55th International Theater Festival MESS by Bojan Mustur

THE FIRST TIME PRVI PUT Na MESS-u sam prvi put bio kao srednjoškolac. Nismo imali ulaznice, već učeničke akreditacije koje su posljednje ulazile i popunjavale rubni dio scene ili stepenište sale. Zauzeti dobru gledalačku poziciju, ući u salu kada je sve popunjeno, prevariti redare na vratima, prošvercati se na predstavu, bio je poseban messovski merak. I tako to messovsko traje više od pola stoljeća, a samo prvi put postajete messovac ili messovka, jer u taj pojam staje cijela veličanstvena i komplikovana istorija ovog Festivala i prostora na kom je nastao. Usponi i padovi, preživljavanje u ratnim okolnostima i pod opsadom, rekonstrukcije i revalorizacije, sva prihvatanja i osporavanja, sve političke i esnafske intrige, otpor provincijalizmu i nacionalizmu, svi euforični i mlaki aplauzi protokolarnih i iskrenih gledalaca/gledateljki dio su messovske biografije. Međutim, ostalo je da messovsko znači hrabro i rizično, uzbudljivo i subverzivno, dobro i riskantno, i još mnogo toga što će se prvi put vidjeti na MESS-u. Tako će se ove godine MESS održati u inat svima onima koji ne vole scensku umjetnost i režu budžete pozorišta i ovog Festivala. MESS se događa iz strasti i uvjerenja, dosljedan u kritičkoj intonaciji korektiva društva. Korifej manjinskih uvjerenja i prava, prostor pluralizma i perspektive pogleda na svijet kroz umjetničku empatiju. Ako imate takav vrijednosni sistem Festivala, onda će njegova estetska radoznalost biti eliksir mladosti koji čuva Festival od građanskog komformizma. Dakle, dok provociramo i intrigiramo svoju sredinu, znači da smo živi bez obzira na političke i istorijske okolnosti. I tako će sve biti dok imamo uzbuđenje pred svaki Festival MESS kao da je prvi put. A na 55. izdanju MESS-a imate priliku gledati autore i autorice koji dolaze prvi put na naš Festival! Dino Mustafić

I was a high schooler when I first went to MESS. The students did not have tickets but were given out free passes and were the last ones to go in and find a seat on the edge of the stage or the staircase. To get a seat with a good view, to get into a packed theatre, to trick the guard at the door, to smuggle yourself in to watch the play was a special messovian treat. And this special messovian thing has been going on for more than half a century, and it is only once that you become a messovian, for that term encompasses all the glorious and complicated history of the Festival and the place in which it was born. The ups and downs, surviving in times of war and siege, undergoing reconstruction and re-valorisation, the acknowledgments and the denunciations, political and party intrigues, resistance to provincialism and nationalism, all the euphoric as well as tepid applauses from the true and the disinterested spectators, all of this is part of the messovian biography. But the other part is that messovian also stands for something brave and risky, exciting and subversive, good and dangerous, and many other things that will be seen on MESS for the first time. This year, MESS is organized out of spite, against those who do not take kindly to performing arts and who impose budget cuts on the theaters and the Festival. Passion and conviction is what makes MESS happen, as the Festival stays true to its role of providing the critical corrective to the society. A coryphaeus of minority convictions and rights, a space for pluralism and for looking at the world through the lens of artistic empathy. When a Festival upholds this kind of a value system, then its aesthetic curiosity becomes the youth potion guarding the Festival against bourgeois conformism. As long as we provoke and intrigue our environment, it means we remain alive regardless of political or historical circumstances. And this will continue to be so, as long as we greet each new edition of MESS Festival with the same enthusiasm with which we greeted the first. And for the 55th MESS Festival, you will have the opportunity to see works by authors who are coming to our Festival for the first time! Dino Mustafić 7

55. INTERNACIONALNI TEATARSKI FESTIVAL MESS 2.10 – 11.10.2015. Petak / 2.10. 20.00 / Olimpijska dvorana “Juan Antonio Samaranch” (Zetra) ZABRANJENA ZONA Produkcija: Schaubühne Berlin Režija: Katie MITCHELL Zemlja: NJEMAČKA 22.00 / Sarajevski ratni teatar - SARTR SAD SAM LUCKY Produkcija: Emanat Koreografija: Matija FERLIN Zemlja: SLOVENIJA / HRVATSKA Subota / 3.10. 19.00 / Olimpijska dvorana “Juan Antonio Samaranch” (Zetra) ZABRANJENA ZONA Produkcija: Schaubühne Berlin Režija: Katie MITCHELL Zemlja: NJEMAČKA 21.00 / Narodno pozorište Sarajevo COMMON GROUND Produkcija: Maxim Gorki Theater Režija: Yael RONEN Zemlja: NJEMAČKA Nedjelja / 4.10. 18.00 / Stolarija Narodnog pozorišta SVE ŠTO TREBA JEDNOJ SJAJNOJ GLUMICI JE SJAJNA DRAMA I ŽELJA ZA USPJEHOM Produkcija: Vaca 35 Teatro en Grupo Režija: Damián CERVANTES Zemlja: MEKSIKO 19.30 / Narodno pozorište Sarajevo (PRET)POSLJEDNJA PANDA ILI STATIKA Produkcija: Zagrebačko kazalište mladih Režija: Saša BOŽIĆ Zemlja: HRVATSKA

Ponedjeljak / 5.10. 18.00 / Stolarija Narodnog pozorišta SVE ŠTO TREBA JEDNOJ SJAJNOJ GLUMICI JE SJAJNA DRAMA I ŽELJA ZA USPJEHOM Produkcija: Vaca 35 Teatro en Grupo Režija: Damián CERVANTES Zemlja: MEKSIKO 20.00 / Sarajevski ratni teatar - SARTR ŽIVOTINJSKA FARMA Produkcija: Sarajevski ratni teatar Režija: Dino MUSTAFIĆ Zemlja: BOSNA I HERCEGOVINA Utorak / 6.10. 18.00 / Dom Oružanih snaga BiH RULE™ Produkcija: Stichting Stranger Autorica: Emke IDEMA Zemlja: NIZOZEMSKA 18.00 / Stolarija Narodnog pozorišta SVE ŠTO TREBA JEDNOJ SJAJNOJ GLUMICI JE SJAJNA DRAMA I ŽELJA ZA USPJEHOM Produkcija: Vaca 35 Teatro en Grupo Režija: Damián CERVANTES Zemlja: MEKSIKO 20.00 / Sarajevski ratni teatar - SARTR VRIJEME I PROSTORI: MARRABENTA SOLA Produkcija: CulturArte Koreografija: Panaibra Gabriel CANDA Zemlja: MOZAMBIK 22.00 / Kamerni teatar ‘55 POVRATAK Produkcija: CNP Podgorica Režija: Mirko RADONJIĆ Zemlja: CRNA GORA Srijeda / 7.10. 15.00 i 18.00 / Dom Oružanih snaga BiH RULE™ Produkcija: Stichting Stranger Autorica: Emke IDEMA Zemlja: NIZOZEMSKA

20.00 / Sarajevski ratni teatar - SARTR BRAŠNO U VENAMA Produkcija: SARTR / Scena MESS Režija: Boris LIJEŠEVIĆ Zemlja: BOSNA I HERCEGOVINA Četvrtak / 8.10. 19.30 / Narodno pozorište Sarajevo KADA POMISLIM DA ĆEMO OSTARITI SKUPA Produkcija / autori: Les Chiens de Navarre Zemlja: FRANCUSKA Petak / 9.10. 12.00 / Kamerni teatar ‘55 ZMAJ I PRINCEZE Produkcija: Lutkarsko kazalište Mostar Režija: Kyrlakos ARGYROPOULOS / Stanislav STANEV Zemlja: BOSNA I HERCEGOVINA 19.30 / Narodno pozorište Sarajevo MI SMO KRALJEVI A NE LJUDI Produkcija: HNK Zagreb Režija: Matija FERLIN Zemlja: HRVATSKA 22.00 / Akademija scenskih umjetnosti Sarajevo TRAMVAJ ZVANI ŽUDNJA Produkcija: SARTR / ASU Sarajevo Režija: Dina MUŠANOVIĆ / Alban UKAJ / Adi HRUSTEMOVIĆ / Staša DUKIĆ Mentor: Alen MURATOVIĆ Zemlja: BOSNA I HERCEGOVINA

22.00 / Sarajevski ratni teatar - SARTR The Paper Cinema’s ODyssey Produkcija / autori: The Paper Cinema Zemlja: UJEDINJENO KRALJEVSTVO Nedjelja / 11.10. 12.00 / Narodno pozorište Sarajevo RADOZNALO SLONČE Produkcija: Bábkové divadlo Žilina Režija: Peter PALIK Zemlja: SLOVAČKA 15.00 / Kamerni teatar ‘55 4 SOLA: DOLLY / GUT GIFT / ON THE OTHER HAND / SUL PUNTO Koreografija: Giorgia NARDIN, Francesca FOSCARINI, Luisa CORTESI, Claudia CATARZI Zemlja: ITALIJA 20.00 / Stolarija Narodnog pozorišta ANTIGONA – 2000 GODINA KASNIJE Produkcija: Kazalište Ulysses / Scena MESS / Narodno pozorište Sarajevo Režija: Lenka UDOVIČKI Zemlja: HRVATSKA / BOSNA I HERCEGOVINA

MESS OFF Nedjelja / 4.10. 22.00 / Kamerni teatar ‘55 GLUMAC JE... GLUMAC JE... GLUMAC Autor: Zijah SOKOLOVIĆ Zemlja: BOSNA I HERCEGOVINA

Subota / 10.10.

Četvrtak / 8.10.

12.00 / Kamerni teatar ‘55 LJEPOTICA I ZVIJER Produkcija: Pozorište lutaka Mostar Režija: Todor VALOV Zemlja: BOSNA I HERCEGOVINA

22.00 / Kamerni teatar ‘55 SUSRET Produkcija: SNG Nova Gorica Režija: Primož BEBLER Zemlja: SLOVENIJA

19.30 / Narodno pozorište Sarajevo NAŠE TAJNE Produkcija: Pintér Béla És Társulata Režija: Béla PINTÉR Zemlja: MAĐARSKA

55th INTERNATIONAL THEATER FESTIVAL MESS 2.10 – 11.10.2015 Friday / October 2 20.00 / Olympic Hall “Juan Antonio Samaranch” (Zetra) THE FORBIDDEN ZONE Production: Schaubühne Berlin Director: Katie MITCHELL Country: GERMANY 22.00 / Sarajevo War Theater - SARTR SAD SAM LUCKY Production: Emanat Choreography: Matija FERLIN Country: SLOVENIA / CROATIA Saturday / October 3 19.00 / Olympic Hall “Juan Antonio Samaranch” (Zetra) THE FORBIDDEN ZONE Production: Schaubühne Berlin Director: Katie MITCHELL Country: GERMANY 21.00 / National Theater Sarajevo COMMON GROUND Production: Maxim Gorki Theater Director: Yael RONEN Country: GERMANY Sunday / October 4 18.00 / Stage Carpentry of the National Theater Sarajevo THE ONLY THING A GREAT ACTRESS NEEDS IS A GREAT PLAY AND A DESIRE TO SUCCEED Production: Vaca 35 Teatro en Grupo Director: Damián CERVANTES Country: MEXICO 19.30 / National Theater Sarajevo (PEN)ULTIMATE PANDA OR STATIC Production: Zagrebačko kazalište mladih Director: Saša BOŽIĆ Country: CROATIA

Monday / October 5 18.00 / Stage Carpentry of the National Theater Sarajevo THE ONLY THING A GREAT ACTRESS NEEDS IS A GREAT PLAY AND A DESIRE TO SUCCEED Production: Vaca 35 Teatro en Grupo Director: Damián CERVANTES Country: MEXICO 20.00 / Sarajevo War Theater - SARTR ANIMAL FARM Production: SARTR Director: Dino MUSTAFIĆ Country: BOSNIA AND HERZEGOVINA Tuesday / October 6 18.00 / The House of Armed Forces of B&H RULE™ Production: Stichting Stranger Author: Emke IDEMA Country: THE NETHERLANDS 18.00 / Stage Carpentry of the National Theater Sarajevo THE ONLY THING A GREAT ACTRESS NEEDS IS A GREAT PLAY AND A DESIRE TO SUCCEED Production: Vaca 35 Teatro en Grupo Director: Damián CERVANTES Country: MEXICO 20.00 / Sarajevo War Theater - SARTR TIME AND SPACES: THE MARRABENTA SOLOS Production: CulturArte Choreography: Panaibra Gabriel CANDA Country: MOZAMBIQUE 22.00 / Chamber Theater ‘55 THE HOMECOMING Production: CNP Podgorica Director: Mirko RADONJIĆ Country: MONTENEGRO Wednesday / October 7 15.00, 18.00 / The House of Armed Forces of B&H RULE™ Production: Stichting Stranger Author: Emke IDEMA Country: THE NETHERLANDS

20.00 / Sarajevo War Theater - SARTR THE FLOUR IN OUR VEINS Production: SARTR / Scena MESS Director: Boris LIJEŠEVIĆ Country: BOSNIA AND HERZEGOVINA Thursday / October 8 19.30 / National Theater Sarajevo AND TO THINK WE‘LL GROW OLD TOGETHER Production / Authors: Les Chiens de Navarre Country: FRANCE Friday / October 9 12.00 / Chamber Theater ‘55 THE DRAGON AND THE PRINCESSES Production: Lutkarsko kazalište Mostar Director: Kyrlakos ARGYROPOULOS / Stanislav STANEV Country: BOSNIA AND HERZEGOVINA 19.30 / National Theater Sarajevo WE ARE KINGS NOT HUMANS Production: HNK Zagreb Director: Matija FERLIN Country: CROATIA 22.00 / Academy of Performing Arts Sarajevo A STREETCAR NAMED DESIRE Production: SARTR / ASU Sarajevo Directors: Dina MUŠANOVIĆ / Alban UKAJ / Adi HRUSTEMOVIĆ / Staša DUKIĆ Mentor: Alen MURATOVIĆ Country: BOSNIA AND HERZEGOVINA Saturday / October 10 12.00 / Chamber Theater ‘55 BEAUTY AND THE BEAST Production: Pozorište lutaka Mostar Director: Todor VALOV Country: BOSNIA AND HERZEGOVINA 19.30 / National Theater Sarajevo OUR SECRETS Production: Pintér Béla És Társulata Director: Béla PINTÉR Country: HUNGARY

22.00 / Sarajevo War Theater - SARTR The Paper Cinema’s ODyssey Production / Authors: The Paper Cinema Country: UNITED KINGDOM Sunday / October 11 12.00 / National Theater Sarajevo CURIOUS ELEPHANT Production: Bábkové divadlo Žilina Director: Peter PALIK Country: SLOVAKIA 15.00 / Chamber Theater ‘55 4 SOLOS: DOLLY / GUT GIFT / ON THE OTHER HAND / SUL PUNTO Choreography: Giorgia NARDIN, Francesca FOSCARINI, Luisa CORTESI, Claudia CATARZI Country: ITALY 20.00 / Stage Carpentry of the National Theater Sarajevo ANTIGONE – 2000 YEARS LATER Production: Kazalište Ulysses / Scena MESS / National Theater Sarajevo Director: Lenka UDOVIČKI Country: CROATIA / BOSNIA AND HERZEGOVINA

MESS OFF Sunday / October 4 22.00 / Chamber Theater ‘55 AN ACTOR IS... AN ACTOR IS... AN ACTOR Author: Zijah SOKOLOVIĆ Country: BOSNIA AND HERZEGOVINA Thursday / October 8 22.00 / Chamber Theater ‘55 ENCOUNTER Production: SNG Nova Gorica Director: Primož BEBLER Country: SLOVENIA

Fotografija / Photography: Gianmarco Bresadola

Režija / Direction:

Katie Mitchell

Igraju / Cast:

Cathlen Gawlich Jenny König Ruth Marie Kröger Laurenz Laufenberg Sebastian Pircher Felix Römer Andreas Schröders Kamermani / Cameramen:

Andreas Hartmann Stefan Kessissoglou Sebastian Pircher Video režija / Video Direction:

Leo Warner

Scenografija / Stage Design:

DUNCAN MACMILLAN

ZABRANJENA ZONA THE FORBIDDEN ZONE Schaubühne Berlin

Lizzie Clachan

Kostimografija / Costume Design:

Sussie Juhlin-Wallen Video dizajn / Video Design:

Finn Ross

Dizajn zvuka / Sound Design:

Gareth Fry Melanie Wilson

Prijevod / Translation:

Vera Neuroth

Dramaturgija / Dramaturgy:

02/10/15 20.00 03/10/15 19.00 Olimpijska dvorana “Juan Antonio Samaranch” / Olympic Hall “Juan Antonio Samaranch” (Zetra) Trajanje / Running time: 75 min. Njemačka / Germany 12

Nils Haarmann David Tushingham

Dizajn svjetla / Light Design:

Jack Knowles

Produkcija / Production:

Schaubühne Berlin

Koprodukcija Salzburg Festivala u saradnji sa Europskom pozorišnom mrežom / Co-production with the Salzburger Festspiele in cooperation with the European Theater Network (PROSPERO (Schaubühne Berlin, Théâtre National de Bretagne/Rennes, Théâtre de Liège, Emilia Romagna Teatro Fondazione, Göteborgs Stadstheater, World Theater Festival Zagreb, Athens & Epidaurus Festival)

PREDSTAVA

jedinstvenoj britansko-njemačkoj koprodukciji, Katie Mitchell postavlja priču o tri žene, još uvijek uglavnom ignorisane u zvaničnoj historiografiji, u središte pozorišnog komada koji kombinira pokretne filmske slike sa kolažem tekstova Duncana Macmillana. Zabranjena zona pruža jedinstven pogled na najveće katastrofe s početka dvadesetog stoljeća. Godine 1915, Clara Immerwahr, hemičarka i prva žena-dobitnica doktorata na Breslau Univerzitetu, pobunila se protiv pokušaja svog muža – poznatog hemičara Fritza Habera – da svojim istraživačkim radom iz hemije doprinese razvijanju prvog oružja za masovno uništenje. Prije njegovog odlaska na Istočni front, gdje je trebao pomoći u upotrebi dodatnih količina otrovnog plina, Clara u znak protesta izvršava samoubistvo Haberovim vojničkim pištoljem – događaj o kojem su mediji vrlo malo govorili. U isto vrijeme, jedna sestra radi u vojnoj bolnici na bojištu. Zaljubljuje se u nepoznatog mladića koji umire od posljedica korištenja otrovnog plina čiju je upotrebu predvodio Fritz Haber. Lik medicinske sestre inspirisan je Amerikankom Mary Borden koja je radila u vojnoj bolnici na Zapadnom frontu i poslije napisala Zabranjenu zonu, prozno djelo u kojem je prepričala svoja iskustva. Claire, unuka Clare Immerwahr, zapošljava se u američkoj hemijskoj laboratoriji gdje se posvećuje mirnodopskoj upotrebi nauke. Claire je očajna kada je 1949. godine okončan rad na pronalasku protivotrova za fozgeni plin. Čikaškom podzemnom željeznicom odlazi do jednog javnog toaleta gdje izvršava samoubistvo. Ispričana iz Clairine tačke gledišta tokom posljednjeg putovanja u njenom životu, predstava Zabranjena zona prikazuje događaje iz prošlosti kako bi ispreplela sudbine ove tri žene, uz tekstove Mary Borden i drugih bitnih, savremenih, antiratnih ženskih glasova, u jednom teatarskom kolažu 100 godina nakon izbijanja Prvog svjetskog rata.

