52nd International Theater Festival MESS

IMA LI ŽIVOTA POSLIJE TRANZICIJE?

Poštovana publiko, dragi gosti Festivala MESS! Pozorište u Sarajevu je posebno osjetljivo na sve što se naokolo događa.

To je i naša obaveza, možda i sudbina, jer je to pozorište preživjelo opsadu Sarajeva, tako što je igralo predstave skoro svaki dan. Bili su to dani kada se vjerovalo u pozorišni paralelni svijet stvarnosti u kojem će jezik poezije i velikih dramskih misli biti jači od razornih zvukova granata. Tako smo i preživjeli te ratne godine za koje se molimo da se nikome i nikada ne dogode. Tada nismo mislili da pozorište ulazi u još teže vrijeme kada se sve miješa od “kulturne politike” do konzumerizma i komercijalizma, snobizma i malograđanštine, sve suprotno od onoga što bismo željeli i što nam je potrebno. Nema više straha od granata, ali ima od bijede, siromaštva i bankrota koji kao “strašni bauk kruži nad Evropom”.

Pokušavamo da živimo i stvaramo projekte koji postaju sve: zabava, pedagogija, ideologija, pa ponekad čak umjetnost, društveni događaj: umjetnički i politički. Zato ćemo i ove godine politički na MESS-u braniti Slobodu, jer ona je polazna tačka za sve što činimo i radimo u životu.

Pluralizam mišljenja je predispozicija za ljudske slobode, jer ukoliko ga nema, zavlada očigledna neravnoteža u kojoj se kao historijski refren pojavljuju nacionalizam, rasizam, ideološki terorizam. Pozorište se kroz vijekove opiralo takvim režimima, autoritarnim vođama koji su prezirali pozorište kao prostor slobode koji nam omogućava da razvijamo svoje misli i osluškujemo svijet pored sebe, drugačiji, različit. Mess će nas kroz svoje predstave u ovih deset dana i umjetnički pitati: Kakav to svijet danas živimo? Zašto živote provodimo čekajući i, na tako zastrašujući način, gubimo vrijeme? Šta je to sa nama, pa su roditelji i radnici izgubljeni u tranziciji ili privatizaciji, a njihova djeca postali facebook revolucionari koji u slobodno vrijeme kupuju jeftinu kapitalističku robu? Da li imamo snage da dekonstruišemo nacionalne idenititete i pronađemo neke druge životne prioritete? Hoćemo li moći iznijeti nametnuti teret prošlosti i osloboditi se okova grijeha koji su drugi počinili u naše ime? Zbog svih ovih pitanja koji će nam se otkrivati kroz festivalske izvedbe 31 predstave iz 20 zemalja, MESS će nam pokazati jedno vrijeme u kojem živimo, pomjeriti istine koje smo smatrali utvrđenim i nepomjerljivim, otkriti nam nove i neočekivane strane, baš kako to MESS čini pune 52 godine!

Dino Mustafić Direktor Festivala MESS

Is There Life After Transition?

Dear audiences, dear guests of the MESS Festival!

In Sarajevo, theatre is particularly sensitive to everything that happens around it. It is our duty and perhaps our fate, since theatre survived the siege of Sarajevo by performing almost every day. Those were the days when there was a firm belief in the parallel world of theatre, the kind of reality where the language of poetry and of great dramatic thought becomes stronger than the sound of bombs. And that is how we survived the years of war and we pray that no one ever has to experience such times again. At the time, we did not think that theatre was about to embark on an even more difficult era, an era of utter confusion between “culture policy”, consumerism and commercialism, between snobbery and bigotry – all that is opposite from what we want and need. The fear from bombs is gone, but the fear from poverty, misery and bankruptcy is there, circling above Europe like doomsday.

We are trying to live and create projects that become omnifarious: entertainment, education, ideology, sometimes even art, a societal event: artistic and political. That is why this year at MESS we will defend Freedom politically, for Freedom is the starting point for all we do and create in life.

Pluralism of thought is the presupposition for human freedoms, for if that is gone, there is an obvious misbalance where, like a historical refrain, nationalism, racism, and ideological terrorism spring up. For centuries, theatre has resisted such regimes, authoritarian leaders who despised theatre as the space for freedom that allows us to nurture our thoughts and listen to the world around us, different and versatile as it is. Through its plays over the coming ten days, MESS will ask artistically: What kind of world do we live in? Why do we spend our lives waiting and wasting time in such terrifying ways? What is it with us that left parents and warriors lost in transition or privatization, and turned their children into Facebookrevolutionaries who go shopping for cheap capitalist goods in their spare time? Do we have the strength to deconstruct national identities and find other priorities in life? Can we handle the burden of the past imposed upon us and free ourselves from the chains of sins committed by others in our name?

For these and other questions that will reveal themselves to us through 31 festival performances coming from 20 countries, MESS will show us what kind of time we live in, shift the truths we held to be fixed and immovable, reveal new and unexpected sides – just like MESS has been doing for 52 years!

Dino Mustafić Director of the MESS Festival

DEDA NE VOLI SVING

GRANDFATHER DOESN’T LIKE SWING

VILA+GOVOR VILLA+SPEECH

O POJMU LICA, PO PITANJU SINA BOŽIJEG

ON THE CONCEPT OF THE FACE, REGARDING THE SON OF GOD

KOST BONE

MAX BLACK

Benin - Francuska / Benin - France

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

28/09/12

DEDA NE VOLI SVING

GRANDFATHER DOESN’T LIKE SWING

PREDSTAVA

Žena, umjetnica, crnkinja, moderna, urbana...

Afirmacija i auskultacija dvije pripadnosti: evropske i afričke, su nit ove preusmjerene autobiografije, izgovor za stvaranje na temeljima snage i slabosti.

Julie Dossavi istražuje ovu dvojnost, dok je na video projekcijama prate kume, dobre vile, te primjeri umjetnica i političkih aktivistica crnkinja, kao što su Angela Davis, Billie Holiday ili Nina Simone.

PERFORMANCE

Female, artist, black, modern, urban...

The affirmation and auscultation of the two memberships, European and African, are the thread of a diverted autobiography, a pretext to create around strength and weakness. Julie Dossavi explores this duality, accompanied on the stage by videos of godmothers, good fairies, and examples of black women artists and political activists such as Angela Davis, Billie Holiday or Nina Simone.

Uloge / Cast Julie Dossavi Yvan Talbot Originalna muzika / Music originally composed by Yvan Talbot “El Fassa Club” REDITELJICA

Julie Dossavi je znanje stekla u Nacionalnom centru savremenog plesa d’Angers. Nastupala je kao plesačica sa Jean-Françoisom Duroureom, Philippom Decoufléom (asistent na ceremoniji otvaranja Olimpijskih igara u Albertvilleu), te sa Saliom ni Seydou. Također je učestvovala u muzičkim spotovima i TV emisijama, te je radila koreografije modnih revija. Ona također vodi plesne radionice širom svijeta (u Kairo Operi u Maroku, Kamerunu, Londonu, Čadu...)

Umjetnička saradnica / Artistic collaboration Francoise Le Meur Scenografija / Stage Design Marine Antony Svjetlo / Light Alain Unternher Kostimi / Costumes Ludovic Charmot

DIRECTOR

Julie Dossavi trained at the Centre National de Danse Contemporaine d’Angers. She performed as a dancer with Jean-François Duroure, Philippe Decouflé (assistant for the opening ceremony of the Olympic games in Albertville), and Salia ni Seydou. She also took part in music videos and TV broadcasts, and choreographed fashion shows. She leads worldwide dance workshops (the Cairo Opera in Morocco, Cameroon, London, Chad...)

Slike / Images Nadège Comadira Oliver Stihovi / Lyrics Mathias Gourdot Dizajn zvuka / Sound Design Olivier Favre Fotografija / Photography Grégory Brandel Produkcija / Production Theatre d’Angoulême Scène Nationale

TEATAR

Julie Dossavi Compagnie je plesna kompanija uspostavljena 2004. godine, sa sjedištem u Francuskoj. Vodi je Julie Dossavi, koja je od 2007. do 2011. godine bila stalna koreografkinja Théâtre d’Angoulême – Scène Nationale.

Julie Dossavi Compagnie je registrovano dobrotvorno društvo, te prima podršku od francuskog Ministarstva kulture “DRAC Poitou-Charentes”, Regionalnog vijeća PoitouCharentesa i regije Charentes.

Od regije Vienne dobili su i podršku za turneje.

THEATRE

Created in 2004, Compagnie Julie Dossavi is a French-based dance company directed by Julie Dossavi, a resident choreographer at the Théâtre d’Angoulême – Scène Nationale, from 2007 to 2011.

Compagnie Julie Dossavi is a registered charity and received structural subsidies from the French Ministry of Culture “DRAC PoitouCharentes”, the Poitou-Charentes Regional Council and the Charentes County.

It was also awarded a touring grant from the “ Vienne County.

WORLD MESS

Režija, koreografija / Direction, Choreography Julie Dossavi

Čile / Chile

Međunarodni centar za djecu i omladinu Novo Sarajevo 22.00 International Centre for Children and Youth Novo Sarajevo 22.00 Trajanje / Running time 110 min.

01/10/12 02/10/12

Guillermo Calderón

VILA+GOVOR VILLA+SPEECH

PREDSTAVA

“Vila” (Villa) i “Govor” (Discurso), koje je napisao i režirao Guillermo Calderón, su odvojene predstave, povezane dijalogom ideja i slika koje se ponavljaju.

Obje se igraju zajedno, jedna za drugom, sa pauzom od 10 minuta. U “Vili”, tri žene raspravljaju o mogućnostima renovacije Vile Grimaldi, glavnog mjesta mučenja i istrebljenja tokom Pinočeove diktature. “Govor” na scenu postavlja imaginarni oproštajni govor predsjednice Michelle Bachelet, a u izvedbi te iste tri glumice. “Vila” i “Govor” nastale su u koprodukciju Fondacije Međunarodnog Festivala Teatro Mil. “Govor” je nastao u okviru programa Međunarodni rezidenti u Royal Court Teatru u Londonu 2009. godine.

PERFORMANCE

Villa and Discurso, written and directed by Guillermo Calderón, are different plays, linked by a dialogue of ideas and recurring images. Both are presented consecutively, separated by a 10 minute intermission.

In Villa, three women discuss alternatives to remodel Villa Grimaldi, the main torture and extermination centre during Pinochet’s dictatorship. Discurso stages an imaginary farewell speech by President Michelle Bachelet, performed by the same three actresses.

Villa and Discurso are a coproduction of the Foundation Festival Internacional Teatro a Mil. Discurso was developed at the International Residency of the Royal Court Theatre of London in 2009.

Uloge / Cast Francisca Lewin Macarena Zamudio Carla Romero Asistent reditelj / Assistant to the Director María Paz González Dizajn / Design María Fernanda Videla Fotografija / Photography María Paz González Producentica / Production María Paz González REDITELJ

Guillermo Calderón je čileanski pisac, reditelj i učitelj glume. Napisao je i režirao predstave “Neva”, “Diciembre i Clase”. Njegove predstave izvođene su u više od dvadeset pet zemalja u posljednjih nekoliko godina. Njegov najnoviji rad, Vila i Govor, pozvan je na mnoge međunarodne pozorišne festivale tokom sezone 2011-2012.

DIRECTOR

Guillermo Calderón is a Chilean writer, director and acting teacher. He wrote and directed Neva, Diciembre and Clase. His plays have been performed in more than twenty-five countries in the last few years. His most recent work, Villa and Discurso, has been invited to participate in various international theatre festivals during the 2011- 2012 season.

TEATAR

Kompanija Teatro Playa je osnovana za potrebe stvaranja predstave Vila+Govor, a osnovali su je Guillermo Calderón, Francisca Lewin, Carle Romero i Macarena Zamudio.

Nakon premijere u Santiago de Čileu, predstava je igrana i u nekoliko gradova koji su u prošlosti bili poznati kao centri zlostavljanja. U okvriu Santigao a Mil Festivala predstava je igrana u mnogim gradovima: Sao Paulo, Belo Horizonte, Brasilia i Rio Preto u Brazilu, Montevideo u Urugvaju, Buenos Aires Međunarodnom teatarskom festivalu u Argentini, u nekoliko europskih gradova, uključujući Latinoamerički teatarski festival u Cadizu u Španjolskoj, Les Translatines festival u Bayonnu u Francuskoj, Lisabon u Portugalu, Dizdeldorfu u Njemačkoj, Beču u Austriji i Edinburgu u Škotskoj.

THEATRE

Teatro Playa Company was founded for the creation of the play Villa+Discurso by Guillermo Calderón, Francisca Lewin, Carla Romero and Macarena Zamudio. After the premiere in Santiago de Chile, in several emblematical repression places and ex centers of torture, in the context of the Santiago a Mil Festival, the play has been presented worldwide in many countries: Sao Paulo, Belo Horizonte, Brasilia and Rio Preto in Brazil; Montevideo in Uruguay; the Buenos Aires International Theater Festival in Argentina, several European cities, including the Iberoamerican Theater Festival of Cádiz in Spain, Les Translatines Festival in Bayonne in France, Lisbon in Portugal, Düsseldorf in Germany, Vienna in Austria and Edinburgh in Scotland.

Villa+Govor su koprodukcije Fondacije Teatro a Mil / Villa+Discurso are co-productions of the Teatro a Mil Foundation Govor je nastao u okviru programa Međunarodni rezidenti u Royal Court Teatru u Londonu 2009. godine. / Discurso was developed at the International Residency of the Royal Court Theatre of London in 2009.

WORLD MESS

Autor, reditelj / Author, Director Guillermo Calderón

Italija / Italy

Narodno pozorište Sarajevo 19.30 National Theatre Sarajevo 19.30 Trajanje / Running time 60 min.

02/10/12

O POJMU LICA, PO PITANJU SINA BOŽIJEG ON THE CONCEPT OF THE FACE, REGARDING THE SON OF GOD

PREDSTAVA

Predstava počinje s ovim: “Želim da sretnem Isusa u njegovoj najekstremnijoj odsutnosti. Ne postoji lice Isusa. Mogu ga gledati na slikama i kipovima. Poznajem hiljadu ili čak više slikara iz prošlosti, koji su proveli pola svojih života pokušavajući reproducirati Isusov neizreciv, gotovo nevidljiv, izraz žaljenja koji bi isplivao na površinu oko Njegovih usana.

A sada? Sada nema Njega.

Ono što se nekako uvuče u mene, više od svega, jeste volja: da se zajedno postave volja i lice Isusa. Želim biti pred licem Isusa, iako je ono što na mene ima najveći utisak prvi dio ove rečenice: Želim.”

Romeo Castellucci Ova predstava, od samog svog naslova, nameće inicijale koji sažimaju ime “Isus” u najvećoj mogućoj mjeri. Isus je ime koje je toliko prisutno za toliko miliona ljudi na zemlji, da može postati gotovo nevidljivo, jer je tako duboko implicitno. Ono je prisutno izvan savjesti i znanosti, izvan osjećaja i historije – ono je bitno i radikalno prisutno, neovisno od volje čovjeka.

Ime koje se nekako održava talasom iskustava i referenci starih hiljadu godina.

PERFORMANCE

It starts with this: “I want to meet Jesus in His most extreme absence. There is no face of Jesus. I can look at paintings and statues. I know of a thousand or more painters from the past, who spent half their time trying to reproduce the ineffable, almost invisible, grimace of regret that would surface about His lips. And now? Now there is no He. What makes its way into me, more than anything, is the will: to put together the will and the face of Jesus. I want to be before the face of Jesus, although what strikes me above all is the first part of that phrase: I want.”

Romeo Castellucci The performance, from its very title, imposes initials which synthesize the name “Jesus” in the maximum degree; Jesus is a name that is so present for so many millions of people on earth, that it can become almost invisible, because it is so deeply implicit. It is present beyond the conscience and the science; beyond the feeling and history; it is essentially and radically present, separate from one’s will. A name somehow sustained by the groove of an experience of references that are millenary.

Romeo Castellucci posljednjih nekoliko godina režirao je “Hej djevojko!” (2006), te predstavu “Pakao, Čistlište, Raj” (2008) inspirisanu “Božanstvenom komedijom” Dantea Alighierija, veliko egzistencijalno i pozorišno istraživanje, koje je svoju premijeru imalo na 62. Festivalu d’Avignon. 2002. godine uručena mu je časna titula “Viteza reda umjetnosti i književnosti” od strane Ministarstva kulture Republike Francuske. 2005. godine režirao je predstavu “Pompeji, Roman pepela” (Pompeii, The novel of the ashes) na 37. Bijenalu Teatro di Venezia, festivalu koji ima za cilj dati prostor drugim oblicima scenskih iskustava, kao što su performansi, instalacije i pozorišne forme muzike i arhitekture. 2007. godine imenovan je umjetnikom-saradnikom od strane Festivala d’Avignon za vrijeme izdanja ovog Festivala tokom 2008. godine. 2010. godine, Le Monde je njegovu” Božanstvenu komediju” nazvao najboljom izvedbom desetljeća 2000-2010.

Uloge / Cast Gianni Plazzi Sergio Scarlatella Dario Boldrini Vito Matera Silvano Voltolina

2010. godine je započeo novi pozorišni projekat, privremenog naziva “J”. Projekat se sastoji od dvije faze: prva, predstava “O pojmu lica, po pitanju Sina Božijeg”, koja je svoju premijeru imala jula 2010. godine u pozorištu Der Welt u Essenu, i druga, “Svećenikov crni veo”, predstava koja je premijerno izvedena u martu 2011. godine u Renu (Francuska), a koja je ponovno postavljena i premijerno prikazana u Rimu u novembru 2011. godine.

Kreacija objekata na sceni / Creation of Stage Objects Istvan Zimmermann Giovanna Amoroso

DIRECTOR

In the recent years, Romeo Castellucci directed Hey Girl! (2006), and Inferno, Purgatorio, Paradiso (2008), inspired by the Divina Commedia by Dante Alighieri, an immense existential and theatre research which had its debut at the 62nd Festival d’Avignon. In 2002, he was awarded the honour of “Chevalier dans l’ordre des Arts et des Lettres” by the Ministry of Culture of the Republic of France.

In 2005, he directed the play Pompeii, The novel of the ashes at the 37th Biennale Teatro di Venezia, a festival which aims to give space to other forms of stage experiences, such as performance, installation, and the theatre forms of music and architecture. In 2007, he was appointed “Artiste associé” by the Direction of the Festival d’Avignon during the 2008 Festival edition. In 2010, Le Monde named the Divina Commedia the Best Performance of the Decade 2000-2010.

In 2010, he started a new theatrical project, provisionally called “J”. This project is composed of two phases: the first, On the Concept of the Face, regarding the Son of God, which opened in July 2010 at the Theater Der Welt in Essen, and the second phase, The Minister’s Black Veil, which premiered in March 2011 in Rennes (France), and which will be restaged and will premiere in Rome in November 2011.

TEATAR

Romeo Castellucci (rođen 1960. godine), Chiara Guidi (rođena 1960. godine) i Claudia Castellucci (rođena 1958. godine) su zajedno osnovali Societas Raffaello Sanzio 1981. godine. Oni dijele ideju o pozorištu koje je uglavnom usmjereno na vizualnu, plastičnu i auditivnu moć pozornice. Romeo Castellucci je autor i reditelj - on se brine za scene, kostime i svjetla, prema jedinstvenom principu dramatične kompozicije sastava koji također utiče i na grafičke dijelove knjiga i programa. Chiara Guidi, autorica i rediteljica muzičkog pozorišta, osigurava dramatični ritam i vokalne kvalitete gotovo svih nastupa u pozorištu Socìetas. Guidi također zanima to da umjetnost podijeli sa djecom, pa je već 1990. godine osnovala Eksperimentalnu školu dječjeg pozorišta. Claudia Castellucci je profesorica, dizajnerica, autorica dramskih i teoretskih tekstova, te je započela mnoge cikluse besplatnih istraživačkih škola zasnovanih na gimnastici i filozofiji kao temeljnim naukama.

Pozorište Socìetas je postavilo predstave igrane u cijelom svijetu, na glavnim međunarodnim pozorištima i festivalima: predstave kao što su “Sveta Sofija” (Santa Sofia) 1986. godine; “Silazak Inanne” (La Discesa di Inanna) 1989. godine; “Gilgameš” 1990. godine; “Hamlet. Žestoka vanjština smrti mekušca” (Hamlet. The vehement exterior of the death of a mollusc) 1992. godine; “Masoch. Trijumf pozorišta kao pasivne, moći, krivice i poraza” (Masoch. The triumphs of the theatre as passive power, guilt and defeat) 1993. godine, a iste godine režiraju i “Ivicu i Maricu”, igrokaz za djecu, kao i “Buchettino” 1994. godine, i “Pelle d’Asino” 1998. godine. Tu su također i “Orestea (organska komedija?)” 1995. godine; “Julije Cezar” 1997.; “Postanak” (Genesis) 1999.; “Putovanje do kraja noći” (Voyage au bout de la nuit) 1999. godine, te “Suzbijanje” (Il Combattimento), na muziku Claudija Monteverdija i Scotta Gibbonsa.

“Tragedia Endogonidia”, realizovana između 2002. i 2004. godine, je ciklus predstava nazvanih po gradovima gdje su se prvi put prikazale. Bavi se sažetkom tragičnog života u sadašnjosti pod pritiscima budućnosti.

THEATRE

Romeo Castellucci (born 1960), Chiara Guidi (born 1960) and Claudia Castellucci (born 1958) established Socìetas Raffaello Sanzio in 1981. They shared an idea of a theatre which was mainly focused on the visual, plastic and sound power of the stage. Romeo Castellucci is an author and director - he attends to scenes, costumes and lights, according to a unitary principle of dramatic composition which also affects the graphics of their books and programmes. Chiara Guidi, an author and director of music theatre, attends to the dramatic rhythm and the vocal quality of almost all performances at the Socìetas. She is also interested in an art that is shared with children and, back to the 1990s, she started an Experimental School of Children’s Theatre. Claudia Castellucci is a teacher, decorator and author of dramatic and theoretic texts; she started many cycles of free research schools that are based on gymnastics and philosophy as basic sciences.

Socìetas has produced performances staged all over the world, at the main international theatres and festivals: plays such as Santa Sofia in 1986; La Discesa di Inanna in 1989; Gilgamesh in 1990; Hamlet. The vehement exterior of the death of a mollusc in 1992; Masoch. The triumphs of the theatre as passive power, guilt and defeat in 1993; the same year, Hansel and Gretel, a performance for children, as well as Buchettino in 1994, and Pelle d’Asino in 1998.

There were also Orestea (an organic comedy?) in 1995; Julius Caesar in 1997; Genesis in 1999; Voyage au bout de la nuit in 1999; and Il Combattimento, on the music by Claudio Monteverdi and Scott Gibbons.

The Tragedia Endogonidia, 2002-2004, is a cycle of performances that take their names after the city where they were first shown. It is a large summary of the tragic, of living in the topicality and under the pressures exerted by the future.

Muzika / Music Scott Gibbons Saradnja na scenografiji / Collaboration in Stage Design Giacomo Strada

Tehničari zvuka / Sound Technicians Matteo Braglia Marco Canali Tehničar svjetla / Light Technicians Fabio Berselli Luciano Trebbi Scenski predmeti / Props Vito Matera

Fotografija / Photography Klaus Lefebvre Izvršni producent / Executive Producer Societas Raffaello Sanzio U koprodukciji sa / in Coproduction with: Theater der Welt 2010 Međunarodni umjetnički kampus deSingel, Antverpen / deSingel international arts campus, Antwerp Nacionalno pozorište Bretanje, Ren / Théâtre National de Bretagne, Rennes Narodno pozorište u Oslu, Norveška / The Oslo National Theatre, Norway Pozorište Barbican u Londonu, i SPILL Festival izvedbe / The Barbican, London, and the SPILL Festival of Performance Chekhov Međunarodni teatarski festival, Moskva / Chekhov International Theatre Festival, Moscow Holland Festival, Amsterdam; Festival Atina / Athens Festival GREC 2011 Festival u Barseloni / GREC 2011 Festival de Barcelona Festival d’Avignon Međunarodni teatarski festival DIALOG, Vroclav, Poljska / International Theatre Festival DIALOG, Wroclav, Poland Beogradski internacionalni teatarski festival - BITEF / Belgrade International Theatre Festival - BITEF spielzeit’europa I Berliner Festspiele 2011 Théâtre de la Ville, Pariz / Théâtre de la Ville, Paris Romaeuropa Festival SPIELART Teatarski festival Minhen / Theatre Festival SPIELART München (Spielmotor München e.V.) Pozorište Le-Maillon, Strazbur, Evropska scena / Le-Maillon, Théâtre de Strasbourg / Scène Européenne TAP – Pozorišni auditoriji u Poitiersu, Nacionalna scena / TAP Théâtre Auditorium de PoitiersScène Nationale Pozorište Peak Performances, Univerzitet Montclair State, SAD / Peak Performances @ Montclair State-USA U saradnji sa / In collaboration with: Centrale Fies / Dro

WORLD MESS

Koncept i režija / Concept and Stage Romeo Castellucci

REDITELJ

Italija / Italy

Dom oružanih snaga BiH 20.00 The House Of Armed Forces of B&H 20.00 Trajanje / Running time 45 min.

06/10/12 07/10/12

KOST BONE

PREDSTAVA

“Kost” (Osso) je djelo o sličnosti, identitetu i prijenosu, što su dimenzije koje se istražuju kroz gestikulirani dijalog između oca i sina.

Trodijelna struktura sastoji se od preciznih sekvenci delikatnih radnji, u prostorima koje biraju i prelaze glumci, dok igraju svoje neizrecive živote. Njihova okruženja zamišljene su kao šupljine koje sadrže nematerijalne stvari, te koje zadiru u geste i figure.

Ovo djelo se sastoji od preciznih prostornih putovanja, trenutaka okupljanja oko stola, metara razmjene i susreta. Između tih trenutaka, rituali gesta i pogleda nagovještavaju osjećaj pripadnosti, sve dok ne odu u dimenziju enigme.

PERFORMANCE

Bone (Osso) is a work about similarity, identity and transmission, dimensions that are investigated through a gestural dialogue between father and son.

The three-part structure is composed of exact sequences of delicate actions, in spaces chosen and crossed as the actors play out their inexpressible lives.

The environments are configured as voids that hold immaterial work, digging into gesture and figuration.

The piece is comprised of precise spatial journeys, moments gathered around a table, metres of exchange and encounter. Between these moments, rituals of gestures and glances suggest a sense of belonging, until they move into the dimension of enigma.

Uloge / Cast Fosco Sieni Virgilio Sieni Svjetlo / Light Marco Santambrogio and Virgilio Sieni Zvuk / Sound Matteo Ciardi Fotografija / Photography Marco Caselli REDITELJ

Koreograf i plesač Virgilio Sieni je jedna od glavnih ličnosti savremene italijanske plesne scene još od ranih 1980-ih godina. Rođen je u Firenci, a izučavao je klasični i savremeni ples u Amsterdamu, New York-u i Tokiju, te je također studirao likovnu umjetnost, arhitekturu i borilačke vještine. 1983. godine osnovao je plesnu kompaniju Parco Butterfly, koja je 1992. godine pretvorena u Compagniu Virgilio Sieni, trenutno jednu od najznačajnijih institucija na italijanskoj koreografskoj sceni, usko povezanu sa najvažnijim evropskim pozorištima i festivalima, uključujući i Festival d’Avignon, Bijenale plesa Lyon, Charleroi Danse u Briselu, te Pozorište Merlan, Nacionalnu scenu u Marseju, kao i sa svim većim italijanskim studijima plesne produkcije.

Od 2003. godine, Virgilio Sieni djeluje i kao direktor studija CANGO (Cantieri Goldonetta) u Firenci. Ovaj prostor koncipiran je unutar historijske zgrade u kraju Oltrarno, opremljen da bude domaćin plesa i drugih vrsta pokreta, te umjetnika, izložbi i istraživanja o savremenim jezicima umjetnosti. Kao rezultat njegovog iskustva s plesnom kompanijom Virgilio Sieni i sa studijom CANGO, 2007. godine Virgilio Sieni je osnovao Akademiju umjetnosti geste, kao inovativno sjedište usmjereno ka omogućavanju prijenosa umjetničkih praksi i definiranju novog odnosa između obuke i produkcije, osnovano kako za profesionalne skupine, tako i za početnike u plesu, za djecu i za starije građane.

DIRECTOR

Virgilio Sieni, choreographer and dancer, has been a protagonist on the Italian contemporary dance scene since the early 1980s. Born in Florence, he trained in classical and contemporary dance in Amsterdam, New York and Tokyo, and also studied visual arts, architecture and martial arts. In 1983, he founded the Parco Butterfly Company, which was transformed in 1992 into the Compagnia Virgilio Sieni, currently one of the most significant institutions on the Italian choreographic scene, with close ties to the most important European theatres and festivals, including the Festival d’Avignon, the Biennale de la Danse de Lyon, the Charleroi Danse of Brussels and the Theatre du Merlan, and the Scène Nationale de Marseille, as well as all the major Italian dance production locales.

Since 2003, Virgilio Sieni has been the director of CANGO (Cantieri Goldonetta) in Florence: a space he conceived inside an historic building in the Oltrarno neighborhood, equipped to host dance and other body practices, artists, viewing and research on the contemporary languages of art.

As a result of his experiences with the Company and with CANGO, in 2007 Virgilio Sieni founded the Academy of the Art of the Gesture, an innovative context geared towards transmitting artistic practices and defining a new relationship between training and production, aimed at both professionals and groups of novice dancers, from children to senior citizens.

Producent / Producer Daniela Giuliano Produkcija / A production of Compagnia Virgilio Sieni Tempo Reale U saradnji sa / In Collaboration with 35° Festival Internazionale Santarcangelo dei Teatri CA Uz podršku / With the Support of Ministarstvo za kulturnu baštinu i aktivnosti / Ministry for Cultural Heritage and Activities Regija Toskane / Region of Tuscany Vijeće za kulturu Općine Firenca / Municipality of Florence Council for Culture Vijeće za kulturu Općine Sijena / Municipality of Siena Council for Culture NVO “Cantieri Goldonetta Firenze“ / NGO Cantieri Goldonetta Firenze

WORLD MESS

Režija, koreografija i scenografija / Direction, Choreography and Stage Design Virgilio Sieni

Švicarska / Switzerland

Narodno pozorište Sarajevo 19.30 National Theatre Sarajevo 19.30 Trajanje / Running time 75 min.

07/10/12

MAX BLACK

PREDSTAVA

PERFORMANCE

Jezik postaje muzika razvojem poetike i rastakanjem u apstrakciju (npr. kada se matematička formula pretvara u muziku). Sa druge strane, svaki zvuk se može koristiti kao muzika, ali sa konkretnom podlogom.

Language becomes music by developing a poetic manner, and by dissolving into abstraction (e.g. when a math formula is transformed into music). On the other hand, every sound can be used musically, but with a concrete basis.

Za razliku od predstave “Ou bien le débarquement désastreux” - u kojem su muzičari bili i glumci, a stvaranje muzike predstavljalo temelj scene – u ovoj predstavi, sve što glumac radi pretvara se u svjetlo (vatru), sliku (akciju) i muziku (zvuk).

In contrast to Ou bien le débarquement désastreux - in which the musicians were performers, and the production of music is the foundation of the scene - here, everything that the actor does will be transformed into light (fire), image (action) and music (sound).

Za svoje kompozicije, Heiner Goebbels koristi tekstove Paula Valeryja, Georga Christopha Lichtenberga, Ludwiga Wittgensteina i Maxa Blacka na francuskom i engleskom jeziku.

Heiner Goebbels used for his composition texts by Paul Valéry, Georg Christoph Lichtenberg, Ludwig Wittgenstein and Max Black in French and English.

Heiner Goebbels je kompozitor i reditelj, rođen 1952. godine, koji živi u Frankfurtu, u Njemačkoj.

Studirao je sociologiju i muziku u Frankfurtu. Nakon kompozicija za film i pozorište, i izvanrednog doprinosa koji je dao radijskoj umjetnosti sa svojim ranim nagrađivanim audio predstavama 80-tih godina prošlog stoljeća, uglavnom temeljenim na djelima Heinera Müllera, razvio je jedinstveni žanr nazvan “organizovani koncerti“, sa predstavama “Čovjek u liftu” (The Man in the Elevator, 1987), “Oslobođenje Prometeja” (The Liberation of Prometheus, 1993), “Eislermaterial” (1998. godine, sa Ensemble Modern), “...meme soir” (2000, sa Les Percussionists de Strasbourg), te, u novije vrijeme, sa ciklusom “Pjesme iz ratova koje sam vidio” (Songs of Wars I Have Seen), koji je premijerno izveo Orkestar doba prosvjetiteljstva (Orchestra of the Age of the Enlightenment), te Londonska Sinfonietta u South Bank Centru u Londonu 2007. godine.

Komponovao je za ansamble i velike orkestre, te stvarao kompozicije za mnoge međunarodne sastave savremene muzike i orkestre.

Od početka 1990-tih godina, komponovao je i režirao vlastite predstave muzičkog pozorišta, kao što su “Ou bien le débarquement désastreux” (1993), “Ponavljanje” (The Repetition, 1995), “Crno na bijelom” (Black on White, 1996), “Max Black” (1998), “Eislermaterial” (1998), “Hashirigaki” (2000), “...meme soir” (2000), “Krajolik s dalekim rođacima” (Landscape with Distant Relatives, 2002), “Eraritjari-tjaka” (2004), “Stifters Dinge” (2007), “Otišao sam do te kuće, ali nisam ušao”, u izvedbi Hilliard Ansambla (2008), koje su se uglavnom izvodile u Pozorištu Vidy u Lozani (Švicarska).

Heiner Goebbels radi kao profesor i direktor Instituta za primijenjenu teatrologiju na Univerzitetu Justus Liebig u Giessenu, te je od 2006. godine zaposlen kao predsjednik Pozorišne akademije u Hessenu.

Heiner Goebbels is a composer and director, who was born in 1952, and lives in Frankfurt am Main in Germany.

He studied sociology and music in Frankfurt. After compositions for film and theatre, and in addition to an outstanding contribution to the radio arts with his early prize-winning audio plays in the 1980s, mostly based on the works by Heiner Müller, he developed a unique genre of “staged concerts”, with The Man in the Elevator (1987), The Liberation of Prometheus (1993), Eislermaterial (1998, with the Ensemble Modern), “…meme soir (in 2000 with Les Percussionists de Strasbourg) and lately the cycle, Songs of Wars I have seen, premiered by the Orchestra of the Age of the Enlightenment, and the London Sinfonietta in the South Bank Centre London in 2007.

He has composed for ensembles and large orchestras, and has created international performances for many ensembles of contemporary music and orchestras.

Since the beginning of the 1990s, he composed and directed his own music theatre plays, such as Ou bien le débarquement désastreux (1993), The Repetition (1995), Black on White (1996), Max Black (1998), Eislermaterial (1998), Hashirigaki (2000), ...meme soir (2000), Landscape with Distant Relatives (2002), Eraritjari-tjaka (2004), Stifters Dinge (2007), I went to the house but did not enter with the Hilliard Ensemble (2008), mostly produced at the Theatre Vidy in Lausanne (Switzerland).

Heiner Goebbels works as a Professor and Managing Director at the Institute of Applied Theatre Studies at the Justus Liebig University in Giessen, and has since 2006 been the President of the Theatre Academy of Hessen.

Pozorište Vidy-Lausanne nudi izbor od četiri pozorišne scene. Auditorij Charles Apothéloz, sa svojom velikom scenom i kapacitetom od 400 sjedećih mjesta, ima idealne proporcije. Passerelle može primiti publiku od 100 gledalaca, očito nudeći intimniju atmosferu. Chapiteau (sa 150 mjesta), sagrađen iza glavne zgrade, je domaćin kreativne slobode, dok Salle de répétition (izgrađen kasnije), također poznat pod nazivom Aquarium (100 mjesta), stoji na svojim nogama, poput diva na drugoj strani zgrade. Dodatni događaji se također povremeno organiziraju u toku pozorišne sezone.

Sa svojom radionicom postavke scene, najmodernijim instalacijama zvuka i rasvjete, prodavnicom pribora i radionicom kostima/ tekstila, pozorište Vidy je potpuno opremljeno da vlastitim kreacijama oprema svoje predstave.

Uz tim od 25 stalno zaposlenih, fleksibilnost i svestranost su za Vidy ključne riječi. Inovacija predstavlja sve – a uključuje i sredstva koja se koriste da se dođe do cilja (Vidy je u velikoj mjeri samofinansirajuća institucija).

Tokom proteklih godina, pozorište je znatno razvilo svoje međunarodno prisustvo: kroz koprodukcije (uglavnom s francuskim partnerima, ali i sa evropskim), redovnu saradnju sa festivalima, turneje itd. Započinjući na Ženevskom jezeru, Pozorište nastavlja putovati cestama Evrope i svijeta. Sa umjetničkog, administrativnog i tehničkog gledišta, tokom određenih sezona, pozorište Vidy ima više od 500 nastupa izvan Švicarske.

Uloge / Cast André Wilms Scenografija i svjetlo / Stage and Light Design Klaus Grünberg Pirotehnika / Pyrotechnics Pierre-Alain Hubert Kostimograf / Costume Designer Jasmin Andreae Dizajn zvuka / Sound Design Willi Bopp Muzička saradnja i izvedba semplova uživo / Musical collaboration and live-sampling Markus Hechtle Dramaturg / Dramaturgy Stephan Buchberger Asistentica reditelja / Assistant to the Director Katja Armknecht

DIRECTOR

TEATAR

Koncept, muzika i režija / Concept, music and direction Heiner Goebbels

THEATER

The Vidy-Lausanne Theatre offers a choice of four performance areas. The Charles Apothéloz Auditorium, with its large stage and capacity of 400 seats, is ideally proportioned. The Passerelle can seat an audience of 100, and obviously offers a more intimate atmosphere. The Chapiteau (150), erected behind the main building, plays host to creative liberty, while the Salle de répétition (built later on), also called the Aquarium (100), stands on its feet like a giant on the other side of the building. Additional events are also occasionally organized in the course of a season.

With its set-construction workshop, state-of-theart sound and lighting installations, accessory store and costume/textile workshop, Vidy is fully equipped to produce its in-house creations.

