovitiji politički program, a da situacionisti nisu odbacili umjetnički program u rascjepu između radikalne akcije i reprezentacije. Situacionistička internacionala s glavnim političkim i umjetničkim strategom Guyjom Debordom, bila je međunarodna skupina političkih i umjetničkih agitatora za radikalne društvene promjene, čiji je kritički projekt zastarjevanja umjetnosti rezultirao isključenjem umjetničke frakcije iz programa, a ubrzo i samouništenjem 1972. godine. Knjigu Život teatra je napisao Julian Beck, koji je 1947. s Judith Malina

osnovao Living Theatre za sudjelovanje u divnoj nenasilnoj anarhističkoj revoluciji za promjenu svijeta. Living theatre je osnovan 1947. kao imaginativna alternativa komercijalnome teatru a osnivači su bili Judith Malina, porijeklom Njemica, studentica Erwina Piscatora, i Julian Beck, apstraktni ekspresionistički slikar njujorške škole. Living Theatre je ubrzo uprizorio stotinu produkcija izvođenih na osam jezika u 28 zemalja na pet kontinenata – jedinstven rad koji je utjecao na kazalište diljem svijeta. Tijekom 1950-ih i početkom 1960-ih godina u New Yorku, Living Theatre bio je pionir nekonvencionalnoga uprizorenja poetske drame – kazališna djela američkih autora poput Gertrude Stein, Williama Carlosa Williamsa, Paula Goodmana, Kennetha Rexrotha i Johna Ashberyja, kao i europskih pisaca rijetko postavljanih u Americi, poput Cocteaua, Lorce, Brechta i Pirandella. Najzapamćenije su produkcije koje su obilježile

poÄ?etak Off-Broadway pokreta, poput Doktor Faust pali svjetla (Doctor Faustus Lights the Lights), Mnoge ljubavi (Many Loves), Veza (The Connection) i Zatvor (The Brig).

The discussion Situationists meet the Living Theatre establishes new lines of communication between Situationist theory of the 1960s presented

by Guy Debord and the Living Theatre as presented by Julian Beck. Two books meet, Debords Kriegspiel and Becks The Life of the Theatre, they exchange historical roles, and question what would have happened if performing arts took on a political agenda and if the Situationists had not rejected the art programme that lies between radical action and representation. Guy Debord was one of the founding members of the Situationist International, an international group of political and art revolutionar-

ies. The group agitated for radical social changes and their critical project of obsolescence of art resulted in the exclusion of the art fraction from the group and eventually with its self-destruction in 1972. Julian Beck was an American actor, director, poet and abstract expressionist painter. In 1947 he founded the theatre troupe Living Theatre together with Judith Malina, with the intention of participating in the beautiful non violent anarchy revolution aimed at changing the world. The Living Theatre was conceived as a creative alternative to commercial theatre and greatly contributed to the off-Broadway-movement. The group was among the first in the U.S. to produce the work of influential European playwrights such as Cocteau, Lorca, Brecht and Pirandello, as well as modernist poets and playwrights such as Gertrude Stein, William Carlos Williams, Paul Goodman, Kenneth Rexroth and John Ashbery in

the 1950’s. They toured extensively and produced hundred shows performed in 8 languages in 28 countries across five continents, often being tried or arrested for indecent exposure (i.e. nudity) and breaking of other social norms.

The Living Theatre had a major influence on other experimental theatre groups, with their main works being Doctor Faustus Lights the Lights, Many Loves, The Connection and The Brig.

tri skockana praščića

produkcija/ production

partneri/ partners

Drugo more

Clubture/ Balcan Contemporary

Davor Mišković

Nacionalna zaklada za razvoj civilnog društva/ Ministarstvo kulture RH/ Grad Rijeka – Odjel za kulturu/ Primorskogoranska županija/ European Commission/ Robert Bosch Stiftung/ Goethe institut Kroatien/ INPTA/ Austrijski kulturni forum

koncepcija/ concept

donatori/ donors

producentice/ producers

Petra Corva/ Jana Falkenroth & Ivana Katić koordinacija ljetne škole/ summer school coordinaton

Jana Falkenroth

odnosi s javnošću/ public relations

Petra Corva

koordinatorica prodaje/ ticket sales

Ivana Katić

vizualni identitet/ visual identity

Ana Tomić & Marino Krstačić-Furić oprema/ equipment

HKD/ Cyklorama

tehničko vodstvo/ technical leadership

Ivan Bauk/ Dalibor Fugošić/ Igor Kondić tehnika za ljetnu školu/ summer school technicians

Damir Batarelo/ Antonio Kiselić/ Romano Perić

medijski pokrovitelji/ media coverage

Novi list/ Radio Rijeka/ Kanal Ri/ Kulturpunkt.hr/ Teklić.hr festivalski bar/ festival bar

Tunel

Katalog/ Catalog

prijevod/ translation

izdavač/ publisher

suradnici/ Co-operation

urednici kataloga/ catalogue Editors

Drugo more

Jele Dominis

Thomas Frank/ Stefan Blaske/ Goran Sergej Pristaš volonteri/ volunteers

Martina Vranić/ Krešimir Jerić/ Marinella Matejčić/ Nives Soldičić/ Ljiljana Bogdan/ Karlo Fabijanić/ Marija Maksimović/ Tamara Pesić/ Petra Borovac/ Mirta Damijani...

Petra Corva/ Jana Falkenroth & Ivana Katić

grafički urednici i dizajn/ art directors and design

Ana Tomić & Marino Krstačić-Furić

prijevod/ translation

Jele Dominis

tisak/ print

Printera Groupa

naklada/ edition

300

veliko hvala/ many thanks

svim statistima u predstavi Kdo je naslednji Janeza Janše

ORGanizator/ organization

partneri/ partners

THIS PROJECT IS FuNDED

BY THE EUROPEAN UNION

donatori/ donors

medijski pokrovitelji/ media coverage

festivalski bar/ festival bar

This project is supported by the European Union and it is part of Balcan can contemporary project, funded by External Actions of European Union. “This publication has been produced with the assistance of the European Union. The contents of this publication are the sole responsibility of Drugo more and can in no way be taken to reflect the views of the European Union.