PERFORMANCE

n a unique British and German collaboration, Katie Mitchell places the story of three women – still largely ignored by historiography – at the centre of a stage work that combines live film images with a text collage by Duncan Macmillan. The Forbidden Zone gives a one-of-a-kind perspective on the greatest catastrophes of the early 20th century. In 1915 Clara Immerwahr, chemist and the first woman awarded a PhD by Breslau University, rebels against the efforts of her husband – the famous chemist Fritz Haber – to make his research in chemistry available as the first weapons of mass destruction. Prior to his departure to the Eastern Front to deploy more gas, Clara uses Haber’s service pistol to take her own life in protest – an event which is scarcely reported in the press. At the same time, a nurse is working in a military hospital at the front. She falls in love with an unknown soldier who dies following the poison gas deployment led by Fritz Haber. The real-life model for this nurse is the American Mary Borden who worked in a field hospital on the Western Front and later wrote The Forbidden Zone, a prose account of her experiences. Clara Immerwahr’s granddaughter Claire takes up a position in a US-chemistry laboratory where she dedicates herself to the peaceful use of science. When, in 1949, the work on finding an antidote to phosgene gas is terminated, Claire is filled with despair. She takes the Chicago subway to a public lavatory where she commits suicide. Told from Claire’s perspective during the final train journey of her life, The Forbidden Zone uses flashbacks to interweave the fates of these three women with texts by Mary Borden and other important contemporary female voices against war in a theatrical collage 100 years after the breakout of the First World War.

... autorica-rediteljica iz Londona odgovara sramnoj prošlosti putem originalnog, potresnog komada političkog teatra koji govori o budućnosti jednako kao i o sadašnjosti... - Andrew Clark ...the London-based auteur-director has responded to the inglorious past with an original, hard-hitting piece of political theater that speaks to the future as much as the present... - Andrew Clark REDITELJICA

atie Mitchell (1964) je od 2000. do 2004. godine radila kao rediteljica u Royal Court Theater u Londonu, a od tada radi kao pomoćna direktorica u Royal National Theater. Režirala je niz teatarskih i operskih produkcija u Dablinu, Kopenhagenu, Milanu, New Yorku, Štokholmu, Kelnu i međunarodnim festivalima. Dobila je poziv za učešće na Theatertreffen festivalu u Berlinu sa predstavama Request Programme (2008) i Night Train (2013). Njene produkcije Miss Julie i Lungs dio su repertoara pozorišta Schaubühne.

DIRECTOR

atie Mitchell (1964) was in-house director at the Royal Court Theater London, from 2000 to 2004 and works since then as Associate Director at the Royal National Theater. She directed a number of theater and opera productions in Dublin, Copenhagen, Milano, New York, Stockholm, Cologne and for international festivals. Request Programme (2008) and Night Train (2013) were invited to the Theatertreffen Berlin. Her productions Miss Julie and Lungs are part of the Schaubühne repertoire.

Koreografija i izvedba / Choregraphed and Performed by: Matija Ferlin Dramaturgija / Dramaturgy: Goran Ferčec Originalni tekst / Original Text: Srečko Kosovel Ostali tekstovi / Other Texts: Matija Ferlin Muzika / Music: Luka Prinčič Scenografija / Stage Design: Mauricio Ferlin Svjetlo / Lights: Saša Fistrić Kostimografija / Costume Design: Matija Ferlin

SAD SAM LUCKY Emanat

02/10/15 22.00 Sarajevski ratni teatar - SARTR Sarajevo War Theater - SARTR Trajanje / Running time: 60 min. Slovenija, Hrvatska / Slovenia, Croatia

Dizajn / Design: Tina Ivezić Vizuelni dizajn / Visual Design: Christophe Chemin Prijevod / Translation: Katja Kosi Daniela Bilić Rojnić Asistenti projekta / Project Assistants: Ana Kovačević Nina Janež Fotografija / Photography: Danko Stjepanović NADA ŽGANK Produkcija i organizacija / Produced and Organized by: Emanat Koprodukcija / Coproduction: Rencontres chorégraphiques internationales de SeineSaint-Denis Centre National de la Danse Domaćini i koproducenti / Hosted and Coproduced by: Zagreb dance center Partneri / Partners: Bunker - The Old Power Station Elektro Ljubljana Festival of Dance and Non-verbal Theater San Vincenti Finansijska podrška / Financial support: Ministry of Education, Science, Culture and Sport of Republic Slovenia Municipality of Ljubljana Minicipality of Pula

PREDSTAVA

ad Sam Lucky, najnovija solo izvedba hrvatskog koreografa i izvođača Matije Ferlina, nastavlja se na niz romantične konceptualne serije Sad Sam koja je započela u januaru 2004. godine u Amsterdamu kada je prvi Sad Sam Now I am premijerno izveden. Sljedeća solo izvedba Sad Sam Almost 6 predstavljena je u januaru 2009. Ferlinova izvedba Sad Sam Lucky fizički je odgovor na rad slovenskog avangardnog pjesnika Srečka Kosovela (1904 -1926) čija je ispovjedna poezija neprocjenjiva, duboka i savremena duhom, prepuna unutrašnjih napetosti i stilskih slika, a istovremeno revolucionarna u idejama koje se isprepliću s izravnim razmišljanjima o pjesnikovoj vlastitoj osobnosti. Temeljeći se na kontinuiranoj relevantnosti Kosovelovih stihova, njegovu iskrenost, melanholična proročanstva i sentimentalnu tragediju – Ferlin u Sad Sam Lucky stvara iznimno fizičku, turbulentnu i emocionalnu posvetu ovom jedinstvenom avangardnom autoru.

PERFORMANCE

ad Sam Lucky, a new solo creation by the Croatian choreographer and performer Matija Ferlin is a continuation of the ongoing romantic conceptual series Sad Sam that started in January 2004 in Amsterdam when the first Sad Sam Now I am was premiered. The second solo creation Sad Sam Almost 6 was presented in January 2009. Ferlin’s performance Sad Sam Lucky is a physical response to the work of the Slovenian avant-garde poet Srečko Kosovel (1904-1926) whose confessional poetry is profound, contemporary in its spirit, internal tension and stylistic imagery, at the same time revolutionary in its ideas, brimming with immediate reflections of his personality, deeply touching and poetically invaluable. Driven by the lasting relevance of Kosovel’s verses, his honesty, melancholic prophecy and sentimental tragedy – Ferlin in Sad Sam Lucky creates a form of a highly physical, turbulent and emotional homage to this very unique avantgarde author.

Sad Sam Lucky predstava je nošena izuzetnim izvođačkim umijećem Matije Ferlina, a preciznost i visoka razina autorstva evidentna je u svim segmentima predstave. - Iva Nerina Sibila Sad Sam Lucky is a performance marked by Matija Ferlin’s exceptional performing skills, while precision and a high level of authorship are evident in all the segments of the piece. - Iva Nerina Sibila KOREOGRAF

atija Ferlin rođen je u Puli (1982). Diplomirao je na Školi za novi plesni razvoj u Amsterdamu. Radio je i živio u Berlinu. Po povratku u Pulu fokusirao se na istraživanje i reartikuliranje različitih koncepata scenske izvedbe i drugih medija poput kratkog filma, video uradaka i izložbi. Predstavljao je i izvodio svoja djela širom Evrope i Amerike na brojnim festivalima kao što su: Impulstanz u Beču, Spider Festival u Lionu, Mladi levi i Gibanica u Ljubljani, Ex-Yu Festival u New Yorku, Rhubarb Festival u Torontu, Contemporary Dance Festival u Bogoti, Rencontre Choregraphique u Parizu, Dance and Non-Verbal Theater Festival San Vincenti, Perforacije festival u Zagrebu... Sarađivao je sa koreografima/kinjama, režiserima/kama, vizuelnim umjetnicima/ama i dramaturzima/ginjama kao što su: Ivica Buljan, Martin Butler, Christophe Chemin, Maja Delak, Luc Dunberry, Mauricio Ferlin, Ame Henderson, Aleksandra Janeva, Heinz Peter Knes, Matea Koležnik, Keren Levi, Karsten Liske, Maria Ohman & Claudia de Serpa Soares, Paul Mpagi Sepuya, Sasha Waltz, David Zambrano, Jasna Žmak... Njujorški V Magazine ga je proglasio jednim od mladih koreografa koji najviše obećavaju u 2011. godini. Matija trenutno radi i živi u Puli, Hrvatska.

CHOREOGRAPHER

atija Ferlin was born in Pula (1982). Graduated at the School for New Dance Development in Amsterdam. Worked and lived in Berlin. After his returning to Pula he focused on researching and rearticulating different concepts of stage performance and other media such as short movies, videos and exhibitions. He presented and performed his own work across Europe and America at numerous festivals such as Impulstanz in Vienna, Spider Festival in Lyon, Young Lions and Gibanica in Ljubljana, Ex-Yu festival in New York, Rhubarb Festival in Toronto, Contemporary Dance Festival in Bogota, Rencontre Choregraphiquein Paris, Dance and Non-Verbal Theater Festival San Vincenti, Perforations Festival in Zagreb... He has collaborated with choreographers, directors, visual artists, and dramaturgs such as Ivica Buljan, Martin Butler, Christophe Chemin, Maja Delak, Luc Dunberry, Mauricio Ferlin, Ame Henderson, Aleksandra Janeva, Heinz Peter Knes, Matea Koležnik, Keren Levi, Karsten Liske, Maria Ohman & Claudia de Serpa Soares, Paul Mpagi Sepuya, Sasha Waltz, David Zambrano, Jasna Žmak... New York V Magazine announced him as one of the most promising young choreographers in 2011. Matija is currently working and living in Pula, Croatia.

Režija / Direction: Yael Ronen

COMMON GROUND Maxim Gorki Theater

03/10/15 21.00 Narodno pozorište Sarajevo National Theater Sarajevo Trajanje / Running time: 110 min. + razgovor / discussion Njemačka / Germany

Igraju / Cast: Vernesa Berbo Niels Bormann Dejan Bućin Tina Keserović Mateja Meded Jasmina Musić Orit Nahmias Aleksandar Radenković Dramaturgija / Dramaturgy: Irina Szodruch Scenografija / Stage Design: Magda Willi Kostimografija / Costume Design: Lina Jakelski Video: Benjamin Krieg Hanna Slak Muzika / Music: Nils Ostendorf Fotografija / Photography: THOMAS AURIN Produkcija / Production: MAXIM GORKI THEATER

PREDSTAVA

ugoslavija – zemlja koja više ne postoji. Nestala je devedesetih godina 20. stoljeća, u ratovima nekad bratskih naroda. Po drugi put, od 1914. godine, Sarajevo je centrom naizgled nezaustavljivog sukoba koji i danas traje. Mnogi ljudi su izbjegli u Berlin, u potrazi sa poslom, za novim životom. Na koji način ovi/e građani/ke Berlina danas doživljavaju konflikte iz devedesetih? Ovdje djeca žrtava ratnih zločina žive uz djecu ratnih zločinaca. Kakav je njihov odnos? Common Ground je suština koja nam je zajednička, temelj na kojem stojimo svi. Rediteljica Yael Ronen skupila je umjetnike i umjetnice koji/e su u Berlin stigli/e iz Beograda i Sarajeva, Novog Sada i Prijedora. Koja je njihova zajednička suština, njihovo zajedničko tlo? U stvaranju predstave učestvovali/e su zajedno; put u Bosnu i Hercegovinu, susreti sa stručnjacima i stručnjakinjama, kao i porodicama, pomogli su u njenom kreiranju. Teatar je tako postao sigurno mjesto gdje se razgovara o pojmovima kao štu su krivnja i pomirenje, opraštanje i zaborav. Stereotipi, predrasude i suprotne strane priče radosno se sudaraju u njemu.

PERFORMANCE

ugoslavia – a country that no longer exists. Perished in wars between brothers in the 90s. For the second time since 1914, Sarajevo was at the center of a seemingly never-ending conflict that lives on in the present. Many people fled to Berlin – on the run, in search of work and another life. How do these Berliners experience these conflicts today? Here the children of the victims of war crimes live alongside the children of the perpetrators. How do they interact? Common Ground is the substance we share, a foundation on which to stand. In her project Yael Ronen brings together performers who came to Berlin from Belgrade and Sarajevo, Novi Sad and Prijedor. What is their common ground? The play has been collectively developed based on a trip to Bosnia, and on encounters with experts and the family members of the protagonists. The theater becomes a safe space for discussing terms like guilt and atonement, forgiveness and forgetting, while stereotypes, prejudices and conflicting narratives gleefully collide.

To je predstava koja spretno kombinuje historijske i biografske činjenice, lična osjećanja i skeptične poglede na način na koji je obrađena historija Jugoslavije. Terapeutski se bavi krivicom, odgovornošću, ljutnjom, i bolom, akcentuirajući ključnu ulogu pomirenja. It’s a play which skillfully combines historical and biographical facts, personal feelings and skeptical views on the way Yugoslavia’s history has been covered. It therapeutically deals with guilt, responsibility, anger and grief, while underlining the crucial role of reconciliation. REDITELJICA

ael Ronen, stalna rediteljica teatra Gorki, rođena je 1976. godine u Jeruzalemu. Dolazi iz teatarske porodice i smatraju je jednom od najuzbudljivijih teatarskih rediteljica našeg vremena. Njen glavni alat jeste crni humor koji koristi u okviru historijskih sukoba. Njena predstava pod nazivom Treća generacija u kojoj igraju umjetnici/e iz Njemačke, Izraela i Palestine, gostovala je na brojnim festivalima. Predstava Hakoah Wien, koja je nastala u teatru Schauspielhaus Graz, osvojila je nagradu Nestroy 2013. godine. Također je režirala adaptaciju bestselera autorice Olge Grjasnowe Rusi vole breze. Predstava Common Ground nastala je kao rezultat razmišljanja rediteljice i umjetnika/ca koje je okupila, o posljedicama rata u bivšoj Jugoslaviji. Njena najnovija produkcija u teatru Gorki je predstava pod nazivom Erotska kriza.

DIRECTOR

ael Ronen, in-house Gorki director, was born in Jerusalem in 1976. She comes from a theater family and is internationally considered as one of the most exciting theater makers of her generation. The greatest tool at her disposal is black humour in the framework of historical conflicts. Ronen’s play Third Generation, featuring German, Israeli and Palestinian actors, was invited to numerous festivals. Another of her productions Hakoah Wien, developed at Schauspielhaus Graz, was awarded the Austrian Nestroy theater prize in 2013. She staged the world premiere of the adaptation of Olga Grjasnowa’s bestselling novel All Russians Love Birch Trees. Common Ground emerged as a meditation from Ronen and her actors on the aftermath of the war in former Yugoslavia. Her latest production at Gorki is Erotic Crisis. 17

Režija / Direction: Damián Cervantes Igraju / Cast: Diana Magallon Mari Carmen Ruiz Fotografija / Photography: Alfredo Millan Produkcija / Production: Vaca 35 Teatro En Grupo

04/10/15 05/10/15 06/10/15 18.00 Stolarija Narodnog pozorišta Stage Carpentry of the National Theater Sarajevo Trajanje / Running time: 50 min. Meksiko / Mexico

SVE ŠTO JE POTREBNO JEDNOJ SJAJNOJ GLUMICI JE SJAJNA DRAMA I ŽELJA ZA USPJEHOM

THE ONLY THING A GREAT ACTRESS NEEDS IS A GREAT PLAY AND A DESIRE TO SUCCEED Vaca 35 Teatro En Grupo 18

PREDSTAVA

oniznost može nastati jedino iz poniženja, osim ako se ne radi o lažnoj taštini, riječi su Jeana Geneta iz njegovog romana Querelle de Brest. Nećete vidjeti raskošan kostim, niti dekor koji bi vam ispričao neko vrijeme ili ukazao na neki određeni stil. Prostor je tu samo da bi bio u dijalogu sa glumicama, te je kao takav, kao i svi drugi vizuelni aspekti predstave, ogoljen do minimalizma. Sve što treba jednoj sjajnoj glumici je sjajna drama i želja za uspjehom. Ova izvedba prikazuje teatar kao jedini izlaz kroz hranu, piće, ples i malo bajkovitih dešavanja. Jedino nas teatar iole pokreće i približava nekom obliku pokajanja i rušenju društvenih stereotipa.