With a permanent staff of only about 25 people, flexibility and versatility are keywords at Vidy.

Invention is all – including the means of the end (Vidy is largely self-supporting financially, too).

During the past years, the international activity of the theatre has considerably developed: coproductions (essentially with French partners, but also with European ones), regular collaboration with some festivals, tours etc. Starting from the shores of Lake Geneva, many shows travel on the roads of Europe and elsewhere around the world.

From an artistic, administrative and technical point of view, during some seasons Vidy offers more than 500 performances outside Switzerland.

Tekstovi / Texts Paul Valéry Georg Christoph Lichtenberg Ludwig Wittgenstein Max Black Fotografija / Photography Mario del Curto Koprodukcija sa / A coproduction with Théâtre Vidy-Lausanne E.T.E (Švicarska/Switzerland) TAT, Francfort (Njemačka/ Germany) deSingel, Anvers (Belgija/Belgium) Bayerisches Staatschauspiel/ Marstall, Munich (Njemačka/Germany) Migros Pour-cent culturel (Švicarska/Switzerland) Uz podršku / With the support of STEIM- Studio for Electronique and Instrumental Music, AmstePro Helvetia - Fondation suisse pour la culture / Pro Helvetia - Swiss Arts Council / Pro Helvetia - der Schweizer Kulturstiftung

WORLD MESS

REDITELJ

EVROPLJANI EUROPEANS

BIO JE LIJEP I SUNČAN DAN IT WAS A BEAUTIFUL AND SUNNY DAY

TEŠKO JE BITI BOG HARD TO BE A GOD

SUMNJA DOUBT

WE-WHERE-IN MRZIM ISTINU I HATE THE TRUTH

KAD BI OVO BIO FILM...

IF THIS WAS A FILM...

KRVNA KOŠULJA THE BLOOD SHIRT

URBI ET ORBI

Narodno pozorište Sarajevo 19.30 National Theatre Sarajevo 19.30 Trajanje / Running time 55 min.

28/09/12

Češka / Czech Republic

Bosansko narodno pozorište Zenica 19.30 Bosnian National Theatre Zenica 19.30 Trajanje / Running time 55 min.

29/09/12

EVROPLJANI EUROPEANS

PREDSTAVA

PERFORMANCE

Predstava “Evropljani” (Europeans) bilježi evropske osjećaje dezorijentacije, gubitka samopouzdanja, te raspad zajedničkog kulturnog i ideološkog terena. Ovaj libreto je konstruiran iz novinskih naslova, medijskih parola i savremenih klišeja. Tako otkriva sveobuhvatnu prisutnost medija, i pokušaje istih da politizira naše živote. Zahvaljujući njima, imamo osjećaj da postoje razne prijetnje koje nas ugrožavaju sa svih strana, bilo da je to strah od Kine, ruskog neprijatelja ili previše snažnog saveznika, Sjeverne Amerike.

The performance Europeans records European feelings of disorientation, loss of self-confidence, and the disintegration of a common cultural and ideological ground. The libretto is constructed from newspaper headlines, media slogans and contemporary clichés.

It thus reveals the all-encompassing presence of the media, and its attempts to politicize our lives.

Thanks to them, we have the feeling that various threats endanger us on all sides, be it fear of China, the Russian enemy or the too powerful ally, North America.

Struktura “Evropljana” nas podsjeća na muzički sastav, ali ova predstava je u suštini teatar. Njeno osnovno polazište nije dramski tekst u tradicionalnom smislu te riječi, već libreto ili muzika za vokalne dijelove. Umjesto oštrih odgovora i dijaloga, elementi ove kompozicije su riječi, fragmenti riječi, zvukovi i buka. Sastoji se od neoriginalnih, previše korištenih i recikliranih riječi. Glumci na pozornici su potpuno vezani za tehnologiju, baš kao i današnji ljudi u svojim svakodnevnim životima.

The structure of Europeans reminds us of a musical composition, yet it is essentially theatre. The basic starting point is not a script in the traditional sense of the word, but rather a libretto or music for vocal parts.

Instead of rejoinders and dialogue, the compositional elements are words, fragments of words, sounds and noise. The lines consist of unoriginal, over-used and recycled speech. The actors on stage are wed to technology, just like people today in their everyday lives.

Imamo li ikakve šanse da se snađemo u današnjem globaliziranom svijetu koji se stalno mijenja? Da li pojam Evropljanina zaista postoji? Da li uopće postoji odgovor na pitanje o evropskom identitetu?

Do we have any chance of finding our way about today’s globalized and ever-changing world? Does the European really exist? Does the answer to European identity exist at all?

Uloge / Cast Vendula Štíchová, sopran / soprano Anna Kroupová, alt / alto Pavol Smolárik, tenor Petr Vančura, bas / bass REDITELJ

Jiří Adámek (1977) je studirao režiju alternativnog i marionetskog pozorišta na Pozorišnoj akademiji muzičkih umjetnosti, gdje je diplomirao sa radom “Dramske umjetnosti u eksperimentalnom pozorištu - Théâtre Musical.” U pozorišnoj režiji kombinuje muzičke i dramske kreativne procese. 2007. godine osnovao je pozorišnu grupu pod nazivom Boca Loca Lab. Autor je i nekoliko radijskih projekata za PremEdition na Radiostudiju. Pored režije, također piše i članke o trenutnoj pozorišnoj produkciji (povremeno i o radijskim predstavama), te radi i kao urednik Magazina World and Theatre. Pet puta je nominovan za nagradu Alfred Radok za svoju scensku kompoziciju “Krpelji, krpelji, politika”. 2007. godine osvojio je nekoliko nagrada za režiju predstave “Knjiga o džungli” u kategorijama: Najbolja dramska adaptacija, Najbolja režija i Najbolja scenografija. Iste godine osvojio je titulu Osobe godine alternativnog pozorišta Festivala Next Wave, za svoje muzičko-scenske kompozicije i njihov teatrološki utjecaj.

Koncept / Concept Jiří Adámek Martina Musilová Jakub Kopecký Libreto / Libretto Muzičke kompozicije i režija / Musical composition and direction Jiří Adámek Dramaturgija / Dramaturgy Martina Musilová Scenografija, kostimi, maske, projekcije / Stage Design, Costumes, Masks, Projection Jakub Kopecký Muzička saradnja / Musical Collaboration Jan Krejčík

DIRECTOR

Jiří Adámek (1977) studied direction of alternative and marionette theatre at the Theatre Academy of Music Arts, where he graduated with an academic dissertation entitled “Dramatic Art in Experimental Theatre - Théâtre Musical.” As a director, he mostly focuses on stage compositions, where he combines musical and dramatic creative processes. In 2007, he founded a theatre group called Boca Loca Lab. He created several radio projects for PremEdition at Radiostudio. Apart from direction, he also writes articles about current theatre productions (occasionally also about radio production), and is an editor for the World and Theatre Magazine. He has received five nominations in the Alfred Radok Competition for his stage composition Tick Ticks Politics. In 2007, he won several awards for his staging of The Jungle Book, in the following categories: Best Dramatic Adaptation, Best Direction and Best Set Design. In the same year, he was also honoured with the title of Personality of the Year in Alternative Theatre, by the Festival Next Wave, for his musical - stage compositions and their theoretic reflections.

Dizajn zvuka / Sound Design Jan Burian Mikoláš Růžička Jan Veselý Dizajn svjetla / Light Design Marek Střížovský Jakub Kopecký Šminka / Make-up Monika Šonková-Baďurová Fotografija / Photography Petr Králík Produkcija / Production BOCA LOCA LAB Koprodukcija / Co-production: jedefrau.org (Maria Cavina, Kristýna Kalivodová) and Experimental space Roxy/NoD, Prague

TEATAR

Boca Loca Lab je kreativna platforma za realizaciju pozorišnih produkcija, pozorišnih skečeva i radionica. Boca Loca Lab je pionir muzičke pozorišne forme na češkoj pozorišnoj sceni, u kojoj se kombinuju muzička i dramska načela. Osnivač i vodeća ličnost kompanije je reditelj Jiří Adámek, koji je ujedno i autor libreta za sve do sada producirane predstave grupe.

Pozorište Boca Loca Lab osnovano je 2007. godine, sa prvom predstavom “Krpelji, krpelji, politika”. Predstava je dobila nagradu za Originalni pozorišni izraz na Međunarodnom festivalu KONTAKT u Torunu, u Poljskoj 2009. godine, te nagradu u konkurenciji niskobudžetnih i nebudžetnih produkcija na Festivalu muzičkog pozorišta NOW u Berlinu.

Pozorište je podržano od strane jedefrau. org, organizacije koja pretvara ideje, namjere i vizije umjetnika u stvarnost. Jedefrau.org stvara profesionalne uvjete za rad čeških pozorišnih umjetnika, plesača, izvođača i likovnih umjetnika, koji se bave različitim umjetničkim formama.

THEATER

Boca Loca Lab is a creative platform for the realisation of theatre productions, stage sketches and workshops. Boca Loca Lab is a pioneer of the musical theatre form on the Czech stage, where musical and dramatic principles are combined. The founder and leading figure of the company is director Jiří Adámek, who is also author of librettos for all productions performed to date.

Boca Loca Lab was founded in 2007 with the production, Ticks Ticks Politics. The performance was awarded the Prize for Original Theatre Expression at the 2009 KONTAKT International Festival in Torun, Poland, and an Award in the LOW BUDGET/NO BUDGET selection at the NOW Music Theatre Festival in Berlin.

The company is sponsored by jedefrau.org, an organisation that brings the ideas, intentions, and visions of artists into reality. It creates professional conditions for the work of theatre artists, dancers, performers, and visual artists in the Czech Republic, who work across a variety of art forms.

Podržano od strane Ministarstva kulture Češke republike i Češkog književnog fonda / Supported by the Ministry of Culture for the Czech Republic and the Czech Literary Fund

MITTEL EUROPE

Reditelj / Director Jiří Adámek

Bosna i Hercegovina / Bosnia and Herzegovina

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

29/09/12

BIO JE LIJEP I SUNČAN DAN IT WAS A BEAUTIFUL AND SUNNY DAY

PREDSTAVA

“Bio je lijep i sunčan dan” je dokumentarna teatarska predstava bazirana na zapisanim sjećanjima 78 građanki i građana Sarajeva na 2. maj 1992. godine. Nastala je po knjizi “2. maj 1992 – Bio je lijep i sunčan dan” koja je po prvi put publicirana 2008. godine u okviru projekta Modul memorije, a izdavači knjige su Festival MESS i Videoarhiv Sarajevo.

Drugo dopunjeno izdanje knjige publicirano je 2010. godine.

Knjiga je zapravo kolekcija priča, zapisa i fotografija koje su inspirirane jednim jedinim danom opsade koji se smatra prvim od 1395 dana opsade grada Sarajeva. Drugi maj 1992. je datum koji je najjasnije ostao sačuvan u memoriji građana/ ki koji su preživjeli opsadu grada. Namjera knjige nija bila praviti historijsku rekonstrukciju onoga što se događalo, već rekonstruirati emotivna stanja ljudi vezanih za taj dan. Među onim koji su objavili svoja sjećanja u ovoj knjizi podjednako su zastupljeni mladi i stari, muškarci i žene, borci, policajci, varogasci, novinari i novinarke, glumci i glumice, reditelji/ce, domaćice…Upravo od svih tih sjećanja predstava slaže mozaik lijepog proljetnog dana koji će zauvijek promijeniti živote građana Sarajeva.

PERFORMANCE

It Was a Beautiful and Sunny Day is a documentary theatre performance based on the memories of 78 citizens of Sarajevo, of a particular day, May the 2nd of 1992. The theatre play is based on the book “May the 2nd 1992- It was a beautiful and sunny day” that was first published in 2008. as a part of Module Memory project, by the MESS Festival and Video archive of Sarajevo, and it’s second, revised edition, was published in 2010. The book is a collection of stories, records and photographs that were inspired by one and only one day, the day that is considered to be a first day of 1395 days long siege of Sarajevo. May the 2nd is the day that stayed stored clearly in memories of the citizens that survived the siege of the city. The intention of the book was not to make a historical reconstruction of what was happening, but to reconstruct emotional states of people regarding that day. Among those who shared their memories in the book are young and old people, women and men, soldiers, police officers, firemen, journalists, actors, directors, housewives...And exactly from those memories this theatre performance is making a mosaic of a beautiful spring day that would change the lives of the citizens of Sarajevo for good.

Uloge / Cast SONJA GORONJA MIRELA LAMBIĆ ANA MIA MILIĆ MAJA SALKIĆ AMILA TERZIMEHIĆ BENJAMIN BAJRAMOVIĆ ADNAN KRESO SEAD PANDUR JASENKO PAŠIĆ REDITELJICA

Tanja Miletić-Oručević rođena je 6. Februara 1970. godine. Nakon završene srednje škole i fakulteta u Mostaru i Sarajevu, magistira 1999. godine na Državnoj teatarskoj školi (PWSTim. Ludwika Solskiego) u Krakowu, Poljska. Radi kao teatarska i radijska rediteljica i profesorica glume. Napisala je nekoliko teatroloških eseja o bosanskoj i južnoslavenskoj savremenoj drami, a angažovana je i kao prevoditeljica sa poljskog jezika.

Tanja Miletić-Oručević režirala je više teatarskih predstava, radijskih novela i autorica je nekoliko dramskih tekstova.

Dramaturgija / Dramaturgy DUBRAVKA ZRNČIĆ–KULENOVIĆ Scenografija, kostimografija / Stage, Costume Design LEJLA HODŽIĆ Muzika / Music NEDIM ZLATAR Dizajn svjetla / Light Design IRHAD HODŽIĆ Fotografije / Photography VELIJA HASANBEGOVIĆ Fotografija korištena za izradu plakata / Photography used for theatre poster VEDRAN KOJIĆ

DIRECTOR

Tanja Miletić-Oručević was born on February 6th 1970 in Sarajevo. After completed education in Mostar and Sarajevo, she gained her Master degrees in the field of dramaturgical directing at the State theatre school (PWSTim. Ludwika Solskiego) in Krakow, Poland in 1999. She works as a theatre and radio director, as well as an acting teacher. She wrote several theatrical essays, about Bosnian and Southslavic contemporary drama, and she translates from Polish language.

Tanja Miletić-Oručević directed numerous theatre plays, radio novels, and is the author of several dramas.

TEATAR

Sarajevski ratni teatar je najmlađa teatarska kuća osnovana u Sarajevu 1992. godine, na početku opsade Sarajeva. Osnivanje teatra u takvim okolnostima je jedan od elemenata koji podržava ideju fenomena koji je u tom periodu bio označen terminom “kulturni otpor”, kao potrebu čovjeka da u najtežim vremenima identificira kulturu i umjetnost, u ovom slučaju teatar, kao osnovnu i sasvim prirodnu ljudsku potrebu. Upravo je očuvanje ove tradicije, prošireno na fenomen teatra koji je osnovan u radikalnim situacijama, ono što se smatra osnovom i glavnom smijernicom u razvoju ove institucije, kao i prošlom i budućem radu.

Sarajevski ratni teatar okuplja ansambl mladih glumaca i režisera, i veoma profesionalan tim koji podržava umjetničke procese i napore.

Teatar je otvorena scena koja daje prostor, ne samo teatarskim predstavama, nego i drugim formama umjetničkog izražavanja. Budući da našom dužnošću smatramo širenje pozitivnih vrijednosti i educiranje publike, Sarajevski ratni teatar je uspostavio scenu za djecu pod nazivom SARTRČIĆI, koja nudi specijalni program za djecu, čime se stvara i educira buduća pozorišna publika. U prvoj polovini 2012. godine, Sarajevski ratni teatar je održao premijere četiri predstave, zabilježio 46 igranja predstava, a sezonu 2011/2012 zaokružio sa oko 70 igranja, na svojoj sceni i scenama širom Bosne i Hercegovine i Regije.

THEATER

Sarajevo War Theatre is the youngest theatre company established in Sarajevo in 1992., at the beginning of the siege of Sarajevo. The establishment of the theatre under those circumstances is actually one of the elements that supports the idea of a phenomenon which in that period has been recognized under the term of “cultural resistance” as the man’s need in the hardest of times to identify culture and art, in this case theatre, as the basic and completely natural human need. It is precisely the preservation of this tradition, expanded to the phenomenon of theatre that is created in radical situations that is considered the basis of central guidelines of this Institution’s development and prior and future work. Sarajevo War theatre gathers an ensemble of young actors and directors, and a very professional team that supports the artistic process and efforts. The Theatre is an open stage that gives space, not only to the theatre performances, but also, to the other forms of artistic expression. Since we find it to be our duty to spread positive values and educate the audience, Sarajevo War Theatre established a scene for children called SARTRČIĆI, that offers a special programme reserved for children, thus creating and educating the future audience. In the first half of 2012 Sarajevo War Theatre premiered four plays, held 46 performances, and rounded the 2011/2012 season with 70 performances, at home and around throughout Bosnia and Herzegovina and the Region.

Produkcija / Production Sarajevski ratni teatar Festival MESS Producenti / Producers NIHAD KREŠEVLJAKOVIĆ DINO MUSTAFIĆ Predstava je realizirana kao koprodukcija između Sarajevskog ratnog teatra i Festivala MESS, a u okviru Švicarskog kulturnog programa Zapadnog Balkana - “Network for Participative Cultures of Remembrance”.

Premijera predstave BIO JE LIJEP I SUNČAN DAN održana je 17. maja, čime je SARTR obilježijo datum i godišnjicu svog utemeljenja 1992. godine.

The play was implemented as a co-production between Sarajevo War Theatre and MESS Festival, as a part of Swiss Cultural Programme for Western Balkans - “Network for Participative Cultures of Remembrance”.

The play premiered on May 17th, which marked the foundation of Sarajevo War Theatre, back in 1992 on that very day.

MITTEL EUROPE

Rediteljica / Director TANJA MILETIĆ-ORUČEVIĆ

Mađarska / Hungary

Olimpijska dvorana ZETRA 20.00 ZETRA Olympic Hall 20.00 Trajanje / Running time 120 min.

29/09/12

Kornél Mundruczó, Yvette Bíró

TEŠKO JE BITI BOG HARD TO BE A GOD

PREDSTAVA

Dva kamiona stoje pored ceste. Tri žene razmjenjuju robu. Pravi se veliki plan, a njegov uspjeh bi promijenio sve u tren oka. Ključ za raskrinkavanje plana je dječak koji je sakriven od svijeta. Nema mjesta za greške. Različita pravila vrijede unutar teretnog dijela kamiona, a oni koji im se ne povinu se nikada neće vratiti kući. Ali, među njima se i jedan neznanac, koji bi mogao da se umiješa, ali on to ne čini – i on prati naređenja drugog. Njegova prisutnost je kao prisutnost Boga, koji tiho iz daljine gleda svoja stvorenja. Neko vrijeme. Ali koliko dugo neko može biti samo posmatrač?

PERFORMANCE

Two trucks are standing on the side of the road. Goods are being exchanged by three young women. A big plan is taking shape, and its success would change everything in the blink of an eye. The key to unmasking the plan is the boy that has been hidden from the world. There is no room for mistakes. Different rules apply inside the cargo hold of the truck, and those who do not obey will never return home. There is a stranger among them, who could interfere, but he does not – he himself is following orders. His presence is like that of a God; silently watching his creations from a distance.

For a while. But how long can one stay an observer?

Reditelj / Director Kornél Mundruczó

REDITELJ

Kornel Mundruczó je rođen u Mađarskoj 1975. godine. Studirao je na Mađarskom univerzitetu za film i dramu, a sada je poznati evropski filmski reditelj, čiji filmovi se premijerno prikazuju na najprestižnijim festivalima širom svijeta. Kratki film “Afta” režirao je nedugo nakon što je diplomirao. Film je osvojio brojne međunarodne nagrade. Njegov prvi igrani film “Ugodni dani” (Pleasant Days) dobio je nagradu Srebrni leopard u Lokarnu 2002. godine za Najbolji prvi i drugi igrani film. Također je 2003. godine ušao u Rezidentni program Festivala u Kanu. Njegov drugi dugometražni film “Johanna” operna je adaptacija priče o Jovanki Orleanki, a film je prikazan u Programu Un Certain Regard 2005. godine. Njegov treći dugometražni igrani film “Delta” osvojio je FIPRESCI Nagradu kritičara na Festivalu u Kanu 2008. godine. Mundruczóv najnoviji film “Nježni sin” (Tender Son) također je prikazan u oficijelnoj selekciji Kanskog Festivala 2010. godine.

U pozorištu radi već nekoliko godina, te je režirao predstave u Pozorištu Krétakör, Narodnom pozorištu Mađarske, Thalia Teatru u Hamburgu, te pozorištima Schauspiel Hannover i Oberhausen, kao i mnogim drugim - u osnovi, tamo gdje ga tema, ansambl ili mjesto dovoljno inspirišu za rad.

Uloge / Cast Annamária Láng Kata Wéber Diána Magdolna Kiss Orsi Tóth Roland Rába/Gergely Bánki Gergely Bánki/Szabolcs Thuróczy László Katona János Derzsi János Szemenyei Zsolt Nagy Scenografija, Kostimografija / Stage And Costume Design Márton Ágh Dramaturgija / Dramaturgy Viktória Petrányi Éva Zabezsinszkij Muzika / Music János Szemenyei

DIRECTOR

Kornél Mundruczó was born in Hungary in 1975. He studied at the Hungarian University of Film and Drama, and is now a renowned European film director, whose films premiere at the most prestigious festivals all over the world. He directed his short film Afta shortly after graduating. It went on to win numerous international awards. Pleasant Days, his first feature film, was awarded the Silver Leopard in Locarno in 2002 for the Best First and Second Feature. He also entered the Cannes Residence Program in 2003. His second feature film, Johanna, an operatic adaptation of the story of Joan of Arc, was presented in the Un Certain Regard Program in 2005. His third feature film, Delta, won the FIPRESCI Critics’ Award in Cannes in 2008. His latest film, Tender Son, was shown in the Offical Selection of Cannes 2010.

He has been working for the stage for some years now, with Krétakör Theatre, the National Theatre of Hungary, the Thalia Theater in Hamburg, the Schauspiel Hannover and the Theater Oberhausen among others - basically whenever he finds a topic, a group or a venue which inspires him.

Asistentica režije / Director Assistant Dóra Büki Produkcija / Production PROTON CINEMA 2010 Nadglednica produkcije / Production Supervisor Judit Sós Menadžerica produkcije / Production Manager Dóra Büki Asistent produkcije / Production Assistant Péter Réti Tehnički direktor, svjetlo / Technical Director, Light András Éltető

TEATAR

PROTON CINEMA je nezavisna filmska i pozorišna produkcijska kompanija sa sjedištem u Budimpešti. Osnovali su je 2003. godine producenti Viktoria Petrányi i reditelj Kornel Mundruczó, sa ciljem da se osigura prostor i prilika kreativnim ljudima koji žele vidjeti svijet, ili ga žele prikazati. 2009. godine, osnovan je novi ogranak kompanije, PROTON THEATRE, koji se bavi nezavisnim pozorišnim predstavama Kornela Mundruczóa. Ansambl, koji vodi Dora Buki, trenutno na repertoaru ima dvije predstave. Predstava “Projekat Frankenštajn” / Frankenstein-Project je u proteklih nekoliko godina imala veliki broj gostovanja; od Strazbura i Visbadena, do Nitre, Pariza, Krakova, Brisela, Beča, Ljubljane, Vilniusa, Rige, Rotterdama, Karlsruhea, Beograda, Seula i Santarkangela.

Njihova druga predstava “Teško je biti bog” međunarodna je koprodukcija festivala: Alkantara Festivala u Lisabonu, Portugal, Baltoscandala iz Rakverea, Estonija, Culturgesta u Lisabonu, Portugal; Festivala KunstenFestivalDesArts iz Brisela, Belgija, Rotterdamse Schouwburg, Nizozemska, Theater der Welt 2010, Esen, Njemačka; te Nacionalnog pozorišta Bordeuaxa, Francuska.

Kompanija trenutno radi na novom projektu za sezonu proljeće 2012. godine. Predstava “Sramota” (Disgrace) će biti međunarodna koprodukcija Bečkog Festwochena, Festivala u Avinjonu, Festivala KunstenFestivalDesArts, TRAFO - Kuće savremene umjetnosti, Malta Festivala, te Festivala Hebbel am Ufer i Romaeuropa 2012.

THEATER

PROTON CINEMA is a Budapest-based independent film and theatre production company. Established in 2003 by producer Viktória Petrányi and director Kornél Mundruczó, the Company’s aim is to provide space and opportunity for creative people who want to see the world, and have it seen.

PROTON THEATRE, a new branch of the Company, was founded in 2009 for managing the independent theatre performances of Kornél Mundruczó. The ensemble, run by Dóra Büki, has currently two performances on its repertoire: Frankenstein-Project, which has been touring extensively for some years now, from Strasbourg through Wiesbaden, to Nitra, Paris, Cracow, Brussels, Vienna, Ljubljana, Vilnius, Riga, Rotterdam, Karlsruhe, Belgrade, Seoul and Santarcangelo; and Hard to Be a God, which is an international co-production of the following festivals: the Alkantara Festival in Lisbon, Portugal; the Baltoscandal, Rakvere, Estonia; Culturgest, Lisbon, Portugal; the KunstenFestivalDesArts, Brussels, Belgium; Rotterdamse Schouwburg, The Netherlands; Theater der Welt 2010, Essen, Germany; Théâtre National de Bordeaux, France.

At the moment, the Company is working on a new project for the 2012 spring season.

Disgrace will be an international co-production of the Wiener Festwochen, Festival d’Avignon, KunstenFestivalDesArts, the Trafó House of Contemporary Arts, Malta Festival, the Hebbel am Ufer, and Romaeuropa 2012.

Zvuk i video / Sound and Video Zoltán Belényesi János Rembeczki Scenski predmeti / Props Gergely Nagy Kostimi / Costumes Patrick Matondo Stone Fotografija / Photography Marton AGH Koproducenti / Co-Producers Alkantara Festival, Lisabon, Portugal / Alkantara Festival, Lisbon, Portugal Baltoscandal, Rakvere, Estonija / Baltoscandal, Rakvere, Estonia Culturgest, Lisabon, Portugal / Culturgest, Lisbon, Portugal KunstenFestivalDesArts, Brisel, Belgija / KunstenFestivalDesArts, Brussels, Belgium Rotterdam Schouwburg, Nizozemska / Rotterdamse Schouwburg, The Netherlands Theater der Welt 2010, Esen, Njemačka / Theater der Welt 2010, Essen, Germany Nacionalni teatar Bordeuaxa, Francuska / Théâtre National de Bordeaux, France Trafó – Kuća savremene umjetnosti, Budimpešta, Mađarska / Trafó – House of Contemporary Arts, Budapest, Hungary

MITTEL EUROPE

Autor / Author Kornél Mundruczó Yvette Bíró

Bosna i Hercegovina / Bosnia and Herzegovina

Kamerni teatar 55 20.00 Chamber Theare 55 20.00 Trajanje / Running time 85 min.

01/10/12

John Patrick Shanley

SUMNJA DOUBT

PREDSTAVA

“Drama, kao i predstava “Sumnja”, rediteljice Selme Spahić pokušava dotaći samu suštinu ljudske percepcije istine, a samim tim i sumnje u istu. Poput aktera ove drame Sestre James, Sestre Aloysius, gospođe Muller, oca Flynna i vi i ja imamo individualne kriterije vrednovanja istine. Ovom predstavom zapravo želimo formirati misaoni i iskustveni kontekst u kojem će svako od nas imati priliku da preispita vlastite kriterije vrednovanja istine, te se zapitati da li su naši pojedinačni i najintimniji sistemi vrednovanja zapravo zasnovani na “istini” koja nije ništa drugo do više puta ponovljena laž, ili još uvijek možemo razlučiti za sebe i sa jasnom argumentacijom šta to percipiramo kao moralno, društveno, kulturološki, politički ispravno, a šta je osnovni uzrok osjećanja kafkijanske alijenacije od kojeg manje ili više pati svako od nas.”

Aida Pilav

PERFORMANCE

“The drama, just like the performance Doubt by Selma Spahić, tries to cut to the core of the human perception of truth, and, therefore, the doubt in it. Like the protagonists of the play, Sister James, Sister Aloysius, Mrs. Muller and Father Flynn, both you and I have our own criteria for the evaluation of truth.

With this performance we wanted to create a context for thinking and experiencing in which each one of us would have the opportunity to question his own criteria for the evaluation of truth, and also ask himself whether our personal and most private beliefs are actually based on truth – the truth which is nothing more than just a repeated lie. We also wanted to see whether we are still able to perceive, based on strong arguments, what is morally, socially, culturally and politically correct, and what is the main cause for the feeling of Kafkian alienation, which more or less each of us suffers from.”

Aida Pilav

Selma Spahić rođena je 1986. god. Teatarsku, filmsku, radio i TV režiju diplomirala je na Akademiji scenskih umjetnosti u Sarajevu, sa predstavom “Buđenje proljeća” po tekstu Franka Wedekinda.

Profesionalni angažman joj uključuje predstave “Utjecaj gama zraka na sablasne nevene” Paula Zindela, “Pobjeda” Lade Kaštelan,“Let iznad kukavičjeg gnijezda” Dalea Wassermana, “Usamljeni Zapad” Martina McDonaghe, “Bolest porodice M” Fausta Paravidina, “Kako sam naučila da vozim” Paule Vogel, “Sumnja” J.P. Shanleya, te “Grebanje ili Kako se ubila moja baka” Tanje Šljivar. Predstava “Hipermnezija” je bazirana na životima osam glumaca/ica iz Prištine, Sarajeva i Beograda. Učestvovala je na brojnim festivalima u regionu, te festivalu Neue Stücke aus Europa u Wiesbadenu.

Predstave “Buđenje proljeća”, “Usamljeni Zapad”, “Pobjeda”, “Kako sam naučila da vozim” i “Hipermnezija” nagrađivane su na brojnim festivalima u BiH uključujući i Internacionalni teatarski festival MESS.

Rediteljica / Director Selma Spahić Uloge / Cast Tatjana Šojić Ermin Bravo Maja Izetbegović Jelena Kordić-Kuret Dramaturgija / Dramaturgy Aida Pilav Kostimografija / Costume Design Sanja Džeba Scenografija / Stage Design Mirna Ler Muzika / Music Draško Adžić

DIRECTOR

Selma Spahić was born in 1986. She graduated in theater, film, radio and TV directing from the Academy of Performing Arts in Sarajevo, with the performance Spring Awakening by Frank Wedekind.

She also directed The Effect of Gamma Rays on Man-in-the-Moon Marigolds by Paul Zindel, Victory by Lada Kaštelan, One Flew Over the Cuckoo’s Nest by Dale Wasserman, The Lonesome West by Martin McDonagh, The Illness of Family M by Fausto Paravidino, How I Learned to Drive by Paula Vogel, Doubt

by J.P.Shanley and Scratching or How My Grandma Killed Herself by Tanja Šljivar. Hipermnesia, a play based on true life stories of eight actors and actresses from Priština, Sarajevo and Belgrade, as performed on many regional festivals as well as on the Neue Stücke aus Europa festival in Wiesbaden.

The plays Spring Awakening, The Lonesome West, Victory, How I Learned to Drive, and Hipermnesia won awards at different festivals in B&H including International Theater Festival MESS.

Produkcija / Production Kamerni teatar 55, Udruženje “Kontakt” Sarajevska zima Izvršna producentica / Executive producer Narcisa Cvitanović Prevod teksta / Translation Aida Spahić Fotografije / Photography Irfan Redžović Korepeticija / Accompaniment Tijana Vignjević Inspicijent / Stage manager Senad Bešić Svjetlo / Light Elvedin Bajraktarević Nino Brutus

TEATAR

Kamerni teatar 55 iz Sarajeva počeo je sa radom 7. marta 1955. godine. Iako historija ove kuće nije iznimno duga, ”ona je nesumnjivo bogatija, atraktivnija i značajnija od decenija i decenija nečijeg rutinerstva, hladnog šematizma i bezbrižnog tavorenja”, kako je to primjetio jedan ugledni kritičar. U stalnom kritičkom preispitivanju i u žaru traganja za drukčijim, neposrednijim i otvorenijim scenskim izrazom, događala su se i lutanja, koja također nisu bila beskorisna i nakon kojih se Kamerni teatar 55 ponovo vraćao sebi, još maštovitiji i bolji, ne iznevjeravajući profil kojeg je definirao njegov osnivač Jurislav Korenić (1914-1974) a koji je, na tragu novih teatarskih stremljenja u tadašnjoj Evropi, bio novost na prostorima bivše Jugoslavije i primjer teatrima širom bivše države. Otvarajući svoja vrata za naglašeno eksperimentiranje u teatru, za tekstove: Beketa, Žarija, Ženea, Joneska, Švarca, Čehova i autore čija je poetika u modernom teatru proizlazila iz “apsurdnog osjećanja života”, Kamerni teatar 55 je imao presudan utjecaj na generacije dramskih umjetnika koji su “pozornicu ring”, okruženu gledalištem, prepoznali kao priliku za intimniju, prirodniju i iskreniju glumačku igru.

Udruženje “Kontakt” Udruženje za podsticanje i istraživanje izvedbenih umjetnosti u BiH “Kontakt“ osnovano je u Sarajevu, na nivou Bosne i Hercegovine, sa ciljem afirmacije nezavisne i društveno angažirane produkcije izvedbenih umjetnosti.

THEATER

The Chamber Theater 55 from Sarajevo was founded on March 7, 1955. Although it does not have an exceptionally long history, it is “undoubtedly richer, more attractive, and more significant than the decades-long routine and cold schematism of other theaters and their careless existence,” as a renowned critic once noted.

Through the constant questioning and challenging, as well as fervent search for different, more direct and more open stage expression, there certainly have been wonderings, but not in vain, after which the Theater kept returning to its own self, better and with even greater imagination, staying true to its profile defined by its founder Jurislav Korenić (1914-1974) – the profile that was a novelty in this part of the world, and in sync with the tendencies of the European theater at the time. By opening it’s gates to more experimental forms of theater, including the plays by Beckett, Jarry, Genet, Ionesco, Schwartz, Chekov, and the plethora of authors whose poetics in modern theater came from the “feeling of absurdity in life,” The Chamber Theater 55 made a decisive influence on generations of young artists who recognized this ring-like stage surrounded by audience as their opportunity for more intimate, natural, and sincere performance.

Kontakt Association The Kontakt Association for support and research of performing arts in Bosnia and Herzegovina was founded in Sarajevo, and its main goal is the promotion of, and participation in, performing arts throughout the country.

Ton / Sound Edin Hajdarević Edina Hajdarević Dizajn, video / Design, Video FABRIKA

MITTEL EUROPE

Autor / Author John Patrick Shanley

REDITELJICA

Albanija / Albania

Sarajevski ratni teatar 20.00 Sarajevo War Theatre 20.00 Trajanje / Running time 60 min.

03/10/12

WE-WHERE-IN WE-WHERE-IN

PREDSTAVA

PERFORMANCE

“….fragmenti svakodnevice, tužnih događaja, fenomena, pojava, iskustava iz ruralnih i urbanih sredina u Albaniji. ….očajni i komplikovani ljudi, koje je privukla moć, novac, praznina u kojoj žive, televizija, iskrivljena percepcija tradicije, pogureni i deformisani. ….malo idealizma, malo nježnosti i ljudskosti, mnogo konzumerizma i komercijalizma, servilnosti, korumpirane politike.

Ova predstava opisuje surovu realnost Albanije i posljedice dvadesetogodišnje ‘demokratije’.

Moja generacija, koja se borila za demokratiju, nije mogla ni zamisliti da će promjena političkog sistema rezultirati tako negativnim posljedicama. Nismo mogli ni zamisliti ovakvu vrstu demokratije i društvo u kojem su humanost, iskrenost i vrilna zapravo nevažne.”

Gjergj Prevazi

“….fragments of everyday life, bitter events, phenomena, occurrences, experiences from urban and rural areas of Albania today. ….desperate and complicated people, drawn by power, money, empty lives, television, twisted traditions, bent and disfigured. ….little idealism, little tenderness and human spirit, more consumption and commercialism, subservience, corrupted politics.

This piece takes a critical view on the crude reality of Albania after existing in a “democratic” system for 20 years.

At least my generation that was fighting for democracy would have never imagined that changing the system could bring such negative consequences, too. We would have never imagined this kind of democracy where humanity, honesty and merit would be almost negligible in society.”

Gjergj Prevazi

Autori / Authors KIM MEHMETI EMA ANDREA Glumica / Actress EMA ANDREA REDITELJ

Gjergj Prevazi je rođen u Draču, u Albaniji.

Završio je studij koreografije na Superior Institute of Arts (današnjem University of Arts) u Tirani, 1987. godine. Učestvovao je u mnogim radionicama savremenog plesa, nove pantomime, plesnog teatra, te Feldenkrais metode u Parizu, Sofiji, Cirihu i Tirani. 1994. godine počinje da predaje koreografiju i scenski pokret na Akademiji umjetnosti u Tirani. 2000. osniva albansku Dance Theater Company, prvu nezavisnu plesnu skupinu u Albaniji. Napravio je 17 predstava sa svojom trupom, kao i Kosovskim baletom, Državnom operom iz Tirane, a sarađivao je na 24 projekta sa poznatim režiserima poput Slobodana Unkovskog, Dine Mustafića, Nurullaha Tuncara, Altina Bashe itd. Od 2006. je umjetnički direktor Festivala plesnih susreta u Albaniji.

Plesači/ce / Dancers ELTON CEFA KLAUDIA ZACE MATEO NUSHI LABINOT REXHEPI ALEDIA KONDAJ ARDIT LOGU SUEDA HOXHA ELONA ZYBERI

Asistent koreografa / Assistent Choreographer ELTON CEFA Izbor muzike / Music Mixed By HAIG ZACHARIAN (from Hugue le Bars, Lens, Hamman, Gjoka, Garbarek, Libohova, folk Albanian music) Video ILIR KASO

DIRECTOR

Gjergj Prevazi was born in Durres-Albania..

He graduated in choreography at the Superior Institute of Arts (today University of Arts-Tirana) in 1987.

He participated in different workshops of contemporary dance, mime, dance theater, feldenkrais method in Paris, Sophia, Zurich, Tirana.