PERFORMANCE

umility only may be born of the humiliation, if it isn’t false vanity, said Genet Querelle of Brest. You will not see rich costumes, or decorated tackle that tell us a time, or a particular style. The space is a field in dialogue with the actresses, and like all other visual aspects of the show, reduced to minimalism. The only thing a great actress needs, is a great play and the desire to succeed. Theater seems to be only apparent way out, through food, drinks, dancing and a little bit of a fairy tale. It is the only thing that moves us a little and brings us a little closer to some sort of expiation and to destruction of social stereotypes.

Predstava koja ostavlja bez daha, sirova, rastrgana ali i lucidna, poetska, i emotivno nježna. A breathtaking performance, raw, torn and yet lucid, poetic and emotionally tender.

REDITELJ

amián Cervantes je rođen u Mexico Citiju 1981. godine. Glumac je, profesor i reditelj koji vjeruje u etiku i kolektivni rad. U fokusu njegovog interesovanja je teatarska režija unutar koje neprekidno traga za novim mogućnostima. U potrazi je za alternativnim mjestima za izvođenje i iskrene izvedbe. Direktor je teatarske skupine Vaca 35.

DIRECTOR

amián Cervantes was born in Mexico City, 1981. An actor, professor and director by profession, believer in the ethics and collective work. Interested in theater direction in constant search. Looking for alternative spaces and honest performing. Director of Vaca 35 Theater Group.

Dino Pešut

04/10/15 19.30 Narodno pozorište Sarajevo National Theater Sarajevo Trajanje / Running time: 90 min. Hrvatska / Croatia

(PRET) POSLJEDNJA PANDA ILI STATIKA (PEN)ULTIMATE PANDA OR STATIC

Zagrebačko kazalište mladih

Autor / Author: DINO PEŠUT Režija / Direction: Saša Božić Igraju / Cast: Katarina Bistrović Darvaš Hrvojka Begović Frano Mašković Adrian Pezdirc Doris Šarić Kukuljica Milica Manojlović Rakan Rushaidat Slaven Španović Scenski pokret / Stage Movement: Petra Hrašćanec Scenografija, svjetlo / Stage Design, Lights: Bruno Pocheron Claire Terrien Kostimografija / Costume Design: Zdravka Ivandija Kirigin 20

Kompozitori / Composers: Nenad Sinkauz Alen Sinkauz Asistentica kostimografkinje i likovno oblikovanje maski / Assistant Costume Designer and Mask Designer: Ana Fucijaš Jezična savjetnica / Language Adviser: Đurđa Škavić Inspicijentica / Stage Manager: Milica Kostanić Fotografija / Photography: ZORAN KULUŠIĆ NERAL / ZKM Produkcija / Production: ZAGREBAČKO KAZALIŠTE MLADIH

PREDSTAVA

iječ je o drami pisanoj rafalnim stilom brzih i kratkih rečenica koje iznose sliku odrastanja četvero mladih ljudi iz ratnog i poratnog Siska. Dva muška i dva ženska lika kreću s istih startnih pozicija, iz podrumskih skloništa bombardiranoga grada, a život ih potom oblikuje u potpuno različite ljude, isprva malim pomacima koji s vremenom postaju tektonskim. Drama izrazito precizno i duboko zasijeca neuralgično tkivo poslijeratnog tranzicijskog društva te gotovo bez greške detektira “povijest bolesti” naših prostora.

PERFORMANCE

his is a drama written using a style of a rapid succession of quick and short sentences that paint a coming-of-age picture of four young people from the war and post-war Sisak. Two male and two female characters have the same starting position, in the basement shelters of a bombarded city, and then life, initially through small steps that eventually become tectonic, forms them into completely different people. This drama uses extremely precise and deep cuts to dissect the neuralgic tissue of the post-war society in transition, and provides an almost flawless anamnesis of our region.

Sanjam da će za deset godina ovdje biti još gore nego što je sada. Sanjam da će siromaštvo probuditi ludilo. Sanjam da će probiti novi rat, da onaj u Bosni nije prestao, da će u Hrvatskoj ponovno ubijati i Srbe i pedere. I mene pogotovo. - Dino Pešut I dream that in ten years things are going to be worse than they are now. I dream that poverty will awaken the insanity. I dream that the a new war will break out, that the one in Bosnia never stopped. That in Croatia, they will again kill Serbs and faggots. And me, in particular. - Dino Pešut REDITELJ

aša Božić je rođen 1979. u Vinkovcima. Diplomirao je pozorišnu režiju i radiofoniju na Akademiji dramske umjetnosti u Zagrebu 2006. Još kao student ADU-a angažiran je u profesionalnim plesnim projektima u skupini BADco. i Zagrebačkom plesnom ansamblu. Kao dramaturg sarađuje s priznatim koreografima/kinjama i plesačima/cama u zemlji i inozemstvu. Osim brojnih saradničkih projekata, Saša Božić ostvario je i mnoge samostalne dramske, plesne i multimedijske projekte koji su trenutno na repertoaru hrvatskih pozorišnih institucija poput Nore Henrika Ibsena u Hrvatskom narodnom kazalištu u Zagrebu, Skupa: Igre na Dubrovačkim ljetnim igrama, Glorije Ranka Marinkovića te Dezertera, autorskog projekta nadahnutog romanom Kiklop Ranka Marinkovića, u Teatru ITD u Zagrebu, Spremnih Kristine Gavran u ZKM-u... Vlastite autorske i saradničke projekte uspješno i redovito predstavlja u europskim pozorišnim institucijama. Asistent je na katedri scenskog pokreta na Odsjeku glume Akademije dramske umjetnosti u Zagrebu. Živi u Zagrebu.

DIRECTOR

aša Božić was born in 1979 in Vinkovci. He graduated in theater directing and radiophony at the Academy of Dramatic Arts in 2006. As a student at the ADA, he worked on the professional dance projects with the BADco. group, and the Zagreb Dance Company. As a dramaturge, he collaborated with recognized choreographers and dancers in the country and abroad. Aside from numerous collaborative projects, Saša Božić worked on many independent drama, dance, and multimedia projects that are currently on the repertoire of Croatian theater institutions such as Henrik Ibsen’s Nora at the Croatian National Theater in Zagreb, The Miser: Plays at the Dubrovnik Summer Festival, Ranko Marinković’s Gloria, and Deserters, a project he authored based on the novel Cyclops by Ranko Marinković, at the ITD Theater in Zagreb, Ready by Kristina Gavran at the Zagreb Youth Theater... His authored and collaborative projects are successfully and regularly showcased at the European theater institutions. He is an assistant of Stage Movement at the Acting Department of the Academy of Dramatic Arts in Zagreb. He lives in Zagreb. 21

05/10/15 20.00 Sarajevski ratni teatar - SARTR Sarajevo War Theater - SARTR Trajanje / Running time: 140 min. Bosna i Hercegovina / Bosnia and Herzegovina

George Orwell

ŽIVOTINJSKA FARMA ANIMAL FARM

Sarajevski ratni teatar - SARTR

Tekstovi songova / Lyrics:

Milena Bogavac

Režija / Direction:

Dino Mustafić Igraju / Cast:

Ejla Bavčić Tarakčija Snežana Bogićević Sonja Goronja Mirela Lambić Ana Mia Milić Maja Salkić Amila Terzimehić Benjamin Bajramović Ermin Bravo Adnan Goro Adi Hrustemović Sead Pandur Enes Salković Igor Skvarica Dramaturgija / Dramaturgy:

Željka Udovičić Pleština Dubravka Zrnčić-Kulenović Scenski pokret / Stage Movement:

Damir Klemenić

Scenografija / Stage Design:

Vedran Hrustanović Kostimografija / Costume Design:

Lejla Hodžić Muzika / Music:

Vladimir Pejković

Korepeticija / Correpetition:

Višnja Bakalar

Šef tehnike / Technical Director:

Damir Fazlagić Svjetlo / Lights:

Nedim pejdah nedim kukavica Zvuk / Sound:

IRHAD HODŽIĆ SRETKO VUJIĆ Asistentica režije / Assistant Director:

Mirna Dizdarević Dizajn / Design:

Bojan Mustur Izvršna produkcija / Executive Production:

Lejla Hasanbegović Sabina Šabić

Asistentica produkcije / Production Assistant:

Hana Karadža

Producent / Producer:

Nihad Kreševljaković Fotografija / Photography:

Velija Hasanbegović Produkcija / Production:

Sarajevski ratni teatar - SARTR

PREDSTAVA

vo je predstava u kojoj nema klasične glumačke podjele. Na sceni je 14 glumaca/ica, jedan od njih je George Orwell, a ostale uloge dodjeljujete vi, draga publiko. Likovi Životinjske farme su podjeljeni u četiri osnovne skupine. Birate: 4 svinje (Major, Napoleon, Snowball i Squealer), 4 kopitara (konj Boxer, kobile Clover i Mollie i magarac Benjamin), te 4 manje životinje (koza Muriel, ovca Dolly, kokoš Kolinda i pas Pincher) i jednog Čovjeka (gospodin Jones, Farmer i Reporter). Svaki gledalac/gledateljica će dobiti zvono i jačinom zvuka zvona, glasa ili udaranja nogama o pod, izmjerit ćemo jačinu zvuka i tako saznati kojem glumcu/ici i za koju ulogu ide vaš glas. Kroz predstavu nas vode i songovi: Himna životinja, Naše sijeno, Apoteoza vladaru, Lekcije o neprijatelju, Najbolji sistem na svijetu. Predstava se izvodi na sceni punoj blata. Ako jedna grudica mokre zemlje “doleti” do nekoga iz publike, znajte da je to slučajno, a ako prepoznate i identifikujete one osobe koje se imenom ne spominju, jer ih Orwell nije ni poznavao, znajte da to nije slučajno.

PERFORMANCE

his is a performance without the traditionally assigned roles. There are 14 actors on stage, one of whom is George Orwell, and the other roles are assigned by you, dear audience. The characters of the Animal Farm are divided into four basic groups. You assign: 4 pigs (Major, Napoleon, Snowball and Squealer), 4 ungulates (Boxer the horse, mares Clover and Mollie, and Benjamin the donkey), 4 smaller animals (goat Muriel, sheep Dolly, hen Kolinda, and Pincher the dog), and one Man (Mister Jones, Farmer, and Reporter). Each spectator will be given a bell and we will use the volume of the ringing, voice, or stomping to assess the volume of the sound and determine which actor should play which role. Throughout the play, we are guided by the songs: Animal Hymn, Our hay, Apotheosis of the ruler, Lessons of the enemy, The best system in the world. The play is performed on a stage covered in mud. If a lump of wet earth splatters someone in the audience, please know that it’s by accident, and if you recognize and identify those who are not mentioned by name, because Orwell did not even know them, please know that it is by no accident.

Mi ćemo sprovesti teror, U ime ljudskih prava! Jer čovjek je dostojanstven Samo onda kad ima para! Svaka škola se plaća Zato: radi, zaradi, plati! Imaš ono što kupiš, I to što imaš brani! – Milena Bogovac REDITELJ

ino Mustafić je diplomirao na Akademiji scenskih umjetnosti u Sarajevu, Odsjek za režiju, i na Odsjeku za opštu književnost na Filozofskom fakultetu u Sarajevu. Režirao je u mnogim pozorištima i gradovima regiona. Postavio je više od 50 drama klasičnih i savremenih pisaca. Za svoj rad višestruko je nagrađivan u zemlji i inostranstvu. Snimio je više dokumentarnih filmova i dugometražni igrani film Remake, koji je gostovao na više od 40 festivala. Od januara 2003. do decembra 2005. godine bio je Umjetnički direktor Drame Narodnog pozorišta Sarajevo. Na čelu je najstarijeg pozorišnog festivala u regionu Internacionalnog teatarskog festivala MESS od 1997. godine, kojeg je obnovio nakon opsade Sarajeva sa svojim saradničkim timom.

We will implement terror, In the name of human rights! Because the man is dignified Only when he has money! Each school shall be paid Therefore: work, earn, pay! You have what you buy, And what you have, defend! – Milena Bogovac DIRECTOR

ino Mustafić is a graduate of the Academy of Performing Arts, Department of Directing, and the Department of General Literature at the Faculty of Philosophy in Sarajevo. He had directed in many theaters and cities in the region. He staged more than 50 plays by classical and contemporary writers. He has won numerous awards for his work in B&H and abroad. He has made several documentaries and a feature film Remake, which was shown at more than 40 festivals. From January 2003 to December 2005, he was the Artistic Director of Drama of the National Theater in Sarajevo. Since 1997, he has been at the helm of the oldest theater festival in the region, International Theater Festival MESS, which he restated after the siege of Sarajevo together with his collaborative team. 23

Emke Idema

RULE™ Stichting Stranger

Režija, koncept i voditeljica / Direction, Concept and Host: Emke Idema Dramaturgija / Dramaturgy: Nienke Scholts Scenografija / Stage Design: Joris van Oosterwijk Umjetnički direktor / Artistic Director: Dirk Verstockt Produkcijski menadžer / Production Manager: José Schuringa Fotografija / Photography: Thomas Lenden Produkcija / Production: Stichting Stranger Koprodukcija / Coproduction: Frascati Productions Grand Theater Groningen 24

06/10/15 18.00 07/10/15 15.00, 18.00 Dom Oružanih snaga BiH The House of Armed Forces of B&H Trajanje / Running time: 90 min. + razgovor / discussion Nizozemska / The Netherlands

PREDSTAVA

ULE™ je igra. Bez glumaca/ica, ali sa aktivnom publikom. Ovdje se radi o djelovanju društva i politike, ali u početku se radi o jednostavnim, ličnim odlukama. Kompleksno je, ali nije komplikovano. Zabavno je, ali ne i neozbiljno. Emke Idema predočava pravila, postavlja pitanja i ima pravo diskvalificirati učesnike/ ce. Njena pitanja se dotiču naših ličnih stavova prema strancima/kinjama: Gdje su postavljene granice između gostoprimstva i želje za učešćem? Gdje smo postavili svoje vlastite granice? U početku su pitanja jednostavna, odgovori lični, a posljedice logične. Naše odluke nas odvode na “ostrva” koja se nalaze u prostoriji i na kojima je različit broj ljudi koji dijele isto mišljenje. Malo po malo, pitanja o migraciji i odnosima sa strancima/kinjama postaju sve dvosmislenija. Uvjerenja o individualnoj etici postaju politična, dok sve veći broj publike sa vanjske pozicije posmatra fascinanatan međuodnos kolektivnog i individualnog.

PERFORMANCE

ULE™ is a game. Without actors/actresses, but with an acting audience. It is about the working of society and politics, but at first it is about simple personal decisions. It is complex, but not complicated. It is entertaining, but not frivolous. Emke Idema lays down the rules, asks questions, and is allowed to disqualify people. Her questions are about our personal attitude towards strangers: Where are the boundaries between hospitality and willingness to participate? Where do we set our own limits? At first, the questions are simple, the answers personal, and the consequences straightforward: Our decisions lead to us taking positions on different ‘islands’ in the room together with varying numbers of like-minded people. Bit by bit the questions about migration and the dealings with strangers become more tricky. The beliefs of individual ethics become political – and more and more audience members watch the fascinating interplay between collective and individual from the outside position.

RULETM je igralište ideja, društvo u malom, razigrana i dramatična platforma u kojoj se računaju ideje većine. RULETM is a playground of ideas, miniature society, a playful and dramatic platform in which the ideas of majority count. AUTORICA

mke Idema je rođena u Holandiji 1980. godine. Najprije je studirala književnost u Groningenu, a potom i glumu u Maastrichtu. Na međunarodnom magistarskom studiju pri programu DasArts u Amsterdamu, Emke Idema je počela razvijati nove teatarske stilove. Njen popratni rad RULE™ (2014) već joj je pribavio niz nagrada za pametan i inovativan spoj teatra i politike koji se ogleda u dinamičnom odnosu sa i među publikom.

AUTHOR

mke Idema, born in the Netherlands in 1980, first studied literature in Groningen, then performance in Maastricht. During her international master’s degree course theater at DasArts in Amsterdam, Emke Idema developed new styles of theater. Her complementary work at DasArts, RULE™ (2014), has already won prizes for the intelligent and innovative conjunction between theater and politics that is reflected in the dynamic relationship with and among the audience. 25

VRIJEME I PROSTORI: marrabenta solA TIME AND SPACES: the marrabenta solos CulturArte

Koreografija i izvedba / Choreographed and Performed by: Panaibra Gabriel Canda Muzika / Music: Jorge Domingos Tekst / Text: Panaibra Gabriel Canda Dizajn svjetla / Light Design: Myers Godwin Kostimi / Costumes: Mama Africa & Lucia Pinto

06/10/15 20.00 Sarajevski ratni teatar - SARTR Sarajevo War Theater - SARTR Trajanje / Running time: 65 min. Mozambik / Mozambique 26

Rekvizita / Props: Panaibra Gabriel Canda Gonรงalo Mabunda Fotografija / Photography: Arthur Fink Produkcija / Production: CulturArte

PREDSTAVA

rijeme i prostori: Marrabenta Sola bavi se krizom identiteta, dekonstruira kulturološke predstave “čistog” afričkog, odnosno mozambičkog tijela. Od osvajanja nezavisnosti od Portugala, 1975. godine, Mozambik postaje zemljom društvenih i političkih razlika, koje prate postepenu promjenu strogog modela komunizma u fragilni model demokratije. Predstava se bavi idejom današnjeg afričkog tijela koje je postkolonijalno, pluralno i koje je apsorbiralo ideju nacionalizma, modernizma, socijalizma i slobode govora. U predstavi učestvuje gitarista koji istražuje marrabenta muziku, koja je rođena pedesetih godina dvadesetog stoljeća kao mješavina lokalne i evropske muzike, a u kojoj portugalska gitara igra posebnu ulogu.