In 1994 he started teaching choreography and movement at the Academy of Art’s in Tirana.

In 2000 he established Albanian DanceTheater Company, the first independent dance company in Albania. He staged 17 choreography pieces with his company. Gjergj Prevazi collaborated with the Ballet of Kosovo and National Opera House of Tirana in 24 theater pieces directed by some well-known theater directors like Slobodan Unkovski, Dino Mustafic, Nurullah Tuncar, Altin Basha.

From 2006. he is artistic director of Albania Dance Meeting-Festival.

TEATAR

Kompanija Albanski plesni teatar je prva i jedina nezavisna teatarska kompanija za suvremeni ples u Albaniji. Kompaniju je u martu 2000. godine osnovao koreograf Gjergj Prevazi koji je okupio grupu mladih plesača, a uz podršku Fondacije Pro Helvetia Švicarske.

Nakon što su organizovali nekoliko radionica, Albanski plesni teatar je postavio i svoju prvu predstavu u martu 2011. godine naziva “Tranzicija”, koja je rezultat saradnje Gjergja Prevazija sa švicarskim koreografima Silvanom Mozzinijem i Christiane Loch. Ova suradnja nastavila se i na drugom projektu naziva “Kontrast” postavljenom 2003. godine. Spomenute predstave gostovale su na nekoliko međunarodnih festivala u Italiji, Švicarskoj, Makedoniji, Egiptu i Albaniji.

U periodu od 2003. godine do 2012. godine repertoar Albanskog plesnog teatra obogaćen je sa 11 novih predstava od čega su devet koreografsko-rediteljska autorstva Gjergja Prevazija, a dvije predstave su autorstvo njemačke koreografkinje Katharine Maschenka Horn. Predstave: “Parfem”, “Bez riječi”, “Pokriveno ljudsko biće”, “Lukja”, “WeWhere-In” i “Jučer i sutra” gostovale su na međunarodnim festivalima u Njemačkoj, Makedoniji i Albaniji.

THEATER

The Albanian DanceTheater Company, is the first and only independent contemporary dance company in Albania. It was founded in March 2000 by the choreographer Gjergj Prevazi, who brought together a group of young dancers, with the support of Pro Helvetia Swiss Foundation.

After starting with some workshops, the first official performance of the company was in March 2001, with the piece “Transition” created in collaboration by the Swiss choreographers Silvano Mozzini, Christiane Loch and Gjergj Prevazi. This collaboration continued in the second piece “Contrast” in 2003. These pieces were invited to several international festivals in Italy, Switzerland, Macedonia, Egypt and Albania.

During the years 2003-2012 the company’s repertoire was enriched with 11 new pieces, 9 of which were choreographed by Gjergj Prevazi and 2 by the German choreographer Katharina Maschenka Horn. Several of the pieces such as “Perfume”, “Without Words”, “Covered Human Being”, “Lukja” and “We-Where-In”, “Yesterday & Tomorrow” were invited by international festivals in Germany, Macedonia and Albania.

Tehničar / Technician TRISTAN SHERIFI Fotografija / Photography Tristan Sherifi

MITTEL EUROPE

Režija, koreografija / Directing, Choreography GJERGJ PREVAZI

Hrvatska / Croatia

Kamerni teatar 55 20.00 i 22.00 Chamber Theare 55 20.00 i 22.00 Trajanje / Running time 60 min.

03/10/12

MRZIM ISTINU I HATE THE TRUTH

PREDSTAVA

”Mrzim istinu” prikazuje najtraumatičnije događaje porodičnog života Olivera Frljića, od njegove šesnaeste godine do trenutka kada je napustio dom. Glavni protagonisti priče su majka Slađana, otac Dragan, sestra Marina, te sam autor.

Protagonisti stalno zapadaju, kroz Frljićev tekst, u metateatarske komentare, gdje ispituju načela fikcionalizacije autobiografskih elemenata, te eventualne manipulacije koje proizlaze iz toga. Stalni povratak glavnih junaka na pitanja šta se zapravo dogodilo, te koja je prava porodična historija, određuje naslov ove predstave, koji daje ironičan komentar na ideju o umjetnosti kao posredniku bilo kakve istine. Ova “mržnja istine” se dešava između Frljićevog teksta, u kojem je on prikazan kao žrtva porodične dinamike, i meta-teatarskih komentara glumaca, koji prekidaju sa tom vrstom diskursa samožrtvovanja. Glumci stalno razbijaju već određenu fikcionalnu strukturu, obraćajući se liku sina, tj. Oliveru Frljiću, kao reditelju predstave. Na taj način, porodična historija, kao i bilo koja historija, prikazana je kao konstrukt.

Ovaj projekt je započeo kao pisani tekst, ali sama predstava nema fiksnu strukturu. Glumci sami odlučuju kako postaviti scene, i u kojem smjeru razviti igru. Zbog toga, nastup je svaki put drugačiji. Ova mogućnost izbora postaje važan faktor, jer otvara mogućnost da glumci postave svoj subjekt na drugoj strani svojih uobičajenih reprezentacijskih funkcija. Glumac kao subjekt donosi i provodi odluke, i time ulazi u novo područje odgovornosti.

PERFORMANCE

I Hate the Truth shows the most traumatic events of Oliver Frljić’s family life, from the age of sixteen, to the time he left home. The main protagonists are Slađana, the mother, Dragan, the father, Marina, the sister, and the author himself. The protagonists constantly slip through Frljić’s text into metatheatrical comments, where they question the principles of the fictionalization of autobiographical elements, and the possible manipulation arising from it. The protagonists’ constant return to the question of what really happened, what is the real family history, determined the title of the play, which ironically comments on the idea of art as a mediator for any kind of truth. It is between Frljić’s written text, in which he is shown as a victim of family dynamics, and the actors’ meta-theatrical comments, that break with that type of self-victimizational discourse, that the “hating of the truth” happens. The actors constantly break the predetermined fictional structure by addressing the character of Oliver Frljić, the son, as the director of the play. In this way, family history, as any history, is presented as a construct.

This project started as a written text, but the play does not possess a fixed structure. The actors decide by themselves how to lay down the scenes, and in which direction to develop the play. Because of this, the performances vary every time.

This possibility of choice becomes an important factor, since it opens the possibility of constructing the actors’ subject on the other side of his/her customary representational functions.

The actor as a subject makes and implements decisions, and with that enters a new field of responsibility.

REDITELJ

Oliver Frljić (Travnik,1976) je hrvatski pozorišni reditelj. Diplomirao je 2002. godine filozofiju i religijsku kulturu, te pozorišnu režiju i radiofoniju na Akademiji dramske umjetnosti.

Profesionalno režira već tokom studija, i to u Istarskom narodnom kazalištu, Teatru &TD, te pozorišnoj skupini KUFER. Prvu važniju predstavu na međunarodnoj sceni “Preklet naj bo izdajalec” svoje domovine režira 2010. godine u pozorištu Slovensko mladinsko gledališče. Iste godine režira i predstavu “Buđenje proljeća” u ZKM-u, a u Crnogorskom narodnom pozorištu u Podgorici režira “Raspravu“ Pierra de Marivauxa. Krajem iste godine režira predstavu “Kukavičluk“ u Narodnom pozorištu Subotica. Veliku medijsku pažnju dobiva i svojim slijedećim projektom, teatralizacijom romana Abdulaha Sidrana “Otac na službenom putu”, postavljenim u beogradskom pozorištu Atelje 212, za koju je na festivalu MESS dobio i Srebrni lovorov vijenac za najbolju predstavu u kategoriji Mittel Europa, kao i Zlatni lovorov vijenac za režiju.

Na prošlogodišnjem festivalu MESS premijerno je izvedena predstava “Pismo iz 1920.” nastala u koprodukciji samog festivala i Bosanskog narodnog pozorišta iz Zenice. Na početku 2012. godine, režira predstavu “Prolazi sve” po tekstu Dubravka Mihanovića u GDK Gavella. Sezonu je nastavio u Prešernovom gledališču Kranj, gdje je režirao “Tri sestre” Antona Pavloviča Čehova.

DIRECTOR

Oliver Frljić (born in Travnik in 1976) is a Croatian theater director. He graduated in 2002 in Philosophy and Religious Culture, and in Theater Direction and Radiophony at the Academy of Dramatic Arts.

He also directed a number of professional plays during his study in the Istrian National Theatre, the &TD Theatre and KUFER Theatre Group. His first important play on the international stage Preklet naj bo izdajalec svoje domovine (Cursed be the Traitor of his Homeland) was produced in 2010 at the Slovenian Youth Theatre. That same year, he also directed Buđenje proljeća (Spring Awakening) at the Zagreb Youth Theatre, as well as Pierre de Marivaux’s La Dispute at the Montenegrin National Theatre in Podgorica. Later that year, he directed the play Kukavičluk (Cowardice) at the National Theatre in Subotica. He attracted a lot of media attention with his next project, an adaptation of Abdulah Sidran’s novel Otac na službenom putu (When Father Was Away on Business) for the stage, produced at Belgrade’s Atelje 212 Theatre, for which he was presented the MESS Festival Silver Laurel Wreath Award for Best Performance in the Mittel Europa Category, as well the Golden Laurel Wreath Award for Direction.

A Letter form 1920 developed in coproduction of MESS Festival and National Theater Zenica premiered at 2011 Internetional Theater Festival MESS. At the beginning of 2012, he directed the play Everything Passes based on the text by Dubravko Mihanovic in Gavella Theatre. He continued the season in Prešernovo gledališče Kranj, where he directed Three Sisters by Anton Pavlovich Chekhov.

TEATAR

Teatar &TD, u sklopu kulturnog kompleksa Studentskog centra, jedna je od rijetkih institucija u Hrvatskoj koja ima istraživački program i usmjerenje na razvoj scenskih aktivnosti. Teatar &TD nije žanrovski profiliran, čime ostavlja mogućnost uspostavljanja novih estetika i savremenih produkcijskih oblika, od koprodukcija i postprodukcija, do saradnji koje prevazilaze usko razgraničena polja djelovanja. Na taj način postao je i svojevrsno utočište domaće nezavisne pozorišne i plesne scene, i aktivni sudionik u njenom učvršćivanju.

Teatar &TD svojom primarnom funkcijom smatra prihvatanje i istraživanje umjetničkih izazova i rizika, a svojom primarnom publikom smatra studentsku i mladu populaciju, te također radi na stvaranju nove aktivne publike.

THEATER

&TD Theatre, as part of the Student Centre cultural complex, is one of the few institutions in Croatia that has a research program, and focuses on the development of the stage. &TD does not have a defined genre focus, which gives it the possibility of establishing a new aesthetics and contemporary forms of production, from the co-productions and post-productions, to cooperations that exceed strictly delimited fields of work. In this way, the Theatre has become a sort of refuge for the local independent theatre and dance scene, and an active participant in its stability today. &TD takes as its primary function the acceptance and exploration of artistic challenges and risks, and its primary audience is considered to be students and young population, and it is also working on forming a new active audience.

Uloge / Cast IVANA ROŠČIĆ RAKAN RUSHAIDAT FILIP KRIŽAN IVA VISKOVIĆ Fotografija / Photography Damir Žižić Produkcija / Production Theatre&TD

MITTEL EUROPE

Reditelj, koncept / Direction, Concept OLIVER FRLJIĆ

Bosna i Hercegovina / Bosnia and Herzegovina

Narodno pozorište Sarajevo 19.30 National Theater Sarajevo 19.30 Trajanje / Running time 65 min.

04/10/12

Almir Imširević

KAD BI OVO BIO FILM...

IF THIS WAS A FILM...

PREDSTAVA

PERFORMANCE

“Pogledam li sada svoje zabilješke shvatam da se skica budućeg teksta počela javljati davno. Tražila je pravi oblik, pravi smjer.

Mučan posao koji traje mjesecima, nezanimljiv posmatračima.

Uzalud filmadžije pokušavaju “uljepšati” spisateljski zanat i sam čin pisanja. Nema tu pisaće mašine, razbacanih papira, pune pepeljare. Dakle, ukratko – ne znam kako je nastao tekst. Priča je to o jednoj sarajevskoj porodici za vrijeme opsade i pokušaj da dokažem kako sve sretne porodice, ipak, ne liče jedna na drugu.” (...)

“Pisac je u pozorištu, često, kao putnik u avionu. Pažljivo posmatra “stjuardese”, pokušava iz njihova ponašanja prepoznati moguću opasnost. Loša procjena može izazvati bespotrebnu paniku. Međutim, Dino Mustafić je iskusan pilot. Njegov izraz lica i samouvjereno držanje neće se promjeniti čak i ako je u toku “rušenje aviona”. Sve ide po planu. Slijećemo u dogovoreno vrijeme i na pravo mjesto. Ja sam se već vezao.” (...)

“Ona je nastavak (predstave “Kad bi ovo bila predstava”) onoliko koliko je svaka moja drama nastavak prethodne. Postoji, tako kažu, neka opsesivna tema, nešto što se ne da kontrolisati i što se provlači kroz sve moje tekstove. Vješt, pažljiv i iskren čitalac/ gledalac lako će to prepoznati. Ove dvije drame povezane su Sarajevom, ratom... Skoro 15 godina je između ova dva teksta.

Stariji smo, samo nam je razočaranje relativno mlado. Više ne čekamo zlatne kašike koje su nam obećali. O tome sam pokušao pisati. Prvu dramu sam završio psovkom, u ovoj sam odustao i od toga.”

Almir Imširević (Preuzeto iz intervjua, web portal depo.ba, autor D. Ganibegović)

“Should I take a look at my notes, I would realize that the sketch of what would soon look like a text began to appear quite a while ago.

It was looking for the right shape, right direction. A laborious work that took months, uninteresting to the casual observer. Filmmakers have been trying to make the craft of screenwriting look nicer, but all in vain. There is no typewriter, no scattered papers, no full ashtray. In short, I don’t know how the text came about. It’s a story about a Sarajevo family during the siege, and the attempt to prove that all the happy families, after all, resemble each other.”(…)

“Often, the writer at the theater is like a passenger on a plane. He carefully eyes the stewardesses, trying to suspect a possible danger in their behavior.

Bad judgment can cause unnecessary panic. But, Dino Mustafić is an experienced pilot. He won’t change his expression or posture even if the plane was about to crash. Everything goes smoothly.

We land at the right place and the right time. I’ve already buckled up.”(…)

“It is the continuation of the play (If This Was a Play) as much as my every play is the continuation of the previous one. They say there is an obsessive subject, something that can’t be tamed, which runs through all my texts. A skillful, attentive and honest reader/viewer would easily spot it. These two dramas are linked to Sarajevo, war… There is a fifteen-year gap between the two texts.

We have grown older, but our disappointments are still young. We are no longer waiting for the moon we were once promised. I tried to write about that. I finished my first play with the curse, but this time I give up.”

Almir Imširević (From the interview at depo.ba, author D. Ganibegović)

Diplomirao je režiju na Akademiji scenskih umjetnosti u Sarajevu, a opću književnost na Filozofskom fakultetu u Sarajevu.

Režirao je veliki broj predstava u pozorištima regiona i na domaćim scenama (Kraljevsko pozorište Zetski dom, Cetinje; HNK Split; INK Pula; JDP Beograd; Bitef teatar; HNK Ivana pl. Zajca, Rijeka; Zagrebačko kazalište mladih, Zagreb; Slovensko narodno gledališče Nova Gorica; Dramski teatar Skopje; Teatar naroda i narodnosti Skopje; Slovensko narodno gledališče Maribor; Slovensko stalno gledališče Trst; Narodno pozorište Priština; MGT Zad Kanala Sofija...).

Predstave su mu izvođene u svim bosanskohercegovačkim teatarskim centrima i na svim značajnim regionalnim festivalima (Međunarodni festival malih scena u Rijeci, Ex Ponto u Ljubljani, Gaveline večeri u Zagrebu, Splitsko ljeto, Sterijino pozorje u Novom Sadu, MOT u Skoplju i drugim), kao i na internacionalnim festivalima u Njemačkoj, Egiptu, Bugarskoj, Italiji, Sloveniji, Francuskoj, Kolumbiji, Španiji, Kostarici...

Predstava “Helverova noć” je višestruko nagrađivana na internacionalnim festivalima, što je čini najnagrađivanijom predstavom u povijesti Kamernog teatra 55, sa 23 međunarodna priznanja i nagrade.

Snimio je dugometražni igrani film “Remake” čija je svjetska festivalska premijera održana na Internacionalnom filmskom festivalu Roterdam 2003. Autor je više dokumentarnih filmova od kojih se posebno izdvajaju “Pista života”, “Neka bude svjetlosti”, “Čudo u Bosni” - prikazani na renomiranim festivalima u Amsterdamu, Istanbulu i Montrealu.

Direktor je Internacionalnog teatarskog festivala MESS u Sarajevu - najstarijeg pozorišnog festivala u regiji.

Graduated from the Department of Directing at the Sarajevo Academy of Performing Arts, as well as from the Department of Literature at the Sarajevo Faculty of Philosophy.

He directed numerous plays in both local and regional theaters (Zetski Dom Royal Theater, Cetinje; HNK in Split; INK in Pula; JDP in Belgrade; Bitef Theater; HNK Ivan pl. Zajca in Rijeka; Zagreb Youth Theater; Slovenian National Theater in Nova Gorica; Skopje Drama Theater; Macedonian National Theater in Skopje; Slovenian National Theater in Maribor; Slovenian Repertoire Theater in Trieste; Priština National Theater; Small City Theatre Off the Chanel Sofia...).

His plays were staged at all Bosnian theaters and all major regional festivals (Rijeka International Small Scene Festival, Ex Ponto in Ljubljana, Gavella’s Nights in Zagreb, Split Summer, Novi Sad Sterija’s Theater, MOT in Skoplje and others), as well as international festivals in Germany, Egypt, Bulgaria, Italy, Slovenia, France, Columbia, Spain, Costa Rica... The play Helver’s Night won 23 prestigious awards and plaudits at international festivals, which makes it the most awarded play in the history of the Chamber Theater 55. He made a feature film Remake which had its world premiere at the Rotterdam International Film Festival in 2003. He also made several documentaries, among them Runaway of Life, Let There be Light, Miracle in Bosnia, which screened at renowned festivals in Amsterdam, Istanbul and Montreal.

He is the director of MESS International Theater Festival in Sarajevo – the oldest regional theater festival.

Narodno pozorište Sarajevo osnovano je 18.11.1919. godine. U počecima svog djelovanja Narodno pozorište Sarajevo je djelovalo, isključivo, kao dramski teatar. Od 1946. Narodno pozorište dobiva i muzičke segmente djelovanja pa će tako bogatoj povijesti našeg teatra izuzetno donijeti Opera, odnosno Balet.

Narodno pozorište Sarajevo je centralna teatarska kuća države BiH, i ono je svojim umjetničkim rezultatima, radom generacija umjetnika, a posebno načinom organizacije (tri ansambla Opera, Drama i Balet) veoma je važan element teatarskog i uopće duhovnog života u BiH. U toku svog, preko 85 godina dugog djelovanja Narodno pozorište Sarajevo odigralo je ogroman broj dramskih, baletnih, opernih predstava po cijeloj Bosni i Hercegovini, ali i u inozemstvu.

Nema značajnijeg umjetničkog festivala u regionu, pa i u Europi, a da na njemu nisu bile prisutne predstave našeg teatra.

Na daskama Narodnog pozorišta u Sarajevu Sarajlije su mogle gledati Petera Brooka, Giorgia Strehlera, Boba Vilsona, L. Pavarotia, H. Karerasa, Z. Mehtu, J. Menjuhina…

Jedan od prvih direktora Narodnog pozorišta Sarajevo bio je Branislav Nušić, a nesumnjiv doprinos razvoju našeg teatra dali su i njegovi nasljednici među kojima vrijedi pomenuti Vlajka Ubavića, Ahmeda Muradbegovića, Niku Milićevića, Salka Nazečića, Ivana Fogla, Miroslava Avrama, Aliju Isakovića, Muhameda Karamehmedovića, Tvrtka Kulenovića...

Narodno pozorište Sarajevo je poseban doprinos dalo kako razvoju drame i novih dramskih oblika, autentičnom tumačenju klasike u Drami, Operi i Baletu ali i razvoju muzičke literature za Operu, Balet u bosanskohercegovačkim razmjerama.

Uloge / Cast Miralem Zupčević, k.g.

Ljiljana Dragutinović, k.g.

Aleksandar Seksan Aldin Omerović Jasna Žalica, k.g.

Izudin Bajrović Ermin Sijamija Dramaturgija / Dramaturgy Almir Imširević, k.g.

Scenograf / Stage Design Dragutin Broz, k.g.

Kostimograf / Costume Design Blagoj Micevski, k.g.

Kompozitor / Music Composed by Damir Imamović, k.g.

Scenski pokret / Scenic Movement Jasna Žalica, k.g.

DIRECTOR

TEATAR

Autor / Author Almir Imširević

THEATER

The Sarajevo National Theater was founded in November 18, 1919. Soon after its inception, the Sarajevo National Theater worked exclusively as a drama theater. Since 1946 the theater broadened its scope to include opera and ballet. The Sarajevo National Theater is the major theatrical house in the country of Bosnia and Herzegovina, and its artistic success, built by several generations of artists, as well as its organizational structure (Opera, Drama and Ballet) are important contributing factor to the cultural life in Bosnia and Herzegovina.

Our plays were performed at all major festivals in the region and Europe as well. Our theater welcomed the likes of Peter Brook, Giorgio Strehler, Bob Wilson, Luciano Pavarotti , Jose Carreras, Zubin Mehta, Yehudi Menuhin…

One of the first directors of the Sarajevo National Theater was Branislav Nušić, and many of his successors have undoubtedly contributed to the development of the theater, among them Vlajko Ubavić, Ahmed Muradbegović, Niko Milićević, Salko Nazečić, Ivan Fogl, Miroslav Avram, Alija Isaković, Muhamed Karamehmedović, Tvrtko Kulenović...

The Sarajevo National Theater made special contribution to the development of drama and new dramatic forms, but also authentic interpretation of drama, opera and ballet classics, and helped the publication of music scores for opera and ballet in Bosnia and Herzegovina.

Dizajner svjetla / Light Design Ognjen Martinović Majstor tona / Sound manager Zdenko Bevanda Asistent režije, inspicijent / Director assistant, Stage Manager Nihad Kapić Video art Bojan Mustur, k.g., Tomislav Krajcer, k.g. Članovi/ce orkestra / Members of the Orchestra Belma Alić, k.g.

Belma Šarančić, k.g.

Ermin Čalkić, k.g.

Irfan Tahirović, k.g.

Fotografija / Photography FUAD FOČO Posebno zahvaljujemo Senadu Hadžifejzoviću na ostvarenoj saradnji / With special thanks to Senad Hadžifejzović

MITTEL EUROPE

Reditelj / Director Dino Mustafić, k.g.

REDITELJ

*Kosovo / *Kosovo

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

Svrzina kuća 22.00 Svrzo’s House 22.00 Trajanje / Running time 60 min.

04/10/12

KRVNA KOŠULJA

Po motivima tragedija William-a Shakespeare-a: “Macbeth”, “Richard III” i “Hamlet” i albanskog zakonika običajnog prava: “Kanuni i Lekë Dukagjinit” (“Kanon Leke Dukadjinija”)

THE BLOOD SHIRT

Around motives of the William Shakespeare tragedies: Macbeth, Richard III, Hamlet and the albanian tradiotional code: Kanuni i Lekë Dukagjinit PREDSTAVA

“Krvna košulja” je predstava stvarana u jednogodišnjem istraživačko-stvaralačkom procesu Teatra Laboratorije ‘Loja’. Ova predstava konceptualno je građena po motivima i odlomcima Shakespeareovih tragedija “Macbeth”, “Richard III” i “Hamlet” kao i po nekim motivima albanskog zakonika običajnog prava “Kanon Leke Dukadjinija”, koji u sebi sadrži mnogo elemenata albanske tradicije, običajnog prava, zakona i rituala. Putem zakonika “Kanon Leke Dukadjinija”, odnosno poglavlja ovog običajnog prava: “Prijatelj”, “Ubistvo prijatelja”, “Ubojica”, “Besa” (Jamstvo, Data riječ), “Krv” (u smislu “Krvna osveta”), “Smrt” ova predstava predstavlja dešifriranu, dekodiranu i na “albanski” način tumačenu motivaciju i karaktere krvave šekspirovske pinakoteke, čiji tamni, dramatični, jezoviti i tragični prizori čudovišno nalikuju na monumentalne prizore krvavog pejzaža isto toliko tragičnog albanskog zakonika običajnog prava. Isprepletenošću šekspirovskih motiva sa motivima albanskog običajnog prava, ova predstava glumačkom igrom, asocijacijama, inicijalima, simbolima i raznim scenskim metaforama, nadilazi svako čitanje, tumačenje i konvencionalno rediteljsko tretiranje Shakespearovih tragedija. Predstava je eksperimentalni stvaralački čin, pri kojem publika otkriva transkripcije i tumačenja tri različite “priče”, koje se, u ovoj predstavi, stopljene u “krvi” jednih u druge, predstavljaju kao jedinstvena “priča”.

PERFORMANCE

The Blood Shirt is a play created as a result of a year-long process of creative research in the Loja Laboratory Theatre.

Conceptually, this play is constructed around motivs and fragments of the Shakespearean tragedies Macbeth, Richard III and Hamlet, and around some of the motives from the Albanian traditional code The Code of Lekë Dukagjini, which includes many old Albanian traditions and rituals. By means of the Code of Lekë Dukagjini, and particularly through the chapters of this traditional code: The guest, The killing of a guest, The murderer, The pledge, Blood, Death etc., this play aims to be not only a creative act of stagecraft but also strives to offer an Albanian decoding, deciphering and interpretation of some of the motives and main characters of the bloody Shakespearean gallery, the dark, dramatic, creepy and tragic tableaux of which strangely exemplify the monumental tableaux of the bloody and just as tragic landscape of the Albanian traditional code. Thus this play interweaves Shakespearean motifs with those from the Albanian traditional code, with acting and dramatic creation, a range of stage associations, initials, symbols and metaphors, deliberately transcending any conventional reading, interpretation or theatrical treatment of Shakespeare’s tragedies, it presents itself in the form of an experimental creative act, during which the audience discovers, transposes and interprets three different stories which in this play, clotted with one another’s ‘blood’, become one story.

Igraju / Cast MELEHATE QENA ADRIANA MATOSHI AFRIM MUÇAJ ASTRIT GECI BUJAR AHMETI ERMAL H. REXHA KASTRIOT GRAJÇEVCI

REDITELJ

Bekim Lumi (1966) rođen je u Suharekë (Kosovo). 1996. godine završio je studije pozorišne režije (klasa Agima Qirjaqia) na Fakultetu scenskih umjetnosti na Akademiji lijepih umjetnosti u Tirani (Albanija).

Radi kao samostalan režiser. Rad Bekima Lumija specifičan je po minimalističkom stilu, konceptima i idejama, ali i zbog smjelosti za eksperimentiranjem. Autor je nekoliko pozorišnih predstava urađenih prema tekstovima svjetskih autora kao što su: Eugene Ionesco, William Shakespeare, Slawomir Mrozek, Federico Garcia Lorca, A. P. Čehov i sl., koje su postavljene u Dodona’ Teatru (Priština), Nacionalnom pozorištu Kosova i Teatru Laboratorija Loja (Priština). Predstavljao je Kosovo sa svojim nastupima na međunarodnim pozorišnim manifestacijama i festivalima (Švicarska, Francuska, Italija, Njemačka, Albanija, Grčka, Makedonija, Bugarska i Kosovo), gdje je dobio i nekoliko nagrada. Bekim Lumi trenutno radi kao profesor pozorišne režije na Fakultetu umjetnosti u Prištini, te je osnivač i umjetnički direktor Teatra Laboratorije Loja, i osnivač, urednik i izdavač pozorišnog časopisa Loja.

Vokalisti / Vokals RIAD YMERI (tenor) BESA LLUGIQI (sopran) Asistent režije / Assistant Director ALBAN BEQIRAJ Scenografija / Stage Design MENTOR BERISHA Kostimografija / Costume Design SAMKA FERRI Svjetlo / Light Design SKENDER LATIFI Fotografija / Photography Astrit Ibrahimi

DIRECTOR

Bekim Lumi (1966) was born in Suharekë (Kosovo). During 1992 – 1996 he completed studies in Theater Direction (class of Agim Qirjaqi) at the Faculty of Performing Art of the Academy of Fine Arts in Tirana (Albania). He works as an independent theater director. His work is distinguished by his minimalistic style, concept and ideas, as well as by his bold creative inclinations towards experimentation. He is the author of several theater performances, based on plays by Eugene Ionesco, William Shakespeare, Slawomir Mrozek, Federico Garcia Lorca, A. P. Chekhov etc., performed in Dodona Theater (Prishtina), the National Theater of Kosovo and ‘Loja’ Laboratory Theater (Prishtina). He has represented Kosovo with his performances in several international theater events and festivals (in Switzerland, France, Italy, Germany, Albania, Greece, Macedonia, Bulgaria and Kosovo), where he was awarded with international theater prizes. He is currently a professor of Theater Directing at the Faculty of Arts of University of Prishtina. He is founder and artistic director of ‘Loja’ Laboratory Theater, and founder, editor in chief and publisher of the theater magazine ‘Loja’.

TEATAR

Teatar Laboratorija “Loja” je neovisna teatarska kompanija, odnosno istraživačkokreativni eksperimentalni centar za oblast teatra, kojeg je osnovao 27. septembra 2009. godine u Prištini (Kosovo) režiser Bekim Lumi (Bekim Ljumi). Višegodišnjim intenzivnim istraživačko-kreativnim radom, ansambl Teatra Laboratorija Loja otkrivaju brojne forme i mogućnosti korištenja tjelesnog izraza, tehnika glasa kako bi se usavršila glumačka tehnika i performativne mogućnosti u različitim scenskim okolnostima, te u različitim vrstama tumačenja i nekonvencionalnog scenskog dekodiranja dramskog teksta. Također se ispituju mogućnosti praktične, ali i metaforičkosimbolističkog kontekstualiziranja scenske rekvizite u interpretaciji albanskih običaja, zakona, rituala, igara, referirajući na Shakespeareove tragedije. Svojim pristupom, metodologijom i načinom rada i funkcionisanja, Teatar Laboratorija “Loja” nastoji da bude stvaralački prostor, koji istraživanjem novih scenskih formi i izraza, ne samo što otvoreno izražava odbijanje tradicionalnih dogmatskih i demodiranih formi, nego i nastoji stvoriti jedno novo razmišljanje i alternativnu viziju potpuno oslobođenu od konvencionalnih stereotipa, klišea i shematizma.

THEATER

The Loja Laboratory Theater, established on 27 September 2009 in Prishtina (Kosovo) by theater director Bekim Lumi, is an independent theater company, an experimental research and creativity centre for theater. For several years ‘Loja’ Laboratory Theater follows intensive research and creative work for identifying the ways, the forms and the multiple possibilities for using body language and a range of voice techniques, working to advance actors’ vocal and physical skills, acting, movement, performance and mise-en -scene in a range of alternative spaces, unconventional readings, construction and interpretation on stage of a variety of texts, the practical use of props and their metaphorical and symbolic contextualization, the creation with the sounds of a number of ‘instruments’ during performance, the appropriate use and contextualization of motifs, customs, rituals, dances and Albanian traditions in the context of a range of texts, plots and characters from Shakespeare’s tragedies. Through its profile and the formats it adopts, and the approach, methodology and the way of working, the ‘Loja’ Laboratory Theater aims to be a creative space which creates a new way of thinking and a creative alternative vision, entirely liberated from stereotypes, clichés and conventional staging.

This is created through producing new forms of staging and expression, showing itself open to rejection of traditional dogmatic and outdated forms.

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

MITTEL EUROPE

Režija / Director BEKIM LUMI

Srbija / Serbia

Pozorište mladih Sarajevo 20.00 Sarajevo Youth Theatre 20.00 Trajanje / Running time 70 min.

05/10/12

URBI ET ORBI

PREDSTAVA

“...Da li se bojimo? Postoji li ikakva kazna? Šta je grijeh danas, u od ljudskosti ogoljenoj eri reality emisija i interneta, koji prikazuje i nudi sve, ali ne daje ništa opipljivo? Postoji li vjera?

Vjera u što – i boli li vjera? Ova snažna, bogohulno zabavna i užasna predstava koja nosi upozorenje, “Urbi et Orbi”, u režiji András Urbana, bavi se tim pitanjima. U uprošćenoj formi dobro iskazane večernje paramedijske ispovijedi, uz pomoć nekih nehumanih rekvizita - samo mikrofona, jednog sapuna, umivaonika, kolica, metalne bačve, te ljudskih rekvizita poput odlomaka djela Jánosa Pilinszkog i Heinera Müllera, vjerskih melodija i napjeva, nekoliko malih kapleta, umjetnički svjesnog reditelja, četiri predana glumca/ice i prostora otvorenog za improvizaciju – stvara se jedan oblik pozornice, koji reditelj opravdano naziva “usmenost”...Sinhronijski je napeta u traženju aktivnijeg oblika verbalnog, usmenog pozorišta, i svježe krvi neverbalnog pozorišta ‘oraculum’.”

Vladimir Kopicl

PERFORMANCE

“...Are we afraid? Is there any punishment? What is sin today, in the humanity-denuded era of reality shows and the Internet, which displays and offers everything, but gives nothing tangible? Is there faith? In what – and does faith hurt? The powerful, blasphemously entertaining and horrific play that carries a warning – Urbi et Orbi by András Urbán – deals with these issues. ...In the pared-down form of a well-indicated evening para-media confessional, containing some inhuman props – merely a microphone, one bar of soap, a washbowl, a cart, a metal barrel...and some human ones - such as the fragments of János Pilinszky’s and Heiner Müller’s texts, religious melodies and chants, a few little couplets, the artistically aware director, four devoted actors and a space open for improvisation – a stage form is created, which the director reasonably calls “orality”...Synchronically tense in seeking a more active form of verbal, oral theatre, and fresh blood of the non-verbal stage ‘oraculum’.”

Vladimir Kopicl

Uloge / Cast MÁRTA BÉRES, KINGA MEZEI, IMRE ELEK MIKES ÁRPÁD MÉSZÁROS Fotogragija / Photography MOLNÁR EDVÁRD Tehnički menadžer / Technical Manager ATTILA ÚRI

REDITELJ

András Urban rođen je 4. oktobra 1970. godine u Zenti (Srbija). Sa sedamnaest godina započeo je vlastitu književnu i pozorišnu kreativnu radionicu, u kojoj je bio prisutan kao autor, reditelj i glumac. Sa prijateljima je također stvorio poznatu AIOWA grupu, koja na pozorište gleda kao na složeno, posebno i ideološko djelovanje, te je također postao član Pozorišne udruge Summer Movie. Diplomirao je kao reditelj u klasi Vlatka Gilića i Bore Draškovića. Potom je osnovao trupu Urbán András, kao neformalnu skupinu, i počeo režirati u Pozorištu Kosztolányi Dezső, istovremeno radeći sa drugim pozorištima.

Trenutno je direktor Pozorišta Kosztolányi Dezső, i direktor-osnivač međunarodnog pozorišnog festivala Desiré Central Station.

DIRECTOR

András Urbán was born on October 4th 1970 in Zenta (Serbia). When he was seventeen, he started his own literary and theatrical creative workshop, in which he was present as author, director and actor.

With his friends, he created the famous AIOWA group, which viewed the theatre as complex, specific and ideological action, and also became a member of the Summer Movie Theatrical Association. He graduated as a director in the class of Vlatko Gilić and Boro Drašković. He founded the Urbán András Company, as a non-formal group, and began directing in the Kosztolányi Dezső Theater, but has also worked with other theatres. Currently, he is head of the Kosztolányi Dezső Theater, and Founding Director of the Desiré Central Station, international theatre festival.

TEATAR

Pozorište Kosztolányi Dezső nalazi se u Subotici, u gradu u blizini mađarske granice u Srbiji. Njegov geografski položaj je veoma zanimljiv – nalazi se na ulazu u Europsku uniju, te predstavlja posljednju granicu Balkana, pošto se radi o pozorištu koje u Srbiji radi na mađarskom jeziku. Kao takvo, pozorište promoviše multietnički umjetnički izraz. Pozorište je pozorište, umjetnost je umjetnost - ali identitet je nešto drugo.

Pozorište Kosztolányi Dezső osnovano je prije 16 godina, ali je od 2006. godine pod rukovodstvom općinskih vlasti u Subotici.

Tokom godina, postalo je eksperimentalno i takozvano umjetničko pozorište grada.

Međutim, u posljednjih nekoliko godina, rad pozorišta se promijenio, postajući usko isprepleten na kreativnoj i produkcijskoj razini.

Njegov peteročlani ansambl sastoji od nedavno diplomiranih glumaca. Tokom posljednjih nekoliko sezona, predstavili su svoje radove na svakom značajnom pozorišnom festivalu u Srbiji i Mađarskoj. Pozorište stavlja poseban naglasak na savremene radionice, te održava organske veze s lokalnom i globalnom stvarnosti. Pozorište Kosztolányi Dezső je pokazalo da eksperimentalni nastupi također mogu ući u glavne pozorišne tokove, te je u umjetničkom smislu postiglo značajno mjesto u regiji. Pozorište Kosztolányi Dezső je stalni koprodukcijski partner Asocijacije MASZK (u Szegedu, Mađarska), gdje nastupaju pod nazivom Urban András Company.

THEATER

The Kosztolányi Dezső Theatre is located in Subotica, a town near the Hungarian border in Serbia. Its geographical position is interesting – it is an entrance to the European Union, and the limit to the Balkan region – because this is a Hungarian-language theatre in Serbia.

Thus, it promotes a multi-ethnic artistic expression. Theatre is theatre, and art is art – but identity is another question. The Kosztolányi Dezső Theatre was established 16 years ago, and since 2006 has been run by the municipal government of Subotica.

Over the course of time, it has become the experimental and so-called artist theatre of the city. During recent years, the work of the Theatre has changed, becoming closely interwoven on both a creative and production level. The five-member company is composed of recently graduated actors. During the last few seasons, the group’s performances were presented at every significant theatre festival in Serbia and Hungary. The theatre places a special emphasis on contemporary workshops, and has organic links to the local and global reality. The Kosztolányi Dezső Theatre has demonstrated that experimental performances can also enter the mainstream, and in an artistic sense, the Theatre has achieved a significant place in the region. The Kosztolányi Dezső Theatre is a permanent co-production partner with the MASZK Association (Szeged, Hungary), appearing under the name: Urbán András Company.

Kostimi / Costumes SVI SPAVAJU U ČEMU GOD ŽELE / EVERYBODY SLEEPS IN WHATEVER THEY FEEL LIKE Fotografija / Photography Molnár Edvárd

MITTEL EUROPE

Reditelj / Director ANDRÁS URBÁN

OKUS AUSTRALSKOG ORAHA MACADAMIA NUT BRITTLE

MAGNIFICAT FRAGMENTI LJUBAVNOG DISKURSA z

TVOJ BRAT. SJEĆAŠ SE? YOUR BROTHER. REMEMBER?

99% (STRAH I BIJEDA TREĆEG RAJHA) 99%

Pozorište mladih Sarajevo 22.00 Sarajevo Youth Theatre 22.00 Trajanje / Running time 80 min.

29/09/12

Italija / Italy

Gradsko kino Visoko 20.00 Cinema City Visoko 20.00 Trajanje / Running time 80 min.

01/10/12

OKUS AUSTRALSKOG ORAHA MACADAMIA NUT BRITTLE

PREDSTAVA

Mi ne znamo šta je istina...ali ono što je važno je da je dvosmislenost jasna!

Zbog toga, u današnjem vremenu prekuhanih strasti i tužnih osjećaja, mi postajemo nervozno siti za stolom Dennisa Coopera, od njegove hrapave poezije od koje se sprema njegov književni univerzum. S nekom vrstom mocartovske drskosti, pokušali smo ispričati okrutnu bajku o adolescenciji. Sakaćenje, tjelesne kazne i ponavljani seks sve do istrebljenja kriju opasnu i “čistu” sklonost igri: djetinjastu igru, opuštanje koje smo zaboravili kad smo napustili zidove naših domova.

Noćno čekanje četiri izjelice Haagen Dasz sladoleda (koji je inspirisao i naslov predstave: “Okus australskog oraha”) – bilo da su u bolničkom odjelu, u avionu ili u kući na drvetu – se materijalizira u gotovo sneno stanje Tamagotchija, gdje ćete se morati obračunati sa vlastitim identitetom koji, ako vas sa jedne strane oslobodi, sa druge razvija osjećaj pripadnosti, daleko od planete koja nam izmiče pod nogama. Žrtve, krvnici, i protagonisti ovog snuff filma koji nam servira život smo mi sami, u očajničkoj potrazi za ljubavlju u nemogućem svijetu: jer, na kraju, i priroda je, poput ljudi, “kučka”, nevjerna. I to uvijek.

PERFORMANCE

We do not know what truth is…but what is important is that ambiguity is clear!

Because of this, in the present time of overcooked passions and sad feelings, we are stirringly satiated at the table of Dennis Cooper, with the scabrous poetry of which his literary universe is prepared. With a sort of Mozart impudence, we have tried to tell a cruel fairytale of adolescence. The mutilations, bodily punishments, repeated sex, up to extinction, hide a dangerous and “pure” tendency to the game: a childish game, a relaxation that we have forgotten going out of our domestic walls.

The night-wait of four devourers of Haagen Dasz ice cream (hence the title: Macadamia Nut Brittle) - in a hospital department, on an airplane or in a tree house - materializes itself in an oneiric Tamagotchi, where you will have to reckon with your own identity which, if it leaves you free on one side, on the other one it develops a sense of being, far away from a Planet slipping away under our feet. The victims, executioners, and protagonists of this snuff movie that life offers are we ourselves, in desperate search of love in an impossible world: because, in the end, Nature too, like men, is a “bitch”, and unfaithful. Always.

Uloge / Cast Anna Gualdo Giuseppe Sartori Andrea Pizzalis Fabio Gomiero Dramaturzi / Dramaturgy ricci/forte Trener / Trainer Marco Angelilli Tehnički direktor / Technical Director Stefano Carusio Asistentica režije / Assistant to the Director Elisa Menchicchi

REDITELJI

Stefano Ricci (redatelj i pisac) i Gianni Forte (pisac) predstavljali su italijansku scenu u Ruenu (na sceni Nazionale Petit-Quevilly/Mont Saint-Aignan), Marseju (na Festivalu Actoral), Nantu (u Le Lieu Unique), te Parizu (na La Ménagerie de Verre). Također učestvuju na nekoliko međunarodnih festivala u Belgiji (Les Halles u Bruxellesu), Francuskoj (Europa & sti u Lyonu), Hrvatskoj (Zagreb Queer Zagreb), Sloveniji (Mladi Levi u Ljubljani), Rumuniji (Underground pozorištu u Aradu), Engleskoj (Lingering Whispers u Londonu), Njemačkoj (Glow u Berlinu), te u SAD-u (NYI u New Yorku), Njemačkoj (New Plays from Europe u Wiesbadenu), Portugalu (Almada u Lisabonu), te u Moldaviji (BITEI u Kišinjevu).

Ovaj dramski tim nastao je na Nacionalnoj akademiji dramskih umjetnosti Silvio D’Amico’s, u Rimu, te na Univerzitetu u New Yorku, gdje pohađaju studij pisanja kod Edwarda Albeea. Osvojili su brojne nagrade u oblasti drame, poput Premo Studio 12, Oddone Cappellino, Vallecorsi, Fondi-La Pastora, Hystrio i Gibellina-Salvo Randone.

DIRECTORS

Stefano Ricci (director and writer) and Gianni Forte (writer) represent the Italian scene in Rouen (at the Scène Nazionale Petit-Quevilly/Mont Saint-Aignan), Marseille (at the Festival Actoral), Nantes (at the Le Lieu Unique), and Paris (at the La Ménagerie de Verre). They also participate in several international festivals in Belgium (Les Halles in Brussels), France (Europe&Cies in Lyon), Croatia (Zagreb Queer in Zagreb), Slovenia (Mladi Levi in Ljubljana), Romania (Underground Theatre in Arad), England (Lingering Whispers in London), Germany (Glow in Berlin), USA (NYI in New York), Germany (New Plays from Europe in Wiesbaden), Portugal (Almada in Lisbon), Moldova (BITEI in Chisinau).

This dramatic team came to be at the Silvio D’Amico’s Accademia Nazionale D’Arte Drammatica, in Rome, and at New York University, where they study writing with Edward Albee. They have won many drama awards, such as Premio Studio 12, Oddone Cappellino, Vallecorsi, Fondi-La Pastora, Hystrio and Gibellina-Salvo Randone.

Produkcija / Production ricci/forte production u saradnji sa / in collaboration with Festival Garofano Verde Fotografija / Photography Mauro Santucci

FUTURE MESS

Reditelj / Director Stefano Ricci

Poljska / Poland

Sarajevski ratni teatar 20.00 i 22.00 Sarajevo War Theatre 20.00 and 22.00 Trajanje / Running time 50 min.

30/09/12

MAGNIFICAT

PREDSTAVA

“Hor žena” je savremena forma horskog teatra. Podjela je sačinjena od 25 žena, različitih godišta i profesija.

Prvi projekat Hora bio je “Hor progovara: samo 6 do 8 sati”, premijerno izveden 13. juna 2010. godine.

Projekat II: “Hor žena” izražava stav o ženama u crkvenoj hijerarhiji moći, čije titule ne koriste ni sveti, niti svjetovni jezik. To je post-opera koja promovira polifoni MAGNIFICAT, uronjen u pop-kulturu.

U Projektu II: “Hor Žena” se suočava najsvetijom slikom ženstvenosti – onom Blažene Djevice Marije. Sa svom svojom ideološkom i estetskom moći. Sa magnetizmom svete ikone ženstvenosti.

Citati iz Biblije, kuhinjski recepti, tekstovi Elfride Jelinek, Mickiewicza, i fragmenti Euripidove drame “Bakhe” elementi su kompilacije koju izvodi hor praćen kompjuterizovanom muzikom, potmulim zvukovima blende objektiva i fleševa, citati iz novina.

Ritmični govor i slogani pop kulture isprepliću se sa tradicionalnim formama svete muzike. Muzika u predstavi “Magnificat” je semplirana i predstavlja podlogu kulturološkom narativu i reklamama. Stvoren je ideološko-zvučni remiks. Djevica Marija spušta se sa svetih slika.

PERFORMANCE

The Chorus of Women is a modern form of choral theater. The cast is made up of 25 women of various ages and professional backgrounds. The first project of the Chorus was This is the Chorus Speaking: Only 6 to 8 Hours, which premiered on 13 June 2010.

Project II of The Chorus of Women is a statement about the women in the Church’s hierarchy of power, the titles of which use neither sanctified nor secular language. This is a post-opera form, which promotes a polyphonic MAGNIFICAT, submerged in a pop culture.

In Project II, The Chorus of Women is confronted with the most sacred image of femininity within the Church – that of the Blessed Virgin Mary - with all its ideological and aesthetic power, with the magnetic force of this sacred icon of femininity. Quotes from the Bible, recipes, excerpts from Jelinek, Mickiewicz, and fragments of Euripides’ Bacchae, are all elements of a compilation performed by the choir, with the accompaniment of computerized music, the thud of lens shutters and flashes, and newspaper quotes.

Rhythmic speech and pop culture one-liners intertwine with the traditional forms of sacred music. The music of Magnificat is sampled and serves as the basis of a cultural narrative and advertising. An ideological and sonic remix is born. The Virgin Mary descends from the holy images.

Marta Górnicka je rediteljica i pjevačica, koja je stekla diplomu na Fakultetu dramske režije na Varšavskoj pozorišnoj akademiji. Također je studirala i na Muzičkoj školi Frederic Chopin u Varšavi, te na Univerzitetu u Varšavi i Državnoj školi drame u Krakovu. Ona je autorica filma “Žudim” (Crave), kao i “Skica snimanja prema Sarah Kane” (A Sketch of Recording According to Sarah Kane), koji je premijerno prikazan na Festivalu Odkryte/ Zakryte (Otkriven/Skriven) u Dramskom pozorištu u Varšavi. Sarađivala je sa Robertom Wilsonom na varšavskoj produkciji Simptom/Akropolis po djelu Gabrielle Maione i Stanislava Wyspiańskog, kao i sa Redbadom Klijnstra i Swietłanom Butskajom na projektima pozorišnog glasa. Snimila je i CD za Poljski radio s pjesmama Astora Piazzole, te održala niz samostalnih nastupa. Vodila je dramske radionice u Salzburgu, Rimu, Tokiju, Kijevu i Londonu. Od 2009. godine, stvara novu formu horskog pozorišta, sarađujući sa Pozorišnim institutom Zbigniew Raszewski, režirajući “Hor žena - savremeni tragični hor”. Premijera predstave “Hor progovara: samo 6 do 8 sati” održana je u junu 2010. godine na Pozorišnom institutu u Varšavi. Druga predstava u ovom ciklusu, “MAGNIFICAT”, premijeru je imala godinu dana kasnije. Njene predstave nastupale su na pozorišnim festivalima u Njemačkoj, Francuskoj, Indiji, Japanu, Irskoj, Češkoj i Ukrajini.

DIRECTOR

Marta Górnicka is a directress, singer, and graduate of the Faculty of Drama Direction at the Warsaw Theatre Academy. She also studied at the Frederic Chopin School of Music in Warsaw, Warsaw University and the State Drama School in Krakow. She is the authoress of the film Crave, as well as of A Sketch of Recording According to Sarah Kane, which premiered at the Odkryte/Zakryte Festival (Revealed/Hidden) at Warsaws Dramatyczny Theatre. She collaborated with Robert Wilson on the Warsaw production of Symptoms/Akropolis by Gabriella Maione and Stanisław Wyspiański, as well as with Redbad Klijnstra and Swietłana Butskaja on theatre voice work. She has recorded a CD for Polish Radio with songs by Astor Piazzola, and has held a number of solo performances. She has led drama workshops in Salzburg, Rome,Tokyo, Kiev and London. Since 2009, she has been creating a form of chorus theatre, in collaboration with the Zbigniew Raszewski Theatre Institute, and directing The Chorus of Women - a contemporary tragic chorus. The premiere of This is the Chorus Speaking: Only 6 to 8 Hours. took place in June 2010, in the Theatre Institute in Warsaw. The choir’s second show, MAGNIFICAT, premiered a year later. Her shows have been performed at theatre festivals in Germany, France, India, Japan, Ireland, the Czech Republic and Ukraine.

TEATAR Pozorišni institut Zbigniew Raszewski dokumentira, promoviše i oživljava poljsku pozorišnu scenu. Institut pokreće javne rasprave o savremenom poljskom pozorištu, obogaćuje relevantne teorijske rasprave, i podržava istraživanja i obrazovne aktivnosti.

Institut posjeduje najveću zbirku pozorišnih artefakata u Poljskoj, koja uključuje saopštenja za medije, fotografije, plakate, glumačke liste itd. Čitaonica Instituta također pruža pristup slijedećim zbirkama: bibliotečkoj (sa 30.000 naslova na poljskom i drugim jezicima, specijalizirane časopise i specijalna izdanja), te zbirci Media Centra (sa preko 1500 digitalnih snimaka: snimci nastupa uživo, pozorišnih proba, te dokumentarne filmove o poljskom i međunarodnom pozorištu). Galerija Instituta postavlja privremene izložbe na teme vezane za pozorište (koja su također dostupne na Virtuelnoj galeriji na web stranici www.eteatr.pl). Institut također sadrži potpuno opremljeno pozorište, gdje se postavljaju predstave, ali i organizuju konferencije, susreti i predavanja.

Pozorišni institut organizira festivale koji promovišu zanimljive poljske pozorišne pojave (Klata fest u decembru 2005 - predstavljanje djela Jana Klate; poljsko-njemački festival Expres EZ 47 u aprilu 2006; MK Fest u decembru 2006: predstavljanje radova Maje Kleczewsk, te 2008. godine, nakon osam godina pauze, ponovno pokreće najveći poljski pozorišni festival, Varšavske pozorišne susrete. Tokom posljednja tri izdanja festivala, organizovani su i Mali varšavski pozorišni susreti, namijenjeni mladoj publici). Institut također organizuje projekte koji promovišu poljsko pozorište u Poljskoj (Teatr Polska. Doživi pozorište.

Putuj! - program koji omogućuje da se pozorišne produkcije postavljaju na mjestima bez pozorišnih zgrada), kao i edukacije (kao što je TISZ - pozorišta i škole, projekt koji podržava škole i pozorišta; Ljeto u pozorištu – dnevni ljetni kampovi pozorišta za mlade; Stageplay - pozorišne igre koje se održavaju nedjeljom za djecu i njihove roditelje; Dođi u pozorište - nacionalni projekt povezan sa Nacionalnim danom pozorišta), podršku istraživanjima (projekat Other Stages, New Histories), a te ima i međunarodni fokus (npr. razvoj pozorišne arhitekture u centralnoj Evropi).

Institut je također organizator predavanja, sastanaka, radionica, natjecanja, izleta, i rasprava o najvažnijim umjetničkim pojavama. Također organizira i program pod nazivom Soba za novo pozorište (Room for New Theatre), koji pruža umjetnicima pozorišni prostor i tehničku infrastrukturu, kao i mali budžet za razvoj projekata koji će kasnije imati svoju premijeru u poljskim pozorištima.

Institut objavljuje i bilten Poland on Stage (Poljska na pozornici), na tri jezika: engleskom, ruskom i poljskom.

Bilten predstavlja rad poljskih umjetnika i najvažnije pozorišne premijere u Poljskoj. Svako izdanje sadrži novosti iz pozorišnim festivalima, te profile mladih reditelja/ica i pozorišnih skupina.

THEATER The Zbigniew Raszewski Theatre Institute documents, promotes and enlivens the Polish theatre scene. The Institute initiates public debate on contemporary Polish theatre, enriches relevant theoretical reflections, and supports research and educational activities.

The Institute owns the largest collection of theatre memorabilia in Poland, a collection that includes press clippings, photographs, posters, playbills and more.

The Institute’s Reading Room also provides access to the following collections: a Library (30,000 Polish and foreign-language books, specialized periodicals and speciality publications) and a Media Center (over 1,500 digital recordings: recordings of live performances, theatre rehearsals and documentary films on Polish and international theatre). The Institute’s Gallery presents temporary exhibitions on themes related to theatre (also available at the Virtual Gallery at www.e-teatr.pl). The Institute also houses a fully equiped theatre, where productions can be staged, and conferences, meetings and lectures can be organized.

The Theatre Institute organizes festivals that promote interesting Polish theatre phenomena (in December 2005: Klata Fest - a presentation of the works of Jan Klata; April 2006: the Polish-German Expres EC 47; December 2006: MK Fest - a presentation of the works of Maja Kleczewska; and in 2008, following an 8-year hiatus, the Institute reopened Poland’s largest theatre festival, the Warsaw Theatre Meetings. The last three editions of the Festival have included the Little Warsaw Theatre Meetings, intended for young audiences). The Institute organizes projects that promote Polish theatre in Poland (Teatr Polska. Have Theatre. Will Travel! - a program that allows theatre productions to be staged in places without theatre buildings), as well as educate (such as TISZ - Theatre and School, a project that supports schools and theatre; Summer in Theatre - summer theatre day camps for young people; Stageplay - theatre games held on Sundays for children and their parents; Come to the Theatre! - A nationwide project connected with National Theatre Day), support research (Other Stages, New Histories) and have an international focus (e.g. theatre arhitecture in central Europe). The Institute conducts lectures, meetings, workshops, competitions, field trips, and debates on the most important artistic phenomena. It also organizes a program called Room for New Theatre, which provides artists with a theatre space and technical infrastructure, as well as a small budget to develop projects that will later premiere in Polish theatres.

The Institute publishes the newsletter Poland On Stage in three languages: English, Russian and Polish.

The newsletter covers the work of Polish artists and the most important theatre premiers in Poland. Each issue contains news from theatre festivals and profiles of young directors and theatre groups.

Koncept, libreto, režija / Concept, Libretto, Director Marta Górnicka Uloge / Cast Justyna Chaberek Ewa Chomicka Alina Czyżewska Paulina Drzastwa Alicja Herod Anna Jagłowska Katarzyna Jaźnicka Ewa Konstanciak Ewa Kossak Katarzyna Lalik Agnieszka Makowska Kamila Michalska Katarzyna Migdalska Jolanta Nałęcz-Jawecka Natalia Obrębska Anna Rączkowska Anna Rusiecka Monika Sadkowska Karolina Szulejewska Kaja Stępkowska Iwona Tołbińska Agata Wencel Karolina Więch Anna Wodzyńska Anna Wojnarowska Muzika / Score IEN Koreografija / Choreography Anna Godowska Savjetnica dirigentice / Conducting Consultant Marta Sulewska Saradnja na scenografiji / Stage Design Cooperation Anna Maria Karczmarska Produkcija / Production Zbigniew Raszewski Theatre Institute Fotografija / Photography Krzysiek Krzysztofiak

FUTURE MESS

REDITELJICA

Francuska / France

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

02/10/12

FRAGMENTI LJUBAVNOG DISKURSA A LOVER’S DISCOURSE

PREDSTAVA

Ovo su fragmenti govora ljubavnika ili ljubavnice, ali suprotni razgovoru o ljubavi. Barthes čini da ljubavnik ili ljubavnica govori, u prvom licu, ali ovdje se radi o “proglasu, a ne o analizi”. Gdje ljubavna scena podrazumijeva dvoje, Barthes izolira lik jednog ljubavnika ili ljubavnice, kako bi on ili ona mogli govoriti iz svoje samoće.

Ovdje nema likova, ni velike ljubavne priče. Umjesto toga, vidimo figure koje se susreću na pozornici, ostaju zajedno neko vrijeme, ili se mimoilaze brzinom svjetlosti. Vidimo ženu koja hoda, djevojku koja čeka, ćudljivog čovjeka, čovjeka za stolom...ali i Valèra, Marianne, Hortense, Lelia...

Bilo da potiču od Barthesa, Marivauxa, Novog vala ili iz ličnih priča, svi su ludo zaljubljeni i odjednom počinju koegzistirati na istom prostoru, koji na svjetlo iznosi njihove mračne strane. Uvijek je ljubavnica ili ljubavnik osoba koja govori. A u njemu ili njoj prepoznajemo ljubavnike ili ljubavnice kakvi smo mi, one koje smo već upoznali, ili one koji smo nekad bili.

PERFORMANCE

Fragments of a lover’s discourse, but which oppose a discourse about love. Barthes makes the lover talk, in first-person narrative, but it is “an enunciation, not an analysis.” Where the love scene expects two, Barthes isolates the figure of the lover, in order to make him talk from his solitude.

There are no characters, nor a great love story, but rather figures that intersect on the stage, stay some time together, or pass like a flash. A woman who walks, a girl who waits, a moody man, a man at the table...but also Valère, Marianne, Hortense, Lelio...

Whether they come from Barthes, Marivaux, New Wave or personal stories, they are all madly in love, and suddenly begin to coexist in the same space, which shows their dark sides in the light. It is always the lover who speaks. And we recognize, in him, the lover that we are, that we have already met, or that we were.

Julie Duclos diplomirala je na Visokom nacionalnom konzervatoriju dramske umjetnosti u Parizu (2010.), u klasi Dominique Valadié i Alaina Françona. Učestvovala je u radionici Gérarda Desarthea “Ljudi ljeta”, po tekstu Maksima Gorkog, dok je u okviru manifestacije Journées de Juin (Junski dan) učestvovala u predstavi “Od Moliera do Čehova” (De Molière à Tchekhov) i “Radovi” (Travaux, scene iz repertoara), u režiji Dominique Valadié i Alaina Françona. Na Konzervatoriju je režirala radionicu “Fragmenti ljubavnog diskursa”, zasnovanu na romanu Rolanda Barthesa. Kao glumica igrala je u “Labirintu” (Labyrinthe), u režiji Sergea Noyellea, “32 stolice za promjenu” (32 chaises pour une variation) u režiji Geneviève Schwoebel, te Molijerovom “Tartif: Homage Vitezu”, u režiji Dominique Valadié (u Avignonu 2008. godine). Na ekranu se pojavila u kratkim i srednjemetražnim filmova sa Justinom Taurandom i Helierom Cisterneom, između ostalih. U sezoni 2010-2011, glumila je i u “Glumcima dobre vjere” (Les Acteurs de Bonne Foi) Marivauxa, u režiji Jean Pierre Vincenta (u pozorištu Nanterre-Amandier, na turneji tokom 2011. godine), nakon čega slijede Molijerove “Učene žene” (Les femmes savantes), u režiji Marca Paquiena 2012. godine. U pozorištu La Loge (Pariz) je u decembru 2011. godine režirala “Fragmente ljubavnog diskursa”, prema djelu Rolanda Barthesa, a za septembar 2012. godine priprema novu predstavu pod nazivom “Masculin/Féminin” sa grupom L’In-quarto.

DIRECTOR

Julie Duclos received her degree from the Conservatoire National d’Art Dramatique de Paris (class of 2010), where she took courses with Dominique Valadié and Alain Françon.

She took part in Gérard Desarthe’s workshop “The Summer Folks”, upon a text by Maxim Gorky, and in within the Journées de Juin, presented De Molière à Tchekhov and Travaux (scenes from the repertoire), directed by Dominique Valadié and Alain Françon. At the Conservatoire she directed the workshop A Lover’s Discourse, based on Roland Barthes’ text. On stage, she played in Labyrinthe, directed by Serge Noyelle, 32 chaises pour une variation, directed by Geneviève Schwoebel and Tartuffe: Homage to Vitez by Molière, directed by Dominique Valadié (in Avignon 2008). On screen, she appeared in short and medium length films with, amongst others, Justin Taurand and Helier Cisterne. In the 2010-2011 season, she played in Les Acteurs de Bonne Foi by Marivaux, directed by Jean Pierre Vincent (Theâtre Nanterre-Amandier, on tour in 2011); followed by Molière’s Les Femmes Savantes, directed by Marc Paquien in 2012. She directed A Lover’s Discourse, based on the work of Roland Barthes at the Theatre La Loge (Paris) in December 2011, and is preparing a new production for September 2012, called Masculin/Féminin with L’Inquarto.

TEATAR

THEATER

“Umjetnost je ono što život čini zanimljivijim od umjetnosti.” Robert Filliou

“Art is what makes life more interesting than art.” Robert Filliou

L’In-quarto je skupina mladih ljudi koji su nedavno diplomirali na Visokom nacionalnom konzervatoriju dramske umjetnosti u Parizu.

L’In-quarto predstavlja identite u razvoju, udruživanje snaga da bi se zajedno stvaralo, kako bi se uništila izolacija, kako bi ovi umjetnici/e zauzeli svoje mjesto u nadolazećim generacijama pozorišnih umjetnika/ca. Oni su prvo bili samo grupa prijatelja. Onda su postali dio radionice, koju je na Konzervatoriju pokrenula Julie Duclos u decembru, pod nazivom “Fragmenti ljubavnog diskursa“, bazirane na djelu Rolanda Barthesa. U martu 2011. godine, na inicijativu Julie Duclos, udružili su snage pod imenom L’In-Quarto.

Ovo je uslijedilo iz zajedničke potrebe da ponovno otkrijemo cilj nakon završene škole, te potvrdimo našu odlučnost da produbimo veze s grupom koje smo već ustvari dio.

Početak: naši prvi susreti su bili u Parizu u hotelu La Loge sa pripremama “Fragmenata ljubavnog diskursa”. Ne kao oživljavanje. Nego kao varijacija. Kao ponovno stvaranje. Glumac/ ica-kreator/ica dolazi posvjedočiti o svom odnosu prema svijetu, o svojoj priči. To je način rada koji je zasnovan na improvizaciji, te na ličnim pričama glumaca. Kao kvarto, kvintet ili kvartet. Opipljivo, u horu, kao partitura u procesu pisanja. U septembru 2012. godine premijerno će izvesti novu produkciju u Parizu, “Masculin/Feminin”.

L’In-quarto is a group of young people recently graduated from the Conservatoire National Supérieur d’Art Dramatique de Paris.

L’In-quarto is an identity evolving, a joining of forces to create in concert, to vanquish isolation, to claim their place in the upcoming generation of theatrical artists. They were first a group of friends. Then they became a workshop produced at the Conservatoire by Julie Duclos, in December 2009, entitled: A Lover’s Discourse, based on Roland Barthes’ text. In March 2011, at Julie Duclos’s initiative, the joined forces under the name L’In-quarto. This came out of a joint necessity to rediscover ourselves after finishing school, and to reaffirm our determination to deepen ties with a group that we were in fact already part of. The beginning: first meetings in Paris at La Loge for A Lover’s Discourse. Not a revival. A variation. A re-creation. The actorcreator comes to testify his relationship to the world, his own story. It’s a way of working that is based on improvisation, and the actors’s personal material. A quarto, a quintet, a quartet. Tangible, in chorus, like a score in the process of being written. In September 2012, they will release a new production in Paris, Masculin/Feminin.

Uloge / Cast Maëlia Gentil David Houri Yohan Lopez Guillaume Ravoire Alix Riemer Asistentica / Assistant Calypso Baquey Video menadžer / Video Manager Guillaume Malichier Tehnika i svjetlo / Technical, Light Manager Ben-Jamin Karamehmedovic Fotografija / Photography Pierre Sautelet Produkcija / Production L’In-quarto

FUTURE MESS

Rediteljica / Director Julie Duclos

REDITELJICA

Austrija - SAD / Austria - USA

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

06/10/12

Zachary and Gator Oberzan

TVOJ BRAT. SJEĆAŠ SE? YOUR BROTHER. REMEMBER?

PREDSTAVA

Kao složen eksperiment s konceptom fotografija “prije i poslije”, predstava “Tvoj brat. Sjećaš se?” cjepka i spaja kućne snimke, holivudske filmske snimke i glumačku igru uživo. Odrastajući u ruralnoj Americi, Zachary i njegov stariji brat Gator su kao djeca uživali praveći parodije na svoje omiljene filmove, a najviše na karate opus Jean-Claudea Van Dammea, “Kickboxer”, i zloglasni kultni film “Lica smrti”. Od tada je prošlo dvadeset godina. Nakon što se otuđio od porodice, Zack se vraća u kuću svog djetinjstva da ponovno kreira ove filmove, scenu za scenom, što je preciznije moguće - ali sada kroz objektiv dvadeset godina emocionalnog i fizičkog trošenja i habanja.

Jedan brat je postao glumac, a jedan se doveo do samouništenja.

Bilo da ste rođeni u Belgiji ili u Americi, jednostavna želja za ljubavlju iz djetinjstva miješa se sa slavom, drogom, i ambicijama.

Sa gospodinom Van Dammom i renomiranim patologom dr. Francisom Grossom u svom čošku ringa, Zack & Gator po posljednji put ulaze u njega da bi se pokušali izboriti za iskupljenje

PERFORMANCE

An elaborate experiment with the concept of beforeand-after photographs, Your brother. Remember? splices and dices home videos, Hollywood film footage, and live performance. As kids in rural America, Zachary and his older brother Gator loved making parodies of their favorite films, most notably JeanClaude Van Damme’s karate opus Kickboxer, and the notorious cult film Faces of Death. Then twenty years passed. Estranged from his family, Zack returned to his childhood home to re-create these films, shot for shot, as precisely as possible - but now seen through a twenty-year lens of emotional and physical wear and tear. One brother became an actor, and one selfdestructed.

Born in Belgium or America, the simple childhood desire for love gets confused with fame, drugs, and ambition.

But with Mr. Van Damme and renowned pathologist Dr. Francis Gross in their corner, Zack & Gator step into the ring one last time for a title shot at redemption.

Koncept, režija, urednik, izvedba / Concieved, Directed, Edited, Performed by Zachary Oberzan Uloge / Cast Zachary Oberzan

REDITELJ

Zachary Oberzan je jedan od prvobitnih članova pozorišnog kolektiva Nature Theater u Oklahomi, a sad živi i radi u New Yorku. S Nature Theater je sarađivao i nastupao u brojnim produkcijama, uključujući i “Poetiku: Balet Brut” (Politics: Ballet Brut), “Nema kocke” (No Dice) koja je osvojila Obie nagradu, te predstavu sa jednim glumcem “Rambo Solo”. Njegov dugometražni igrani film “Ludim od ljubavi za ovim djetetom” (Flooding with Love for The Kid) - adaptacija romana “Prva krv” (First Blood), koji je uveo publiku u svijet lika Ramba je filmski rat jednog glumca, koji je u cjelosti snimio i montirao Oberzan (i koji ujedno igra svih 26 uloga) u svom stanu od 220 kvadratnih metara na Menhetnu. Trenutno se prikazuje u kinima, institutima umjetnosti i filmskim festivalima u Sjevernoj Americi i Evropi. Nastupao je sa Wooster grupom i Richardom Foremanom, te izdao dva albuma pjesama, od kojih je najnovija “Athletes of Romance”.

Tehničar svjetla, zvuka i videa / Light, Sound and Video Technician Thomas Barcal Asistentica režije, menadžerica turneje / Assistant Director, Tour Manager Nicole Schuchardt / brut Wien Fotografija / Photography Sylvie Moris Nancy Geeroms Produkcija / Production brut Koproduktionshaus Wien Koprodukcija sa / A coproduction with: Kunstenfestivaldesarts 2010 Noorderzon Performing Arts Festival Grand Theater Groningen

DIRECTOR

Zachary Oberzan is an original member of Nature Theater theatre collective of Oklahoma, and is now based in New York City. With Nature Theater, he has collaborated and performed in numerous productions, including Poetics: a Ballet Brut, the Obie-winning No Dice, and the one-man show Rambo Solo. His feature film Flooding with Love for The Kid (an adaptation of the novel First Blood, which introduced the world to the character of Rambo) is a one-man cinematic war, shot and edited in its entirety by Oberzan (who plays all 26 roles) in his 220 square foot apartment in Manhattan. It is currently being screened in theatres, art institutes and film festivals in North America and Europe. He has performed with The Wooster Group and Richard Foreman, and has released two albums of songs, most recently Athletes of Romance.

TEATAR

Brut Koproduktionshaus Wien (Brut koprodukcijska kuća) je institucija sa sjedištem u Beču koja se bavi koprodukcijom, sa naglaskom na eksperimentalne i inovativne izvedbene umjetnosti. U okviru svoja dva glumačka prostora, Brut ugošćava i podržava kako lokalne, tako i međunarodne umjetnike/ ice i grupe, detaljno stvarajući nove stavove o pozorištu, savremenom plesu i performansima.

Osim toga, Brutov sveobuhvatan program također sadrži predavanja i čitanja, a možda i neke od najzabavnijih partija i pop koncerata u gradu.

THEATER

Brut Koproduktionshaus Wien is a Vienna based co-producing institution focusing on experimental and innovative performing arts. Within its two venues, Brut hosts and supports local and international artists and companies, elaborating new positions on theatre, contemporary dance and performance.

In addition, Brut’s comprehensive program also contains lectures, readings and perhaps some of the most entertaining parties and pop concerts in town.

Na video zapisu / Featuring on video Gator Oberzan

FUTURE MESS

Autori / Authors Zachary and Gator Oberzan

Bosna i Hercegovina / Bosnia and Herzegovina

Sarajevski ratni teatar 21.00 Sarajevo War Theatre 21.00 Trajanje / Running time 100 min.

07/10/12

99% (STRAH I BIJEDA TREĆEG RAJHA) 99% (FEAR AND MISERY OF THE THIRD REICH)

PREDSTAVA

“99% (Strah i bijeda Trećeg rajha)”, dramski tekst Bertolta Brehta, govori o životu njemačkog naroda pod vladavinom Adolfa Hitlera, o rastućem nacizmu i poniženju ljudskog bića. Izjave svjedoka i novinski članci iz tog vremena poslužili su kao osnovna građa za tekst “Strah i bijeda Trećeg rajha”.

Kako se fašističko-nacionalistička retorika sve glasnije čuje i nailazi na sve veću podršku među Evropljanima, sve je izvjesnije da atmosfera u današnjem evropskom društvu počinje nalikovati na onu iz 1933. godine. Kako priča o Rajhu, ili ideji premoći jednog nad drugim, očigledno nikada nije svršena, ova predstava je pokušaj da upozorimo na pogubne posljedice slijeđenja nazi-fašističke politike.

PERFORMANCE

99% (Fear and misery of the Third Reich), is a play by Bertold Brecht that speaks about life of people under the rule of Adolf Hitler, about growing Nazism and humiliation of human beings. Statements of witnesses and news articles from the time have served as the base for the text of The Fear and Misery of Third Reich.

As the fascist-nationalist rhetoric gets louder across Europe, and as the support for that rhetoric is growing among the Europeans, it is not far from the truth to say that the atmosphere across Europe is starting to resemble to the one in 1933. Due to the fact that the story of the Reich, or the idea of dominance of one over the others, obviously, never was terminated, this theatre performance is trying to point at the disastrous consequences of the following of nazifascist rhetoric.

REDITELJ

Nermin Hamzagić (1986) je režirao svoju prvu profesionalnu predstavu “Kopenhagen” Michael Frayna u East West teatarskoj kući i dokumentarac “Sanjari” koji je bio u selekciji 15. Sarajevo Film Festivala i Festivala dokumentarnog filma Jihlava, South Europe Film Festival L.A. (2010), Chicago film festival (2010). “Sanjari” su nominirani za Silver Eye Award na East Silver Market u Pragu. Također, režirao je kratki film “Wahabis in Tram”.

Film je postavljen na YouTube i za kratko vrijeme je stekao ogromnu popularnost. 2009. godine njegov kratki film “Život” je nagrađen na festival “Europe is here”, Plovdiv.

Također, 2009. producirao je H.C. Andersonovo “Ružno pače” u režiji Elme Islamović. Na dokumentarnom filmu Aide Begić “Djeca” iz 2010. u produkciji Mediacentar Sarajevo bio je asistent režije. U 2011. režirao je pozorišnu predstavu “Ulica divljih kestenova”, Danila Kiša u koprodukciji sa Međunarodnim teatarskim festivalom MESS. 2010 pridružio se timu Film House. 2012. režirao je pozorišnu predstavu “99% (Strah i bijeda Trećeg rajha”) u produkciji Sarajevskog ratnog teatra.

Uloge / Cast Amila Terzimehić Snežana Alič Jasenko Pašić Alban Ukaj Adnan Hasković Amar Selimović Dramaturgija / Dramaturgy Asja Krsmanović Prijevod sa njemačkog jezika / Translation from German Language Nadira Selimović Esma Karić Scenografija / Stage Design Tarik Musakadić Kostimografija / Costume Design Oshyosh Izbor muzike / Music Selection Mirza Šišić Tijana Vignjević

DIRECTOR

Nermin Hamzagić (1986) directed his first professional theatre performance Copenhagen

by Michael Frayn at the East West Theatre Company and the documentary Dreamers that has been selected for the 15th Sarajevo Film Festival and Jihlava documentary film festival. South Europe Film Festival L.A. (2010), Chicago film festival (2010). Dreamers were nominated for the Silver Eye Award at the East Silver Market in Prague. He also directed the short film Wahabis in Tram. It has been shown only on YouTube and in a short time gained huge popularity. In 2009 his short film Lift has been awarded at the international film festival Europe is here, Plovdiv. In 2009 he produced H.C. Andersen’s Ugly Duckling directed by Elma Islamović. He assisted director Aida Begić on the documentary film Children in 2010 produced by Media Centre Sarajevo. In 2011 he directed the theater performance Ulica divljih kestenova by Danilo Kiš in coproduction with the International theater festival MESS. In 2010 he joined the Film House team. In 2012 he directed 99% (Fear and Misery of the Third Reich) in production of Sarajevo War Theatre.