PERFORMANCE

ime and Spaces: The Marrabenta Solos, explores a crisis of identity, deconstructs cultural representations of a “pure” African body, particularly, the Mozambican body. Since snatching independence from Portugal in 1975, Mozambique has been a land of social and political rifts which have seen an inflexible communist model gradually make way for a fragile democracy. The performance explores the idea of today’s African body: a post-colonial, plural body that has absorbed the ideals of nationalism, modernity, socialism and freedom of expression. The performance is accompanied by guitarist, who explores the marrabenta music, a musical form born in the 1950’s from a mix of local and European influences, especially a Portuguese guitar.

Praćena gitaristom, pričana plesnim minijaturama današnje afričke zajednice, predstava dekonstruiše jednu obećanu sliku sadašnje afrikanizirane Afrike. Accompanied by a guitarist, told by dance miniatures of today’s African community, the piece deconstructs a promised picture of the current africanized Africa. KOREOGRAF

anaibra Canda rođen je u Maputu gdje je stekao umjetničko obrazovanje vezano za teatar, muziku i ples. Dodatno se školovao u Lisabonu, u školi Danças Na Cidade, gdje je izučavao moderni ples. Vlastite umjetničke projekte počeo je 1993. godine, a 1998. godine osnovao je CulturArte, u okviru kojeg je organizirao projekte, izložbe kao i edukativne sadržaje u svrhu doprinosa razvoju lokalne plesne scene. Radi na uspostavljanju zajedničkih projekata sa umjetnicima i umjetnicama iz južne Afrike i Evrope, kao i onima iz drugih disciplina. Njegov je rad predstavljen u Africi, Evropi, SAD-u i Južnoj Americi, a neka od djela su nagrađena u Parizu 2006. godine, na Afričkom koreografskom susretu, u Cirihu 2008. godine (Nagrada pod pokroviteljstvom Zürcher Kantonalbank) i 2009. godine nagradom Sylt Quelle Cultural Award for Southern Africa, pod pokroviteljstvom Njemačke.

CHOREOGRAPHER

anaibra Canda, was born in Maputo, had artistic training in theater, music and dance. He received additional training in contemporary dance Lisbon among Danças Na Cidade. He started to develop his artistic projects since 1993. In 1998 he created CulturArte, and been developing many artistic projects, including creations, showcases and training projects to encourage a local dance scene development. He also develops collaboration with artists in southern Africa and Europe, as well collaborating with artists of other disciplines. His work has been presented in Africa, Europe, USA and Latin America, some of his works were awarded in Paris at African choreographic meeting in Paris/France, 2006, Zurich 2008 a ZKB Patronage Prize in Zurich and the Sylt Quelle Cultural Award for Southern Africa 2009, a Germany encouraging cultural prize.

06/10/15 22.00 Kamerni teatar ‘55 Chamber Theater ‘55 Trajanje / Running time: 80 min. Crna Gora / Montenegro

Režija i adaptacija / Direction and Adaptation: Mirko Radonjić Igraju / Cast: Dragan Račić Petar Novaković Momo Pićurić Aleksandar Radulović Aleksandar Gavranić Karmen Bardak Prijevod / Translation: Jasna Bulatović Dramaturgija / Dramaturgy: Stela Mišković Scenografija i dizajn svjetla / Stage and Light Design: Mirko Radonjić Kostimografija / Costume Design: Lina Leković

HAROLD PINTER

POVRATAK

THE HOMECOMING Crnogorsko narodno pozorište Podgorica 28

Izvršna produkcija / Executive Production: Nela Otašević Fotografija / Photography: DUŠKO MILJANIĆ Produkcija / Production: CRNOGORSKO NARODNO POZORIŠTE PODGORICA U saradnji sa Fakultetom dramskih umjetnosti, Cetinje In cooperation with the Faculty of Dramatic Arts, Cetinje

PREDSTAVA je gorka komedija u kojoj Pinter formuliše Povratak čitav niz pitanja o nama, našim domovima i porijeklu,

tome što nosimo sa sobom, a od čega bježimo. Preispitujući “moral” unutar porodičnog života, pisac raščlanjuje i razbija naše zablude vezane za “dom”. Svoje ideološko opravdanje i svrhu, građanski brak dobio je u ideji da je dom toplo utočište od inače hladnog i neprijateljski nastrojenog svijeta; privatna sfera je mjesto na kome ćemo kompenzirati osjećaj lišenosti koji nas prati iz spoljašnjeg svijeta. Povratak nam pokazuje da ono od čega bi dom trebalo da pruži zaklon, leži u njemu samom. Porodični život nije samo ogledalo javnog, političkog života, već mnogo puta njegov uzrok. Mirkokosmos i makrokosmos funkcionišu združeno. Dom ne pruža zaklon od hladnog spoljašnjeg svijeta i kapitalističkih vrijednosti, jer su takve vrijednosti ne samo u građanskom društvu, već u čovjekovoj prirodi. Profit i seksualnost, Marks i Frojd, su dio bračnog ugovora, pa samim tim i dio porodičnog doma.

PERFORMANCE

he Homecoming is a bittersweet comedy in which Pinter formulates a series of questions about us, our homes and origins, of that which we carry with us, and that which we run from. Reviewing the “morality” within the family life, the writer sections and breaks down our misconceptions regarding the “home”. The civil marriage gained its ideological justification and purpose from the idea that a home is a warm refuge from the otherwise cold and hostile world; the private sphere is a place where we will compensate for the feeling of deprivation that follows us from the outside world. The Homecoming shows us that the thing which the home is supposed to shelter is from, is found within the home. Family life is not just a mirror of public, political life, but many times its cause. Microcosm and macrocosm operate in unison. Home does not provide shelter from the cold outside world and capitalist values, because these values exist not only in the civil society, but in human nature. Profit and sexuality, Marx and Freud, are parts of the marriage contract, and thus a part of the family home.

Prvo izvođenje Povratka u Crnoj Gori donosi prijevod i adaptaciju na crnogorski jezik koji radnju iz predgrađa Istočnog Londona smještaju sasvim jasno u domaća, podjednako brutalna predgrađa, pokazujući da je apsurd 60-ih godina prošlog vijeka u međuvremenu postao naša realnost. The first performance of The Homecoming in Montenegro provides translation and adaptation in Montenegrin language which transfers the action from the suburban East London within the domestic, equally brutal suburbs, showing that the absurdity of the 60’s of the last century become our reality in the meantime.

REŽISER

irko Radonjić je rođen 1984. u Podgorici. Godine 2009. diplomirao je slikarstvo na Fakultetu likovnih umjetnosti na Cetinju, a od 2011. studira Pozorišnu režiju na Fakultetu dramskih umjetnosti na Cetinju u klasi prof. Radmile Vojvodić. Radio je kao asistent reditelja, dizajner svjetla i scenograf na brojnim projektima u crnogorskim pozorištima. U sklopu dramskog studija Prazan prostor se bavi pedagoško-radioničarskim radom sa srednjoškolcima/kama. Povratak Harolda Pintera je ispitna predstave treće godine Pozorišne režije. Režirao je još Komad Stefana Boškovića (NVO ART 365) i Ivica i Marica prema istoimenoj bajci braće Grim (Kraljevsko pozorište Zetski Dom).

DIRECTOR

irko Radonjić was born in 1984 in Podgorica. In 2009, he obtained a degree in painting at the Faculty of Fine Arts in Cetinje, and since 2011, he has been studying theater direction at the Faculty of Dramatic Arts in Cetinje in the class of prof. Radmila Vojvodić. He worked as an assistant director, light designer, and set designer on many projects in the Montenegrin theaters. Within the drama studio Empty Space he holds lecture workshops for high school students. Harold Pinter’s The Homecoming is an exam project for the third year of theater directing. He has also directed The Piece by Stefan Bošković (NGO ART 365) and Hansel and Gretel based on the eponymous fairy tale of the Brothers Grimm (Royal Theater Zeta House).

07/10/15 20.00 Sarajevski ratni teatar - SARTR Sarajevo War Theater - SARTR Trajanje / Running time: 100 min. Bosna i Hercegovina / Bosnia and Herzegovina

IGOR ŠTIKS

BRAŠNO U VENAMA THE FLOUR IN OUR VEINS SARTR Scena MESS

Režija / Direction:

Boris Liješević Igraju / Cast:

MIKI TRIFUNOV KAĆA DORIĆ IZUDIN BAJROVIĆ ADMIR GLAMOČAK SELMA ALISPAHIĆ JASENKO PAŠIĆ Dramaturgija / Dramaturgy:

Dubravka Zrnčić-Kulenović Scenografija / Stage Design:

Vedran Hrustanović Kostimografija / Costume Design:

Lejla Hodžić Muzika / Music:

Duško Šegvić Inspicijent / Stage Manager:

Goran Filipović

Šef tehnike / Technical Director:

Damir Fazlagić

Svjetlo / Lights:

Nedim Pejdah Nedim Kukavica Zvuk / Sound:

Irhad Hodžić Sretko Vujić Dizajn / Design:

Bojan Mustur Fotografija / Photography:

Velija Hasanbegović

Izvršna produkcija / Executive Production:

Lejla Hasanbegović Sabina Šabić

Producenti / Producers:

Nihad Kreševljaković Dino Mustafić

Produkcija / Production:

Sarajevski ratni teatar - SARTR Internacionalni teatarski festival mess - Scena MESS

PREDSTAVA

rašno u venama je komad o porodici koju je rat rasuo po svijetu, a koja se poslije više od 20 godina susreće u jednom gradu, u jednom stanu, u jednoj noći. Sve se promijenilo: grad, država, stanovništvo, etnička slika, ulice, lica, ali su ostale traume koje ni protok vremena, ni promjena prostora ne mogu izbrisati. One su postale pogled na svijet, način razmišljanja, obrazac ponašanja. Vremenom traume postaju poznate i prijatne, a izlazak iz traume bolan i nepoznat. Pojedinac ostaje zarobljen u traumi.

PERFORMANCE

he Flour in Our Veins is a story about a family scattered throughout the world because of the war, and who meet again, after 20 years, in a city, an apartment, at night. Everything has changed: the city, the country, the population, ethnic composition, streets, faces, but the trauma remains that cannot be deleted neither by the passage of time or changes in geographic location. It has become an outlook, a way of thinking, a pattern of behavior. Over time, the trauma becomes familiar and pleasant, and getting over the trauma becomes painful and full of uncertainty. The individual remains trapped in the trauma.

Prošlost je kao bumerang, uvijek se vraća. Moramo naučiti uhvatiti taj bumerang prije nego nas ponovo povrijedi, ne da bismo ga odbacili i zaboravili, već da bismo spriječili da nam osakati budućnost. – Igor Štiks The past is like a boomerang, it always returns. We have to learn to catch that boomerang before it hurts us again, not to reject and forget it, but to prevent it from crippling our future. – Igor Štiks REDITELJ

oris Liješević je rođen u Beogradu 1976. godine. 2004. godine diplomirao je režiju na Akademiji umjetnosti u Novom Sadu, gdje radi kao asistent na Katedri za intermedijalnu režiju. Njegove najvažnije predstave koje je režirao su Prisustvo, Atelje 212; Greta stranica 89, SNP Novi Sad; Dragi tata, JDP; Zverinjak, SNP Novi Sad; Jare u mleku, Pozorište mladih, Novi Sad; Čekaonica, Atelje 212 i KC Pančevo, Povodom galeba, Pozorište mladih, Novi Sad i Elijahova stolica. Dobitnik je najznačajnijeg priznanja Udruženja dramskih umjetnika Srbije za pozorišnu režiju - Bojan Stupica za 2013. godinu.

DIRECTOR

oris Liješević was born in Belgrade in 1976. In 2004, he graduated from the Academy of Arts in Novi Sad with a degree in Directing. He works at the Academy as an assistant at the Department of Intermedial Directing. The most important plays he directed are Presence Atelje 212; Greta page 89, SNP Novi Sad; Dear Dad, JDP; Zverinjak, SNP Novi Sad; Kid in Milk, Youth Theater, Novi Sad; Waiting Room, Atelje 212 and KC Pančevo, On the occasion of a seagull, Youth Theater, Novi Sad and Elijah’s Chair. In 2013, he won the most prestigious award of the Association of Dramatic Artists of Serbia for theater directing - Bojan Stupica. 31

08/10/15 19.30 Narodno pozorište Sarajevo National Theater Sarajevo Trajanje / Running time: 105 min. Francuska / France

KAD POMISLIM DA ĆEMO OSTARITI SKUPA AND TO THINK WE’LL GROW OLD TOGETHER Les Chiens de Navarre

Režija / Direction: Jean-Christophe Meurisse Igraju / Cast: CAROLINE BINDER CÉLINE FUHRER ROBERT HATISI MANU LASKAR THOMAS SCIMECA ANNE-ELODIE SORLIN MAXENCE TUAL JEAN-LUC VINCENT Scenografija / Stage Design: JEAN-CHRISTOPHE MEURISSE Rasvjeta / Lights: VINCENT MILLET Majstor rasvjete / Lights Manager: Stéphane Lebaleur Majstor tona / Sound Manager: Isabelle Fuchs

Fotografija / Photography: PHILIPPE LEBRUMAN Producentica / Producer: Léa Couqueberg Distribucija i razvoj / Distribution and Development: Antoine Blesson Produkcija / Production: Le Grand Gardon Blanc / Chiens de Navarre Rezidencija i koprodukcija / Residency and Coproduction: Les Subsistances, Lyon; Parc de la Vilette (umjetnička rezidencija 2012); La Parapluie, međunarodni centar za umjetničko stvaralaštvo, Aurillac; C.I.C.T. / Teatar Bouffes du Nord Koprodukcija / Coproduction: Cultural centre Créteil; TAP - Theater Auditorium de Poitiers; ARCADI (Regional Action for artistic creation and broadcasting in Île-de-France) Uz podršku / With support from SACD Théâtre Fund, SPEDIDAM

PREDSTAVA

aša potreba za utjehom je neutaživa, pisao je Stig Dagerman usred svoje švedske šume. Bilo da smo okruženi planinama ili semaforima, naš krik očaja uvijek je isti. Svi smo u jednakoj potrazi, stalnoj i tegobnoj, za utjehom pomoću koje nastavljamo živjeti i suočavati se sa svijetom. Kako je dobar osjećaj okupiti se (stati u krug i po mogućnosti u čarapama) i slušati jedni druge kako bi sve iznova počeli i zaliječili rane. Makar i po cijenu gubljenja razuma. Ili moći govora. Les Chiens de Navarre (Navarski psi) se upuštaju u scensko iskustvo ličnog pomirenja u cilju što jasnijeg preispitivanja tužnog djeteta koje u nama cvokoće.

PERFORMANCE

ur need for consolation is insatiable, wrote Stig Dagerman in the middle of his Swedish forest. Whether we are surrounded by mountains or traffic lights, our scream of despair is always the same. We are all in the same constant and arduous pursuit of the consolation, thanks to which we continue to live and face the world. How good it feels to gather (to stand in a circle and preferably in socks) and listen to each other in order to start all over again and heal the wounds. Even at the cost of losing one’s mind. Or the ability to speak. Les Chiens de Navarre (The Dogs of Navarre) engage in theatrical experience of personal reconciliation in order re-examine, as clearly as possible, the sad child that shivers inside of each of us.