Pjesme izvedene u predstavi / Songs Performed: “Silly bully boy” (1998)-Tiger Lilies “Supply and demand”( Die Maβnahme” 1930) autor: Bertold Brecht Grafički dizajn / Graphic Design Goran Lizdek Video Art Redžinald Šimek Fotografija / Photography Velija Hasanbegović Instruktor za borilačke vještine / martial arts instructor Ragib Karamehmedović Mentor Haris Pašović

TEATAR

Sarajevski ratni teatar je najmlađa teatarska kuća osnovana u Sarajevu 1992. godine, na početku opsade Sarajeva. Osnivanje teatra u takvim okolnostima je jedan od elemenata koji podržava ideju fenomena koji je u tom periodu bio označen terminom “kulturni otpor”, kao potrebu čovjeka da u najtežim vremenima identificira kulturu i umjetnost, u ovom slučaju teatar, kao osnovnu i sasvim prirodnu ljudsku potrebu. Upravo je očuvanje ove tradicije, prošireno na fenomen teatra koji je osnovan u radikalnim situacijama, ono što se smatra osnovom i glavnom smijernicom u razvoju ove institucije, kao i prošlom i budućem radu.

Sarajevski ratni teatar okuplja ansambl mladih glumaca i režisera, i veoma profesionalan tim koji podržava umjetničke procese i napore.

Teatar je otvorena scena koja daje prostor, ne samo teatarskim predstavama, nego i drugim formama umjetničkog izražavanja. Budući da našom dužnošću smatramo širenje pozitivnih vrijednosti i educiranje publike, Sarajevski ratni teatar je uspostavio scenu za djecu pod nazivom SARTRČIĆI, koja nudi specijalni program za djecu, čime se stvara i educira buduća pozorišna publika. U prvoj polovini 2012. godine, Sarajevski ratni teatar je održao premijere četiri predstave, zabilježio 46 igranja predstava, a sezonu 2011/2012 zaokružio sa oko 70 igranja, na svojoj sceni i scenama širom Bosne i Hercegovine i Regije.

THEATER

Sarajevo War Theatre is the youngest theatre company established in Sarajevo in 1992., at the beginning of the siege of Sarajevo. The establishment of the theatre under those circumstances is actually one of the elements that supports the idea of a phenomenon which in that period has been recognized under the term of “cultural resistance” as the man’s need in the hardest of times to identify culture and art, in this case theatre, as the basic and completely natural human need. It is precisely the preservation of this tradition, expanded to the phenomenon of theatre that is created in radical situations that is considered the basis of central guidelines of this Institution’s development and prior and future work. Sarajevo War theatre gathers an ensemble of young actors and directors, and a very professional team that supports the artistic process and efforts. The Theatre is an open stage that gives space, not only to the theatre performances, but also, to the other forms of artistic expression. Since we find it to be our duty to spread positive values and educate the audience, Sarajevo War Theatre established a scene for children called SARTRČIĆI, that offers a special programme reserved for children, thus creating and educating the future audience. In the first half of 2012 Sarajevo War Theatre premiered four plays, held 46 performances, and rounded the 2011/2012 season with 70 performances, at home and around throughout Bosnia and Herzegovina and the Region.

Producent / Producer Nihad Kreševljaković

FUTURE MESS

Reditelj / Director Nermin Hamzagić

ODETTE & ODILE DOK SE VATRA RASPLAMSAVALA PLESALI SMO UZ SIRENE, SIRENE

AS THE FLAMES ROSE WE DANCED TO THE SIRENS, THE SIRENS

GLEDAJTE ME KAKO PADAM WATCH ME FALL

DAN RANIJE THE DAY BEFORE

Bosna i Hercegovina / Bosnia and Herzegovina

Sarajevski ratni teatar 24.00 Sarajevo War Theatre 24.00 Trajanje / Running time 40 min.

29/09/12

ODETTE & ODILE

Po motivima filma “Crni labud” Darrena Aranofskog Based on motives from the film Black Swan by Darren Aranofsky

PREDSTAVA

“Odette&Odile” je predstava bazirana samo na pokretu i savremenom plesu. Inspirisana je motivima filma “Crni labud” Darrena Aranofskog.

Dva labuda, Odette, bijeli, nevini, nježni, kojeg igra Ena Kurtalić, i crni Odile, koji je senzualan, slobodan i zavodljiv i kojeg utjelovljuje glumica Amila Terzimehić, vode nas kroz priču o razumu i emocijama, restrikcijama i slobodi, hrabrosti i strahu. Priča o umjetniku/ici, koji/a u sebi otkriva skrivene slojeve svoje ličnosti, a koji počinju da izlaze na površinu te postaju dominantne karakteristike njegovog/njenog karaktera.

PERFORMANCE

Odette&Odile is based on movement and contemporary dance techniques. Two swans, Odette – white, innocent, gentle one, and Odille-black, sensual, free and seductive are guiding us trough the story of ratio and emotion, restrictions and freedom, courage and fear. It is a story about an artist, a person who discovers previously unknown layers of their own personality, which suddenly become their dominant character traits.

Stručna saradnica / Consultant Jasna Žalica Kostimografija / Costim Design Lejla Hodžić

TEATAR

Scenografija / Stage Design Amar Zahiragić

Sarajevski ratni teatar je najmlađa teatarska kuća osnovana u Sarajevu 1992. godine, na početku opsade Sarajeva. Osnivanje teatra u takvim okolnostima je jedan od elemenata koji podržava ideju fenomena koji je u tom periodu bio označen terminom “kulturni otpor”, kao potrebu čovjeka da u najtežim vremenima identificira kulturu i umjetnost, u ovom slučaju teatar, kao osnovnu i sasvim prirodnu ljudsku potrebu. Upravo je očuvanje ove tradicije, prošireno na fenomen teatra koji je osnovan u radikalnim situacijama, ono što se smatra osnovom i glavnom smijernicom u razvoju ove institucije, kao i prošlom i budućem radu.

Sarajevski ratni teatar okuplja ansambl mladih glumaca i režisera, i veoma profesionalan tim koji podržava umjetničke procese i napore.

Teatar je otvorena scena koja daje prostor, ne samo teatarskim predstavama, nego i drugim formama umjetničkog izražavanja. Budući da našom dužnošću smatramo širenje pozitivnih vrijednosti i educiranje publike. Sarajevski ratni teatar je uspostavio scenu za djecu pod nazivom SARTRČIĆI, koja nudi specijalni program za djecu, čime se stvara i educira buduća pozorišna publika. U prvoj polovini 2012. godine, Sarajevski ratni teatar je održao premijere četiri predstave, zabilježio 46 igranja predstava, a sezonu 2011/2012 zaokružio sa oko 70 igranja, na svojoj sceni i scenama širom Bosne i Hercegovine i Regije.

Fotografija, grafički dizajn / Photography, Graphic Design Velija Hasanbegović Šef tehnike / Technical Manager Damir Fazlagić Svjetlo / Light Nedim Pejdah Amer Serhatlić Ton / Sound Sretko Vujić Irhad Hodžić Trailer-kamera / Trailer-Camera Almir Đikoli Montaža / Editing Redžinald Šimek Produkcija / Production Sarajevski ratni teatar i Akademija scenskih umjetnosti Sarajevo War Theatre and Academy of Performing Arts

THEATER

Sarajevo War Theatre is the youngest theatre company established in Sarajevo in 1992., at the beginning of the siege of Sarajevo.

The establishment of the theatre under those circumstances is actually one of the elements that supports the idea of a phenomenon which in that period has been recognized under the term of “cultural resistance” as the man’s need in the hardest of times to identify culture and art, in this case theatre, as the basic and completely natural human need. It is precisely the preservation of this tradition, expanded to the phenomenon of theatre that is created in radical situations that is considered the basis of central guidelines of this Institution’s development and prior and future work. Sarajevo War theatre gathers an ensemble of young actors and directors, and a very professional team that supports the artistic process and efforts. The Theatre is an open stage that gives space, not only to the theatre performances, but also, to the other forms of artistic expression. Since we find it to be our duty to spread positive values and educate the audience, Sarajevo War Theatre established a scene for children called SARTRČIĆI, that offers a special programme reserved for children, thus creating and educating the future audience. In the first half of 2012 Sarajevo War Theatre premiered four plays, held 46 performances, and rounded the 2011/2012 season with 70 performances, at home and around throughout Bosnia and Herzegovina and the Region.

FUTURE MESS IYMT PROGRAM

Režija, koreografija, igraju / Direction, Choreography, Cast Amila Terzimehić Ena Kurtalić

Španija - Velika Britanija / Spain - Great Britain

Kamerni teatar 55 18.00 Chamber Theatre 55 18.30 Trajanje / Running time 35 min.

02/10/12

DOK SE VATRA RASPLAMSAVALA PLESALI SMO UZ SIRENE, SIRENE AS THE FLAMES ROSE WE DANCED TO THE SIRENS, THE SIRENS

PREDSTAVA

Iara se plaši najgoreg. Traži sobu punu stranaca kojima može pasti u naručje. Iako je svjesna da joj se ne može u potpunosti vjerovati, te da baš i ne zaslužuje pomoć od bilo koga, večeras bi željela da se osloni na vas…

Sat uznemirujuće intime i pretjerivanja, sve odigrano u formi minijature, ovo je poziv u pomoć, i govori o meni, i tebi, kao i o čudnoj, ponekad zastrašujućoj povezanosti koja raste među nama.

PERFORMANCE

Iara is starting to fear the worst. She’s looking for a roomful of strangers whose arms she can fall into.

And while she knows that she cannot necessarily be trusted, and may not be entirely deserving of help, tonight she would like to put herself in your hands…

An hour of troubling intimacy and drunken excess, all played out in miniature, this is a cry for help, and it’s about me, and you, and the strange and sometimes frightening connection that is growing between us.

Uloge / Cast Iara Solano Arana Muzika / Original Music Esme Squalor Fotografija / Photography Miguel Gil REDITELJ

Sammy Metcalfe je izvođač, reditelj i scenarist rođen u 1983. godine u Londonu, Velika Britanija. Od 2006. godine je umjetnički direktor britansko-španske pozorišne kompanije Sleepwalk Collective, u okviru koje režira svih dosadašnjih 11 projekata ove Kompanije. Nagrade koje je dobio sa projektima Sleepwalk Collective-a su: nagrada za najbolju režiju na Festivalu ACT Bilbao u 2010, nagrada za najbolju predstavu na festivalu BE Birmingham 2011. godine, kao i dvije uzastopne nominacije za nagradu Total Theatre na festivalu Edinburgh. Kao izvođač i suradnik radio je sa teatarskim kompanijama Zecora ura (Velika Britanija/Brazil), Dende kolektiv (Velika Britanija/Brazil) i Imploding Fictions (Velika Britanija/Norveška). Također, trenutno radi kao producent u Factoría de Fuegos, i kao umjetnički direktor Festivala Intacto. Od 2007. živi i radi u Vitoria-Gasteiz, Španija.

DIRECTOR

Sammy Metcalfe is a performer, director and writer born in 1983 in London, UK. Since 2006 has been Artistic Director of UK/Spanish performance company Sleepwalk Collective, directing all of the company’s 11 projects to date. Prizes for work with the company include Best Direction at Festival ACT Bilbao in 2010, and Best Show at Festival BE Birmingham in 2011, as well as two consecutive nominations for the Total Theatre Awards at the Edinburgh Festival. He has worked as a performer and collaborator with companies include Zecora Ura (UK/Brazil), Dende Collective (UK/Brazil) and Imploding Fictions (UK/Norway). He also currently works as a producer at Factoría de Fuegos, and as Artistic Director of Festival inTACTO. Since 2007 he has lived and worked in Vitoria-Gasteiz, Spain.

TEATAR

Sleepwalk Collective je nagrađivana, eksperimentalna pozorišna skupina, koja stvara specifično intimna izvedbena iskustva između Velike Britanije i Španije. Mi stvaramo krhka nokturna za pozorišta i druge prostore koja proizilaze iz fascinacije otpadom pop-kulture, opijenosti kao i misterijama i složenošću naših međusobnih odnosa.

Delikatno balansirajući između radosti i tragedije, naši nastupi su razigrani i senzualni, definirani minimalističkom estetikom i zavodljivim osjećajem opasnosti.

THEATER

Sleepwalk collective is an award-winning live-art and experimental theatre group creating intimate performance experiences between the UK and Spain. We make fragile, nocturlan works for theatres and other spaces, emerging from a fascination with pop culture junk, intoxication, and the mysteries and complexities of our relationships with each other.

Balancing delicately between joy and tragedy, our performances are playful and sensual, defined by minimalist aesthetic and seductive sense of danger.

FUTURE MESS IYMT PROGRAM

Reditelj / Director Sammy Metcalfe

Velika Britanija / Great Britain

Međunarodni centar za djecu i omladinu Novo Sarajevo 18.00 International Centre for Children and Youth Novo Sarajevo 18.00 Trajanje / Running time 55 min.

04/10/12

GLEDAJTE ME KAKO PADAM WATCH ME FALL

PREDSTAVA

Okrećem se kao topovsko đule. Izlazim iz topa, udaram rampu brzinom od 90 milja na sat, letim visoko iznad deset dvospratnih autobusa. Možda ću pasti. Možda ću se razbiti u stotinu komada, a onda ću se pokupiti, stresti prašinu sa sebe, i opet ponoviti isto. Ovaj put, idem više, dalje i brže. Večeras ću pokušati nemoguće.

Action Hero je trupa koja je sve izmjerila, izračunala, i uvjerena je da bi situacija mogla ići u bilo kojem smjeru. Dođite i navijajte za nas, bodrite nas, molite se za nas i gledajte nas kako padamo.

Ako me ikada vidite kako gorim, ne pokušavajte mi pomoći, samo se izmaknite i čekajte da moji ljudi dođu da me spase.

“Gledajte me kako padam” je za avanturiste lišene straha. Ona predstavlja našu opsesiju onima koji pokušavaju nemoguće, uzaludnost njihovih pokušaja i njihov neizbježni gubitak dostojanstva. Sve je to postavljeno na pistu iz kućne radinosti, uz publiku koja stoji. Action Hero pomiče granice u ime zabave.

PERFORMANCE

I’m going over in a barrel. I’m leaving the cannon, hitting the ramp at 90mph and clearing ten doubledecker buses. I might fall. I might break my body into several pieces, but then I’ll pick myself up, dust myself off and do it all over again. This time, I’m going higher, further and faster. Tonight, I will attempt the impossible.

Action Hero have measured it out, done a few calculations and they’re confident…it could go either way. Come along and cheer for us, pull for us, pray for us and watch us fall.

If at any point you see me on fire, don’t try and help, just stand well back and wait for my own people to be there.

Watch Me Fall is for the daredevils. It’s our obsession with those who attempt the impossible, the futility of their attempts and their inevitable fall from grace. Set on a DIY runway with a standing audience, Action Hero push the limit in the name of entertainment.

Uloge / Cast Gemma Paintin James Stenhouse Fotografija / Photography Sandy Danbury

TEATAR

Action Hero predstavlja saradnju između britanske umjetnice Gemme Paintin i umjetnika Jamesa Stenhousea.

Ekipa Action Hero stvara “live art” i performanse koji se bave mitologijom popkulture, idejom da su neki ljudi zajedno u određenoj prostoriji, i apsurdnošću toga što stojimo pred nekim stranim ljudima, radeći nešto. Njihov rad ima često dimenziju epskog, iako se izvodi sa improviziranim sredstvima bez puno estetske pompe.

Za Action Hero performans je događaj, privremena zajednica, te uživaju da publiku koriste kao saradnike u zajedničkoj zavjeri.

Stekli su reputaciju autora performansa koji su prepoznatljivi i osvježavajući, te su stvarali za pozorišta, zabave, klubove, galerije i javne prostore.

Gemma i James djeluju zajedno pod imenom Action Hero od 2005. godine. Žive i rade u Bristolu, u Velikoj Britaniji, ali redovito prikazuju svoj rad na nacionalnim i međunarodnim turnejama. Članovi su udruženja Residence, Chelsea Theatre Associates, te kompanije Forest Fringe.

THEATER

Action Hero is the collaboration between UK artists Gemma Paintin and James Stenhouse.

Action Hero make live art and performance that is interested in pop cultural mythologies, people being together in a room and the absurdity of standing in front of some strangers and doing something. Their work often has a sense of the epic, even though it is played out through a raw, DIY, lo-fi aesthetic.

Action Hero think about performance as an event, as a temporary community, and enjoy using audiences as collaborators and co-conspirators. They have developed a reputation for creating performance that is distinctive and invigorating, and have created work for theatres, parties, clubs, galleries and public spaces.

Gemma and James have been making performance together as Action Hero since 2005, and live and work in Bristol, UK, and regularly tour their work nationally and internationally.

They are members of Residence, Chelsea Theatre Associates and a Forest Fringe company.

FUTURE MESS IYMT PROGRAM

Reditelji / Directors Gemma Paintin James Stenhouse

Rusija / Russia

Narodno pozorište Sarajevo - Mala scena 19.00 INational Theater Sarajevo - Small Stage 19.00 Trajanje / Running time 10 min.

06/10/12

DAN RANIJE THE DAY BEFORE

PREDSTAVA

“Dan ranije” je nostalgija. Balans između veoma formalne koreografije i izuzetno emotivnog nostalgičnog raspoloženja. Očekivanja i specifična struktura izvedbe čine ovaj performans jasnim i veoma ličnim izrazom inspirisanim jednostavnošću cjeline.

PERFORMANCE

The Day Before is nostalgia. It is a balance between very dry choreography and highly emotional nostalgic mood. Dealing with expectations and specific structure choices this piece becomes a clear and very personal expression mainly inspired by the simplicity of the whole.

Fotografija / Photography Daniel Barth

REDITELJICA

Sonya Levin je rođena u Moskvi gdje je studirala na Alexander Shishkin School of Contemporary Dance i Nikolay Ogryzkov School of Contemporary Dance, a plesnu tehniku butoh na Anatoliy Vasilyev TheaterSchool of Dramatic Art. Zatim je u sarađivala sa plesnim ansamblima: Natalya Shirokova Dance Theater(Na.sH), Denis Boroditsky Dance Company (BDDC), PO.V.S.Tanze i Monkey Production.

Sonya je 2008. i 2009. bila na umjetničkom boravku u moskovskoj plesnoj agenciji Tsekh.

Tu 2008. kreira svoj prvi solistički nastup “Blackout”, a 2009. sljedeći, “The Superman’s Last Supper”. Ovi komadi su izvođeni u pozorištima i na festivalima širom Moskve.

Sonya je diplomirala 2011. na školi Salzburg Experimental Academy of Dance (SEAD), gdje je studirala na dva odsjeka, prvu diplomu stiče na odsjeku za ples, a drugu nakon postdiplomskog studija koreografije (International Choreography Exchange - IEC).

Tokom studija u Austriji napravila je četiri komada koji su izvedeni na festivalima u Salzburgu, Berlinu, Bilbau i Moskvi.

2010. godine na Summer Szene Dance Festivalu u Salzburgu, u Austriji, Sonya izvodi komad “Outdoors” koji je režirao holandski koreograf Diego Gil. Sonya Levin trenutno živi u Berlinu gdje radi kao samostalna plesačica, izvođačica i koreografkinja.

DIRECTOR

Sonya Levin was born in Moscow, there she studied at “Alexander Shishkin School of Contemporary Dance”, “Nikolay Ogryzkov School of Contemporary Dance” and Butoh dance technique at the Anatoliy Vasilyev “Theater -School of Dramatic Art”. Later on in Moscow Sonya worked with: “Na.sH” Natalya Shirokova Dance Theater, “BDDC” Denis Boroditsky Dance Company, “PO.V.S.Tanze” Dance Company and “Monkey Production” Dance Company.

Sonya was an artist in residence in “Tsekh” Dance Agency (Moscow) in 2008 and 2009.

There in 2008 she created her first solo performance “Blackout” and then in 2009 another solo piece “The Superman’s Last Supper”. These pieces were shown in theaters and festivals in Moscow.

In 2011 Sonya Levin has graduated from “SEAD” (Salzburg Experimental Academy of Dance) where she studied in two programs: major in dance and postgraduate choreography program “ICE” (International Choreography Exchange). During her studies in Austria she had created four pieces that were shown in festivals in Salzburg, Berlin, Bilbao and Moscow.

In 2010 Sonya performed in “Outdoors” the piece directed by choreographer Diego Gil (NL) at the “Summer Szene Dance Festival” in Salzburg, Austria.

Sonya Levin is currently based in Berlin and works as a freelance dancer, performer and choreographer.

FUTURE MESS IYMT PROGRAM

Koreografije, izvedba / Choreography, Performed by Sonya Levin

SLOBODA - RADIONICA SANFORD MEISNER TEHNIKE ZA GLUMCE/ICE FREEDOM - SANFORD MEISNER ACTING TECHNIQUE WORKSHOP FOR ACTORS

UMJETNIK/ICA - TURIST/KINJA – RADIONICA ZA GLUMCE/ICE, PERFORMERE/ICE, PLESAČE/ICE ARTIST/TOURIST – WORKSHOP FOR ACTORS/PERFORMERS/DANCERS

RADIONICA ZA DRAMSKE PISCE / SPISATELJICE WORKSHOP FOR PLAYWRIGHTS

OD IDEJE DO PRODUKCIJE I DISTRIBUCIJE – RADIONICA DOKUMENTARNOG FILMA

IDEA TO PRODUCTION TO DISTRIBUTION – DOCUMENTARY WORKSHOP

POKRETNA SCENA - MASTER CLASS O HISTORIJI PLESA MOVING STAGE-MASTER CLASS ON THE HISTORY OF DANCE

Narodno pozorište Sarajevo - Mala scena 10-17h National Theater Sarajevo - Small Stage 10-17h

29/09/1203/10/12

Kriterion 10-16h Kriterion 10-16h

01-02/ 10/12

William i Suzanne Esper SLOBODA - RADIONICA SANFORD MEISNER TEHNIKE ZA GLUMCE/ICE William Esper je međunarodno priznat autoritet kad je riječ o djelu Sanforda Maisnera. On je koautor (sa Damonom DiMarcom) knjige The Actor’s Art and Craft: William Esper Teaches the Meisner Technique, koju je 2008. objavio izdvač Anchor/Random House. Diplomirao je na univerzitetu Western Reserve, kao i na školi Neighborhood Playhouse School of the Theater u kojoj ga je glumi podučavao Sanford Meisner.

1962. sa Meisnerom započinje obuku za predavača i režisera, i blisko s njim sarađuje u narednih petnaest godina. Od 1965. do 1977. Esper je predavao u školi Neighborhood Playhouse, a od 1974. do 1977. je bio pomoćnik šefa Odsjeka za glumu. 1977. pokreće programe dodiplomskih i diplomskih studija za obuku profesionalih glumaca/ica na Mason Gross School of the Arts pri Univerzitetu Rutgers. Bio je šef Odsjeka do 2004.

Svoj njujorški studio osniva 1965. i predaje u njemu paralelno uz rad na pomenutim institucijama. I danas podučava u svom studiju. William Esper je bio gostujući umjetnik i predavač na kanadskom Banff Festival of the Arts, kao i u National Theater School of Canada, St. Nicholas Theater u Chicagu i Schauspiel München School u Minhenu. Zajedno za suprugom Suzanne, Esper je vodio mnoge radionice širom Evrope, a svakako najpoznatije među njima su bile u institucijama poput National Film School of Denmark, The National Theater School of Norway and the State Theater of Mannheim. 2008. godine on i supruga predstavljaju Meisnerov rad u Rusiji na St. Petersburg State Academy of Theater. Često je učestvovao u regionalnim i off-Broadway produkcijama. Član je njujorškog The Ensemble Studio Theater. Esperov portret je objavljen u knjizi The New Generation of Acting Teachers, koju je 1987. objavio Viking Press. Bivši je član institucije National Board of the National Association of Schools of Theatre, kao i bivši potpredsjednik i član uprave udruženja University Resident Theatre. Držao je predavanja o glumi na People’s Light and Theatre Company, kao i njujorškom Screen Actors Guild Conservatory, od koga je dobio nagradu za dostignuće u svojoj oblasti. Neki od profesionalnih glumaca/ica sa kojima je Esper radio su Kim Basinger, Jennifer Beals, Kristen Davis, Kim Delaney, Calista Flockhart, Peter Gallagher, Jeff Goldblum, Patricia Heaton, William Hurt, Christine Lahti, John Malkovich, Gretchen Mol, David Morse, Sam Rockwell, Michele Shay, Paul Sorvino, Mary Steenburgen, Patricia Wettig, Richard Schiff, Dule Hill, Timothy Olyphant, Molly Price, Tonya Pinkins, Dean Winters, Aaron Eckhart, Wendy Malik, Tracee Ellis Ross i Joe Lisi.

Action Hero UMJETNIK/ICA-TURIST/KINJA – RADIONICA ZA GLUMCE/ICE, PERFORMERE/ICE, PLESAČE/ICE Action Hero je rezultat saradnje Gemme Paintin i Jamesa Stenhousa.

Njihovi performansi i “live art” se bave mitologijom pop-kulture i stvaranjem privremenih zajednica koje nastaju u toku izvedbe. Action Hero uživa da koristi publiku kao saradnike u zavjeri i njihov rad ima često dimenziju epskog, iako se izvodi sa improviziranim sredstvima bez puno estetske pompe.

Za Action Hero performans je događaj, privremena zajednica, te uživaju da publiku koriste kao saradnike u zajedničkoj zavjeri. Stekli su reputaciju autora performansa koji su prepoznatljivi i osvježavajući, te su stvarali za pozorišta i zabave. Dosadašnji naručioci i sponzori njihovog rada su bili: Arnolfini (UK), InBetween Time Productions (UK), Fierce Festival (UK), Forest Fringe (UK), Chelsea Theatre (UK), Warwick Arts Centre (UK), Wunderbar Festival (UK), The Showroom (UK), Shunt (UK), Residence (UK) and BIOS (GR). Njihova djela su izvođena širom Velike Britanije i Evrope, kao i Sjeverne i Južne Amerike. Uskoro slijede nastupi u Kini, Kanadi i Grčkoj.

Gemma i James zajedno djeluju kao Action Hero od 2005. Žive i rade u Bristolu.

William Esper is an internationally recognized authority on the work of Sanford Meisner. He is the coauthor (with Damon DiMarco) of The Actor’s Art and Craft: William Esper Teaches the Meisner Technique, published by Anchor/Random House in 2008. He is a graduate of Western Reserve University as well as the Neighborhood Playhouse School of the Theater where he was trained as an actor by Sanford Meisner. In 1962, he undertook training as a teacher and director with Meisner and proceeded to work closely with him as a teacher and director for the next 15 years. Mr. Esper was on the staff of the Neighborhood Playhouse from 1965 to 1977 and was Associate Director of the Playhouse Acting Department from 1974 to 1977. In 1977, he founded the BFA and MFA Professional Actor Training Programs at Rutgers University’s Mason Gross School of the Arts. He led the department until 2004. In 1965, Mr. Esper founded the New York studio where he has taught concurrently with his work at the Neighborhood Playhouse and Mason Gross School of the Arts. He continues to teach at his studio today. William Esper has been a guest artist/teacher at Canada’s Banff Festival of the Arts as well as at the National Theater School of Canada and the St. Nicholas Theater in Chicago, IL and the Schauspiel München School in Munich. Together with his wife Suzanne, Mr. Esper has conducted numerous workshops throughout Europe, most notably at the National Film School of Denmark, The National Theater School of Norway and the State Theater of Mannheim. In 2008, he and his wife introduced Meisner’s work to Russia at the St. Petersburg State Academy of Theater. He has worked extensively Off-Broadway and regionally. He is a member of The Ensemble Studio Theater in New York. Mr. Esper is profiled in the book The New Generation of Acting Teachers, published by Viking Press in 1987. He is a past member of the National Board of the National Association of Schools of Theatre and a former VicePresident and Board Member of the University Resident Theatre Association. He has lectured on acting at People’s Light and Theatre Company and the Screen Actors Guild Conservatory, New York City. SAG honored him with a Certificate of Achievement for his service to the profession. Professional actors with whom Mr. Esper has worked include: Kim Basinger, Jennifer Beals, Kristen Davis, Kim Delaney, Calista Flockhart, Peter Gallagher, Jeff Goldblum, Patricia Heaton, William Hurt, Christine Lahti, John Malkovich, Gretchen Mol, David Morse, Sam Rockwell, Michele Shay, Paul Sorvino, Mary Steenburgen, Patricia Wettig, Richard Schiff, Dule Hill, Timothy Olyphant, Molly Price, Tonya Pinkins, Dean Winters, Aaron Eckhart, Wendy Malik, Tracee Ellis Ross, and Joe Lisi.

Action Hero ARTIST/TOURIST – WORKSHOP FOR ACTORS/PERFORMERS/DANCERS Action Hero is the collaboration between Gemma Paintin & James Stenhouse. They make performance & live art that is interested in pop cultural mythologies and the creation of temporary communities centered around the live event. Action Hero enjoy using audiences as collaborators and co-conspirators, and their work often has a sense of the epic, even though it is played out through a lo-fi, DIY approach.

They have developed a reputation for creating performance that is distinctive and invigorating, and have created work for theatres, galleries, public spaces, clubs and parties. Their work to date has been commissioned and supported by Arnolfini (UK), InBetween Time Productions (UK), Fierce Festival (UK), Forest Fringe (UK), Chelsea Theatre (UK), Warwick Arts Centre (UK), Wunderbar Festival (UK), The Showroom (UK), Shunt (UK), Residence (UK) and BIOS (GR). Action Hero’s work has toured extensively in the UK and Europe, as well as in North and South America. They have upcoming performances in China, Canada and Greece.

Gemma & James have been making performance together as Action Hero since 2005, and live and work in Bristol.

FUTURE MESS IYMT WORKSHOPS

William and Suzanne Esper FREEDOM - SANFORD MEISNER ACTING TECHNIQUE WORKSHOP FOR ACTORS

Bošnjački institut 10-16h The Bosniac Institute 10-16h

03-06/ 10/12

Kriterion 10-14h Kriterion 10-14h

06/10/12

Mark Ravenhill RADIONICA ZA DRAMSKE PISCE / SPISATELJICE Mark Ravenhill je engleski dramski pisac, glumac i novinar. Rođen je 1966. u Haywards Heathu (Zapadni Sussex), studirao glumu u Bristolu prije nego što je počeo raditi, između ostalih poslova, i kao književni urednik u Paines Plough Group. Kao pisac debituje 1995. sa dvije kratke drame.

Proboj na scenu, kako domaću, tako i međunarodnu, dolazi sa predstavom “Shopping and Fucking”, portetom izgubljenih pripadnika i pripadnica post-tačerovske generacije. Također, u mnogim svojim dramama tretira pitanja društva i politike, bilo da je njihova radnja smještena u prošlosti, sadašnjosti ili skoroj budućnosti. Njegova drama “Some Explicit Polaroids” izvedena je 2000. na festivalu Neue Stücke aus Europa, nakon čega je uslijedila drama “Produkt” (2006), veoma upečatljiv monolog filmskog producenta kojeg je sam igrao. Pozorišta Royal Court, The Gate Theatre, National Theatre, Out of Joint i Paines Plough su 2008. zajedno predstavila sedamnaest kratkih drama koje je Ravenhill napisao za Edinburgh Festival Fringe 2007. pod nazivom “Ravenhill for Breakfast”, a koje su kasnije preimenovane u “Shoot/Get Treasure/Repeat”. Njegove dvije najnovije drame su izvedene 2009. godine: “Over There”, koja kroz alegoričnu priču o blizancima govori o ujedinjenju Njemačke, i “A Life in Three Acts”, zasnovana na životnoj priči glumca i aktiviste za prava homoseksualaca Bette Bournea, sa kojim je Ravenhill nekad igrao. Ravenhill je 2010. bio i pomoćnik direktora londonske Little Opera House pri teatru King’s Head. U januaru 2012. se kao gostujući pisac priključuje Royal Shakespeare Company.

Trenutno radi i jednu TV seriju.

Anne Makepeace i Anayansi Prado OD IDEJE DO PRODUKCIJE I DISTRIBUCIJE – RADIONICA DOKUMENTARNOG FILMA Anne Makepeace već dvadeset pet godina radi kao scenaristkinja, producentica i rediteljica nezavisnih filmova, od kojih su mnogi osvojili nagrade. Njeni filmovi su prikazani na mnogim festivalima, od Sundancea do Minhena, na kanalima PBS, Showtime, Bravo, HBO, USA Network, Channel 4 (UK), AMC Australia, ZDF Germany i britanskoj Thames televiziji, kao i u institucijama Whitney, Smithsonian, Musée de l’Homme, Museum of the American Indian i mnogim drugim muzejima, školama, koledžima i kinima širom zemlje. Njen rad su finansijski pomagali Pulitzer Foundation, Sundance Documentary Fund, Corporation for Public Broadcasting, ITVS, NEA, NEH, American Masters, Showtime Networks, HBO, PBS, A&E i American Film Institute. Dva puta je bila na specijalizaciji za scenarij i režiju na Sundance Institutu Roberta Redforda.

Također je stažirala i u centrima Rockefeller Bellagio, MacDowell Colony i Blue Mountain, a 2001. je bila u žiriju za dokumentarni film na Sundance Film Festivalu. 2008. godine je bila dobitnica stipendija institucija Radcliffe Institute for Advanced Study i John Simon Guggenheim Memorial Foundation.

Anayansi Prado je rođena u Panami. Ona je višestruko nagrađivana rediteljica dokumentarnih filmova. Prošle godine je u Angoli radila kao stručnjakinja za film za American Documentary Showcase, a 2009. je snimala u Singapuru i Burmi. Njen dokumentarni prvijenac “Maid in America” (2005) o latino kućnim pomoćnicama u Los Angelesu je CA prikazala u čitavoj zemlji putem Independent Lensa (PBS). Njen drugi rad, “Children in No Man’s Land” (2008), o maloljetnicima/ama koji bez pratnje odraslih prelaze granicu između SAD-a i Mexica, je prikazan u više od trideset zemalja i bio je dio American Documentary Showcasea.

Njen najnoviji film “Paraiso for Sale” (2011), koji govori o porastu broja američkih penzionera/ki koji migriraju u Panamu, je prikazan na PBS-u.

Anayansi je dobitnica stipendija Rockefeller Media Fellowship, John D. and Catherine T. MacArthur Foundation, kao i mogih drugih. Pored rada na filmu, također se usavršavala i predavala dokumentarnu produkciju na radionicama u Burmi (2010) i Paraguayu (2011), koje je sponzorisao State Department’s Bureau of Education and Cultural Affairs. Osnivačica je kompanije Impacto Films i suosnivačica i izvršna direktorica Impacto Projecta, neprofitne organizacije posvećene jačanju mladih u zemljama trećeg svijeta kroz obuke fotografije, filma i digitalnih medija. Govori engleski i španski jezik.

Mark Ravenhill is an English playwright, actor and journalist. Born in Haywards Heath (West Sussex) in 1966, he studied theatre in Bristol before working as a literary director for the Paines Plough Group, among other things. In 1995, he made his playwriting debut with two short plays. His breakthrough came – both nationally and internationally – with the play Shopping and Fucking, a portrait of lost members of the post-Thatcher generation. Similarly, the author also examines questions about society and politics in his many other plays, whether they be set in the past, the present or an imaginary, near future. In 2000, New Plays From Europe featured his work Some Explicit Polaroids, followed by Product in 2006, the very telling monologue of a film producer played by the author himself. In 2008 the Royal Court, The Gate Theatre, the National Theatre, Out of Joint, and Paines Plough collectively presented the seventeen short plays Ravenhill wrote for the 2007 Edinburgh Festival Fringe under the title Ravenhill for Breakfast, retitled as Shoot/Get Treasure/Repeat.

Two of his newest plays were performed in 2009: Over There, which reflects on German reunification with the allegorical fate of twin brothers, and A Life in Three Acts, based on the life story of the actor and gay rights activist Bette Bourne, with whom Ravenhill has performed. Ravenhill was Associate Director of London’s Little Opera House at The King’s Head Theatre in 2010. In January 2012 joined the Royal Shakespeare Company as writer in residence. He is also working on a TV series.

Anne Makepeace and Anayansi Prado IDEA TO PRODUCTION TO DISTRIBUTION – DOCUMENTARY WORKSHOP Anne Makepeace has been a writer, producer, and director of award-winning independent films for more than twenty-five years. Her films have been screened at festivals from Sundance to Munich, and have been broadcast on PBS, Showtime, Bravo, HBO, USA Network, Channel 4 (UK), ABC Australia, ZDF Germany, and Thames Television (UK) and screened at the Whitney Biennial, the Smithsonian, the Musée de l’Homme, the Museum of the American Indian, as well as many other museums, schools, colleges, and movie theaters around the country. Makepeace’s work has been funded by the Pulitzer Foundation, the Sundance Documentary Fund, the Corporation for Public Broadcasting , ITVS, the NEA, the NEH, American Masters, Showtime Networks, HBO, PBS, A&E, and the American Film Institute. She has twice been a writer/director fellow at Robert Redford’s Sundance Institute. She has been a resident of the Rockefeller Foundation’s Bellagio center, the MacDowell Colony, and Blue Mountain Center, and served on the Sundance 2001 Film Festival’s documentary jury. In 2008 she was honored with fellowships from both the Radcliffe Institute for Advanced Study and the John Simon Guggenheim Memorial Foundation.

Anayansi Prado was born in Panama and is an award-winning documentary filmmaker who served as a film expert for the American Documentary Showcase in Angola last year, and as a filmmaker in Singapore and Burma in 2009. Her debut documentary Maid in America (2005) about Latina domestic workers in Los Angeles, CA screened nationally on Independent Lens (PBS). Her second production, Children in No Man’s Land (2008) about unaccompanied minors crossing the US/Mexico border has screened in more than 30 countries around the world and was part of the American Documentary Showcase. Her most recent film, Paraiso for Sale (2011), which explores the growing phenomenon of American retirees migrating to Panama, was broadcast nationally on PBS. Anayansi is a recipient of a Rockefeller Media Fellowship as well as grants from The John D. and Catherine T. MacArthur Foundation and many other foundations. In addition to filmmaking, she also developed and taught documentary production workshops in Myanmar/Burma (2010) and Paraguay (2011) funded by The State Department’s Bureau of Education and Cultural Affairs. She is the founder of Impacto Films and the co-founder and executive director of the Impacto Project, a non-profit committed to the empowerment of youths in third world countries through hands-on training in photography, film and digital media. She is fully bilingual in Spanish.

FUTURE MESS IYMT WORKSHOPS

Mark Ravenhill WORKSHOP FOR PLAYWRIGHTS

Bošnjački institut 15h The Bosniac Institute 15h

07/10/12

Elisa Guzzo Vaccarino POKRETNA SCENA - MASTER CLASS O HISTORIJI PLESA Elisa Guzzo Vaccarino diplomirala je filozofiju na Univerzitetu u Torinu, ali više od trideset godina piše o baletu i savremenom plesu za dnevne listove (trenutno piše za Il Giorno, La Nazione, i Il Resto del Carlino), međunarodne časopise (Tanz International Classic Voice) i pozorišne programe (milansku La Scalu i dr.). Autorica je knjiga o Maurice Béjart, Jiri Kylián, Pini Bausch, futurističkom plesu i današnjem globaliziranom plesu (“Altre scene, altre danze”, djelo iz 1991. godine), kao i knjiga na teme za koje je smatraju stručnjakinjom, poput plesa na videu i multimediji (“La Musa dello schermo freddo”, 1996. godine). Radila je na radiju, pogotovo za Rai 3, režirala TV programe za kanale kulturnog programa (Tele+3, Rai Sat Show, Rai 5), te bila kustosica izložbi kao što su “La Danza delle Avanguardie” na Martu, u Roveretu-Trentu (Italija). Njen rad prati mnogo posvećenih učenika/ca, što je posljedica njenog predavanja Historije plesa na Odsjeku za muziku i izvedbene umjetnosti Univerziteta u Bolonji (DAMS), kao i u profesionalnim plesnim školama, poput baletne škole La Scale u Milanu, te u Školi muzike i izvedbene umjetnost (MAS), gdje je sada direktorica Odsjeka savremenog plesa. Nadahnula je debate i održala konferencije, ali - što je najvažnije - i dalje pleše za svoju dušu, i to pogotovo argentinski tango, koji također podučava.

Elisa Guzzo Vaccarino graduated in philosophy from Turin University and has been writing on ballet and contemporary dance for daily newspapers (at present Il Giorno – La Nazione – Il Resto del Carlino), international magazines (Tanz International, Classic Voice) and theatre programmes (Milan La Scala and others) for over thirty years. She is the author of books on Maurice Béjart, Jirí Kylián, Pina Bausch, Futurist dance and today’s globalised dance (Altre scene, altre danze, 1991), as well as on the subject of which she is considered an expert, i.e. dance on video and multimedia (La musa dello schermo freddo, 1996). She has been on radio, especially Rai 3, directed TV programmes for cultural channels (Tele+3, Rai Sat Show, Rai 5) and curated exhibitions, such as La Danza delle Avanguardie at the MART, Rovereto-Trento (Italy). She has many devoted pupils as a consequence of her teaching Dance History at Bologna University – Music and Performing Arts Department (DAMS), at professional dance schools, such as the Ballet School of La Scala, Milan, and at the Music and Performing Arts School (MAS) where she is now director of the Contemporary Dance section.

She has inspired debates and held conferences, but – most importantly – she continues to dance for her own pleasure: Argentinian tango, of which she is also a teacher.

FUTURE MESS IYMT WORKSHOPS

Elisa Guzzo Vaccarino MOVING STAGE MASTER CLASS ON THE HISTORY OF DANCE

MOJ SIN SAMO MALO SPORIJE HODA MY SON JUST WALKS A LITTLE SLOWER

RADNICI UMIRU PJEVAJUĆI WORKERS DIE SINGING

AKVARIJUM AQUARIUM

BUNAR THE WELL

ZLATNI MOSTOVI I SEKVOJA THE GOLDEN BRIDGES AND SEQUOIA

MOJ SIN SAMO MALO SPORIJE HODA / MY SON JUST WALKS A LITTLE SLOWER

Ivor Martinić Rođen je u Splitu 1984. godine. Godine 2003. upisao je dramaturgiju na Akademiji dramske umjetnosti u Zagrebu. Od 2005. radi kao dramaturg i autor adaptacija na produkcijama u Dječjem kazalištu Dubrava, kazališu Mala scena, Teatru &TD, na Eurokazu, na Riječkim ljetnim noćima i u ZKM-u. Često surađuje s Hrvatskim radijem u čijem su dramskom programu izvedene sve njegove drame. Godine 2005. dobija nagradu Marin Držić Ministarstva kulture Republike Hrvatske za dramu “Jednostavno: (nesretni)”. Za dramu “Ovdje piše naslov drame o Anti” dobio nagradu Fabrique et Croatie društva REZ i nagradu Mali Marulić Festivala hrvatske drame za djecu. Drama je praizvedena u Gradskom kazalištu mladih u Splitu u režiji Ivice Šimića u svibnju 2009.

“Drama o Mirjani i ovima oko nje” praizvedena je u febrauru 2010. u Jugoslovenskom dramskom pozorištu u režiji Ive Milošević. Ista drama postavljena je i u Mestnom gledališču ljubljanskom u režiji Dušana Jovanovića i Hrvatskom narodnom kazalištu u režiji Anje Maksić Japundžić. Drame su mu prevedene na engleski, francuski, njemački, bugarski, norveški, portugalski, slovenski, italijanski i španjolski jezik, a neki od prijevoda su i objavljeni. Jedan je od osnivača web portala hrvatske drame Drame.hr.

U sezoni 2010/11. u Zagrebačkom kazalištu mladih je napravio adaptaciju bajke “Ružno pače” H.C. Andersena za istoimenu produkciju u režiji Roberta Waltla.

RADNICI UMIRU PJEVAJUĆI / WORKERS DIE SINGING

OLGA DIMITRIJEVIĆ Olga Dimitrijević je rođena 1984. godine. Diplomirala je dramaturgiju na Fakultetu dramskih umjetnosti u Beogradu. Završila je alternativni kurs iz ženskih studija, u Centru za ženske studije u Beogradu, školske 2006/2007. godine. Pisala je pozorišne kritike za nedjeljnik Vreme, i pozorišna je kritičarka časopisa Teatron od 2005. godine, a magazina Yellow Cab od oktobra 2010. Učesnica je brojnih međunarodnih radionica i seminara među kojima se izdvajaju radionica Concepts-Ideas na Mobile Academy u Varšavi 2006. godine, i seminar Rasa, diskurs, biopolitike, u organizaciji Rutgers univerziteta i Centra za ženske studije iz Beograda, Dubrovnik (maj 2007). Objavila je esej “Mir, mir, mir – niko nije queer” o queer motivima u srpskom filmu (Novi Kadrovi, ur. Ivan Velisavljević i Dejan Ognjanović, CLIO, 2008, Beograd). Na odsjeku Rodnih studija Centralnoevropskog univerziteta u Budimpešti, odbranila MA tezu “Telo narodne pevačice na srpskoj Estradi: konstrukcije nacionalnih identiteta posle 2000. godine”, juna 2009. Drama “Internat” premijerno izvedena u pozorištu Dadov oktobra 2009 godine. Scenaristkinja dokumentarnog filma “Buđenje” (r. Irena Fabri, 2010). Od 2010. godine članica je redakcije QT magazina i Centra za queer studije i predavačica na filmskim tribinama u Domu omladine.

Dobitnica je Sterijine nagrade za najbolji dramski tekst (“Radnici umiru pevajući”) na Sterijinom pozorju 2012. godine.

Born in Split in 1984. In 2003 he enrolled at the Academy of Dramatic Arts in Zagreb to study dramaturgy.

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

In the 2010-2011 season at the Zagreb Youth Theater he adapted the H.C. Andersen fairy tale The Ugly Duckling, directed by Robert Waltl.

OLGA DIMITRIJEVIĆ Olga Dimitrijevic was born in 1984. She graduated dramaturgy at the Faculty of Dramatic Arts in Belgrade.

Olga Dimitirjević completed an alternative course in women’s studies at the Centre for Women’s Studies in Belgrade, in academic year 2006/7. Since 2005 she has published numerous theatre reviews for weekly newspaper Vreme, magazine Teatron. She is also writing theatre reviews for the Yellow Cab Magazine from October 2010. She’s been participanting in numerous international workshops and seminars including The Ideas-Concepts workshop on Mobile Academy in Warsaw 2006, course ‘Race, discourse, biopolitics’ organized

by Rutgers University and the Center for Women’s Studies in Belgrade, Dubrovnik (May 2007). She published the essay “Peace, peace, peace – nobody is queer” about queer motifs in the Serbian cinematography (New Personnel, editors: Ivan Velisavljević and Dejan Ognjanović, CLIO, 2008, Belgrade). At the department of Gender Studies at the Central European University in Budapest, she defended MA thesis: “The Body of the Serbian Folk Singer in Showbusiness: Construction of National Identities after 2000” in June 2009. Her play “Boarding School” was premiered in theatre Dadov in October 2009. She is the screenwriter of the documentary film “The Awakening” (director Irena Fabri, 2010). From 2010 she is a member of the editorial board of QT Magazine and the Center for Queer Studies and she is also a lecturer at the film forums in the Youth Center. She won the Sterija’s award for best play (“Workers Die Singing”) at the Sterijino pozorje Festival 2012.

BALKAN (CON)TEXT

Ivor Martinić

AKVARIJUM / AQUARIUM

REFET ABAZI Refet Abazi je rođen u Tetovu, u Makedoniji, 17. januara 1964. Diplomirao je glumu na Fakultetu dramskih umjetnosti Univerziteta Sv. Ćirilo i Metodije u Skoplju, Makedonija, 1989. godine. Pohađao je obuku Art Management programa (Seeding a network) na londonskom ROYAL NATIONAL THEATER, Velika Britanija, u periodu septembar/oktobar 1995. godine. Refet Abazi je od 1999. godine profesor glume u nastavi na albanskom jeziku na Fakultetu dramskih umjetnosti u Skoplju, Makedonija. Igrao je u mnogim predstavama u Narodnom pozorištu u Skoplju, Narodnom pozorištu iz Tirane, Albanija, Dramskom teatru – Skoplje, Makedonija, Narodnom pozorištu – Priština, Kosovo, kao i u teatrima u Švedskoj i Norveškoj. Također je ostvario uloge i u mnogim filmovima.

Autor je romana i drama: “Kome pripada Jon?!”, roman u izdanju “Brezi 9” (na albanskom), i “Euro Balkan Pressa”, AQUARIUM - predstava, izvedena na festivalu Ohridsko ljeto 2006, u režiji Kushtrima Bekteshia, produkcija Albanski teatar – Skoplje, Makedonija; “Tišina” (Suskunluk) dobila je odobrenje izvršnog odbora Turskog državnog teatra da se uvrsti u program državnih pozorišta u Turskoj; “Motel”, “Pista”, “Večera”. Dobitnik je velikog broja nagrada za najboljeg glumca.

BUNAR / THE WELL

RADMILA SMILJANIĆ Radmila Smiljanić rođena je u Bihaću 1973. godine. Osnovnu i srednju školu završila je u Bosanskom Petrovcu. Glumu je završila u Novom Sadu, u klasi glumice Mire Banjac. Poslije dvogodišnjeg angažmana u Pozorištu Zoran Radmilović u Zaječaru, bavljenje glumom nastavila je u Narodnom pozorištu Republike Srpske u Banjoj Luci. Glumački izraz je tražila preko uloga u djelima Aristofana, Ljubomira Simovića, Vilijema Šekspira, Tenesi Vilijamsa, Vide Ognjenović, sarađujući sa rediteljskim imenima kao što su Kokan Mladenović, Dušan Petrović, Predrag Štrbac, Mira Erceg...Glumila je i u televizijskoj seriji “Vratiće se rode”. Diplomirala je dramaturgiju na Akademiji umjetnosti u Banjoj Luci, u klasi prof. dr. Maje Volk. Djela koja je režirala su: jednočinka “Reci mi u kom si žanru”,“Magareće godine”, dramatizaciju po istoimenom romanu Branka Ćopića, te je napisala i scenario za film “Heroji za jedan dan”. “Balon od kamena – moja sjećanja”, je po ocjeni stručnog žirija, proglašen za najbolji dramski tekst na Festivalu pozorišta u Brčkom u 2009. godini, a na Festivalu bosanskohercegovačke drame Zenica 2010. godine je dobila nagradu za najbolje izvedeni dramski tekst. U Institutu za slavensku filologiju Šleskog univerziteta pokrenut je projekat izdavanja antologije savremene bosanskohercegovačke drame, i njenog prevođenja na poljski jezik, u čiji izbor je ušao tekst “Balon od kamena- moja sjećanja”.

Jednočinka “Profil”, u projektu Razlike, je na Festivalu bosanskohercegovačke drame Zenica 2011. godine dobila nagradu za najbolje izvedeni dramski tekst.

Refet Abazi was born in Tetovo, Macedonia, on January, 17, 1964. He graduated acting at the Faculty of Dramatic Arts, University of St. Cyril and Methodius, Skopje, Macedonia, in 1989. He was also a participant of the Art Management program (Seeding a Network) of the Royal National theater of London, Great Britain September/October, 1995.

Refet Abazi is Professor of Acting and in charge of the Albanian language acting class at the Faculty of Dramatic Arts in Skopje, Macedonia - 1999 to present. He played in many performances in the national theatres, such as: Albanian Drama, in Skopje, The National Theatre in Tirana, Albania, Drama Theatre in Skopje, in Macedonia, The National Theatre in Pristina, in Kosovo, as well as theaters in Sweden and Norway.

He also starred in numerous films.

He is the author of novels and plays: “Who does Jon belong to?”, a novel published by “Breza 9” (in Albanian), and “Euro Balkan Press”. Amongst his dramatic work, some of the best known plays are: Aquarium, play staged at the Ohrid Summer Festival 2006, directed by Kushtrim Bekteshi, produced by Albanian Theater in Skopje, Macedonia; Silence (Suskunluk) – which got approval of the Executive Board of the Turkish state theater to be included in the curriculum of public theaters in Turkey, “Motel”, “Runaway”, “Dinner”. He has won many awards for best actor.

RADMILA SMILJANIĆ Radmila Smiljanić was born in Bihać in 1973. She completed her elementary and high school education in Bosanski Petrovac. Thereafter, she earned a degree in Acting in Novi Sad, in the class of actress Mira Banjac.

After a two-year engagement at the Zoran Radmilović Theatre in Zaječar, she was given an acting post at the National Theatre of the Republic of Srpska in Banja Luka. She has sought to express her acting credo through roles in the works of Aristophanes, Ljubomir Simović, William Shakespeare, Tennessee Williams, Vida Ognjenović, collaborating with directors such as Kokan Mladenović, Dušan Petrović, Predrag Strbac, Mira Erceg, to name a few. She has starred in the television series Vratiće se rode (The Storks will Return).

She also received a degree in Dramaturgy at the Academy of Arts in Banja Luka, in the class of Professor Maya Volk, PhD. The plays she as performed include a one-act play entitled Reci mi u kom si žanru (Tell me What Genre You’re In), Magareće godine (The Donkey Years), a dramatization of a Branko Ćopić novel, and the screenplay for the film Heroji za jedan dan (Heroes for a Day). The play Balon od kamena – moja sjećanja (Stone Balloon - My Memories), was selected by an expert jury as the Best Dramatic Text at the Festival of Theatres in Brčko in 2009, and received an Award for the Best Performance of a Dramatic Text at the 2010 Festival of Bosnian Drama in Zenica. A project was launched at the Institute of Slavic Philology of the Silesian University for the publishing of an anthology of contemporary Bosnian drama, and its translation into Polish language, the selection of which also includes the play Stone Balloon- My Memories. Recently, her one-act play, Profil (Profile), part of the Razlike (Differences) Project, received the Award for the Best Performance of a Dramatic Text at the 2011 Festival of Bosnian Drama in Zenica.

BALKAN (CON)TEXT

REFET ABAZI

ZLATNI MOSTOVI I SEKVOJA / THE GOLDEN BRIDGES AND SEQUOIA

Konstantin ILIEV Konstantin Iliev je rođen je na 1937. godine u Gorno Pavlikeni Lovech.

Diplomirao je njemačku filologiju na Sveučilištu Sv. Kliment Ohridski u Sofiji. Diplomirao je i pozorišne studije na Sveučilištu Humboldt - Berlin, gdje je odbranio doktorsku tezu o dramaturgiji sa tezom “Friedrich Dürrenmatt”. Radio je kao dramaturg u pozorištu Blagoevgrad N.Vaptzarov i u Dramskom pozorištu Sofija. Od 1995. do 2007. godine bio je glavni dramaturg Narodnog pozorišta Ivan Vazov. Njegove najpoznatije drame (po redoslijedu pisanja): “Žudnja za bojama” (1961), “U oktobru bez tebe” (1968), “Plašljiv kralj” (1968, Kazalište lutaka), “Muzika Shatrovetsa” (1971), “Prozor” (1977), “Bazilije od Draginka” (1978), “Uskršnje vino” (1979), “Nirvana” (1982), “Odisej putuje na Itaku” (1984), “Crno vino zbogom” (1989), “Kutsulan Mary Vuk” (1994), “Francesca” (1999), “Beethovenova 21” (2006), “Zlatni mostovi i sekvoja” (2011).

Proza: “Francusko dupe” (1988), “Porazi”, “Kronika kratkog stoljeća” (2003), “Autobiografija”, “Gavranovo pamćenje”.

Autor je tekstova za teatar, dramu i političkih analiza (2005). Prevodio je sa njemačkog jezika (Brecht, Buchner). Njegove dramski tekstovi su postavljeni u pozorištima u Austriji, Engleskoj, Estoniji, Makedoniji, Poljskoj, Rusiji, Slovačkoj, Francuskoj.

Dobitnik je međunarodne Herder nagrade za životno djelo 1996. godine, nagrade Helicon (2003) i nagrade Elias Canetti (2005) za svoju knjigu “Porazi”.

Konstantin Iliev was born on 16.10.1937 in Gorno Pavlikeni Lovech. He has a degree in German Philology at Sofia University St. Kliment Ohridski. He graduated from theatre studies at Humboldt University - Berlin, where he defended his doctoral thesis on dramaturgy “Friedrich Dürrenmatt”. He worked as a playwright in Blagoevgrad N.Vaptzarov Theater and the Drama Theatre Sofia. From 1995 to 2007 he was chief playwright of the National Theatre Ivan Vazov. His best known plays (in order of their writing): Longing for Colors (1961), In October Without You (1968) Mousy King (1968, Puppet Theatre) Music by Shatrovets (1971), Window (1977), Basil of Draginko ( 1978), Easter Wine (1979), Nirvana (1982), Odysseus Travels to Ithaca (1984), Red Wine Goodbye (1989), Kutsulan Mary Wolf (1994), Francesca (1999), Beethoven’s 21 (2006), Golden Bridges and Sequoia (2011).

Prose: French Ass (1988), Defeat. Chronicle of the Short Century (2003) Autobiography, Memory Raven.

He also published texts for theater, drama and politics (2005). He has been translating plays from German language (Brecht, Büchner). His plays have been staged in Austria, England, Estonia, Macedonia, Poland, Russia, Slovakia, France.

He was the winner of the 1996 International Herder Prize for Lifetime Achievement, Helicon Award (2003) and Elias Canetti Award (2005) for his novel Defeat.

BALKAN (CON)TEXT

Konstantin ILIEV

Bosansko narodno pozorište Zenica 19.30 Bosnian National Theatre Zenica 19.30 Trajanje / Running time 100 min.

28/09/12

Hrvatska / Croatia

Narodno pozorište Sarajevo 19.30 National Theatre Sarajevo 19.30 Trajanje / Running time 100 min.

30/09/12

Ivor Martinić

MOJ SIN SAMO MALO SPORIJE HODA MY SON JUST WALKS A LITTLE SLOWER

PREDSTAVA

Predstava “Moj sin samo malo sporije hoda”, po dramskom tekstu istaknutoga mladog dramatičara Ivora Martinića, progovara o složenosti porodičnih odnosa. U središtu porodične komedije su majka i sin, no i cijela lepeza zamršenih porodičnih odnosa koji se isprepliću tokom proslave Brankovog dvadeset i petog rođendana. Prebrižna majka koja se fokusira na svog sina, dementna baka, otkačena teta i njen zbunjeni muž...samo su neki od protagonista ove predstave. U njoj ćete svjedočiti o svim onim nerazumijevanjima, neslaganjima, generacijskom srazu, bračnim razmiricama o koje se i sami spotičete svakodnevno u životu. Osnovno je pitanje što ga postavlja ova tragikomedija je kako prihvatiti Drugog odnosno drugačijeg, onog kojeg volimo i onog kojem ne možemo ili ne znamo pomoći? “Moj sin samo malo sporije hoda” ocrtava sve zgode i nezgode odrastanja, zaljubljivanja, neuzvraćenih i uzvraćenih ljubavi, bolesti kućnih ljubimaca, mladenačkih i staračkih zaluđenosti...sve ono što nas svakodnevno prati u životu.

PERFORMANCE

The play My Son Just Walks a Little Slower, based on a dramatic text by the prominent young playwright Ivor Martinić, talks about the complexities of family relationships. In the centre of this family comedy are a mother and a son, as well as a whole range of complicated and intricate family relationships, interwoven throughout Branko’s twenty-fifth birthday celebration. An overly doting mother whose life is focused on her son, a demented grandmother, a crazy aunt and her perplexed husband...are just some of the protagonists of this play. During the performance, you will be privy to all the misunderstandings, disagreements, generation clashes, and matrimonial disputes that we ourselves struggle with daily. The basic question posed by this tragicomedy is how to accept Others, or those who are different from us, the ones we love, but whom we cannot help, or do not know how to. My Son Just Walks a Little Slower depicts all the episodes and mishaps of growing up, falling in love, love that is returned, and that which is not, pets getting ill, the infatuations of youth and old age...all the things we encounter every day.

Janusz Kica rođen je 1957. u Wroclavu, gdje je živio do odlaska na studij teatrologije na Jagiellonsko sveučilište u Krakowu. Studij, tokom kojeg dolazi u kontakt s vodećim poljskim redateljima i glumcima te s pozorišnim strujanjima suvremenog europskoga avangardnog teatra, završava 1981. godine. Te godine državni prevrat generala Jaruzelskog zatječe ga u Zapadnoj Njemačkoj, gdje i ostaje. U Kölnu upisuje studij teatrologije i povijesti umjetnosti.

U Njemačkoj u početku radi kao redateljski i scenografski asistent u raznim pozorištima, a od 1986. do 1989. bio je stalni asistent režije, a poslije i kućni redatelj, u Wuppertaler Bühnen, pozorištu koje je proslavila Pina Bausch. Na Salzburger Festspiele surađivao je s Peterom Steinom i Andrzejom Wajdom. U ljubljanskom SNG-u, posljednjih je godina postavio na scenu još i Shakespearovu “Oluju”, Čehovljev “Višnjik” i Kafkin “Proces”, “Priče iz bečke šume” Ödöna von Horvatha i “Španjolski komad” Yasmine Reze. U Mainzu je posljednjih godina postavio na scenu Calderonovu “Kći zraka”, Goldonijevu “Slugu dvaju gospodara” i “Četvrtu sestru” J. Glowackoga te adaptaciju “Čarobnog brijega” Thomasa Manna. U Hrvatskoj je, nakon “Knjige o džungli”, Janusz Kica režirao još nekoliko predstava. U ZKM-u je postavio na scenu “Tri mušketira” A. Dumasa (nagrada za najbolju predstavu Hrvatskog glumišta 1995.), Shakespeareov “San ivanjske noći”, a potom u privatnoj produkciji i uspješnicu “Zeko Zajec”, C. Serrault. Režirao je “Amfitriona” Heinricha von Kleista na Dubrovačkim ljetnim igrama i Noć Iguane Tennesseeja Williamsa na Splitskom ljetu, predstave koje su nagrađene Nagradom hrvatskog glumišta za najbolje pozorišno ostvarenje u 2003. i 2005. godini. Godine 2006. U Zagrebačkom kazalištu mladih režirao je “Skakavce” Biljane Srbljanović, nagrađene Grand prixom na 51. Sterijinu pozorju u Novom Sadu i “Krijesnice” 2007. koja je na 18. Marulićevim danima osvojila niz nagrada.

DIRECTOR

Janusz Kica was born in 1957 in Wroclaw, where he lived until he enrolled in theatre studies at the Jagiellonian University in Krakow. During his university years, he came into contact with leading Polish directors and actors, as well as the theatrical avant-garde tendencies of modern European theatre, and completed his studies in 1981. That year, after the coup by General Jaruzelski, Kica finds himself in West Germany, where he remained. In Cologne, he enrolled in theatre studies and art history. He first worked as an assistant to directors and set designers in various theatres, and, from 1986 to 1989, worked as a full time assistant director, and later as a resident director at the Wuppertaler Bühnen, a theatre made famous by Pina Bausch. While working at the Salzburger Festspiele, he collaborated with Peter Stein and Andrzej Wajda. In recent years, at the Slovenian Youth Theatre in Ljubljana, he staged Shakespeare’s The Tempest Chekhov’s The Cherry Orchard and Kafka’s Process, Odon von Horvath’s Tales from the Vienna Woods, and Yasmina Reza’s A Spanish Play. In recent years, in Mainz, he staged Calderon’s Daughter of Air, Goldoni’s Servant of Two Masters, and J. Glowacki’s The Fourth Sister, and directed an adaptation of Thomas Mann’s Magic Mountain.

In 2006, he directed Biljane Srbljanović Locusts at the Zagreb Youth Theatre, which won the Grand Prix at the 51st Sterija Theatre Festival in Novi Sad, as well as Krijesnice (Fireflies) in 2007, which won a number of awards at the 18th Marulić Days Festival.

TEATAR

U proteklih osam godina Zagrebačko kazalište mladih svojim repertoarom i umjetničkim konceptom dokazalo se kao jedno od najambicioznijih i najatraktivnijih teatara u ovom prostoru Europe. Gostovalo je na festivalima u Berlinu, Briselu, Beču, Frajburgu, Moskvi, Santiagu de Chileu, Nitri, Varni, Heildebergu, Helsinkiju, Cividaleu, Beogradu, Skoplju, Plzenu, Novom Sadu, Podgorici, Sarajevu, Ljubljani, Lyonu, Wiesbadenu, Stuttgartu, New Yorku, San Joseu, Braunschweigu...Koprodukcijom s teatrom Jana Fabrea kao prvo hrvatsko pozorište predstavilo se u programu najprestižnijih europskih pozorišnih festivala u Salzburgu i Avignonu. Koprodukcijska predstava Polet izvedena je u La Comédie de Saint-Etienne i na Međunarodnom teatarskom festivalu MESS u Sarajevu.

Zagrebačko kazalište mladih ušlo je u projekt Orient Express koji okuplja šest europskih pozorišta, članica Europske teatarske konvencije, a odvija se pod pokroviteljstvom Europske unije.

Drugi međunarodni pozorišni projekt, koji se izvodi u školama i pozorištima, okuplja teatre iz Berlina, Parme i Zagreba. Deutsche Theatre iz Berlina, Gradsko kazalište Parma i Zagrebačko kazalište mladih koproducenti su tri predstave pod radnim nazivom “Ideš dalje”, u kojima sudjeluju glumci iz tri pozorišna ansambla, a izvode se u sva tri grada: Berlinu, Parmi i Zagrebu.

THEATER

In the past eight years, the Zagreb Youth Theatre has, with its repertoire and artistic concept, proved itself as one of the most ambitious and most attractive theatres in this region in Europe.

They have performed at festivals in Berlin, Brussels, Vienna, Freiburg, Moscow, Santiago de Chile, Nitra, Varna, Heildeberg, Helsinki, Cividale, Belgrade, Skopje, Plzen, Novi Sad, Podgorica, Sarajevo, Ljubljana, Lyon, Wiesbaden, Stuttgart, New York, San Jose, Braunschweig, and many others. With its co-productions with the Jan Fabre Theatre, it became the first Croatian theatre to perform at Europe’s most prestigious theatre festivals in Salzburg and Avignon. The coproduction Polet (Zest) performed at La Comédie de Saint-Etienne, and at the MESS International Theatre Festival Sarajevo.

The Zagreb Youth Theatre has also joined the Orient Express project, which brings together six European theatres, all members of the European Theatre Convention, which is taking place under the auspices of the European Union. The Zagreb Youth Theatre is part of another international theatre project, within which plays are performed in schools and theatres, and which brings together three theatres: the Deutsche Theatre in Berlin, the City Theatre in Parma, and the Zagreb Youth Theatre. The three theatres co-produced three plays under the working title Ideš dalje (You’re Moving On), involving actors from all three ensembles, and performed in all three cities: Berlin, Parma and Zagreb.

Reditelj / Director Janusz Kica Uloge / Cast Ksenija Marinković Vedran Živolić Sreten Mokrović Lucija Šerbedžija Doris Šarić Kukuljica Damir Šaban Urša Raukar Krešimir Mikić Jadranka Đokić Goran Bogdan Scenografija / Stage Design Slavica Radović Nadarević Kostimografija / Costume Design Doris Kristić Dizajn svjetla / Light Design Marinko Maričić Lektorica / Lector Đurđa Škavić Pjesmu “Moj sin” komponovao / Song “My son” composed by Frano Đurović Asistentica kostimografkinje / Costume Design Assistant Marta Žegura Fotografija / Photography Mara Bratoš

BALKAN (CON)TEXT

Autor / Author Ivor Martinić

REDITELJ

Srbija / Serbia

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

01/10/12

OLGA DIMITRIJEVIĆ

RADNICI UMIRU PJEVAJUĆI WORKERS DIE SINGING

PREDSTAVA

“Radnici umiru pjevajući” autorice Olge Dimitrijević pobjednički je komad sa konkursa za najbolji savremeni društveno angažovani tekst za 2010. godinu Hartefakt fonda.

U obrazloženju žirija kojim je predsjedavala dramska spisateljica Biljana Srbljanović, između ostalog se kaže: “Ovaj celovečernji ekspresionistički socijalno angažovani mjuzikl, napisan u ključu Brehtovog teatarskog izraza, na umetnički, filozofski i socijalno svestan način obrađuje izuzetno aktuelnu i bolnu temu stradanja najugroženije društvene klase u surovom procesu neodgovorne tranzicije. Komad je jasno društveno pozicioniran, ali nikako dnevno politički obojen ili opredeljen, već zauzima jedan uzvišeni filozofski pogled na svet, redak u svojoj odgovornosti i plemenit u svom umetničkom izrazu.”

Predstava “Radnici umiru pjevajući” dobila je sedam nagrada na Festivalu Sterijino pozorište 2012. godine, a rediteljica Anđelka Nikolić dobila je nagradu za najbolju režiju na Pozorišnom festivalu malih scena u Kikindi.

PERFORMANCE

Workers Die Singing by Olga Dimitrijević was the winning play at the 2010 Hartefact Fund competition for the best contemporary socially minded text.

In its explanatory notes the Hartefact Fund jury presided by playwright Biljana Srbljanović, among other things, said “This expressionistic, socially minded, full-length feature musical, written in the key of Brecht’s theatrical expression, in its artistic, philosophical and socially minded ways deals with the current, extremely painful topic of suffering of the most endangered social class in the cruel process of irresponsible transition. The play is firmly socially grounded without any political prejudice or preference, and it takes a higher, philosophical view of the world, scarce in its responsibility and noble in its artistic expression.” The play Workers Die Singing won seven awards at the 2012 Sterija Theater Festival, and the director Anđelka Nikolić was awarded Best Director at the Kikinda Small Scene Theater Festival.

Anđelka Nikolić rođena je 1977. Diplomirala je na Filološkom fakultetu, na Katedri za francuski jezik i književnost, i na Fakultetu dramskih umetnosti u Beogradu, na Katedri za pozorišnu i radio režiju. Režirala je predstave: “Kratka istorija zaboravljanja” po S. Beketu (Hop.la!

Beograd); Olga Dimitrijević, “Radnici umiru pevajući” (Hartefakt fond/Bitef teatar); “Slučaj Kandid”, po Volteru (NP Kikinda); Sofokle, “Antigona” (SLG Celje); Marković/A.Nikolić, “Da nam živi živi rad” (Atelje 212, Beograd); M.Krimp, “Nasrtaji na njen život” (SNP, Novi Sad); “O nasilju” po Šekspirovom “Titu Androniku” (Hop.la! Beograd/ NP Kikinda); S.Semenič, “Nisi zaboravila, samo se ne sećaš više” (Gledališče Glej, Ljubljana); Ž-L. Lagars, “Pravila ponašanja u modernom društvu” (JDP, Beograd); D.Rajt, “Sam sebi žena” (Hop-la! Beograd); M.Krleža, “Vučjak” (NP Kikinda); “Prevareni” po J.S. Popoviću (NP Vršac, Scena na rumunskom jeziku); N.V. Gogolj “Ženidba” (NP Kikinda); I.Vojnović, “Suton” (Bitef Teatar). Dobitnica je Sterijine nagrade za režiju i nagrade za specijalni umjetnički doprinos za režiju na Festivala malih scena u Kikindi, obje za predstavu “Radnici umiru pevajući” kao i nagrade za režiju na Festivalu klasike u Vršcu (za predstavu “Vučjak”). U okviru Umetničke grupe Hop.la!, čija je koosnivačica, učestvuje u različitim umjetničkim i istraživačkim projektima, kao rediteljica, dramaturginja, koordinatorka programa. Članica je Udruženja dramskih umetnika Srbije.

DIRECTOR

Anđelka Nikolić was born in 1977. She graduated from the Faculty of Philology in Belgrade, at the Department of French Language and Literature, and at the Faculty of Performance Arts in Belgrade, at the Department of Theatre and Radio Directing. She directed the plays: Short History of Remebrance, based on Beckett (Hop.la! Belgrade), Olga Dimitrijević, Workers Die Singing (Hartefact Fund/Bitef Theatre), The Candide Case, based on Voltaire (NT Kikinda); Sophocles, Antigone (SLG Celje); M. Marković / A. Nikolić, Long Live Work (Atelier 212 Belgrade); M. Crimp, Attempts on Her Life (SNT Novi Sad); About Violence based on Shakespeare’s Titus Andronicus (Hop.la! Belgrade / NP Kikinda); S. Semenič, You Haven’t Forgotten, You Just Don’t Remember Any More (Gledališče Glej Ljubljana); J-L. Lagarce, Rules for Good Manners in the Modern World (YDT Belgrade); D. Wright, I am My Own Wife (Hop-la!

Belgrade); M. Krleža, German Shepherd (NT Kikinda); The Deceived, based on J. S. Popović (NT Vršac, Romanian stage); Gogol, Marriage (NT Kikinda); I. Vojnović, Twilight (Bitef Theatre).

Participated in festivals: Sterijino Pozorje, Festival of Professional Theatres of Vojvodina, Bitef Showcase, Comedy Days, Teden Slovenske Drame, Die Besten aus dem Osten/Slowenien. She was awarded the Sterija award for directing, and the award for special artistic contribution at the Kikinda Small Scene Theater Festivel, both for her play Workers Die Singing, and the award for directing at the Festival of Classics in Vršac (German Shepherd). In the production of the drama programme of Radio Belgrade, she directed several radio plays, based on the works by D. Kiš, J. Conrad, V. Simić. As part of the art group Hop.la!, which she co-founded, she participates in different art and research projects as a director, dramaturge, programme coordinator. She is a member of the Association of Performance Artists of Serbia.

TEATAR

Hartefakt je nezavisna regionalna fondacija sa sjedištem u Beogradu, osnovana 2009. godine sa ciljem da podstiče, podržava i povezuje kreativne i progresivne snage koje doprinose demokratizaciji i realizaciji evropskih perspektiva Balkana.

Fondacija je posvećena izgradnji otvorenih i slobodnih društava kroz kreativnu razmjenu na važne društvene teme kao što su sloboda izražavanja, održiva regionalna saradnja, kao i jačanje kritičke svijesti. Veliki dio aktivnosti, Hartefakt sprovodi u oblasti kulture i posebno pozorišta, koje se izdvojilo kao dominantno polje djelovanja organizacije.

Hartefakt se posebno angažuje na promociji i afirmaciji društveno odgovornih umjetnika nove generacije u regionu.

Na planu pozorišne produkcije Hartefakt se trudi da podrži nove, hrabre, odgovorne umjetnike i da promoviše nove modele saradnje između nezavisnih organizacija i zvaničnih kulturnih institucija. Partnerstvo sa Bitef teatrom je jedan od koraka u tom pravcu. U budućnosti, Hartefakt za cilj ima izgradnju sopstvenog teatarskog prostora – pozorišta u Beogradu, koje bi bilo centar aktivnosti nove generacije umjetnika iz čitavog regiona. Do 2015. godine, kada bi Hartefakt trebalo da otvori svoju pozorišnu zgradu, fondacija će nastaviti da producira predstave u saradnji sa vodećim regionalnim teatarskim institucijama.

THEATER

Hartefact is an independent regional foundation established 2009 and based in Belgrade, whose programs encourage, support and connect creative and progressive forces contributing to democratization and development of European perspectives in the Balkans. The foundation is committed to supporting open and free societies through creative exchange of social topics such as freedom of speech, sustainable regional cooperation, as well as strengthening of critical awareness. Hartefact is mostly involved in the areas of culture, theater especially, which became the dominant field of their activities.

During the past two years the foundation was involved in numerous theatrical projects, among them theatrical productions, public reading of contemporary works, publication of plays, cultural and theatrical forums, support to individuals and artistic groups… Hartefact pays special attention to promoting and supporting a young generation of socially responsible artists in the region.

In that respect, it is important to mention the Hartefact Fund regional competition for the best socially minded text, which, in the short period of two years, managed to attract a huge number of regional authors. In addition, every year the fund produces the winning play and publishes a collection of most successful plays in its Hartefact Drama edition. When it comes to theatrical productions, Hartefact endeavor to support new, courageous and responsible artists, as well as to promote new cooperative models between independent organizations and official cultural institutions. The partnership with BITEF Theater is one of those things. The first joint project of the two institutions was undertaken May 2011. It was a documentary play Hipermnezija by Selma Spahić, a leading young Sarajevo director.