Osam glumaca/ica koji su odlučili da se zabavljaju imitirajući stvarnost i igrajući se sa pozorišnim kodeksima, ismijavajući sve, radeći ono za šta im je rečeno da nikada ne smiju raditi na sceni... i uživajući u tome u potpunosti. - Jean-Christophe Meurisse

Eight actors/actresses who decided to have fun imitating the real and playing with theatrical codes, making fun of it all, doing what they had always been told they should never do on stage... and enjoying it thoroughly. - Jean-Christophe Meurisse AUTORI

es Chiens de Navarre predstavljaju prije svega grupu glumaca/ica puštenih na pozornicu. To su glumci/ice koji improviziraju, osuđuju se i zabavljaju, glumci/ice koji se suprostavljaju jedni drugima, prolaze kroz privremene krize, igraju glupave igre, sa publikom ili protiv nje. Na samom početku, tekst ne postoji. Glumci/ice su ti/e koji/e pišu tekst. Na pozornici su u svakom trenutku nezavisni/e i raspoloživi/e. Ipak, glumci/ice uvijek imaju određenu temu prije početka proba. Dvije do tri stranice različitih situacija predstavljaju polaznu tačku za rad. Tu se nađu i didaskalije, scenografske zamisli, liste aksesoara, odlomci tekstova, poema, riječi pjesama, fotografije, ponekad i dijalozi (rijetko namijenjeni za izvođenje već samo za nadahnuće)... To će glumcima/ icama biti jedini potrebni okvir. Istovremeno će ostaviti dovoljno prostora za eksperimentiranje i riskiranje kada je u pitanju stvaranje teksta u trenutku izvedbe i kontinuirani pokret, naglašavajući na taj način ideju o ovdje i sada svake situacije.

authors

es Chiens de Navarre represent primarily a group of actors/actresses released onto a stage. These are actors/actresses who improvise, pass judgement on each other, and have fun, actors who contradict each other, go through temporary crises, play silly games, with the audience or against it. At the very beginning, there is no text. The actors/actresses are those who write the text. On the stage, they are independent and available at any time. However, the actors/actresses always have a certain topic before the beginning of the rehearsal. Two to three pages of different situations are the starting point for the play. They contain stage directions, set design ideas, a lists of accessories, excerpts of texts, poems, song lyrics, photographs, occasionally dialogs as well (rarely intended to be performed, only for inspiration)... This will be the only required framework for the actors/actresses. At the same time, it will leave sufficient room for experimentation and risk-taking during the performance when it comes to real-time writing and continuous movement, thus emphasizing the idea of here and now of any situation. 33

MI SMO KRALJEVI A NE LJUDI WE ARE KINGS NOT HUMANS HNK Zagreb

09/10/15 19.30 Narodno pozorište Sarajevo National Theater Sarajevo Trajanje / Running time: 90 min. Croatia / Hrvatska

Scenografija / Stage Design: Mauricio Ferlin Kostimografija / Costume Design: Desanka Janković Matija Ferlin Muzika / Music: Nenad Sinkauz len Sinkauz Dizajn svjetla / Light Design: Saša Fistrić Režija i koreografija / Directed and Choreographed by: Matija Ferlin Igraju / Cast: Livijo Badurina Ana Begić Jadranka Đokić Dušan Gojić Ivan Jončić Iva Mihalić Dramaturgija / Dramaturgy: Jasna Žmak Goran Ferčec 34

Transkript / Transcript: Romina Vitasović Prijevod / Translation: Danijela Bilić Rojnić Inspicijentica / Stage Manager: Suzana Bogdan Pavek Fotografija / Photography: MARA BRATOŠ Produkcija / Production: Hrvatsko narodno kazalište Zagreb

PREDSTAVA

ovoj predstavi reditelj i koreograf Matija Ferlin ponovno se posvetio istraživanju jezika i načina na koji ga se, bez ilustriranja i psihologiziranja, može postaviti na scenu. Koristeći se pokretom kao jeziku ravnopravnim sredstvom izvedbe Ferlin, kao i u svojim prethodnim projektima, želi istražiti što se s pozorištem događa kada nekoj od njegovih temeljnih postavki istrgnemo sigurno tlo pod nogama. Stvarajući tekst iz materijala koji će, kroz niz radionica, “proizvesti” djeca predškolske dobi, ideja je kreirati specifičan pozorišni svijet, oblikovan dječjom logikom, u kojemu jezik nema smisao ni vrijednost koje mu odrasli pridaju, a zatim stvoriti pokret koji će takav jezik moći ispuniti novim značenjima. Namjera je stoga “uhvatiti” djecu u fazi najintenzivnije igre jezikom i zajedno s njima uputiti se u otkrivanje svijeta kakav je bio prije sto godina te kroz taj stari svijet, izmaštati jedan potpuno nov, za koji će djeca sigurno imati iznimne planove koji će i nas same iznenaditi, zbog čega uostalom i želimo zajedno s njima ući u njihov svijet jezika.

PERFORMANCE

n this play, director and choreographer Matija Ferlin re-dedicated himself to the study of language and the way it can, without illustration and psychologizing, be staged on scene. Using movement as a means of performance equal to language, Ferlin, as in his previous projects, wants to investigate what happens with the theater when we pull the rug underneath the feet of one of its underlying postulates. Through creating text from materials “created” by pre-school children through a series of workshops, the idea is to create a specific world of theater, shaped by children’s logic, in which the language has no meaning nor value that adults attach to him, and then create a movement that can attach new meaning to such language. The intention is, therefore, to “catch” the children in the most intense phase of their language games and join them in discovering the world as it was a hundred years ago. Through that old world, the aim is to imagine a completely new one, for which the children will surely have exceptional plans that will surprise even ourselves, which is why, after all, we want to join them in their world of language.

To nije predstava u kojoj odrasli tumače djecu ili pokušavaju približiti dječije poimanje stvarnosti, nego, vodeći se vlastitim iskustvom djeteta otkrivaju potencijale svijeta kakav bi mogao biti da se umjesto prihvaćanja postojećih jezičnih i stvarnosnih obrazaca zadržala dječija logika. - Ivana Slunjski It is not a play in which the adults interpret children or try to make familiar the children’s perception of reality, but, guided by their own experience of being a child, discover the potentials of the world as it might be if, instead of accepting the existing language and reality patterns, we retained the children’s logic was retained. - Ivana Slunjski REDITELJ / KOREOGRAF

DIRECTOR / CHOREOGRAPHER

TENNESSEE WILLIAMS

TRAMVAJ ZVANI ŽUDNJA A STREETCAR NAMED DESIRE SARTR ASU Sarajevo Otvorena scena Obala

09/10/15 22.00 Akademija scenskih umjetnosti Sarajevo Academy of Performing Arts Sarajevo Trajanje / Running time: 100 min. Bosna i Hercegovina / Bosnia and Herzegovina

Režija, igraju / Direction, Cast: DINA MUŠANOVIĆ ALBAN UKAJ ADI HRUSTEMOVIĆ STAŠA DUKIĆ Mentor: ALEN MURATOVIĆ Dramaturgija / Dramaturgy: ADNAN LUGONIĆ Kostimografija / Costume Design: LEJLA HODŽIĆ Šef tehnike / Technical Director:

Damir Fazlagić Svjetlo / Lights:

Nedim Pejdah Nedim Kukavica Zvuk / Sound:

Irhad Hodžić Sretko Vujić Izvršna produkcija / Executive Production: KERIM MAŠOVIĆ Producent / Producer: NIHAD KREŠEVLJAKOVIĆ Fotografija / Photography: ENES CRVČANIN Produkcija / Production: SARAJEVSKI RATNI TEATAR – SARTR AKADEMIJA SCENSKIH UMJETNOSTI SARAJEVO OTVORENA SCENA OBALA

PREDSTAVA

rama Tramvaj zvani žudnja, napisana 1947. godine, možda je i najpoznatije djelo čuvenog američkog dramatičara Tennessee Williamsa. Popularnost širom svijeta stekla je istoimenom filmskom adaptacijom režisera Elia Kazana iz 1951. godine, u kojoj su glavne uloge igrali Marlon Brando i Vivien Leigh. Također, po motivima ovog dramskog teksta Woody Allen, 2013. godine, stvara film Blue Jasmine. Tramvaj zvani žudnja govori o dva različita koncepta poimanja života – jednom, čije je utemeljenje u mašti, duhovnosti i iluziji, i drugom, koji svoje ishodište ima u gruboj realnosti svedenoj na svakodnevno, beskrupulozno preživljavanje. Blanche DuBois dolazi u posjetu svojoj sestri Steli i njenom mužu Stanleyu, kako bi smirila duhove prošlosti i pokušala da otpočne novi život. U trošnoj kući siromašnog predgrađa dolazi do sukoba dva pomenuta koncepta, čiji su predstavnici Blanche i Stanley.

PERFORMANCE

Streetcar Named Desire, the play written in 1947, may be the best known work of the famous American playwright Tennessee Williams. The play gained worldwide popularity through the eponymous movie adaptation by the director Elia Kazan in 1951, in which the main roles were played by Marlon Brando and Vivien Leigh. Additionally, Woody Allen created the movie Blue Jasmine in 2013 based on this drama text. A Streetcar Named Desire is about two different perceptions of life – one based on imagination, spirituality, and illusion, and the second, which originates in the harsh reality reduced to daily, unscrupulous survival. Blanche DuBois visits her sister Stella and her husband Stanley in order to placate the spirits of the past and try to start a new life. In an old house in the impoverished suburbia there is a conflict of the two mentioned concepts, represented by Blanche and Stanley.

Ono malo iskrenosti jedino imaju ljudi koji znaju šta je patnja. - Tennessee Williams What little honesty there is in the world is owned by people who know suffering. - Tennessee Williams REŽIJA

DIRECTORS

ina Mušanović rođena je 1991. godine u Sarajevu. Studentica je završne godine Glume na Akademiji scenskih umjetnosti u Sarajevu, u klasi profesora Ermina Brave. Dobitnica je nagrade za studenticu generacije, te nagrade Rejhan Demirdžić za najbolju mladu glumicu za ulogu Mirjane u predstavi Drama o Mirjani i ovima oko nje na 54. Festivalu MESS. taša Dukić rođena je 1989. u Zenici. Diplomirala je Glumu na Akademiji scenskih umjetnosti u Sarajevu 2013. u klasi Senada Bašića. Nakon završetka Akademije, angažirana je u nekoliko teatarskih projekata Altteatra i drugih nezavisnih teatarskih grupa u Sarajevu. di Hrustemović rođen je 1987. Diplomirao je Glumu na Akademiji scenskih umjetnosti Sarajevo u klasi prof Miralema Zubčevića. Uloge je ostvario u predstavama Fudbal, fudbal u režiji Harisa Pašovića, Happy End u režiji Pjera Žalice, Tajna džema od malina Selme Spahić, Erwantung_Nada u režiji Jasmine Hadžiahmetović, Životinjska farma i Divlje meso u režiji Dine Mustafića. Dobitnik je Zlatne značke 2012 (Nagrada za najboljeg studenta koju dodjeljuje Univerzitet u Sarajevu) te Nagrade za najboljeg mladog glumca na 34. Pozorišnim igrama u Jajcu. lban Ukaj, rođen je 1980. godine u Prištini. Diplomirao je na Akademiji scenskih umjetnosti u Sarajevu 2006. u klasi profesora Aleksandra Jevđevića. Kao glumac je bio angažiran na predstavama u produkciji MESS-a, Narodnog pozorišta, Kamernog teatra ‘55, Pozorišta mladih, Zetskog doma na Cetinju, Bitef teatra, Hartefakt fonda i Sarajevskog ratnog teatra. Ostvario je zapažene uloge u sljedećim predstavama: Izopačeni, režija Andrej Nosov; Richard III, režija G. Stojanović; Tiresijina laž, režija S. Milatović; Hipermnezija, režija S. Spahić; Hanibal Podzemni, režija Dino Mustafić; Ana Karenjina, režija Nikolaj Skorik; Kokoš, režija S. Spahić i Tajna džema od malina, režija S. Spahić... Jednako angažiran i na filmu. Režirao je kratki film Kali. Za svoj rad u pozorištu dobitnik je nekoliko priznanja i nagrada. Stalni je član ansambla Sarajevskog ratnog teatra.

ina Mušanović was born in 1991 in Sarajevo. She is a student of the final year at the Academy of Performing Arts in Sarajevo, in the class of the professor Ermin Bravo. She received an award for being the top student in her generation, and won the prize Rejhan Demirdžić for the best young actress for her role of Mirjana in the play Drama about Mirjana and those around her at the 54th MESS Festival. taša Dukić was born in 1989 in Zenica. She graduated from the Academy of Performing Arts in Sarajevo in 2013, in the class of Senad Bašić. After graduating from the Academy, she was engaged in several theater projects of Altthetre and other independent theater groups in Sarajevo. In early 2015, she became an apprentice at the Bosnian National Theater in Zenica. di Hrustemović was born in 1987. He graduated in 2010 from the Academy of Performing Arts in Sarajevo, Department of Acting, in the class of the professor Miralem Zubčević. He performed in: Football, football, directed by Haris Pašović, Happy End, directed by Pjer Žalica, The Secret of Raspberry Jam by Selma Spahić, Erwantung_Hope, directed by Jasmina Hadžiahmetović, Animal Farm and Wild Flesh, directed by Dino Mustafić. He won the Golden Badge in 2012 (the award for the best student, awarded by the University of Sarajevo) and the best young actor award at the 34th Theater Festival in Jajce in 2015. lban Ukaj was born in 1980 in Priština. He graduated in 2006 at the Academy of Performing Arts in Sarajevo in the class of professor Aleksandar Jevđević. He worked as an actor in the performances produced by MESS, National Theater, Chamber Theater ‘55, Youth Theater, Zeta House in Cetinje, Bitef Theater, Heartefact Fund and Sarajevo War Theater. He had significant roles in the following performances: Perverted, directed by Andrej Nosov; Richard III, directed by G. Stojanović; Tiresias Lies, directed by S. Milatović; Hypermnesia by S. Spahić; Hannibal Underground, directed by Dino Mustafić; Ana Karenina, directed by Nikolaj Skorik; The Hen, directed by Selma Spahić and The Secret of Raspberry Jam, directed by Selma Spahić... He is equally engaged on film as an actor. He directed a short film Kali. He has won several awards for his work in theater. He is a permanent member of the ensemble of the Sarajevo War Theater.

NAŠE TAJNE

OUR SECRETS

Pintér Béla És Társulata

Tekst, režija / Text, Direction: Béla Pintér

10/10/15 19.30 Narodno pozorište Sarajevo National Theater Sarajevo Trajanje / Running time: 120 min. Mađarska / Hungary

Igraju / Cast: Zoltán Friedenthal Eszter Csákányi Hella Roszik Éva Enyedi Zsófia Szamosi Béla Pintér Szabolcs Thuróczy Angéla Stefanovics György Póta Gábor Pelva Muzičari / Musicians: Gábor Pelva György Póta Hella Roszik Dramaturgija / Dramaturgy: Éva Enyedi Asistentica reditelja / Assistant Director: Rozi Hajdú Kostimografija / Costume Design: Mari Benedek Asistentica kostimografkinje / Assistant Costume Designer: Julcsi Kiss Scenografija / Stage Design: Gábor Tamás 38

Rasvjeta / Lights: László Varga Zvuk / Sound: István Simon Rekvizita / Props: László Quitt Fotografija / Photography: CSABA MESZAROS Producentica / Producer: Anna HidvégI Produkcija / Productions: Pintér Béla És Társulata

PREDSTAVA

samdesete godine prošlog stoljeća u Mađarskoj obilježilo je ponovno otkriće mađarske narodne muzike koja se puštala u plesnim salama Budimpešte, gdje je i smještena radnja predstave Naše tajne. Pod komunističkim režimom Narodne republike Mađarske, svaka inicijativa i kulturna aktivnost koja nije imala blagoslov vlasti smatrala se zabranjenom ili je bila predmetom isljeđivanja ili cenzure. S ovom pretpostavkom u svom temelju, predstava otkriva tajne dvojice muškaraca u vidu tragova onoga što je rečeno ili pak onoga što je prešućeno u skorijoj prošlosti. Predstava Naše tajne postavlja hipoteze kroz fikciju dok na historijskim činjenicama rekonstruira biografske momente muškaraca i žena koje je režim proganjao zbog njihovih “tajnih grijeha”. Ovom predstavom se na izvjestan način nastoji odgonetnuti zašto nijedna mađarska vlada – ni one ljevičarske, a ni desničarske – nakon pada komunističkog režima nisu nikada javno objavile spisak komunističkih informanata. Predstavom se kroz fiktivne događaje želi predstaviti jedan od mogućih načina na koje su ti informanti bivali regrutovani i kako su njihovi životi izgledali.

PERFORMANCE

he 80s in Hungary mark the rediscovery of local folk music, celebrated in the ballrooms of Budapest, where the story of Our Secrets takes place. Under the communist regime of the Hungarian People’s Republic, every initiative and cultural activity not promoted by the government was considered forbidden and subject to be pursued or censored. On this background, the secrets of two men unfold as traces of something said and unsaid in a recent past. Our Secrets formulates hypotheses trough fiction, reconstructing on historical bases the biographical events of the men and women persecuted because of “secret sins”; the performance seeks to, by any chance, find an answer to why none of the governments, whether left - or right-wing, have made the list of the Communists’informers publicly known since the cessation of the Communist rule in Hungary. The stage play introduces a fictitious story to present an alleged way of how those informers may have been recruited and lived their lives.

Predstava trupe Pintér and Company ne samo da uznemirava već i zapanjuje, dok vas u isto vrijeme tjera na smijeh. - Dezső Kovács The performance by Pintér and Company not only upsets but also dumbfounds you yet, simultaneously, makes you laugh too. - Dezső Kovács REDITELJ

éla Pintér rođen je 1970. godine u Budimpešti, Mađarska. Pintér, koji sam režira svoje predstave i u njima glumi, osnovao je svoj vlastiti teatarski ansambl pod nazivom Béla Pintér i kompanija 1998. godine. Uz njegovo rukovodstvo, kako umjetničko tako i svako drugo, ansambl potpisuje savremene produkcije koje se temelje na kritičkoj, (samo)ironičnoj percepciji mađarskog društva. Taj nadrealni svijet kakvog prikazuje Pintérova kompanija konstruiran je kombiniranjem stvarnosti i sna, autentičnog i kiča te različitih elemenata mađarske kulture. Zahvljajujući svojim višestruko nagrađenim inovativnim postignućima, Béla Pintér i njegova kompanija smatraju se jednom od najznačajnijih i najinventivnijih kreativnih radionica današnjice.