Rediteljica / Director Anđelka Nikolić Uloge / Cast Milan Kovačević Igor Borojević Marija Bergam Marija Milenković Aleksandar Đinđić Marko Gvero Đorđe Branković Milan Marić Nina Lazarević Plesačice / Dancers Ana Dubljević Ana Ignjatović-Zagorac Milica Pisić Nevena Jovanović Glasovi majki / Voices of Mothers Jelena Anđelković Jovana Barać Marina Bogdanović Maja Stojanović Dramaturgija / Dramaturgy Filip Vujošević Scenografija, kostimografija / Stage and Costume Design Maja Mirković Muzika / Music Draško Adžić Koreografija / Choreography Dalija Aćin Scenski govor / Stage Speech Dijana Diklić Dizajn zvuka / Sound Design Dobrivoje Milijanović Dizajn svjetla / Light Design Dragan Đurković Fotografija / Photography Jelena Janković Producent / Producer Andrej Nosov Izvršni producentica / Executive Producer Milica Milić

BALKAN (CON)TEXT

Autorica / Author OLGA DIMITRIJEVIĆ

REDITELJICA

Makedonija / Macedonia

Međunarodni centar za djecu i omladinu Novo Sarajevo 18.00 International Centre for Youth and Children Novo Sarajevo 18.00 Trajanje / Running time 85 min.

05/10/12

refet abazi

AKVARIJUM AQUARIUM

PREDSTAVA

Svako od nas vodi unutarnje dijaloge. To su prilike kada razmišljamo o događajima u našim životima i pokušavamo pronaći odgovor na pitanje kakve smo osobe i kakav život živimo. U ovoj drami problematizira se odnos između Osobe i Vremena (prošlost i situacije koje se ne mogu zaboraviti, situacije koje priželjkujemo da nam se dese ili od njih zaziremo). Konflikt Osobe i Vremena rezultat je iznevjerenih snova. Samo nakon što u potpunosti upoznamo sebe i vlastite postupke možemo pronaći mir koji je preduslov univerzalne ljubavi.

Strukturu dramskog teksta Refeta Abazija čini deset cjelina koje opisuju Starčeve uspomene iz mladosti.

Starac ove uspomene doživljava kao realnost i u takvoj realnosti pokušava ispraviti greške koje je počinio kao mladić. Uspomene iz prošlosti nikad neće prestati proganjati Starca sve dok se on u potpunosti ne pomiri sa svim postupcima iz svoje mladosti.

Dramski fokus ovog teksta je na osvještavanju i razvoju emotivnosti i iskrenosti glavnog lika, a ne na hronološkoj prezentaciji događaja. Ova tragikomedija opisuje postepenu osvještavanje realnosti u kojoj živi nakon čega se Starac miri sa duhovima iz prošlosti.

PERFORMANCE

Every person leads an internal communication with the self. In such intimate conversations we contemplate on our life’s events and define what kind of persons we are and what kind of life we live. This play presents a conflict of the Person with the Time: the past, the things that are never forgotten, the things we would like to happen or we wouldn’t like to happen, the conflict generated from the betrayed dreams we had.

Only through recognition of our own actions can we reach a peace of mind and only with peace can we spread the universal love.

The play written by Refet Abazi is composed of 10 frames which present a story of the memories of an Old man in his young years, as a young person. He lives through his memories as present events and simultaneously tries to intervene and fix his mistakes from the past. His memories will never leave him unless he realizes and accepts his own actions.

The accent is on the development of the feelings and sincerity and not on chronological line of events. The tragicomic scenes show a gradual realization of reality that pacifies him with the ghosts from the past.

Luca Cortina je rođen 1979. u Firenci, Italija. Nakon studija srednjovjekovne književnosti i pozorišta na Sveučilištu u Firenci radio je s redateljem Paolo Magellijem u Teatua Metastasio u Pratu. Ubrzo nakon toga odlazi u Makedoniju na Univerzitet za dramske umjetnosti u Skoplju gdje studira u klasi poznatog teatarskog reditelja prof. Slobodana Unkovskog. U toku studija radi kao asistent redatelja Aleksandra Popovskog u mnogim međunarodnim produkcijama, kao što su: Molierov “Don Juan” za Međunarodni pozorišni festival u Bogoti, i “Odisej” Gorana Stefanovskog u Teatru Ulysses, Hrvatska. Radi i kao asistent reditelja u filmskim produkcijama. Režirao je nekoliko predstava: “Pic-nic na bojnom polju” Arrabal, “Sluga” Andreini, “Akuariumi” Abazi. Njegova djela su postavljena i izvedena u raznim teatrima i na festivalima u Makedoniji i inostranstvu. Također je režirao kulturne programe i događaje međunarodnih kulturnih organizacija u starom turskom bazaru u Skoplju, u Muzeju suvremene umjetnosti Skoplje, Nacionalnom parku Mavrovo.

Reditelj / Director Luca Cortina Uloge / Cast Bajrush Mjaku Amernis Jovanovska Nokshiqi Xhevdet Jashari Adrian Aziri Zarije Jonuzi Ali Qerimi Muzafer Etemi Bekim Jahiu Arsim Kaleci Merita Çoçolli – Sali Bekim Smaili Tristan Halilaj Ermal Çanga Altrim Mamuti Hasim Memishi A.K.A. Sopi Mensur Shaqiri Asip Sadiku Asistent / Assistant Petrit Neziri Kompozitorica / Composer Darija Andovska

DIRECTOR

Luca Cortina is born 1979 in Florence, Italy. After studying medieval literature and theater at the University of Florence he worked with director Paolo Magelli at Metastasio Theatre in Prato. Soon afterward he came to study Macedonia at the University for Dramatic Arts in Skopje in the class of the renowned theatre director prof. Slobodan Unkovski. While completing his studies he started working as an assistant director with Aleksandar Popovski in many international productions, such as Moliere’s “Don Juan” for the International theatre festival of Bogota and Goran Stefanovski’s “Odysseus” at the Ulysses theater in Croatia. He also works as an assistant in film productions. He directed several plays such, as Arrabal’s “Pic-nic on the battlefield”, Andreini’s “The Servant”, Abazi’s “Akuariumi”. His works were staged at various theater and festivals in Macedonia and abroad. He also directed cultural programs and events for international cultural organizations in the old Turkish Bazaar in Skopje, Museum of Contemporary Art of Skopje, National Park of Mavrovo.

TEATAR

Pozorište Tetovo je jedno od najnovijih pozorišta u Makedoniji. Nakon stalnih zahtjeva i upornosti glumaca iz Tetova za osnivanjem respektabilne scene gdje će moći prezentirati svoje predstave, napokon je 2007. godine osnovana Nacionalna institucija-Pozorište Tetovo, koje je u stalni angažman primilo petnaest glumaca i petnaest tehničkih i administrativnih uposlenika. Pozorište je zvanično bilo otvoreno premijernom izvedbom predstave “Ludnica” 22. oktobra 2007. godine.

Nedostatak vlastite opreme i sredstava nepohodnih za normalno funkcionisanje institucije nikada nije bilo prepreka ovom pozorištu da producira osamnaest uspješnih predstava koje su izvedene na nekoliko pozorišnih festivala u Makedoniji i regiji.

THEATER

Theatre of Tetovo is one of the newest theaters in Macedonia. After a constant persistence of the actors of Tetovo demanding the foundation of a proper stage where their performance will be presented, finally in 2007 the National Institution – Theatre of Tetovo was established with a staff of 15 actors and 15 technical and administrative employees.

The functioning of this institution will be inaugurated with the premiere of the Theatre Play “Madhouse” on 22 October 2007.

The lack of it’s own facility and equipment necessary for the normal functioning of a Theater, has never been an obstacle for this institution to produce a total of 18 successful performances which were presented at various festivals in Macedonia and the region.

Scenografija / Stage Design Argjend Karai Kostimi / Costumes Elena Spasovska Dizajn svjetla / Light Design: Ibrahim Xhemaili Fotografija / Photography Theater OF Tetovo

BALKAN (CON)TEXT

Autor / Author Refet Abazi

REDITELJ

Srbija / Serbia

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

05/10/12

RADMILA SMILJANIĆ

BUNAR THE WELL

PREDSTAVA

“Bunar”, autorice Radmile Smiljanić je priča o malom mjestu u Bosni, o jednoj porodici i problemima svakodnevnog života sa kojima se stanovnici tog mjesta susreću godinama poslije rata. Glavni zaplet događa se kada stigne ponuda za izgradnju vodovoda u mjestu. Odbijanjem takve ponude gubi se mnogo, ali većina stanovnika nije spremna da prihvati novine. U raspravama da li bunare treba prodati u zamjenu za vodovod, na površinu izbijaju mnoge predrasude.

Projekat Bunar je više od predstave. Posebnim aktivnostima želimo da pozorišnu umjetnost približimo prije svega đacima i mladoj generaciji i da kroz organizaciju debata o predstavi i pozorištu doprinesemo popularizaciji pozorišne umjetnosti s jedne strane, i promovisanju tolerancije i solidarnosti kroz umjetnost i pozorište, s druge strane. Ovim projektom želimo da, nepresušnim jezikom pozorišta, skrenemo pažnju na problem nejednakosti, diskriminacije, porodičnog nasilja i otpor razvoju i napretku sa kojim se kao pojedinci tako često suočavamo.

PERFORMANCE

The Well is a story about a small village in Bosnia, it portrays one family and daily life problems the villagers are facing years after the end of the war.

The story evolves around an offer to build a plumbing system in the village. If the villagers are to refuse such an offer they would lose a lot, but the majority still aren’t ready for novelties. During the exchange of arguments on whether they should sell the wells for a plumbing system or not, many of their prejudice emerge…

The Well extends beyond the performance. Through special activities, we want to acquaint the pupils and youth with the art of theater, by organizing discussions about performances. On one hand, we want to give our contribution to the popularization of the art of theater, and on the other we want to promote tolerance and solidarity through arts and theater.

Using the unfailing language of theater, with this project we aim to raise awareness about discrimination, domestic violence and resistance to all forms of social development we as individuals are often facing.

Egon Savin rođen je u Sarajevu 1955. godine, u porodici operskih pjevača.

Diplomirao je režiju na Fakultetu dramskih umetnosti u Beogradu, gdje danas radi kao redovni profesor na istoj katedri.

Već svojim prvim režijama predstavio se kao jedan od najznačajnijih srpskih i jugoslovenskih reditelja.

Iza sebe ima više od 70 režija raznovrsnog dramskog repertoara, od savremenih domaćih autora koje je režirao u neformalnim trupama, do svjetskih klasika u najvećim nacionalnim teatrima.

Radio je širom bivše Jugoslavije i u inostranstvu. Radio je u Beogradu, Zagrebu, Novom Sadu, Skoplju, Sarajevu, Podgorici, Rijeci, Somboru, Kruševcu, Zrenjaninu,Trstu, Budimpešti…

Predstave u njegovoj režiji gostovale su u Njujorku, Čikagu, Montrealu, Torontu, Parizu, Beču, Nansiju, Milhajmu, Vizbadenu, Cirihu, Tel Avivu, Varšavi, Pragu, Budimpešti, Trstu…

Dobitnik je preko 40 najznačajnijih nagrada i priznanja za režiju, kao što su Zlatni lovorov vijenac, Sterijina nagrada za režiju, Nagrada Bojan Stupica, Zlatna medalja Jovan Đorđević, Ardalion, Ćuran, Statueta Joakim Vujić, Joakimova nagrada za režiju, Nagrada za najbolju režiju na Međunarodnom festivalu malih scena...

DIRECTOR

Egon Savin was born in Sarajevo in 1955, to a family of opera singers. He graduated with a degree in direction from the Belgrade Faculty of Dramatic Arts, where he works today as a full time professor. It was with his first plays that he already established himself as one of the most important Serbian and Yugoslav directors.

He has directed more than 70 performances based on versitile plays, from contemporary local authors, staged by informal acting troupes, to the world’s greatest classics, staged at national theatres.

He has worked at theatres throughout the former Yugoslavia and abroad. He has directed in Belgrade, Zagreb, Novi Sad, Skopje, Sarajevo, Podgorica, Rijeka, Sombor, Kruševac, Zrenjanin, Trieste, Budapest etc. His performances have gone on tour in New York, Chicago, Montreal, Toronto, Paris, Vienna, Nancy, Milheim, Wiesbaden, Zurich, Tel Aviv, Warsaw, Prague, Budapest, Trieste etc.

He has won over 40 major awards for direction, such as the Golden Laurel Wreath Award, the Sterija Award for Best Director, the Bojan Stupica Award, the Jovan Đorđević Gold Medal, the Ardalion, Ćuran, the Joakim Vujić Statuette, the Joakim Award for Best Direction, the Best Directing Award at the International Small Scene Festival etc.

TEATAR

Kreativni procesi Radionice Integracije u posljednje tri godine postali su dostupni publici i široj javnosti. Ohrabruje činjenica da razumijevanje neophodnosti integracionih procesa u našoj zemlji, između ostalih, pretpostavlja i razumijevanje složenih problema osoba sa hendikepom, te da je snažno zračenje Radionice Integracije u Beogradu, Srbiji i zemljama u okruženju doprinijelo da se praktično pokrenu procesi manjeg ili većeg obima, koji daju nadu u zreliji pristup, brži i temeljniji, neophodnim raznovrsnim integracionim procesima potrebnim našoj zajednici. Posebno hrabri činjenica da su djelovanja Radionice Integracije, svojim prisustvom ili pisanom ili izrečenom riječju u svim vrstama medija, spontano podržali novinari, istaknute javne ličnosti i vršioci najviših državnih funkcija naše zemlje. Taj sjajni proces podrške medija i javnih ličnosti, različitih profesionalnih profila počeo je 2008. godine, i više je nego ohrabrujuća činjenica da se on nastavio, i rastao u 2009, 2010. i 2011. godini.

Dio naših napora je otkrivanje i razvoj talenta, sposobnosti, i umijeća osoba sa invaliditetom, i marginalizovanih pojedinaca i grupa.

THEATER

In the last three years, the creative processes of the Integration Workshop have become available to our audiences and the general public. An encouraging fact is that the understanding of the need for integration processes in our country, among other things, also presupposes an understanding of the complex problems of people with disabilities, and that the strong influence of the Integration Workshop in Belgrade, Serbia and the neighbouring countries has contributed to the launch of processes, of a larger or smaller scope, which give hope for a faster, more mature, and more fundamental approach to the indispensable and diverse integration processes that our community needs. What is especially encouraging is the fact that the brave actions of the Integration Workshop, who have made a presence for themselves in both the spoken and written word, in all types of media, have gained the spontaneous support of journalists, prominent public figures and the highest government officials of the country. This great trend of support from the media and public figures in different professional profiles began in 2008, and has reassuringly continued and grown between 2009 and 2011.

A part of our efforts is to discover and develop the talents, skills, and abilities of people with disabilities, and of marginalized individuals and groups.

Reditelj / Director Egon Savin Uloge / Cast Radmila Živković Mariana Aranđelović Jova Maksić Ivana Šćepanović Novak Bilbija Scenografija / Stage Design Darko Nedeljković Kostimografija / Costume Design Zagorka Stojanović Muzika / Music Nikola Čuturilo Fotografija / Photography Branko Brandajs Produkcija / Production UK Vuk Karadžić Predstava je nastala kao projekat Evropske unije u okviru programa “Podrška civilnom drustvu” u saradnji sa Ustanovom kulture “Vuk Karađžić” / The performance was created within the Support for Civil Society Project of the European Union and in collaboration with UK “Vuk Karadžić”

BALKAN (CON)TEXT

Autorica / Author Radmila Smiljanić

REDITELJ

Bugarska / Bulgaria

Pozorište mladih Sarajevo 18.00 Youth Theatre Sarajevo 18.00 Trajanje / Running time 85 min.

07/10/12

KONSTANTIN ILIEV

ZLATNI MOSTOVI I SEKVOJA THE GOLDEN BRIDGES AND SEQUOIA

PREDSTAVA

PERFORMANCE

Konstantin Iliev je jedan od najpoznatijih savremenih bugarskih dramatičara. Neke od njegovih drama, kao što su “Uskršnje vino” i “Nirvana”, kritičari uvrštavaju među najimpresivnija dostignuća bugarske dramaturgije 20. vijeka. Njegova najnovija predstava, “Zlatni mostovi i sekvoja”, prvi je put izvedena na pozornici Malog gradskog teatra u prethodnoj sezoni.

Tekst predstave bio je nominovan za prestižnu Askeer nagradu za dramaturgiju, dok je glumica Svetlana Yancheva bila nominovana za najbolju glumicu na Festivalu nove bugarske drame u maju ove godine.

Konstantin Iliev is one of the most famous modern Bulgarian playwrights. Some of his plays, such as Easter Wine and Nirvana, are considered by critics to be among the most impressive achievements of 20th century Bulgarian dramaturgy. His latest work, The Golden Bridges and Sequoia, was first performed on the stage of LCT in the previous season. The text was nominated for the prestigious Askeer Award for Dramaturgy, while the actress Svetlana Yancheva was nominated for the Best Actress Award at the New Bulgarian Drama Festival in May this year.

“Zlatni mostovi i sekvoja je triptih malih priča o velikim duhovnim padovima, o tranziciji, o nagomilanim razočarenjima i prešutnim uvredama upućenim intelektualcima iz Bugarske, koji je pretvoren u suvišan lik društva. Kao što je i pisac suvišan – on je prisutan, ali odsutno, nema potrebu da stvara, pada u depresiju i osamu. Ili glumac, koji se ogleda u “ogledalu”, koji je predodređen da živi u stalnom strahu od “optimizacije osoblja”, od starenja i nemoći, od zaborava. “Svi ostali pokušaji koje smo napravili da drugačije pristupimo tekstu su izrodili nešto groteskno” - priznaje rediteljica Bina Haralmpieva.

Irina Gigova, Dnevne novine “Novinar”

The Golden Bridges and Sequoia is a triptych of small stories about great spiritual downfalls, about transition, about the accumulated disappointments and the tacit outrages against the Bulgarian intellectual, who has been transformed into a redundant figure of society. As is the writer, who is present absently, and who has no urge to create, falling into depression and loneliness, or the actor, reflected in the “mirror”, who is destined to a constant fear of “staff optimization”, growing old and infirm, and oblivion. “All other attempts we made to approach the text differently produced a grotesque” – admits directress Bina Haralmpieva.

Irina Gigova, Novinar Daily

Bina Haralampieva je jedna od najrenomiranijih bugarskih rediteljica. Također je režirala uspješne predstave za televiziju, te opere. Među klasičnim autorima čija je djela režirala su i Shakespeare (“Mletački trgovac”, “Romeo i Julija”), Beaumarchais (“Figarova svadba”), Hugo (“Kralj se zabavlja”), G.B. Shaw (“Zanimanje gospođe Warren”) itd. Na scenu je postavila i neka značajna klasična bugarska djela, kao što su “Kad munja udari Yavora”, “Cvrčci” St. L. Kostova, “Žurba” Y. Radichka, te mnoge druge. Poznata je kod publike i kritičara za svoj rad na djelima “Dražesne ptice mladosti” T. Williamsa, “Spust niz planinu Morgan” Arthura Millera, “Harold i Mod” W. Higginsa, “Spavaj sa mnom” H. Kureishija, “Švedska odbrana i Kankun” J. Galserana, “Bez kože” T. Dimove, “Štenara i Jučerašnji poljupci” Y. Dacheva, itd.

Dobitnica je brojnih nacionalnih nagrada na raznim pozorišnim forumima, ne samo kao rediteljica, već i kao uspješna voditeljica pozorišta. Njene predstave igrane su u Makedoniji, Češkoj, Rumuniji, Izraelu, na Kipru, te u Austriji, Njemačkoj, i Bosni i Hercegovini.

Od 1995. godine djeluje kao generalna direktorica Malog gradskog pozorišta Izvan kanala (The Little City Theatre/Off the Channel). Najnovije priznanje svog rada dobila je prošle godine - nagrada za pozorište Glavne općine.

DIRECTOR

Bina Haralampieva is one of the most established Bulgarian theatre directors. She also has directed successful plays for the television and opera. Among the classic authors she has staged are Shakespeare (The Merchant of Venice, Romeo and Juliet), Beaumarchais (Figaro’s Wedding), Hugo (The King has Fun), G. B. Shaw (Mrs. Warren’s Profession), etc.

Noteworthy Bulgarian classical plays that she has staged include When the Lightning Strikes by Yavorov, Grasshoppers by St. L. Kostov, Bustle by Y. Radichko etc. She is well remembered by audiences and critics for her work on Sweet Bird of Youth by T. Williams, The Ride Down Mt. Morgan by Arthur Miller, Harold and Mod by W. Higgins, Sleep with Me

by H. Kureishi, Swedish Defense and Cancun by J. Galseran, Without Skin by T. Dimova, Dog house and Yesterday’s Kisses by Y. Dachev etc.

She has won numerous national awards at various theatrical forums, not only as a director, but also as a successful theatre manager. Her productions were played in Macedonia, the Czech Republic, Romania, Israel, Cyprus, Austria, Germany, and Bosnia and Herzegovina.

Since 1995, she has been the General Manager of the Little City Theatre /Off the Channel.

The latest recognition of her work is last year’s Capital Municipality Theatre Award.

TEATAR

2011. godine, Little City Theatre /Off the Channel/ (Malo gradsko pozorište/Izvan kanala/) proslavilo je dvadeset godina svog postojanja. Na početku složenih društvenih promjena, pozorište je počelo kao formacija, osnovana od strane stvaralaca koji su željeli napustiti tešku pozorišnu mrežu tog vremena, i raditi sjedinjeni svojim tumačenjem pozorišne umjetnosti i profesionalnog dostojanstva.

Tokom protekla dva desetljeća, pozorište je sačuvalo svoj autoritet male, elitne zajednice umjetnika /ca, koji su otvoreni za različite kreativne izazove. Neki od najznačajnijih bugarskih reditelja/ica svoj su rad započeli na ovoj pozornici. Najbolji reditelji/ice, scenografi / kinje, kompozitori/ca i dalje gostuju na njenim daskama. U njemu zajedno rade glumačke legende i njihove nadarene kolege i kolegice.

Važno načelo u radu pozorišta je potraga za nepoznatim ili manje poznatim naslovima svjetske i bugarske klasične drame, kao i za djelima savremenih dramskih pisaca/ spisateljica. Svake sezone, na repertoaru imamo novu predstavu nekog savremenog bugarskog autora/ice.

S obzirom na ono što su do sada postigli, sa svojim trenutnim prisustvom i budućim namjerama, Pozorište potvrđuje riječi poznatog francuskog kritičara Jean Pierra Thibaudata: “Malo gradsko pozorište/Izvan kanala/ je jedna od najboljih adresa evropskog pozorišta.”

THEATER

In 2011, the Little City Theatre /Off the Channel/ celebrated twenty years of its existence. At the start of complex social changes, LCT started as a formation, established by creators who wanted to leave the heavy theatrical network of that time, and to work united by their understanding of theatrical art and professional dignity.

During the past two decades, the Theatre preserved its authority as a small, elite community of people of art, open for various creative challenges. Some of the most prominent Bulgarian directors started their work on its stage. The best directors, set designers and composers continue to make guest appearances here. Acting legends and their gifted young colleagues work together in the company.

An important principle in the Theatre’s work is to search for unknown or little known titles in world and Bulgarian classical drama, as well as those by modern playwrights. Each season, the Theatre’s repertoire includes a new play by a modern Bulgarian author.

With what has been accomplished so far, with its current presence and future intentions, the company confirms the words of famous French critic Jean Pierre Thibaudat: “Little City Theatre /Off the Channel/ is one of the best addresses of European Theatre”.

Rediteljica / Director Bina Haralampieva Uloge / Cast Vasilena Atanasova Svetlana Iancheva Boika Velkova Vladimir Penev Atanas Atanasov Scenografija, kostimografija / Stage Design, Costumes Petia Stoikova Muzika / Music Asen Avramov Fotografija / Photography Simon Varsano

BALKAN (CON)TEXT

Autor / Author Konstantin Iliev

REDITELJICA

KOFER PRIČA THE STORY CHEST

DRES

THE JERSEY

VJEŠTICE THE WITCHES

NEKE VRLO VAŽNE STVARI CERTAIN VERY IMPORTANT MATTERS

KAMENJE THE STONES

Međunarodni centar za djecu i omladinu Novo Sarajevo 12.00 International Centre for Children and Youth Novo Sarajevo 12.00 Trajanje / Running time 60 min.

29/09/12

Brazil / Brasil

Gradsko kino Visoko 12.00 City Cinema Visoko 12.00 Trajanje / Running time 60 min.

30/09/12

CRIS MIGUEL, SERGIO SERRANO

KOFER PRIČA THE STORY CHEST

PREDSTAVA

Ova predstava je kompilacija nekih od priča ispričanih tokom TV emisije “Kofer priča“ (na portugalskom, Bau de Historias), koju su kreirali i izveli Sergio Serrano i Cris Miguel, a koja se emitovala na programu TV Cultura (javni TV kanal) i TV Ratimbum (kablovski kanal) u Brazilu.

Predstava govori o kralju koji želi čuti priče, i koji nudi nagradu onome ko će mu ispričati najdužu priču. Stoga, kandidati iz cijelog svijeta dolaze predstaviti svoju predstavu za Njegovo Visočanstvo, koji je ujedno i publika.

Koristeći nekoliko lutkarskih tehnika, pozorište sjena, te mnogo muzike u izvedbi sa originalnim instrumentima, ovaj dvojac daje novi život klasicima i pričama iz usmene predaje, na smiješan, dinamičan način.

PERFORMANCE

The show is a compilation of some of the tales told on the TV show The Story Chest (Bau de Historias in Portuguese), created and performed by Sergio Serrano and Cris Miguel, and aired on TV Cultura (public TV channel) and TV Ratimbum (cable channel) in Brazil.

The play is about a King who wants to hear stories, and offers a prize to the one who can tell the longest tale. Therefore, candidates from all around the world put on a show for his Majesty, the Audience.

Using several puppeteering techniques, shadow puppetry and a lot of music performed with original instruments, the duo reinvents classic stories and tales in the oral tradition in a humorous, dynamic way.

Reditelji / Directors CRIS MIGUEL SERGIO SERRANO Uloge / Cast CRIS MIGUEL SERGIO SERRANO

REDITELJI

Cris Miguel je glumica, autorica priča za djecu, instrumentalistkinja, pjevačica i plesačica. Studirala je muziku na Univerzitetu za umjetnost u Parani. Radila je sa vodećim brazilskim rediteljima, i izučavala afrički, arapski, balkanski i brazilski ples, specijaliziravši se u oblasti indijskog plesa (Odissi) i flamenka. 1997. godine, pridružila se Mawaca grupi etno muzike. Tokom izvrsnih 14 godina, grupa Mawaca je proizvela šest albuma muzike i jedan DVD. Njihov najnoviji album, “Zvučna pećina – Posveta stanovnicima autohtone šume” (Sound Cave - A Tribute to the People from the Forest Indigenous) predstavlja pjesme iz različitih područja Amazonije, poput Suruija, Kayapó, Pakaae, Kaxinawe, te drugih oblasti. Grupa putuje Brazilom sa svojim nastupima, te je nastupala i u nekoliko drugih zemalja, kao što su Španija, Bolivija, Berlin i Kina.

Sergio Serrano je glumac, lutkar i muzičar, autor, ilustrator i pripovjedač, dizajner i izumitelj, ali i klaun u duši. Režirao je umjetnička djela i radio ilustracije za editorijale i oglašivače. Radio je i sa pozorišnom grupom XPTO, Kompanijom Paper Theatre, te grupom Furunfunfun, između ostalih. Dobitnik je APCA i FEMSA Mambembe nagrada za glumu, scenografiju i soundtrack. Jedan je od osnivača Trupe Opera na Mala, te jedan od autora TV programa “Kofer priča”.

Muzika / Music CRIS MIGUEL SERGIO SERRANO Kostimografija / Costume Design CRIS MIGUEL SERGIO SERRANO Scenografija / Stage Design CRIS MIGUEL SERGIO SERRANO Dizajn Lutaka / Puppet Design CRIS MIGUEL SERGIO SERRANO Fotografija / Photography SERGIO MARREIRO Produkcija / Production The OPERA NA MALA COMPANY

DIRECTORS

Cris Miguel is an actress, author of stories for children, instrumentalist, singer and dancer. She studied music at the University of the Arts of Paraná. She has worked with leading directors in Brazil, and has studied African, Arabic, Balkan and Brazilian dance, but specializes in Indian dance (Odissi) and flamenco.

In 1997, she joined the Mawaca group of ethnic music. During an excellent 14 years, Mawaca has produced six albums and a DVD. Their newest album, Sound Cave- A Tribute to the People from the Forest Indigenous presents songs from different regions of the Amazon, like Suruí, Kayapó, Pakaa, Kaxinawá, among others. The group travels through Brazil, and has performed in several countries, such as Spain, Bolivia, Berlin and China.

Sergio Serrano is an actor, puppeteer and musician, an author, illustrator and storyteller, designer and inventor, and a clown at heart. He has done art direction and illustration for editorials and advertising.

He has worked with the XPTO Theater Group, Paper Theatre Company, and the Furunfunfun Company among others. He has received the APCA and the FEMSA Mambembe for acting, set design and soundtrack. He is one of the founders of the Opera Na Mala Company and an author of the Story Chest TV program.

TEATAR

Kompaniju Opera na Mala osnovali su Cris Miguel i Sergio Serrano 1998. godine.

Danas, ova trupa ima 13 predstava na svom repertoaru. Za mnoge od svojih nastupa osvojili su i nagrade, kao što su Coca-Cola Nagrada za najboljeg glumca za Fantom opere (Phantom of the Opera), Coca Cola FEMSA nagradu u posebnoj kategoriji za scenografiju i izradu lutaka, te nagradu APCA 2005. godine u istoj kategoriji za predstavu “Kraljica svizaca” (The Groundhog Queen), Femsa nagradu za najbolji soundtrack za “Raimundo i ljudi iz donjeg svijeta” (Raimundo and Lower Band of the World), i istu nagradu za predstavu “Kofer priča“. Cris Miguel i Sergio Serrano su također nagrađeni za glumu na 18. Festivalu dečjeg pozorišta u Subotici, u Srbiji.

2011. godine, trupa je premijerno izvela predstave “Beethoven”, “Tchaikovsky” i “Carlos Gomes”, pod projektom Bravississíssimo, autora Sesca Baurua. Od 1998. godine, trupa nastupa u pozorištima i na festivalima diljem Brazila, te u inostranstvu.

Pored toga, imali su turneje u različitim zemljama, kao što su Austrija, Švicarska, Italija, Bosna i Hercegovina, Argentina, Srbija i Mađarska.

THEATER

The OPERA NA MALA Company was created

by Cris Miguel and Sergio Serrano in 1998.

Today, the Company has 13 shows in its repertoire. It has received awards for many of its performances, namely the Coca-Cola Award for Best Actor for Phantom of the Opera; for The Groundhog Queen the Coca Cola Award FEMSA Special Category for Set and Puppet Design, as well as the APCA Award 2005 in the same category; the Femsa Award for Best Soundtrack for Raimundo and Lower Band of the World, and the same award for Story Chest. Cris Miguel and Sergio Serrano also received awards for their acting at the 18th Children’s Theatre Festival in Subotica, Serbia.

In 2011, the Company premiered its performances Beethoven, Tchaikovsky and Carlos Gomes, under the project Bravississíssimo, by author Sesc Bauru. The Company has performed since 1998 at theathers and festivals throughout Brazil and abroad. In addition, it has toured in different countries, such as Austria, Switzerland, Italy, Bosnia and Herzegovina, Argentina, Serbia and Hungary.

CHILDREN MESS

Autori / Authors CRIS MIGUEL SERGIO SERRANO

Bosna i Hercegovina / Bosna and Herzegovina

Pozorište mladih Sarajevo 18.00 Sarajevo Youth Theatre 18.00 Trajanje / Running time 80 min.

30/09/12

DRES

Adaptacija dramskih tekstova: “Jedanaest majica” Edwarda Bonda, “Nevidljiva ruka” Sama Sheparda

THE JERSEY

Adaptation of plays: Eleven Vests by Edward Bond, The Unseen Hand by Sam Shepard

PREDSTAVA

Predstava “Dres”, u režiji Primoža Beblera tretira problem pojave nasilja među mladima. Stroga dehumanizirana školska atmosfera i svijet mašte u kojem oživljavaju filmski i strip junaci, jedine su dvije moguće realnosti za glavnog junaka. U jednoj je apriorno osuđen, obilježen i izdan, u drugoj postaje heroj. Međutim, šta ako izmaštani heroj u realnosti vlastitog okruženja počini nasilje?

Predstava je namijenjena tinejdžerima.

PERFORMANCE

“The Jersey”, directed by Primož Bebler, emphasizes the problem of increasing violence amongst youth population throughout the world. Strict and dehumanized school environment, and an imaginary world (in which characters from old movies and comic books are brought to life) are the only two options the main character of the story has. In the first one he is already labeled as villain, whereas in the latter he becomes a hero. But what happens when and if the hero with such plentiful imagination commits an act of severe violence in the reality of the everyday life?

The play is suitable for teenagers.

Primož Bebler je rođen u New York-u, osnovnu školu je pohađao u Parizu i u Jakarti. 1976. godine je diplomirao pozorišnu režiju na Fakultetu dramskih umjetnosti Univerziteta u Beogradu. Od 1976. godine je bio reditelj i umjetnički direktor Pozorišta u Kruševcu. 1979. godine je postao direktor Narodnog pozorišta – Népsinház u Subotici, te direktor drame i režiser.

Godine 1984. je postao upravnik i umjetnički direktor beogradskog lutkarskog pozorišta Duško Radović.

U tih osam godina proširio je pozorišni repertoar lutkarskog pozorišta Duško Radović koje je sa velikim brojem produkcija, koprodukcija steklo veliku popularnost. Nakon povratka u Sloveniju 1992. godine surađuje sa Radijom Slovenija kao autor desetina emisija iz kulture i kao režiser radio-drama.

Od 1994. do 1997, bio je umjetnički direktor SLG Celje, gdje je uspostavio malu scenu “Oder pod odrom”. Za jedno od svojih najvećih dostignuća smatra nagradu za najbolju predstavu u cjelini (“Ukroćena goropad” u režiji J. Kice) za koju je ansambl SLG Celje dobio nagradu za najbolju predstavu na pozorišnom festivalu Borštnikovi susreti 1997. Od 1998. godine umjetnički je direktor Primorskog ljetnog Festivala. Iste godine postaje direktor Primorskog dramskog pozorišta koje 2004. godine mijenja naziv u Narodno pozorište Nova Gorica. Deset godina Beblerovog umjetničkog vođenja Narodnog pozorišta Nova Gorica je obilježio ambiciozan repertoar, podmlađen glumački ansambl, koji sa neupitnim talentom i izuzetnom predanošću (u saradnji sa velikim brojem sjajnih gostujućih glumaca) na scenu postavlja različite pozorišne vizije i autorske estetike domaćih i gostujućih režisera.

Godine 2001. Narodno pozorište Nova Gorica uključeno je u organizaciju Evropska teatarska konvencija (European Theatre Convention / Convention Théâtrale Européenne). Od 2009. do 2011. Primož Bebler je bio umjetnički direktor Slovenskega stalnega gledališča (SSG) u Trstu.

Primoz Bebler was born in New York, he attended elementary school in Paris and Jakarta. 1976. he graduated theater directing at the Faculty of Dramatic Arts of the University of Belgrade. Since 1976. he was a director and artistic director of the Theater in Krusevac. In 1979. he became the Menager of the National Theatre - Népsinház in Subotica, as well as the Director of Drama and the house theater director.

He became Manager and Artistic Director of the Belgrade puppet theater Duško Radović in the year 1984. In those eight years, as a theatre manager, he expanded The Duško Radović Puppet Theater repertory. With its large number of productions and co-productions it soon gained great popularity.

After returning to Slovenia in 1992, he began his cooperation with Radio Slovenia as an author of a numerous radio shows in domain of culture, as well as a director of dozens of radio dramas.

In the period between 1994 to 1997 he was the Artistic Director of SLG Celje, where he set up a small scene Oder under odrom. He considers the prize for the Best Performance for SLG Celje ensemble at Borštnik Theater Festival meetings (for the Taming of the Shrew, directed by J. Kica) to be one of his greatest achievements. He has been the Artistic Director of Primorski poletni festival since 1998. In the same year he became the director of PDP which changed it’s name to National Theatre Nova Gorica in 2004. Ten years of Bebler’s artistic leadership of the National Theatre Nova Gorica were marked with an ambitious repertoire, rejuvenated ensemble, which, with unquestionable talent and exceptional commitment (in cooperation with a large number of visiting great actors), created various theatrical visions and aesthetics from both local and visiting directors.

In the year of 2001 National Theatre Nova Gorica became the part of the organization European Theatre Convention (Convention Théâtrale Européenne). From 2009 to 2011 Primoz Bebler was the Artistic Director of Slovenskega Stalnega gledališća (SSG) in Trieste.

Historijat Pozorišta mladih počinje daleke 1950. godine kada su u Sarajevu osnovana dva teatra za djecu: Pionirsko pozorište i Pozorište lutaka.

Profesionalni ansambl Pionirskog pozorišta formira se šezdesetih godina, te se mijenja i naziv teatra u Pozorište za mlade koje stremi ka postavljanju sve ambicioznijih projekata u svrhu animiranja što šire grupacije mladih. Formiranje Pozorišta mladih 1977. kao jedinstvene teatarske institucije obilježeno je promjenom repertoarske politike u kvalitativnom i kvantitativnom smislu i angažmanom eminentnih reditelja, vrhunskih umjetnika iz oblasti muzičkog i likovnog umjetničkog izraza koji su u ovaj teatar dolazili iz svih dijelova bivše Jugoslavije, ali i Evrope.

Tokom rata u devastiranoj zgradi sa prepolovljenim ansamblom Pozorište mladih daje svoj puni doprinos odbrani grada Sarajeva i kulture od agresije i nadirućeg primitivizma sa okolnih brda. U suradnji sa domaćim i stranim rediteljima uz zajednički angažman MESS-a i malobrojnih preostalih glumaca u Sarajevu, u Pozorištu mladih premijerno su izvedene brojne predstave. Po završetku rata pozorište nastavlja svoju djelatnost koja rezultira nagradama: Na internacionalnom teatarskom festivalu MESS ‘97, ‘99, ‘01 predstave ovog pozorišta nagrađivane su nagradom za glavnu ulogu, nagrada kritike, nagrada ansamblu predstave. Predstave Pozorišta mladih dobijaju i brojne nagrade za glumce, reditelje i predstave u cjelini na bosanskohercegovačkim teatarskim festivalima u Jajcu, Zenici, Mostaru... Od daleke 1950. godine Pozorište mladih Sarajevo bilo je i ostalo pozorište svih generacija.