DIRECTOR

éla Pintér was born in 1970 in Budapest, Hungary. Pintér, who stages his own plays in which he also performs, founded his theater ensemble called Béla Pintér and Company in 1998. With Pintér’s leadership, artistic and otherwise, the Company is dedicated to create contemporary productions based on critical, (self–)ironic observations of the Hungarian society — the surreal world which characterizes the Company’s performances is constructed from a combination of reality and dream, of authentic and kitsch, and from sundry elements of Hungarian culture. Owing to their innovative achievements honoured multiply, Béla Pintér and Company are regarded as one of the most significant and most inventive creative workshops today. 39

THE Paper Cinema’S ODyssey The Paper Cinema

10/10/15 22.00 Sarajevski ratni teatar - SARTR Sarajevo War Theater - SARTR Trajanje / Running time: 75 min. + razgovor / discussion Ujedinjeno Kraljevstvo / United Kingdom Uzrast / Age Limit: 14+

Ilustracije / Illustrations: Nicholas Rawling Autori / Authors: THE PAPER CINEMA Izvode / Cast: FRANCESCA SIMMONS CELESTINO TELERA WOJTEK GODZISZ IRENA STRATIEVA STAN MIDDLETON Dizajn svjetla / Light Design: Rob Pell Walpole Rhys Thomas Scenografija / Stage Design: Michael Vale

Dramaturgija / Dramaturgy: Deborah Pearson Umjetnički direktor / Artistic Director: NICHOLAS RAWLING Muzički direktor / Musical Director: CHRISTOPHER REED Scenski pokret / Movement Director: IMOGEN CHARLESTON Fotografija / Photography: JOSE FARINHA Produkcija / Production: THE PAPER CINEMA

PREDSTAVA

PERFORMANCE

estoke oluje i nadnaravne sile odnose pobjedu nad velikim pohodom jednog čovjeka da se vrati kući. Utonite u putovanje otvorenim morem, upijte avanturu i prepustite se opasnostima i ushićenju. Homerovo književno remek djelo živopisno je ispričano kroz prelijepe ilustracije i majstorsko lutkarstvo. Kinematografskom projekcijom i lukavim trikovima, kofer lutaka od papira pretvara se u niz živih likova i upadljivih krajolika. Pred očima vam se stvara nijemi film, koji vrsni muzičari/ke prate očaravajućom muzikom.

aging storms and supernatural forces prevail over one man’s almighty quest to get home. Immerse yourself in a journey through the high seas, soak up the adventure and encounter danger and exhilaration. Homer’s cornerstone of literature is vividly told with beautiful illustration and masterful puppetry. Cinematic projection and cunning tricks transform a suitcase full of cut out puppets into an array of living characters and striking landscapes. A silent film is created before your eyes, set to a captivating live score from exceptional musicians.

nenadmašna vještina… genijalno efektno The Times immense skill… ingeniously effective The Times AUTORI

rupa Paper Cinema uživo izvodi jedinstvenu vrstu animacije i muzike. Osnovao ju je Nicholas Rawling 2004. godine, zajedno sa Imogen Charleston i Christopherom Reedom, i od tada svoja autorska djela izvode po Britaniji i inostranstvu. Trupa koristi jezik animacije, muzike, filma i pozorišta da gledateljstvo provede kroz niz priča. Uživo manipuliraju složenim ilustracijama rađenim tušem i perom pred kamerom koja to snima i prikazuje na velikom ekranu, uz pratnju muzike koja je sastavni dio djela.

AUTHORS

he Paper Cinema perform a unique form of live animation and music.Founded in 2004 by Nicholas Rawling, with Imogen Charleston and Christopher Reed, they tour bespoke pieces around Britain andinternationally. The company uses the language of animation, music, film and theater to lead the viewer through a variety of stories. Intricate pen and ink illustrations are manipulated in real-time in front of a live video camera and projected onto the big screen alongside the performed music, which is integral to the work. 41

Koreografija / Choreography: Yasmeen Godder Kreacija i izvedba / Creating And Performing: Francesca Foscarini Dramaturgija / Dramaturgy: Itzik Giuli Savjetnica pri istraživanju / Research Advisor: Dalia Chaimsky Muzika / Music: Hajasch

FRANSCESCA FOSCARINI

GUT GIFT

Equilibrio Award Rome 2013 for Performer 11/10/15 15.00 Kamerni teatar ‘55 Chamber Theater ‘55 Trajanje / Running time: 25 min. Italija / Italy 42

Dizajn zvuka / Sound Design: Tomer Rosenthal Dizajn svjetla / Light Design: Rocco Giansante Tehnička podrška / Technical Care: Matteo Fantoni Kostimi / Costumes: Michal Bassad Slike i video / Images and Video: Matteo Maffesanti Fotografija / Photography: Itzik Giuli Produkcija / Production: Equilibrio Award Rome 2013 for Performer

PREDSTAVA

svojivši Equilibrio nagradu za izvedbu u Rimu 2013. godine, Francesca Foscarini pozvala je Yasmeen Godder da za nju kreira solo. Prihvativši ovaj poziv, Godder je odlučila početi sa već postavljenom sekvencom performativnih i fizičkih procesa, koji nužno ne proizilaze iz Franceskinog tijela i psihe, te iskoristiti te procese da je predstavi kao izvođačicu. U sklopu tog traganja za ličnim procesom, služeći se naučenim jezikom, koreografija se poigrava sa ogoljavanjem jedne društveno osviještene ličnosti kako bi razotkrila prvobitne, instinktivne i animalističke porive. Ove dvije vučne sile u ovom djelu nas obmanjuju poigravajući se načinima na koje vidimo ono što je autentično i stvarno u ovom istraživanju. Da li je postupak vađenja utrobe svom životinjskom pandanu način da se pristupi jednom sasvim drugom nivou svijesti? Ili je to puko fizičko istraživanje koje nastoji izazvati posebnu reakciju kod publike? Na koji način oko publike pospješuje, hrani, obustavlja ili promovira ove različite promjene i transforamcije njenog tijela i psihe? I kako ova posebna performativna poezija prikazuje ženske stereotipe – od onog hipersenzitivnog i emotivno nabijenog do onog iskonskog i organskog?

PERFORMANCE

aving won Equilibrio Award Rome 2013 for Performer, Francesca Foscarini invited Yasmeen Godder to create a solo for her. Given this invitation, Godder decided to begin with an already set sequence of performative and physical processes, which didn’t necessarily arise out of Francesca’s body and psyche, and to use this extension to expose something about her as a performer. Within this search for a personal process, using a learned language, the choreography plays with the undressing of a socially aware persona in order to expose instinctual animalistic and primal urges. These two pulling forces in the work trick us by playing with the way we perceive what is authentic and real in this research. Is the process of gutting out her animal counterpart a means of approaching another level of consciousness? Or is it rather just a physical exploration hoping to create a particular effect on the audience? How does the audience’s gaze enhance, feed, close-off or promote these different shifts and transformations of her body and psyche? And how does this particular performance poetry exposes a view of female stereotypes ranging from the hyper-sensitive and emotionally charged to the primal and visceral?

Njena izvedbena sposobnost da zgušnjava i sugerira omogućuje da se istovremeno prikaže i slika i njena kritika. Her performer’s ability to condense and suggest makes it possible to reveal all at once the image and its criticism. PERFORMERKA

ranscesca Foscarini je svestrana, nezavisna koreografkinja i performerka. Njenu karijeru obilježili su susreti sa velikanima domaće i međunarodne plesne scene s kojima je imala priliku istražiti jezike savremenog plesa i improvizacija te tako obogatiti i personalizirati svoj vlastiti plesni jezik, kako u smislu izražaja tako i u smislu izvedbe. Svoja vlastita djela počela je kreirati 2009. godine: njen prvi komad Kalsh odabran je za Anticorpi XL i za Kilowatt festival 2010. godine. 2011. godine u saradnji sa Giorgiom Nardin i Marcom D’Agostinom kreira i izvodi komad Spic & Span koji je dobitnik posebne spomenice na dodjeli nagrada asocijacije Scenario. 2012. godine, solo Cantando sulle ossa osvojio je nagradu žirija za najbolji solo 17. izdanja međunarodnog plesnog festivala Masdanza na Kanarskim Ostrvima, a odabran je i za učešće na festivalima Anticorpi XL i Aerowaves. Dobitnica je Equilibrio nagrade za najbolju izvođačicu u Rimu 2013. godine, za solo Baka koji je bio početna tačka trilogije Jednom davno koju je kreirala sa Sarom Wiktorowicz. Ova nagrada joj je omogućila da pozove Yasmeen Godder da zajedno rade na novoj kreaciji koju su nazvale Gut Gift (2014).

PERFORMER

ranscesca Foscarini is versatile independent choreographer and dancer. Her personal career was marked by the encounter with quite important masters of the national and international dance scene, with whom she had the opportunity to research on the languages of contemporary dance and improvisation, thus enriching and internalizing her language both in terms of expression and of performance. She starts creating her own works in 2009: her first creation Kalsh was selected by Anticorpi XL and Kilowatt Festival 2010. In 2011 she co-creates and performs in Spic & Span by foscarini : nardin: dagostin, Special mention Scenario Award 2011. In 2012 Cantando sulle ossa gained the jury prize as Best solo of the 17th edition of Masdanza International Dance Festival – Canary Islands and was also selected by the networks Anticorpi XL and Aerowaves. After winning the Equilibrio Award 2013 in Rome as Best Performer with Grandmother - starting point for the trilogy Once Upon a Time, created with Sara Wiktorowicz - Thanks to this award she could invite Yasmeen Godder to collaborate with her for a new creation: Gut Gift (2014).

Claudia Catarzi

SUL PUNTO 11/10/15 15.00 Kamerni teatar ‘55 Chamber Theater ‘55 Trajanje / Running time: 17 min. Italija / Italy

Koreografija i izvedba / Choreographed and Performed by: CLAUDIA CATARZI Fotografija / Photography: PAOLO PORTO

PREDSTAVA

ul punto Claudije Catarzi ispituje onaj sloj koji se nalazi između svjesnog i nesvjesnog, između jave i sna, sloj u kojem prepuštamo kontrolu nad svojim tijelom, a i nad svojim umom. Claudia Catarzi razvija jednu iznimno veliku raznovrsnost pokreta, poza i gestikulacija koje uspostavljaju dijalog sa publikom. U izvedbi vlada prekrasna ravnoteža između mirovanja i pokreta. To mirovanje omogućava publici da se sinhronizuje. Tu i tamo čuje se poneki zvuk škljocanja koji na jedan minimalistički način akustično prekida mirovanje.

PERFORMANCE

ul punto by Claudia Catarzi observes the layer between conscious and unconscious, the land between awake and asleep, where we hand over control over our body - and our mind? Claudia Catarzi develops an enormous variety of movements, postures, and gestures that establish a dialog towards the audience. There is a wonderful equivalent between stillness and motion. The stillness allows the audience to syncronize. Some clicking noise samples, every now and then, minimalistically interrupt the stillness acoustically.

To je mjesto i vrijeme gdje kognitivne radnje i definirane misli i dalje koegzistiraju zajedno sa sporim nanosima, poput mjehurića koji jure prema praznini, bjegovima iz stvarnosti, počecima padova. It’s a place and a time where cognitive acts and definite thoughts still coexist together with slow drifts, like bubbles towards the void, slides from reality, beginnings of falls. KOREOGRAFKINJA

laudia Catarzi karijeru započinje radom u plesnom ansamblu Miche Van Hoeckea. Kasnije sarađuje sa kompanijama kao što su Constanza Macras’ Dorky Park (Berlin), Compagnia Virgilio Sieni, Aldes / Company Blu Roberta Castella, A.Certinija i C.Zerbeya, Enknap Group Iztoka Kovača (Ljubljana), Làszlò Hudi (J. Nadj - Budimpešta), Ambra Senatore, a učestvuje kao izvođačica na raznim projektima, između ostalog i projektima koreografkinje Yasmeen Godder. 2011. godine kreirala je svoj prvi solo pod nazivom Qui, ora, uz podršku festivala Contemporanea Festival/Teatro Metastasio Stabile della Toscana i Inteatro (Polverigi, Ancona). Solo je dobitnik nagrada Emergenze!/Fabbrica Europa 2013 u Firenci, Corto in Danza Cagliari, te dobitnik posebne spomenice žirija festivala MASDANZA/ XVIII izdanja međunarodnog plesnog festivala na Kanarskim Otocima. Solo Sul punto prvi put je izveden na festivalu Romaeuropa/Festival DNA 2013/The art reacts, gdje je osvojio nagradu žirija Appunti coreografici, kao i nagradu publike. Pozvana je i na učešće na Sesiji mladih koreografa/kinja u Karlsruheu tokom održavanja projekta Installationen Objekte Performances, u režiji Sashe Waltz. 2015. godine je plesala za Sashu Waltz & goste u operi Tannhauser, Berlin.

CHOREOGRAPHER

laudia Catarzi starts her carrier working with Micha Van Hoecke’s Ensemble. Later she is part of companies such as Constanza Macras’Dorky Park (Berlin), Compagnia Virgilio Sieni, Aldes / Roberto Castello’s, A.Certini and C.Zerbey’s Company Blu, Iztok Kovač’s En-knap Group (Ljubljana), Làszlò Hudi (J. Nadj - Budapest), Ambra Senatore’s and she dances in various projects among them projects by Yasmeen Godder. In 2011 creates her first solo Qui, ora – with the support of Contemporanea Festival/Teatro Metastasio Stabile della Toscana and Inteatro (Polverigi, Ancona) – winner of the prizes Emergenze!/Fabbrica Europa 2013 Firenze, Corto in Danza Cagliari, of the special mention of the Jury MASDANZA/ XVIII Edtion of International Contemporary Dance Festival of the Canary Islands. Sul punto made its debut at Romaeuropa/Festival DNA 2013/The art reacts winning the prize of the jury Appunti coreografici and the prize of the audience. It was also invited to the Young Choreographer Session/Karlsruhe, during the Installationen Objekte Performances, directed by Sasha Waltz. In 2015 she dances for Sasha Waltz & Guests in the Tannhauser, Berlin.

LUISA CORTESI

MOUSING | U DRUGU RUKU

MOUSING | ON THE OTHER HAND Anghiari Dance Hub

11/10/15 15.00 Kamerni teatar ‘55 Chamber Theater ‘55 Trajanje / Running time: 25 min. Italija / Italy

Koreografija i izvedba / Choreographed and Performed by: Luisa Cortesi Dizajn svjetla / Light Design: Mario Mambro Produkcija / Production: Anghiari Dance Hub Fotografija / Photography: Elisa Gianni 46

PREDSTAVA

ruga priča. Opet, nadalje i s druge strane. Ako ti pokažem šta imam u jednoj ruci, šta misliš da imam u drugoj? Na sceni, jedna žena i sve žene svijeta. U drugu ruku kao refleksija, promišljanje i prilika za reakciju, kao potraga za osobnošću i jedinstvenošću, ali i prilika za povezivanje i dijalog i dijeljenje. Tijelo na sceni skicira slike iscrtavajući prostor uz reakciju na uvjete koje svijet nameće. Priča jedne žene. Priča satkana od pokreta. Konstrukcija slika u pokretu, u stalnoj preobrazbi.

PERFORMANCE

nother story. Again, further on and from the other side. If I show what I have in one hand, what do you suppose I have in the other? On stage, a woman and all the women in the world. On the Other Hand as reflection, rethinking and the chance of reaction, as a search for individuality and uniqueness but also for relation and dialogue with the chance of sharing. The body on stage outlines images by drawing space with the reaction of the reflex to the world’s conditioning. A woman’s story. A story made of movement. A construction of images in movement, in continual transformation.

Lutam poput luđakinje u potrazi za mahnitim ženama: kreativnim ženama koje daju mašti na volju, izražavaju se kroz igru riječi, boja, slika, vizija. - Luisa Cortesi I wander like a madwoman in search of demented females: creative women giving rein to inspiration, expressing themselves through play on words, colours, images, visions. - Luisa Cortesi KOREOGRAFKINJA

o završetku studija savremenog plesa u Evropi i Sjedinjenim Državama, 1999. godine Cortesi je ustoličila jedan eksperimentalni pristup u svom performativnom domenu radeći sa vizuelnim umjetnikom Massimom Barzaglijem i muzičarima Giuliom Capiozzom i Papeom Guroliem na projektu Sarabanda per mercato e disastro. Od 2000. do 2003. godine učestvovala je u nekoliko produkcija italijanske plesne kompanije Virgilio Sieni. U posljednjih nekoliko godina, istraživanje plesa i izvedbe iznjedrilo je niz njenih vlastitih projekata (Natura morte con figura, Soliloquio, Rigido, Il braccio nella manica, Vivido) uz obnovljenu saradnju sa Massimom Barzaglijem: Fiorile (Festival Mediterraneo SESC Belezhino u Sao Paolu, Brazil i MilanOltre, Milano) Di Stanze (u kopodukciji sa Santarcangelo Dei Teatri, 2005). U Chamberyju (Francuska), uz podršku zavoda ETI, učestvovala na festivalu Carta Bianca koji je okupio mlade italijanske koreografe/kinje. 2007. godine započela je saradnju sa piscem i dramatrugom Lucom Scarlinijem (Regardant, Chiudi gli occhi, Tre Temperamenti).

CHOREOGRAPHER

fter studying contemporary dance in Europe and United States, in 1999 she inaugurated an experimentation approach in the performative ambit working with the visual artist Massimo Barzagli and musicians Giulio Capiozzo and Pape Gurioli on the Sarabanda per mercato e disastro project. From 2000 to 2003 she took part in a number of the italian Virgilio Sieni Dance Company’s productions. In the last few years her research activity on dance and performance has alternated individual project (Natura morte con figura, Soliloquio, Rigido, Il braccio nella manica, Vivido) with consolidated collaborations with Massimo Barzagli: Fiorile (Festival Mediterraneo SESC Belezhino of Sao Paulo, Brazil and MilanOltre, Milano) Di Stanze (coproduction with Santarcangelo Dei Teatri, 2005). In Chambery (France), supported by ETI, she took part in Carta Bianca, a platform for young italian choreographers. In 2007 she began her collaboration with the writer/dramaturg Luca Scarlini (Regardant, Chiudi gli occhi, Tre Temperamenti).

Giorgia Nardin

DOLLY

11/10/15 15.00 Kamerni teatar â&#x20AC;&#x2DC;55 Chamber Theater â&#x20AC;&#x2DC;55 Trajanje / Running time: 25 min. Italija / Italy

Koreografija i izvedba / Choreographed and Performed by: Giorgia Nardin Zvuk / Sound: Tommaso Marchior Dizajn svjetla / Light Design: Matteo Fantoni Fotografija / Photography: Stefano Baraga

PREDSTAVA

d 1959. godine prodato je više od 700 miliona Barbie lutaka. U svijetu se svake sekunde prodaju dvije Barbie lutke. Barbie je mršava, vitka, samouvjerena, sretna, kompletna. Ona je astronautkinja, kaubojka, veterinarka, direktorica, disko kraljica, ambasadorica UNICEF-a, medicinska sestra, balerina, jahačica, zaštitnica životinja, teniserka, profesionalna plivačica, amaterska plivačica, skijašica. Ova savršena, nasmijana igračka utjecala je na formiranje opće predodžbe o ženskom tijelu. Uzevši ova zapažanja kao početnu tačku, plesni komad Dolly se zapravo bavi automatizmom. Tijelom se upravlja izvana, tijelo je iznajmljeno, osoba u njemu ga ne posjeduje. Ona se tek može prepustiti prilikama koje je tjeraju da bude ukras i postane predmet. Dolly istražuje mehanički metod nastanjivanja tijela, proces kojim meso postaje alat, a djela nametnuti postupci.

PERFORMANCE

ince 1959 over 700 million Barbie dolls have been sold. Two Barbies per second are bought every day. Barbie is skinny, lean, self-confident, joyful, established. She is an astronaut, a cowgirl, a veterinarian, an executive director, a disco queen, an ambassador for UNICEF, a nurse, a ballerina, a horseback rider, an animal lover, a tennis player, a professional swimmer, an amateur swimmer, a skier. This impeccable, smily toy has contributed to shape and form the way the female body is viewed. Starting from this observation, Dolly seeks to investigate automatism. The body is maneuvered from the outside, it’s a rented body, the occupant does not own it. She can only give in to a condition that forces her to be an ornament, and become bare flesh. Dolly researches a mechanical way of inhabitating the body, of making flesh a tool and actions an imposition.

...žestoki, instiktivni komad Dolly se suočava sa nasljeđem Barbike koja još uvijek djeluje kao neka vrsta ženskog uzora – i ne samo za male djevojčice. - Mary Brennan ...a vehement, visceral piece Dolly confronts the Barbie doll legacy that still acts as a certain kind of female role model – and not just for little girls. - Mary Brennan KOREOGRAFKINJA

iorgia Nardin je neovisna koreografkinja i izvođačica. Obrazovanje je stekla u Leedsu (UK) u Školi savremenog plesa, gdje je diplomirala 2010. Njen prvi projekat kao koreografkinje predstavlja saradnju sa umjetnicima Francescom Foscarini i Marcom D’Agostinom. Ova trojka se sastala na akademiji pod nazivom Accademia Mobile by Emio Greco|PC, koja se održavala tokom OperaEstate festivala u Venetu 2010. godine. Tu su skupa kreirali komad Spic & Span koji je dobitnik specijalnog priznanja na dodjeli nagrada Scenario asocijacije 2011. godine. Njen prvi solo, Dolly, je finalista na dodjeli GD’A nagrade 2012. godine, dobitnik specijalnog priznanja na DNA|Romaeuropa festivalu; odabran je i za učešće na državnom festivalu Rete Anticorpi XL, predstavljen je na projektu Vetrina della Giovane Danza d’Autore te pozvan na učešće na edinburškom Fringe festivalu 2013. godine. Giorgia je odabrana za učešće u brojnim evropskim projektima. Ove godine je pozvana da kreira komad za studente MTD3 na prestižnoj amsterdamskoj školi Hoogeschool vor de Kunsten .

CHOREOGRAPHER

iorgia Nardin is an independent choreographer and perfomer. She trained at the Northern School of Contemporary Dance in Leeds (UK), and graduated in 2010. Her first project as a maker happens in collaboration with artists Francesca Foscarini and Marco D’Agostin. The trio meets at the Accademia Mobile by Emio Greco|PC, held during OperaEstate Festival Veneto in 2010, and together they create Spic & Span, piece winner of the special mention in Premio Scenario 2011. Her first solo, Dolly, is finalist at the GD’A Prize 2012, receives the special mention from DNA|Romaeuropa Festival, is selected by the national Rete Anticorpi XL, presented at the Vetrina della Giovane Danza d’Autore and invited to the Italian Showcase as part of the Edinburgh Fringe Festival 2013. Giorgia is selected to take part in numerous european projects. In 2015 she is invited to create a piéce for the students of MTD3 at the prestigeous Amsterdamse Hoogeschool vor de Kunsten.

SOFOKLE

ANTIGONA - 2000 godina kasnije

11/10/15 20.00 Stolarija Narodnog pozorišta Stage Carpentry of the National Theater Sarajevo Trajanje / Running time: 90 min. Hrvatska, Bosna i Hercegovina / Croatia, Bosnia and Herzegovina

ANTIGONE - 2000 years later

Kazalište Ulysses / Scena MESS Režija / Direction: LENKA UDOVIČKI Igraju / Cast: MAJA IZETBEGOVIĆ DŽENANA DŽANIĆ RADE ŠERBEDŽIJA ERMIN BRAVO DAMIR URBAN KATARINA BISTROVIĆ-DARVAŠ JELENA LOPATIĆ VEDAD SULJAGIĆ HOR: Studenti Odsjeka za glumu pri Akademiji scenskih umjetnosti Sarajevo i Studija “Gluma i mediji” Sveučilišta u Rijeci / Chorus: Students from the Academy of Performing Arts in Sarajevo, the Department of Acting, and students from the University of Rijeka, Acting and Media Studies DARJA BADNJEVIĆ, MARKO BRAJIĆ, MAK ČENGIĆ, MIRJANA ĐAN, NIKA IVANČIĆ, LOVRO IVANKOVIĆ, ALEŠ KRANJEC, ANĐELA KUSIĆ, EMIR MULALIĆ, DINA MUŠANOVIĆ, NIKOLA NEDIĆ, MAJA OŽEGOVIĆ, MIRTA POLANOVIĆ, DINO SARIJA, TENA ANTONIJA TORJANAC Prema prijevodu / Based on Translation by: SVETLANA SLAPŠAK Dramaturgija / Dramaturgy: ŽELJKA UDOVIČIĆ-PLEŠTINA Kostimografija / Costume Design: BJANKA ADŽIĆ URSULOV Scenografija / Stage Design: MIRNA LER Kompozitor / Composer: NIGEL OSBORNE 50

Aranžman i dizajn zvuka / Music and Sound Design: DAVOR ROCCO Koreografija / Choreography: IVANA KALC Scenski pokret / Stage Movement: MLADEN VASARY Dizajn svjetla / Light Design: ANDREJ HAJDINJAK Dizajn videa / Video Design: MARTINO ŠESNIĆ Šminka i frizura / Hair and Make-up: MARIJA-MACA BINGULA Korepeticija / Correpetition: VALNEA ŽAUHAR Asistent redateljice / Assistant Director: ALEKSANDAR ŠVABIĆ Asistent kompozitora / Assistant Composer: RUARAIDH OSBORNE Asistentica kostimografkinje / Assistant Costume Designer: MANUELA PALADIN ŠABANOVIĆ Fotografija / Photography: Kristijan Vučković Produkcija / Production: KAZALIŠTE ulysses SCENA MESS Koprodukcija / Coproduction: Narodno pozorište sarajevo U saradnji sa / In Cooperation with: AKADEMIJA SCENSKIH UMJETNOSTI SARAJEVO

PREDSTAVA

va predstava scenski propituje mitsku priču iz davnih vremena, priču koju je Sofoklo pisao i njome opisao vrijeme rađanja europske civilizacije u mukama, pobjede nad barbarizmom, i tako politički aktualno, kritički suvremeno zauvijek obilježio dramsko pismo koje poznajemo. Istovremeno, to je priča koja nas upravo danas spretno sustiže i tjera da zastanemo, osvrnemo se i prepoznamo sebe, preispitamo vlastite stavove u ovom našem (ne)vremenu – kako interpretacijom mita tako i dokumentarističkim dramaturškim intervencijama koje otvaraju prostor diskusije o postojanju te teme kroz tisućljeća. Mi moramo progovoriti, naravno, o aktualnom vremenu, otvoriti dijalog o pitanjima koja nas muče i okružuju, o prevrtljivosti naroda koji se uvijek istim žarom priklanja pobjedničkoj strani, a s druge strane o problemu svima poznatog vlastohleplja i ratova, pa time i povijesti, koja ne samo da određuje nego i upravlja našom sadašnjošću. Zato pravdoljubivog pojedinca u sukobu s korumpiranim političkim sustavom napuštaju svi: vlast, građani, a protiv njega je i birokratski aparat. Pravda ne koristi pravdu: prava istina nije dobrodošla.

PERFORMANCE

his play is a theatrical exploration of an ancient mythical story written by Sophocles, in which he described the distressful period of the birth of the European civilization and victory over barbarism. In a politically and critically relevant way, he thus left a permanent mark on the dramatic writing we know today. At the same time, it is a story that is applicable to our society; it makes us stop, look around and see ourselves, examine our own values as well as our own time of unrest through interpretation of the myth as well as through dramatic documentary interventions that open up a space for discussion about existence of this subject throughout millennia. Naturally, we have to speak about our time, start a dialogue by raising issues that affect us and our surroundings, about the people’s tendency to always passionately bow down to the winning side, but also about the only too familiar thirst for power and wars, about the history which not only defines, but also controls our present. That is why the justice-seeking individual in conflict with the corrupt political system is abandoned by everyone: the government, citizens, even the bureaucratic apparatus. Justice does not use justice; the real truth is not welcome.

Antigona redateljice Lenke Udovički pogađa tragičko središte ne samo Sofoklova komada, nego i postjugoslavenske ratne traume, čija je gotovo svaka obiteljska kuća ujedno bila i kuća kraljevskog gubitka, kao i kuća u kojoj su svi dobro poznavali svoje susjedske krvnike. - Nataša Govedić Antigone, directed by Lenka Udovički, hits not only the center of the tragic Sophocles play, but also the post-Yugoslav war trauma, where every house had a royal loss, as well as executioners in their neighborhood. - Nataša Govedić REDITELJICA

enka Udovički je pozorišna redateljica i umjetnica koja je u dosadašnjoj karijeri ostvarila saradnju s nizom renomiranih svjetskih umjetnika i kulturnih institucija. Diplomirala je režiju na Fakultetu dramskih umetnosti u Beogradu, a 1994. pridružuje se Vanessi Redgrave, Corinu Redgraveu, Kiki Markham i Ekkehartu Schallu kao suosnivačica i jedna od umjetničkih voditeljica Moving Theater Company. Režirala je History’s Rhyme za English National Opera Studio u londonskom Limelight klubu i Oluju Williama Shakespearea u Shakespeareovom kazalištu Globe s Vanessom Redgrave, te praizvedbu opere A Better Place Martina Buttlera, u engleskoj nacionalnoj operi. Za Opera Circus režirala je praizvedbu sevdah opere Differences in Demolition Nigela Osebornea te Shoreline (u koprodukciji sa Scottish Balletom i Hebrides Ensembleom). Za festival UCLA Live godine 2009. režirala je Medeju s Annette Bening u naslovnoj ulozi. Radila je kao vanjski predavač na California Institute of the Arts i UCLA u Los Angelesu. Za Kazalište Ulysses režirala je niz predstava u proteklih 15 godina, a od 2012. godine umjetnička je direktorica Kazališta Ulysses. Od brijunskih projekata ističu se kazališne uspješnice Kralj Lear, Medeja, Marat/Sade, Core Sample, Hamlet, Pijana noć 1918, Romeo i Julija ‘68., Oluja, Cabaret Brecht – Zadrživi uspon Artura Uija, Pokojnik, Shakespeare u Kremlju i Antigona – 2000 godina kasnije. Od 2012. je docentica glume na Studiju glume i medija pri Sveučilištu u Rijeci.

DIRECTOR

enka Udovički is a theater director and artist whose career includes collaboration with world renowned artists and cultural institutions. She graduated from the Faculty of Dramatic Arts in Belgrade. In 1994 she joined Vanessa Redgrave, Corin Redgrave, Kiki Markham and Ekkehart Schall as co-founder of the Moving Theater Company. She directed History’s Rhyme for English National Opera Studio in London’s Limelight club and The Tempest by William Shakespeare in Shakespeare’s Globe Theater with Vanessa Redgrave, and the premiere of the opera A Better Place by Martin Butler for the English National Opera. For Opera Circus she directed the premiere of the sevdah opera Differences in Demolition by Nigel Osborne and Shoreline (in co-production with the Scottish Ballet and the Hebrides Ensemble). For the UCLA Live festival in 2009 she directed Medea with Annette Bening in the title role. Worked as an external lecturer at the California Institute of the Arts and UCLA in Los Angeles. For Ulysses Theater directed a number of performances in the past 15 years, and in 2012 became the artistic director of the Ulysses Theater. Notable Brijuni projects are the theatrical blockbuster King Lear, Medea, Marat/Sade, Core Sample, Hamlet, Drunken Night in 1918, Romeo and Juliet in ‘68, Storm, Cabaret Brecht - Rise of Arturo Ui, Deceased, Shakespeare in the Kremlin and Antigone - 2000 years later. Since 2012 she has been an assistant professor of acting at the School of Acting and Media at the University of Rijeka. 51

ZMAJ I PRINCEZE THE DRAGON AND THE PRINCESSES

LJEPOTICA I ZVIJER BEAuTY AND THE BEAST

RADOZNALO SLONČE CURIOUS ELEPHANT

Režija / Direction: Kyriakos Argyropoulos Stanislav Stanev

ZMAJ I PRINCEZE

THE DRAGON AND THE PRINCESSES Lutkarsko kazalište Mostar

09/10/15 12.00 Kamerni teatar ‘55 Chamber Theater ‘55 Trajanje / Running time: 45 min. Bosna i Hercegovina / Bosnia and Herzegovina Uzrast / Age Limit: 3+ 54

Igraju / Cast: Ivan Nevjestić Marta Haubrich Ružica Bošković Lutke i scenografija / Puppets and Stage Design: Ani Lulieva Muzika / Music: Igor Karlić Prijevod / Translation: Ana Vasung Inspicijent i zvuk / Stage Manager and Sound: Dario Šunjić Rasvjeta / Lights: Zoran Grubešić Lutke / Puppets: Stoličen Kuklen Theater, Sophia Fotografija / Photography: ansambl Lutkarskog kazališta Mostar Produkcija / Production: LUTKARSKO KAZALIŠTE MOSTAR

PREDSTAVA

vo je storija o odgajanju djece. Prije svega, upućena roditeljima, odgajateljima a i djeci. To je priča o jednoj princezi i jednom zmaju! I baš kao u bajkama naša je kazališna bajka osmišljena za tri dana. Ali nekako… nije nam se svidjela princeza Sunčica (izmislili smo joj to ime). Nije stvar u tome da u svijetu ne postoje takve princeze, mi smo jednostavno željeli da ona bude malo drugačija. Uvjeravam Vas da u kazalištu nema ništa bolje od toga da jednu Princezu zamijenimo drugom Princezom. Princezom Veselkom, a zatim u istoj bajci je zamijenimo drugom i još jednom i još jednom… Nakon mjesec dana posla potpuno smo se zbunili. Nismo znali koja je princeza bolja od ostalih. Ali kako mi radimo u kazalištu, a kazalište je za vas, poštovani mali i veliki gledatelji, predstavljamo Vam bajku o jednom zmaju i mnogo princeza a vi odlučite!

PERFORMANCE

his is a story about challenges of upbringing. It is intended not only for kids but also for their parents and teachers. It is a story about a princess and a dragon! And just as it happens in fairy tales, our theatre tale was developed in three days. However, somehow we did not like the princess Sunny (we invented that name for her). It is beside the point that there are no such princesses in the world, however, we just wanted her to be a little different. I can assure you that there is nothing better in a theatre than replacing one princess with another. So we introduced Princess Happy, and then we replaced her with another princess, and yet another and another... A month later, we were totally confused. We did not know which princess was better than the others. But as we all work in the theatre, and theatres are for you, dear audience, we present you with this fairy tale about a dragon and many princesses. The choice is yours!