Dramaturgija / Dramaturgy AIDA PILAV Scenografija, kostimografija / Stage and Costume Design EMIR GELJO Asistent scenografa i kostimografa / Stage and Costume Designer Assistant MIRZA HASANBEGOVIĆ Muzika / Music HAMDIJA SALIHBEGOVIĆ NEDŽAD MERDŽANOVIĆ Video Art IVAN RAMADAN

DIRECTOR

TEATAR

Uloge / Cast MARIO DRMAĆ SANIN MILAVIĆ AJLA CABRERA ALEN MURATOVIĆ EDHEM HUSIĆ NERMIN TULIĆ

THEATER The history of the Sarajevo Youth Theatre goes way back to 1950, when Sarajevo saw the establishment of two theatres geared to children: Pionirsko pozorište (The Pioneer Theatre) and Pozorište lutaka (The Puppet Theatre). In the 1960s, the Pioneer Theatre puts together its first professional ensemble, changes its name to Pozorište za mlade (The Theatre for Youth), and begins staging increasingly ambitious projects, aimed at engaging wider groups within the young population. In 1977, the establishment of the Pozorište mladih (Youth Theatre) was also marked by a change in repertoire policies, in both the qualitative and the quantitative sense, with the involvment of renowned directors, as well as of leading graphic and music artists, which came to the Theatre from all over the former Yugoslavia and Europe. During the war years, working in a ruined building and with a decimated ensemble, the Youth Theatre contributed, to the fullest of its capacity, to defending the city and the cultural scene from the aggression and primitivism that advanced from the surrounding hills.

In cooperation with both local and foreign directors, and as a result of joint efforts with the MESS Festival and the few actors that had remained in Sarajevo, the Theatre hosted numerous premieres. After the war, the theatre continued its activities, which resulted in awards at the MESS International Theatre Festivals in 1997, 1999 and 2001, while its plays have recieved awards for best acting, critics’ awards, and ensemble awards. The Youth Theatre productions have also garnered numerous awards for its actors, directors, and for the productions in general, at B&H theatre festivals in Jajce, Zenica, Mostar etc. Ever since the now seemingly distant 1950, to the present day, Sarajevo’s Youth Theatre has been, and has remained, a theatre for all generations

Fotografija / Photography Jasmin Alibegović

CHILDREN MESS

Režija / Director PRIMOŽ BEBLER

REDITELJ

Bosna i Hercegovina / Bosnia and Herzegovina

Sarajevski ratni teatar 12.00 i 14.00 Sarajevo War Theatre 12.00 and 14.00 Trajanje / Running time 60 min.

04/10/12

VJEŠTICE THE WITCHES

PREDSTAVA

Događaj “Bajke za djecu i odrasle” je inspirisan engleskim i francuskim slikovnicama “Vještica Winnie” i “Kongres vještica”, koje su za bh. tržište prevedene i objavljene u izdanju TDK “Šahinpašić”. Pored čitanja bajki, u sklopu događaja priređuje se i bogat kreativni i zabavni program: radionice pravljenja vještičijeg nakita, vještičijih metlica i šešira, crtanje, bojenje i projekcije crtanih filmova.

Predstava je namijenjena djeci do 9 godina.

PERFORMANCE

The event The Fairy Tales for Children and Adults is inspired by English and French children books The Winnie Witch and The Congress of the Witches, which were translated and published in Bosnia and Herzegovina by TDK Šahinpašić. Besides the readings of the fairy tales this event includes a rich and creative entertainment program: witches’ jewelry and witches’ brooms and hats making workshops, drawing, coloring and animated films screening.

The play is suitable for children up to 9 years of age.

Režija / Directed by ANSAMBL / THE ENSAMBLE Uloge / Cast MAJA SALKIĆ AMILA TERZIMEHIĆ ANA MIA MILIĆ SEAD PANDUR IGOR SKVARICA AUTOR

Almira Drino rođena je 1967. godine. Živi i radi u Sarajevu kao prevoditeljica za francuski jezik. Ima posebnu naklonost prema stripu, bajkama i književnosti koja obiluje maštom i čarolijom. Iz te ljubavi se rodila i ideja o “Bajkama za djecu i odrasle”. Vještice su prvi u nizu likova iz bajki koji će biti obrađeni kroz prevode tematskih knjiga, teatarske izvedbe, obrazovne i zabavne radionice čiji je cilj ponovo okrenuti djecu i odrasle ka čitanju bajki i razvijanju mašte.

Scenografija / Stage Design MAJA CERIĆ Muzika / Music MUHAREM VOJNIKOVIĆ Fotografija / Photography RENAN HIDOVIĆ Asistentica autorice koncepta / Author of the Concept Assistant LUNA MIJOVIĆ Produkcija / Production SARAJEVSKI RATNI TEATAR / SARAJEVO WAR THEATRE FRANCUSKI KULTURNI CENTAR “ANDRE MALRAUX” / CENTRE ANDRE MALRAUX AGENCIJA DIWAN DIWAN AGENCY

AUTHOR

Almira Drino was born in 1967. She lives and works in Sarajevo as a professional French language interpreter and translator. She has particular interest in comic books, fairy tales and any kind of literature which could be characterized as richly imaginative. This devotion generated the idea of the project Fairy Tales for Children and Adults. Witches are the first in a row of characters that will be enliven trough this project, which aims to refocus the attention of children and adults to fairy tales through the translation of the theme books, theater performances, educational and entertaining workshops.

TEATAR

Sarajevski ratni teatar je najmlađa teatarska kuća osnovana u Sarajevu 1992. godine, na početku opsade Sarajeva. Osnivanje teatra u takvim okolnostima je jedan do elemenata koji podržava ideju fenomena koji je u tom period bio označen terminom “kulturni otpor”, kao potrebu čovjeka da u najtežim vremenima identificira kulturu i umjetnost, u ovom slučaju teatar, kao osnovnu i sasvim prirodnu ljudsku potrebu. Upravo je očuvanje ove tradicije, prošireno na fenomen teatra koji je osnovan u radikalnim situacijama, ono što se smatra osnovom i glavnom smijernicom u razvoju ove institucije, kao i prošlom i budućem radu.

Sarajevski ratni teatar okuplja ansambl mladih glumaca i režisera, i veoma profesionalan tim koji podržava umjetničke procese i napore.

Teatar je otvorena scena koja daje prostor, ne samo teatarskim predstavama, nego i drugim formama umjetničkog izražavanja. Budući da našom dužnošću smatramo širenje pozitivnih vrijednosti i educiranje publike, Sarajevski ratni teatar je uspostavio scenu za djecu pod nazivom SARTRČIĆI, koja nudi specijalni program za djecu, čime se stvara i educira buduća pozorišna publika. U prvoj polovini 2012. godine, Sarajevski ratni teatar je održao premijere četiri predstave, zabilježio 46 igranja predstava, a sezonu 2011/2012 zaokružio sa oko 70 igranja, na svojoj sceni i scenama širom Bosne i Hercegovine i Regije.

THEATER

Sarajevo War Theatre is the youngest theatre company established in Sarajevo in 1992., at the beginning of the siege of Sarajevo.

The establishment of the theatre under that circumstances is actually one of the elements that supports the idea of a phenomenon which in that period has been recognized under the term of “cultural resistance” as the man’s need in the hardest of times to identify culture and art, in this case theatre, as the basic and completely natural human need. It is precisely the preservation of this tradition, expanded to the phenomenon of theatre that is created in radical situations that is considered the basis of central guidelines of this Institution’s development and prior and future work. Sarajevo war theatre gathers an ensemble of young actors and directors, and a very professional team that supports the artistic process and efforts. The Theatre is an opened stage that gives space, not only to the theatre performances, but also, to the other forms of artistic expression. Since we find it to be our duty to spread positive values and educate audience, Sarajevo war theatre established a scene for children called SARTRČIĆI, that offers a special programme reserved for children, thus creating and educating the future audience. In the first half of 2012 Sarajevo war theatre premiered four plays, held 46 performances, and rounded the 2011/2012 season with 70 performances, at home and around Bosnia and Herzegovina and the Region.

CHILDREN MESS

Autorica, koncept / Author, Concept ALMIRA DRINO

Srbija / Serbia

Stolarija Narodnog pozorišta Sarajevo 12.00 i 17.00 Stage Carpentry of the National Theatre Sarajevo 12.00 and 17.00 Trajanje / Running time 35 min.

06/10/12

MAJA PELEVIĆ

NEKE VRLO VAŽNE STVARI CERTAIN VERY IMPORTANT MATTERS

PREDSTAVA

PERFORMANCE

“Predstava “Neke vrlo važne stvari” stvorena je sa željom da kroz pokret, ples, muziku, dodir i poeziju, u jednom neobičnom ambijentu / instalaciji, stimuliše percepciju najmlađe publike i interakciju sa njom. Za razliku od uobičajenih narativa, u predstavama, bajkama i pričama za decu, koji najčešće podrazumevaju rešenje nekog problema, konflikta ili prepreke, ova predstava nastoji da govori o ljubavi, isključivo afirmativno i stimulativno utiče na čula kroz specifičan vizuelno - zvučni doživljaj.

Autorski tim predstave je već započeo ovu vrstu istraživanja radom na predstavi Knjiga lutanja. Smatramo da je najmlađoj publici neophodno ponuditi nova, neobična iskustva i doživljaje za razliku od jednoobrazne, grube i osiromašene svakodnevnice koja često dovodi do agresije, otuđenja i nedostatka bliskosti. Da bi se publici dala sloboda izbora da ovu predstavu doživi na način koji njima u tom trenutku odgovora, ona poziva na interaktivnost (ali ne insistira na njoj) a prostor u kojoj se odvija poništava uobičajenu podelu na scenu i auditorijum. Samim tim se stvara jedan prostor slobode gde svaki gledalac ima pravo da izabere svoju perspektivu i da sam doživi svoju “vrlo važnu stvar”.”

Dalija Aćin i Maja Pelević Predstava je namijenjena djeci uzrasta do 3 godine.

“The Performance Certain Very Important Matters was created with a wish to stimulate the perception of the youngest audience and their interactivity with it through movement, dance, music, touch and poetry, in an ambience / installation quite out of the ordinary. Unlike customary narratives, performances, fairy tales and stories for children, which mostly imply the solution of some problem, conflict or overcoming of an obstacle, this performance strives to speak of love, solely in the affirmative and stimulates the senses through a specific visual and auditory experience.

This team of authors has already started this type of exploration with their performance The Book of Wandering.

We believe that it is necessary to offer a new, extraordinary experience and adventure to the youngest audience, unlike the uniform, brutal and impoverished everyday life which often leads to aggression, alienation and lack of closeness. In order to offer the audience the freedom to choose to experience this performance in the manner which suits them best on the spur of the moment, it calls for interactivity (without insisting on it), and the space in which it takes place nullifies the customary division between the stage and the auditorium. This creates a space of freedom where every spectator is given the right to choose his/her own perspective and experience his/her own “very important metter.”

Dalija Aćin i Maja Pelević The play is suitable for children up to three years of age.

Koncept i koreografija / Concept And Choreography DALIJA AĆIN

KOREOGRAFKINJA

Dalija Aćin je rođena 1974. godine. Diplomirala je u Baletskoj školi “Lujo Davičo” i sticala znanje i praksu iz oblasti savremenog plesa kroz mnogobrojne radionice i kurseve za rezidente u Evropi.

Svoje koreografske radove predstavila je na brojnim prestižnim festivalima u zemlji i inostranstvu (Impulstanz, URB Festival, Les Particules, Tanz im August, Tazntendezen, Mladi levi, Tjedan suvremenog plesa, Oppla, Performa, BITEF, BELEF, Infant...) i sarađivala sa internacionalnim koreografima (Isabelle Schad, Thomas Lehmen...).

Dobitnica je prestižne nagrade Impulstanz festivala - “Prix Jardin d’ Europe” za predstavu “Handle with great care”.

Ko-osnivač je i koordinator Stanice Servisa za savremeni ples, ko-osnivač i član umjetničkog borda Nomad Dance Academy, programa Balkanske Plesne Mreže.

Uloge / Cast JELENA ĆURUVIJA ĐURICA MILICA PISIĆ NEVENA JOVANOVIĆ LJILJANA TASIĆ Dramaturgija i poezija / Dramaturgy and Poetry: MAJA PELEVIĆ Scenografija i kostim / Stage and Costume Design: ZORANA PETROV DALIJA AĆIN Muzika / Music: ANJA ĐORĐEVIĆ Asistent scenografa / Stage Design Assistant: MILOŠ RADOVANOVIĆ Fotografija / Photography Đorđe Tomić

CHOREOGRAPHY

Dalija Aćin was born in 1974. She graduated the “Lujo Davičo” Ballet School and acquired knowledge and practice in modern ballet through numerous workshops and residence courses in Europe.

She has presented her choreographic achievements in various renowned festivals at home and abroad (Impulstanz, URB Festival, Les Particules, Tanz im August, Tazntendezen, Young Lions, Modern Dance Week, Oppla, Performa, BITEF, BELEF, Infant ...) and cooperated with international choreographers (Isabelle Schad, Thomas Lehmen...)

She was awarded the prestigious award of Impulstanz Festival - “Prix Jardin d’ Europe” for the performance Handle with great care.

She is one of the co-founders and the coordinator of Contemporaty Dance Service Station, a co-founder and member of the artistic board of Nomad Dance Academy, Balkan Dance Network Programme.

TEATAR

Malo pozorište DUŠKO RADOVIĆ osnovano je 27. maja 1948. godine kao Pozorište lutaka NR Srbije, a svoju prvu premijeru Pepeljuga, u režiji Predraga Dinulovića, izvelo je 23. oktobra 1949. god u hotelu Palas.

Naše pozorište je jedno od najpoznatijih i najpriznatijih dječjih pozorišta u Srbiji, čiju publiku čine djeca i mladi, koje je 2009. godine proslavilo 60 godina postojanja. Osnovna programska koncepcija ovog teatra počiva na uvjerenju da pozorište za djecu i mlade mora aktivno da korespondira sa realnošću, baveći se svim temama koje su aktuelne u savremenom društvu. Malo pozorište Duško Radović je posljednjih godina postalo mjesto aktivnog dijaloga, prije svega između pozorišta i njegove publike. Trudimo se da o pozorištu za djecu razmišljamo na demokratičan način, kao o mjestu razmjene iskustava i ideja, o svojevrsnom forumu na kojem se odvija neprestana rasprava između pozorišne i objektivne realnosti. Želimo da naši mladi gledaoci izrastu u odgovorne i pametne građane društva u kojem žive, koje će, zahvaljujući njima, postati mnogo bolje, ali i u odgovorne i pametne gledaoce nekih drugih, budućih predstava.

THEATER

Little Theatre DUŠKO RADOVIĆ was founded on May 27, 1948 as Puppet Theatre of the People’s Republic of Serbia, and it had it’s first opening night with Cinderella directed by Predrag Dinulović on October 23, 1949 in the premises of Palas Hotel.

Our theatre is one of the best known and most esteemed children’s theatres in Serbia for the audience of children and young people, which celebrated its 60th anniversary in 2009. The principle concept of this theatre’s program relies on the conviction that theatre for children and the young must indeed correspond with the reality by dealing with issues that are topical in modern society. Duško Radović has in the past years become the scene of an active dialogue primarily between the theatre and its audience. We are trying to regard the theatre democratically, as a scene of exchange of experience and ideas, a specific forum where an unending debate is going on between the theatre and objective reality. We wish for young spectators to become responsible and clever citizens in the society they live in, which will become a much better place, thanks to them but we also wish for them to become responsible and clever spectators of other performances in the future.

Produkcija / Production MALO POZORIŠTE DUŠKO RADOVIĆ

CHILDREN MESS

Autorica / Author MAJA PELEVIĆ

Hrvatska / Croatia

Pozorište mladih Sarajevo 18.00 Sarajevo Youth Theatre 18.00 Trajanje / Running time 50 min.

06/10/12

KAMENJE THE STONES

PREDSTAVA

“Kamenje” je doživjelo mnoga uprizorenja i postiglo velik uspjeh u cijelome svijetu zahvaljujući aktuelnoj temi, zanimljivoj i napetoj priči koja koristi sve elemente, pa čak i stereotipe filmskih kriminalističkih potraga, te društvenoj angažiranosti, modernosti koncepta u kojem se odražava savremeno gledanje na ulogu teatra za djecu i mlade, ali i zbog iznimno vješto oblikovanih karaktera koji pružaju fantastične mogućnosti za glumačku igru.

Predstava je namijenjena djeci uzrasta od 10 godina naviše.

PERFORMANCE

“The Stones” have been staged numerous times, each with great success around the globe due to current issues it deals with and due to its highly appealing and suspenseful story that incorporates all, even stereotypical elements of the crime investigation flick. It also deals with social issues, questioning modernity as a concept which reflects the role of the theatre for children and younger audience.

The play is suitable for children aged 10 upwards.

Uloge / Cast Marko Hergešić Filip Lozić Scenografija / Stage Design Dinka Jeričević Kostimografija / Costume Design Hana Letica

REDITELJ

Ivica Šimić je glumac i redatelj. Umjetnički je direktor pozorišta Mala scena, kao i osnivač Pozorišta Epicentar, pozorišnog centra za mladu publiku.

Također, glavni je tajnik ASSITEJ-a, svjetske udruge pozorišta za djecu i mlade.

Diplomirao je glumu na Akademiji za kazalište, film i TV u Zagrebu 1983.

Počeo je glumiti u dramskom studiju ZKM-a sa Zvjezdanom Ladika. Najveći uspjeh postigao je sa predstavom “Mačak Džingiskan i Miki Trasi” u kojoj je igrao s Vitomirom Lončar (Mačkica Smiljka).

Nakon akademije zaposlen je kao glumac u ZKM-u gdje je 1995. dobio nagradu HDDU-a za najboljeg glumca u predstavama za djecu i mlade za ulogu Vuka u predstavi “Igrajmo se Crvenkapice”.

Najdraže uloge su mu Ariel u “Oluji” W. Shakespearea (Histrioni 1980.) i Moca u “Sokol ga nije volio” Fabijana Šovagovića (DK Gavella 1982.)

Objavljuje radove iz područja teatra za djecu i mlade u hrvatskim časopisima i međunarodnim stručnim publikacijama.

DIRECTOR

Ivica Šimić is an actor and director and he is also the Artistic Director of the Little Scene Theater. He is the founder of the Theatre Epicenter, theatre centre for young audiences. Aside from this, he is also the Secretary General of ASSISTEJ, International Association of Theatres for Children and Young People He graduated from the acting department of the Zagreb Academy of Film, Theatre and TV in 1983.

Ivica Šimić began his acting career with Zvjezdana Ladika at the ZKM drama studio. His greatest success was with the play Džingiskan the Cat and Miki Trasi in which he played with Vitomira Lončar.

After graduation he started acting at the ZKM, where in 1995 he received the HDDU award for best actor in children’s theatre for his role of The Wolf in the play Lets Play Little Red Riding Hood.

His favourite roles are Ariel in W. Shakespeare’s The Tempest (Histrioni 1980) and Moca in Fabijan Šovagović’s Hawk did Not Love Him (DK Gavella 1982).

He publishes theatrical works for children and young people in Croatian magazines and international periodicals.

TEATAR Mala scena vodeće je hrvatsko pozorište za djecu i mlade, prema broju publike i izvedbi, te broju nagrada koje su predstave osvojile u zemlji i inozemstvu.

Pozorište je privatno, u vlasništvu Vitomire Lončar i Ivice Šimića.

“Naša je misija djeci svih uzrasta, od 0 do 15 godina, ponuditi kazališnu umjetnost kao sastavni dio njihovog odrastanja. Želimo uspostaviti komunikaciju i povesti dijalog s našom mladom publikom o gorućim i svakodnevnim temama koje ih interesiraju i zaokupljaju. Želimo im pomoći razumjeti svijet koji ih okružuje, ohrabriti ih i potaknuti da hrabro u njega zakorače. Naša je misija uključivanje kazališne umjetnosti u programe obrazovnih institucija na svim razinama, edukacija edukatora, publike i umjetnika.

Naša je misija kazalištem inicirati međugeneracijsku komunikaciju, posebno unutar obitelji, poboljšati međusobno razumijevanje i potaknuti prevladavanje problema i nesporazuma koja prate odrastanje.”

THEATER Mala Scena is one of the leading Croatian theatres for children and young people, based on number of performances as well as the number of awards which our plays have won domestically and abroad.

It is a private theatre owned by Vitomira Lončar and Ivica Šimić.

“It is our mission to offer children of all ages, from 0 to 15 years, art of theatre as an everyday part of their growing up. We would like to establish communication and lead a dialog with our young audience about the current and everyday topics which they are interested in and which occupy their attention. We would like to help them understand the world which surrounds them, encourage them and inspire them to confront it boldly. It is our mission to incorporate art of theatre into programs of educational institutions on all levels, to educate the educators, audience and artists. It is our mission to use theatre as a means to initiate communication between generations, especially within families, to improve understanding among people and to foster overcoming of problems and misunderstandings that come as part of growing up.”

Dizajn svjetla / Light Design Željka Fabijanić Šaravanja Muzika / Music Ivanka Mazurkijević Stanislav Kovačić Fotografija / Photography Ana Šesto Menadžer produkcije / Production Manager Vitomira Lončar Prevod / Translation Maja Oršić Magdić

CHILDREN MESS

Director / Reditelj Ivica Šimić

KONCERT - DAVID GAZAROV CONCERT - DAVID GAZAROV

IZLOŽBA FOTOGRAFIJA - ZORAN LEŠIĆ PHOTOGRAPHY EXHIBITION - ZORAN LEŠIĆ

PROJEKCIJA DOKUMENTARNOG FILMA JOŠ UVIJEK ŽIVIMO OVDJE - ANNE MAKEPEACE DOCUMENTARY FILM SCREENING WE STILL LIVE HERE - ANNE MAKEPEACE

Njemačka / Germany

Narodno pozorište Sarajevo 21.00 National Theater Sarajevo 21.00

28/09/12

SAD / USA

Kriterion 17.00 Kriterion 17.00 Trajanje / Running time 56 min.

05/10/12

SVEM / MESS KONCERT - DAVID GAZAROV David Gazarov je rođen 19. maja 1965. u Bakuu, glavnom gradu Azerbejdžana. Prve časove klavira imao je sa četiri godine. Pored klasične muzike, američki jazz je uvijek zauzimao posebno mjesto u njegovom životu.

Otac, Eduard Gazarov, je imao veliki utjecaj na formiranje njegovog muzičkog ukusa, kao i na njegovo obrazovanje. Skoro svaki dan David je odlazio na probe velikog orkestra svog oca, ali je ipak veći dio vremena provodio u usavršavanju klasičnog klavira kroz časove sa profesoricom Elmirom Nazirovom.

Nakon završene muzičke škole i upisa na Muzički konzervatorij u Bakuu, David se seli u Moskvu 1989. gdje nastavlja studije i kasnije diplomira na moskovskoj Muzičkoj akademiji Gnesins.

Još kao student pobijedio je na ruskim takmičenjima u klasičnoj muzici Trans-Caucasian i First All-Russian Jazz-Musician’s Competition, kao i na International Competition of Jazz-Pianists u Poljskoj. 1991. potpisuje svoj prvi međunarodni diskografski ugovor sa njemačkim izdavačem Anima Records. Tada seli u Minhen, grad koji postaje njegov drugi dom.

Minhen ga je objeručke prihvatio. Kraj 1999. je dočekao sa nagradama Special Bavaria State Prize for Musicians i Bayerischer Staatlicher Förderungspreis, kao i diplomom koju mu je izdalo Bavarsko ministarstvo kulture.

Od kraja devedesetih do danas David je veoma aktivan na muzičkoj sceni, na kojoj nastupa kao solista i kao član raznih muzičkih postava.

David Gazarov ponosno navodi da se među imenima sa kojima je sarađivao nalaze i poznati muzičari N.H.ø.P., Bobby Durham, Chuck Israels, Roberta Gambarini, Ryo Kawasaki, Johnny Griffin, Keith Copeland, Charly Antolini, Buddy De Franco, Martin Drew, Bill Goodwin, Jimmy Woode i mnogi drugi.

Tokom proteklih par godina David je kao kompozitor i aranžer sarađivao na nekoliko crossover projekata sa vrhunskim klasičnim muzičarima i orkestrima, te je snimao i nastupao sa orkestrima Bamberg Symphonic Big-Band, Dresden Philharmonic Orchestra, Great Orchestra Of The City Of Graz, Symphonic Orchestra Of Bavarian Radio, kao i sa Karl-Heinzom Steffensom i Stefanom Vladarom.

Danas David često nastupa sa “mješovitim koncertnim programom” koji uključuje djela velikih klasičnih kompozitora u prvom dijelu koncerta, nakon čega slijede vlastite jazz i crossover kompozicije, kao i parafraze jazz standarda.

PROJEKCIJA DOKUMENTARNOG FILMA JOŠ UVIJEK ŽIVIMO OVDJE - ANNE MAKEPEACE Anne Makepeace već dvadeset pet godina radi kao scenaristica, producentica i rediteljica nezavisnih filmova, od kojih su mnogi bili nagrađeni. Neki od njenih filmova su “We Still Live Here - Âs Nutayuneâ”, dobitnik nagrada Full Frame Inspiration i Moving Mountains festivala Mountain Film u Tellurideu; I.M. Pei: Building China Modern, (PBS/American Masters 2010); “Rain in a Dry Land” (najgledaniji film 2007. na P.O.V. ) dobitnik nagrade Full Frame Working Films i nominacija za Emmy; “Robert Capa in Love and War”, (PBS/American Masters 2003), državna nagrada Prime Time Emmy; “Coming to Light” (PBS/American Masters 2003), osvojio mnoge nagrade i ušao u uži izbor za Oskara; i “Baby It’s You” (najgledaniji film 1998. na P.O.V.), pobjednik Whitney Bienniala 2000.

Anne Makepeace je pisala scenarije i za dokumentarce “Thousand Pieces of Gold”, te “Ishi, the Last Yahi”, koji je prikazan u okviru dokumentarnog serijala American Experience.

Još uvijek živimo ovdje je priča o oživljavanju jezika Wampanoag, prvog oživljenog jezika u nekoj zemlji u kojoj nema njegovih izvornih govornika. Preci plemena Wampanoag su svojevremeno pomogli hodočasnicima Nove Engleske da prežive u surovim uslovima, nakon čega su zažalili.

Pa ipak, zahvaljujući svojoj sposobnosti i hrabrosti uspjeli su da sačuvaju identitet i ostanu na zemlji predaka.

Born on May 19, 1965 in Baku (Capital City of Azerbaijan), David started his classical piano lessons when he was four. Besides classical music, American jazz always took a very important place in David’s life.

David’s father, Eduard Gazarov, was a significant influence on his early musical taste and education. David attended his father’s jazz big band rehearsals almost daily, while still investing much of his time perfecting classical piano through lessons from his teacher, professor Elmira Nazirova.

After graduating from music college and entering The Conservatory of Music in Baku, David moved to Moscow in 1989 and continued his studies, graduating from the Moscow Music Academy of Gnesins.

While still a student he won the Trans-Caucasian competition for classical music, the First All-Russian JazzMusicians’ Competition and the International Competition of Jazz-Pianists in Poland.

In 1991 Gazarov signed his first international recording contract with the German recording company, “Anima Records.” David then moved to Munich, the city that has become his second home.

Munich has embraced Gazarov’s music and personality: At the end of 1999 David was awarded with a Special Bavaria State Prize for musicians, “Bayerischer Staatlicher Förderungspreis” with a Diploma from the Bavarian Ministry of Culture.

Between the beginning of the nineties and today, David has lived an active life performing as both a soloist and a sidemen in various musical configurations.

Today David Gazarov can proudly count among those he has played with, celebrated musicians such as N.H.ø.P., Bobby Durham, Chuck Israels, Roberta Gambarini, Ryo Kawasaki, Johnny Griffin, Keith Copeland, Charly Antolini, Buddy De Franco, Martin Drew, Bill Goodwin, Jimmy Woode, and many others.

During the past few years David has been working on a number of crossover projects involving outstanding classical musicians and orchestras which include composing, arranging, recording and performing live with the Bamberg Symphonic Big-Band, the Dresden Philharmonic Orchestra, the Great Orchestra Of The City Of Graz, the Symphonic Orchestra Of Bavarian Radio (BR), as well as with Karl-Heinz Steffens and Stefan Vladar.

Today David Gazarov frequently tours with a “mixed concert-program”, playing the music of great classical composers in the first half of his concert, followed in the second half by jazz and crossover compositions of his own as well as paraphrased jazz standards.

DOCUMENTARY FILM SCREENING WE STILL LIVE HERE - ANNE MAKEPEACE Anne Makepeace has been a writer, producer, and director of award-winning independent films for more than 20 years. Her films include We Still Live Here - Âs Nutayuneân which won the Full Frame Inspiration Award and the Moving Mountains Prize at Telluride MountainFilm; I.M. Pei: Building China Modern, (PBS/American Masters 2010); Rain in a Dry Land (lead show on P.O.V. 2007) winner of the Full Frame Working Films Award, Emmy nomination; Robert Capa in Love and War, (PBS/American Masters 2003), national Prime Time Emmy Award; Coming to Light (PBS/American Masters 2003), short-listed for an Oscar and winner of many prizes; andBaby It’s You (lead show on P.O.V. 1998), Whitney Biennial 2000. Makepeace also wrote the screenplay for Thousand Pieces of Gold and the American Experience documentary Ishi, the Last Yahi.

We Still Live Here is the story of the revitalization of the Wampanoag language, the first time a language with no native speakers has been revived in this country. The Wampanoag’s ancestors ensured the survival of the Pilgrims in New England, and lived to regret it. Nevertheless, through resilience and courage they kept their identity alive and remained on their ancestral lands.

OFF MESS

SVEM / MESS CONCERT - DAVID GAZAROV

IZLOŽBA FOTOGRAFIJA ZORAN LEŠIĆ Zoran Lešić je rođen 1953. godine. Studirao je pozorišnu glumu. 1996. godine se pridružuje ansamblu Kamernog Teatra 55 Sarajevo. Kako mu je otac bio pozorišni reditelj, a majka glumica, Zoran Lešić je odrastao u kreativnom svijetu teatra koji je poticao i obogaćivao njegovu maštu.

U svojoj 30 godini napušta svoj san da postane “poznati glumac” i cijeli svoj privatni i profesionalni život posvećuje fotografiji. To je bio početak potpune i apsolutne strasti prema fotografiji.

Galerija Java 17.00 Java Gallery 17.00

29/09/07/10/12

Bosna i Hercegovina / Bosnia and Herzegovina

Zoran je priznat kao inovativni fotograf čije fotografije posjeduju elemente slikarstva i teatra. Kontrasti na njegovim fotografijama potiču od Zoranovog interesa za historiju slikarstva i slikarske tehnike, kao i iz njegove strasti prema pozorištu.

Postoje dva ključna momenta u životu Zorana Lešića koja su inspiracija za većinu tema koje tretira u svom radu. Nakon karijere glumca i teatarskog fotografa, Zoran se našao u središtu balkanskog rata koji će sasvim izmijeniti pravac njegove fotografske karijere. Nakon dvije godine rada kao ratni fotograf, on napušta Sarajevo i pridružuje se svojoj porodici u Nizozemskoj.

Godine 1997. počinje raditi za ICTY (Međunarodni krivični sud za bivšu Jugoslaviju) kao “fotograf scena zločina”. Njegovo ratno iskustvo kao i iskustvo rada za ICTY imaju veliki uticaj na njegovim djelima koja tretiraju teme kao što su život, rat, ljubav i katarza.

Zajedno sa suprugom i umjetničkim partnerom, Mirjanom, producirao je niz pozorišnih i projekata plesnog pozorišta, među njima i: “Dama s kamelijama” za koju je Mirjana Lešić nagrađena posebnom nagradom za najbolji “dramski koncept” u Sarajevu na Međunarodnom teatarskom festivalu.

Zoran je autor 55 nezavisnih projekata i izložbi.

U svojstvu stručnjaka za rekonstrukcije scena ratnih zločina, radio je za mnoge međunarodne sudove za ratne zločine u Kambodži, Ruandi, Kongu i centralnoafričkim republikama. Predavao je na Univerzitetu u Minneapolisu i Interpolovim treninzima ratnih zločina u Francuskoj i Tanzaniji.

GALERIJA

Misija “Java galerije”, galerije savremene umjetnosti, je da ispuni potrebu umjetnika koji igraju kritičnu ulogu u formiranju sarajevske internacionalne scene u proteklih par decenija kao i potrebu grada Sarajeva za komercijalnom galerijom savremene umjetnosti koja će na adekvatan način odražavati poziciju, važnost i vrijednost koju ovi umjetnici i njihova umjetnost imaju na međunarodnom nivou.”

Damir Nikšić

Zoran was born on 1953. He studied for Theatre actor and in 1996 joined Kamerni teatar 55 Sarajevo. Having a father who was theater director and a mother actress, he grew up in a creative world of Theater that encouraged and fertilized his imagination. In his 30’s he abandoned the aim of becoming a “famous actor” and dedicated whole his, private and professional life, to photography. This was the beginning of a total and absolute passion.

Zoran is recognized as an innovative photographer whose dynamic works have a connection with painting and theater. Their sense of scale comes from Zoran’s interest in the tradition of painting and their methods of production from his passion for theater.

Two critical moments in Zoran’s life deeply shaped the content of his work. After a career as an actor and theater photographer, he found himself in the middle of the Balkan war which pushed his career into a different direction. After two years of working as a war photographer, he left Sarajevo and joined his family as a refugee in Holland. In 1997, he joined the ICTY (International Criminal Tribunal for the former Yugoslavia) as a “Crime Scene Photographer.” Traces of his war experience and his current work at the ICTY reverberate throughout his photographs, which deal with themes such as life, war, love and catharsis.

Together with his wife and artistic partner, Mirjana, he produced a number of theater and dance projects, among them “Lady with Camellias” for which Mirjana was awarded with special prize for “best drama concept” at Sarajevo International Theater Festival.

Zoran stands behind 55 solo projects and exhibitions.

As a war crime scenes reconstruction specialist, he worked for many International war crime tribunals and courts in Cambodia, Rwanda, Congo and Central African Republic. He lectured at Minneapolis University and Interpol War Crimes trainings in France and Tanzania.

GALLERY

“The mission of Java Gallery, gallery of modern art, is to fulfill the need of artists who play a critical role in the creating of the Sarajevo international scene over the past couple of decades, as well as the need of the city of Sarajevo for a commercial contemporary art gallery that will adequately reflect the position, importance and value that these artists and their art have on an international level.”

Damir Nikšić

OFF MESS

PHOTOGRAPHY EXHIBITION ZORAN LEŠIĆ

GENERALNI SPONZOR / GENERAL SPONSOR

FESTIVAL FINANSIRALI / THE FESTIVAL WAS FINANCED BY:

FESTIVAL POMOGLI / THE FESTIVAL WAS HELPED BY

GENERALNI PARTNER / GENERAL PARTNER

SPONZORI I PRIJATELJI FESTIVALA / SPONSORS AND FRIENDS OF THE FESTIVAL

FUTURE MESS FINANSIRALI I POMOGLI / FUTURE MESS WAS FINANCED AND HELPED BY:

MINISTARSTVO NAUKE I OBRAZOVANJA FEDERACIJE BOSNE I HERCEGOVINE

GENERALNI MEDIJSKI PARTNER / GENERAL MEDIA PARTNER

MEDIJSKI PARTNERI / MEDIA PARTNERS

SUORGANIZATORI FESTIVALA / CO-ORGANIZERS

ŽIRI INTERNACIONALNOG TEATARSKOG FESTIVALA MESS/ THE INTERNATIONAL THEATER FESTIVAL MESS JURY Jean-Pierre Thibaudat Ronald Rand Branko Cvejić ŽIRI KRITIKE / THE IATC JURY Michel Vaïs Savas Patsalidis Jelena Gajević-Perišić

UPRAVNI ODBOR / THE BOARD Sedin Kozadra Izeta Avdić Alija Bahtanović Alen Zorlak Lejla Hasanbegović NADZORNI ODBOR / SUPERVISORY BOARD Danijela Gogić Nedžad Borišić DIREKCIJA / DIRECTORATE Direktor / Director: Dino Mustafić Umjetnička rukovoditeljica / Artistic Program Manager: Selma Spahić Selektor Festivala / Predsjednik umjetničkog odbora Festival Programmer / President of the Artistic Board: Giorgio Ursini Uršić Selektori/ce Festivala / Festival programmers: Giorgio Ursini Uršić Dino Mustafić Selma Spahić Ira Isović Zlatko Topčić Radmila Vojvodić Hristo Boytchev Program menadžerica / Program Manager: Lejla Hasanbegović Organizacijska menadžerica / Organization Manager: Ira Isović Finansijska menadžerica / Financial Manager: Mirsada Škrijelj

Protokol i event menadžerica / Protocol and Event Manager: Dajana Gurda Sekretarice / Secretaries: Aida Mujković Sandra Milanović MENADŽERICA ZA OdnosE sa javnošću / Public Relations Manager: Una Bejtović Produkcijski tim / Production team: Belma Jusufović Semir M. Dedeić Bojan Mustur Irma Alimanović Alihodžić Antonija Putić Maja Zećo Mia Vučković Alisa Huković Dženita Srna Almin Berbić Jasmin Krluć Leila Kulenović Rasim Pavica MESS Forumi / MESS Forums: Dževdet Tuzlić Antonija Putić

IZDAVAČ / PUBLISHER Međunarodni teatarski i filmski festival MESS Sarajevo International Theatre and Film Festival MESS Sarajevo Za izdavača / For publisher Dino Mustafić Urednica / Editor Aida Pilav Tekst / Text Nejra Babić Belma Jusufović Selma Spahić Prijevod / Translation Sabina Gadžo Jovan Eranović Dizajn / Design Fabrika DTP Bojan Mustur Štampa / Printing by Grafika Šaran Tiraž / Impression 1000

Prijevod tekstova / Translators: Amira Sadiković Jovan Eranović Almija Kapidžić D. Sarzinski Tehnička direktorica / Technical Director: Marijela Hašimbegović Asistenti tehničkog direktora / Technical Director Assistants: Ognjen Martinović Zdenko Bevanda

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