Neobična i zabavna verzija dobro poznate priče o princezi i zmaju. An unusual and entertaining version of the wellknown story about the princess and the dragon. REDITELJI

DIRECTORS

yriakos Argyropoulos je rođen 1950. u Grčkoj. Diplomirao je režiju na Državnoj teatarskoj akademiji. Ostvario je više od 60 teatarskih produkcija u Bugarskoj i više od 20 u inostranstvu, pretežno u Grčkoj i Poljskoj. Osvojio je sljedeće nagrade: Počasni orden grada Sofije (1988); Nagrada za najbolju predstavu na Yan Bibiyan festivalu u Silistri (1989); Nagrada za najbolju predstavu na međunarodnom Burborak festivalu u Smolyanu (1994); Nagrada za najbolju predstavu i režiju Kuklar akademije (1997); Nagrada Međunarodnog lutkarskog festivala u Plovdivu (2001). Od 2002. godine je Predsjednik je Upravnog odbora Udruženja lutkarskih glumaca u Bugarskoj. Od 2002. godine je direktor Lutkarskog teatra u Sofiji. tanislav Stanev je lutkar i glumac. Diplomirao je 2004. na NATFA Krastyo Sarafov u klasi prof. Zheni Pashova. Od 2009. je freelance reditelj.

yriakos Argyropoulos was born in1950. in Greece. He graduated in Directing at the National Theater Academy. He realized more than 60 theater productions in Bulgaria and more than 20 abroad - mainly in Greece and Poland. He has won: Honorary Sign of Sofia Municipality (1988); Best Spectacle Award at International Yan Bibiyan Festival in Silistra (1989); Best Spectacle Award at International Burborak Festival in Smolyan (1994); Best Spectacle and Directing Award of Kuklar Academy (1997); Award of International Puppet Festival in Plovdiv (2001).Since 2002 he is President of the Governing Council of the Association of Puppet Theater Actors in Bulgaria. Since 2002 Kyriakos is a director of Sofia Puppet Theater. tanislav Stanev is a puppet and drama actor. He graduated NATFA Krastyo Sarafov in 2004 in the master class of prof. Zheni Pashova. Since 2009 is also a freelance director. 55

Madame de Villeneuve

LJEPOTICA I ZVIJER BEAUTY AND THE BEAST

10/10/15 12.00 Kamerni teatar ‘55 Chamber Theater ‘55 Trajanje / Running time: 50 min. Slovenija / Slovenia Uzrast / Age Limit: 5-12

Pozorište lutaka Mostar

Režija / Direction: Todor Valov Igraju / Cast: Diana Ondelj-Maksumić Nermina Denjo Nedžad Maksumić Igor Vidačković Serđo Radoš Dramaturgija / Dramaturgy: Teodora Popova Prijevod sa bugarskog / Translation from Bulgarian: Milica Redžić Vulević Prepjev songova i adaptacija teksta / Song Rendition and Text Adaptation: Nedžad Maksumić Scenografija i lutke / Stage Design and Puppets: Stefka Kjuvlieva Kostimografija / Costume Design: Orhan Imami Muzika / Music: Atilla Aksoj 56

Izrada lutaka / Puppet Design and Production: Petar Čekurov Elena Conkova Nina Stamova Anelia Sadovska Ganka Kirilova Izrada scenografije / Set Construction: Rumen Benkovski Majstor tona i svjetla / Sound and Light Manager: Amer Ćatić Fotografija / Photography: RANKA MUTEVELIĆ Produkcija / Production: POZORIŠTE LUTAKA MOSTAR

PREDSTAVA

ecimo da imamo čarobno ogledalo u kojem se vidi odraz čovjekove duše. Hoće li ogledalo pokazati Ljepoticu ili Zvijer zavisi od toga kakva je duša onoga koji se ogleda. Ova bajka, koju je napisala Madame de Villenuve prije više od 250 godina, govori o preobražavajućoj ljubavi, ljubavi koja razdrma i promijeni život, kako onima koji vole, tako i onima kojima je ljubav potrebna. Ovo je bajka o dvojnoj prirodi čovjeka. Svako od nas, u određenom trenutku svog života, rastrzan je protivrječnostima i tada mu je potrebna ljubav, podrška i povjerenje. Bajka govori o tome da svako od nas ima pravo na sreću. Ali, da bi bio sretan, čovjek mora slijediti svoje snove, kako bi napravio prekretnicu u životu, iako se u prvom momentu to čini opasnom, rizičnom i apsurdnom odlukom.

PERFORMANCE

uppose we have a magical mirror in which we see a reflection of the soul. Will the mirror show a Beauty or a Beast depends on the soul of the person looking at the mirror. This fairy tale, which was written by Madame de Villeneuve more than 250 years ago, speaks of the transformative love, the life-changing, earth-shattering love, both for those who love and those who need love. This is a fairy tale about the dual nature of man. Each of us, at a certain point in our lives, is torn by the contradictions, and at those moments we need love, support, and trust. This fairy tale shows that each of us has a right to happiness. But to be happy, a person must follow their dreams, in order to reach a turning point in their life, even though the decision to do so may, at first, seem dangerous, risky, and absurd.

Ljepotica i Zvijer je bajka o potrebi i želji svake ljudske duše da bude sretna. Beauty and the Beast is a fairy tale about the need and desire of every human soul to be happy.

REDITELJ

odor Valov rođen je 1966. godine u Varni, Bugarska. Diplomirao je 1991. na NATFIZ Krstjo Sarafov u Sofiji, kao glumac-lutkar. Specijalizirao je i diplomirao režiju za lutkarsko pozorište 1995. na NATFIZ Krstjo Sarafov kod profesorice Nikoline Georgieve. Režirao je preko 80 lutkarskih predstava u Bugarskoj, Rumuniji, Bosni i Hercegovini, Srbiji, Crnoj Gori i Njemačkoj. Dobio je više nagrada na međunarodnim i nacionalnim festivalima. Kao reditelj u Pozorištu lutaka Mostar radio je predstave Želim biti normalan i Ledeno srce, koje su više puta nagrađene na međunarodnim i domaćim festivalima.

DIRECTOR

odor valov was born on August 4th, 1966 in Varna, Bulgaria. After graduating in 1991 from NATFIZ Krstjo Sarafov in Sofia as an actor-puppeteer, he obtained specialization and a degree in directing for puppet theater in 1995, from NATFIZ Krstjo Sarafov, in the class of Professor Nikolina Georgieva. He directed over 80 puppet plays in Bulgaria, Romania, Bosnia and Herzegovina, Serbia, Montenegro, and Germany. He received numerous awards at national and international festivals. As a director at the Puppet Theater Mostar, he worked on the plays I Want to be Normal and Heart of Ice, both of which received multiple awards at national and international festivals. 57

Autor / Author: Ján Ozábal Priredio i režirao / Edit and directed by: Peter Palik

Ján Ozábal

RADOZNALO SLONČE CURIOUS ELEPHANT Bábkové divadlo Žilina

11/10/15 12.00 Narodno pozorište Sarajevo National Theater Sarajevo Trajanje / Running time: 60 min. Slovačka / Slovakia Uzrast / Age Limit: 3+ 58

Igraju / Cast: Jozef Abafi Anna Čitbajová Ján Demko Jana Eliášová Barbora Juríčková Michal Németh Juraj Tabaček Bibiána Tarasovičová Dramaturgija / Dramaturgy: Petra Štorcelová Scenografija, kostimografija i lutke / Scene, Costume Design and Puppets: Eva Farkašová Muzika / Music: Ľudmila Štefániková Montaža / Edited by: Martin Gaišberg Fotografija / Photography: MILO FABIAN Produkcija / Production: Bábkové divadlo Žilina

PREDSTAVA

PERFORMANCE

rije mnogo, mnogo godina, kada je Zemlja još uvijek bila poprilično mlada, rođena je Afrika. Tamo su, u središtu Afrike, živjele razne životinjske vrste: žirafe, antilope, vrišteći majmuni, veliki krokodili, dugonogi nojevi, stare kornjače, krvožedni leopardi, dugačke zmije zvane Pitoni i mali nosati slon zvani Bimbo. Zamislite, tada slonovi još uvijek nisu imali surle. Stvarno nisu! Umjesto toga, imali su neki izbočeni nos nalik na pohabanu papuču, ili malu njušku na koju je bio zalijepljen valjušak od krompira.

ong time ago, long ago, when the Earth was quite young, Africa was born. There, somewhere in the middle of Africa, lived various animal species: giraffes, antelopes, yelling monkeys, large crocodile, leggy ostrich, old turtle, bloodthirsty leopard, large snake named Python and small nosey elephant Bimbo. Imagine, at that time, an elephant still did not have any trunk. He did not! Instead, there was the kind of nose, peeking out and resembling a worn out slipper or a small snout with the rissole being stuck to it.

Da li se pitate kako su slonovi stekli surle? Are you wondering, since when elephants have trunks? REDITELJ

eter Palik je rođen 1979. godine u gradu Bojnice. Djetinjstvo je proveo u Prievidzu gdje je pohađao industrijsku srednju školu, smjer za građevinstvo, koju je završio 1998. Studirao je ekologiju na Matej Bel Univerzitetu u Banskoj Bystrici između 2000. i 2003. a kasnije je primljen na Fakultet za teatar na Univerzitetu za muzičke umjetnosti u Bratislavi, gdje je studirao lutkarsku režiju i dramaturgiju. Svoju doktorsku disertaciju iz ove oblasti odbranio je 2011. godine. Od 2008. godine sarađivao je sa slovačkim nacionalnim radijem kao režiser i autor radio drama, te je radio kao dramaturg i režiser u Lutkarskom pozorištu u Žilinama. Od 2013. godine sarađuje sa Spiš teatrom. Pored režije, Peter također radi kao predavač na Odsjeku za lutkarsku produkciju Univerziteta muzičkih umjetnosti u Bratislavi, gdje uglavnom radi na predstavama za djecu i omladinu. Čest je predavač na lutkarskim radionicama i jedan je od osnivača Lutkarskog festivala u Žilinama.

DIRECTOR

eter Palik was born on 1979 in Bojnice. Childhood spent in Prievidza where Peter visited Industrial High School specialized on construction and finished in 1998. He studied environmental education on Matej Bel University in Banská Bystrica between 2000 and 2003 and later was accepted to Faculty of Theater of University of Musical Arts in Bratislava where he studied puppet direction and dramaturgy. In this field of study he finished his PhD degree in 2011. Since 2008 he has co-worked with Slovak National Radio as a director and author of radio plays as well as work as a dramaturge and director in Žilina Puppet Theater. Since 2013 coworks with Spiš Theater. In addition to director´s work Peter is working as a lecturer on puppet production department of University of Musical Arts in Bratislava where he works on plays mainly for children and youth. He is active lecturer of puppet workshops and one of founders of Puppetery Žilina festival as well. 59

PROMOCIJA KNJIGE GLUMAC JE... GLUMAC JE... GLUMAC AN ACTOR IS... AN ACTOR IS... AN ACTOR BOOK PROMOTION PREDSTAVA / PERFORMANCE

GLUMAC JE... GLUMAC JE... GLUMAC

AN ACTOR IS... AN ACTOR IS... AN ACTOR

PROMOCIJA KNJIGE TRAG U VREMENU A TRACE IN TIME BOOK PROMOTION

PREDSTAVA / PERFORMANCE

SUSRET

ENCOUNTER

PROMOCIJA PRIRUČNIKA ZA PREDŠKOLSKE USTANOVE

Manual for preschool INSTITUTIONS BOOK PROMOTION

Promocija KNJIGE GLUMAC JE... GLUMAC JE... GLUMAC ZIJAHA SOKOLOVIĆA 3.10.2015. / 13.00 Galerija Gabrijel / Kamerni teatar ‘55

BOOK PROMOTION an ACTOR IS... an ACTOR IS... ACTOR ZIJAH SOKOLOVIĆ 3.10.2015 / 13.00 Gallery Gabrijel / Chamber Theater ‘55

Ova knjiga donosi tekst njegove monodrame Glumac… je glumac… je glumac, kultne predstave koja se igra već 36 godina i izvedena je gotovo 1600 puta. Monodrama o kojoj je u svijetu napisano više od 500 kritika i tekstova premijerno je izvedena na MESS-u u Sarajevu 1978. godine, a otad ju je, osim Zijaha A. Sokolovića, igralo još 19 glumaca na pet jezika u dvadeset zemalja svijeta. Tekst monodrame podijeljen je u dva dijela – prvi dio sadrži Prolog i jedanaest prizora, a drugi dio dvadeset i četiri dramska prizora. U ovoj dramskoj strukturi mnogi dijelovi korespondiraju i međusobno se komentiraju, što od teksta čini čvrstu cjelinu u kojoj je svaki prizor dramaturški promišljen i zaokružen i na izvedbenoj i na proznoj razini.

This book contains the text of his monodrama An actor is... An actor is... An actor, a cult performance, which has been performed nearly 1600 times during the past 36 years. More than 500 critiques and texts worldwide have been written about this monodrama which premiered at the MESS Festival in Sarajevo in 1978, and has since been performed not only by Zijah A. Sokolović, but also by 19 other actors in five languages in twenty countries around the world. The text of the monodrama is divided into two parts – the first part contains a prologue and eleven scenes, and the second part contains twenty four scenes. In this dramatic structure, many parts correspond and provide a commentary on one another, making this text a strong entity in which each scene is dramaturgically thought out rounded, both in terms of execution and its prosaic value.

U tekstu ove monodrame sadržana je i komika i duboka metafizika života i kazališta, pa je ova knjiga ne samo vrijedan prilog teatrološkoj povijesti kao studija glume i kazališne umjetnosti – nego i prilika da brojni gledatelji koji hodočaste na Zijahove predstave postanu i njegovi čitatelji. Marina Vujčić, urednica

The text of the monodrama contains both comedy and a profound metaphysics of life and theater, so this book is not only a valuable contribution to theater history as a study of acting and theater arts - but also an opportunity for many viewers who make pilgrimages to see Zijah’s performances to also become his readers. Marina Vujčić, Editor

Autor, reditelj i glumac / Author, Director and Actor: Zijah Sokolović

ZIJAH SOKOLOVIĆ

Glumac je... glumac je... glumac

AN ACTOR IS... AN ACTOR IS... AN ACTOR 04/10/15 22.00 Kamerni teatar ‘55 Chamber Theater ‘55 Trajanje / Running time: 120 min. Bosna i Hercegovina / Bosnia and Herzegovina

PREDSTAVA

orens Olivije bi rekao: Zareži glumca ispod glumca, opet ćeš naći glumca. Zijah Sokolović igrajući godinama svoje monodrame: Glumac... je glumac... je glumac, Cabares, Cabarei i Kobajagi donijela me roda, igrajući svoje monoglume utjelovio je svojevrsni teatar jednoga glumca koji je i autor i redatelj i glumac i publika. I kada publiku dovede iz gledališta na pozornicu, igrajući sa njima poneku zadanu scenu on se sam pretvara u tu svoju publiku, i zajedno sa publikom smije se publici na sceni i u gledalištu. Iz sebe samoga kreirao je svoj teatar i reducirao teatar na sebe samog. Nije to teatar glumca kojem autor piše tekst, scenograf pravi scenografiju, reditelj režira mizanscenu, kompozitor komponira muziku. Ne, to je jedinstven slučaj teatra u kojem je glumac sve, u kojem glumac postaje autor-glumac.

PERFORMANCE

aurence Olivier would say: Cut an actor underneath the actor, you’ll find another actor. Playing his monodramas An actor is... An actor is... An actor, Cabares, Cabarei and Stork brought me as a baby, yeah right in the past years, Zijah Sokolović epitomized the type of theater of a single-actor who is the author and the director and the actor and the audience. And when he brings the audience up on the stage, playing a certain scene together with them, he himself turns into an audience member, and together with the audience, laughs at the audience on stage and in the auditorium. He created his own theater from within himself, and reduced the theater to himself. It is not theater of an actor whose text has been written for him by an author, whose set has been designed by a set designer, whose mise en scène has been directed by a director, whose music has been composed by a composer. No, it is the unique case of theater in which the actor is everything, in which the actor becomes the actor-author.

Zijah je jedinstveni glumački fenomen u kojemu su se osoba i glumac spojili u jedno histrionsko lice, te čovjek ne zna tko koga glumi: glumac Zijaha ili Zijah glumca. – Pero Kvrgić Zijah is a unique acting phenomenon where a person and an actor converge into a histrionic persona, and one does not know who plays whom: whether an actor plays Zijah, or Zijah plays the actor. – Pero Kvrgić REDITELJ

ijah Asima Sokolović je rođen u Sarajevu, 22.12.1950. 1969. završio Prvu gimnaziju i Dramski studio MESS-a. I tada počinje život glumca u Malom pozorištu / Kamerni teatar ‘55. 1976. diplomira Glumu na Akademiji scenskih umjetnosti u Sarajevu sa predstavom Ex Ponto Ive Andrića. 1978. postaje i pisac sa monodramom Glumac...je glumac...je glumac koju je u 37 godina izveo 1589 puta. Godine 1983. odlazi u samoću i postaje Slobodan umjetnik. Godine 1992. počinje novi život u Beču. Dvostruki život ga tjera da se izmakne i gleda pozorište i sebe iz daljine i tako postaje režiser. U Beču u Interkultheatru 1993. piše svoj prvi kabare Cabares, Cabarei, koju je izveo u 22 godina 1268 puta. Iste godine piše i tekst Ko bajagi donijela me roda. 2000. postaje profesor Glume na Bruckner univerzitetu u Linzu. Istražuje granice glume i pozorišta i 2002. u Zagrebu, osniva novi The / Arto, koji pomoću glume i glumaca/ica u formi pozorišne predstave informiše i edukuje mlade ljude u rješavanju složenih društvenih problema, kroz predstave Reci drogi NE i Nasilje nema opravdanja. Egzistenciju iz realnosti tjera sloboda pozorišta i 1997. u okviru Evropskog mjeseca kulture u Ljubljani, sa džez kvartetom Lolita iz Ljubljane, na tekst Antona Pavloviča Čehova Medvjed, šala za džez kvartet i jednog glumca, pravi predstavu sa kojom putuje po svijetu i dobija najveće umjetničke nagrade. 2006. piše Međuigre 0-24. 2011. pucaju granice prepoznatljivog i poznatog pozorišta i postaje gostujući profesor na doktorskim studijama Akademije umjetnosti u Beogradu i profesor glume na Umjetničkoj akademiji u Osijeku. Za organizovani pozorišni utjecaj na odrastanje djece 2012. postaje Ambasador dobre volje UNDP-a za toleranciju i nenasilje. I tako je režirao i igrao je u 126 predstava. Snimio 33 filma i 24 TV serije. Za svoj umjetnički rad dobio je 60 umjetničkih nagrada, 4 Zlatna lovorova vijenca MESS-a u Sarajevu, 3 Zlatne kolajne monodrame u Zemunu, 2 Sterijine nagrade u Novom Sadu... Živi u Beču, a diše i živi u pozorištu.

DIRECTOR

ijah Asima Sokolović was born in Sarajevo on December 22, 1950. In 1969, he graduated from the First Gymnasium and MESS Drama Studio. At that time, he begins his life as an Actor of the Little Theater/Chamber Theater 55 in Sarajevo. In 1976, he obtained a degree in Acting at the Academy of Performing Arts in Sarajevo with a play Ex Ponto by Ivo Andrić. In 1978 he wrote a monodrama An actor is... An actor is... An actor which he played 1589 times in 37 years. In 1983 he withdrew into solitude and becomes a Free Artist. In 1992 he began a new life in Vienna. The double life forced him to take a step back and observe the theater and himself from a distance, thus becoming a director. He wrote his first cabaret Cabares, Cabarei in Vienna’s Interkult Theater in 1993, which he played 1268 times in 22 years. That same year, he wrote the article Stork brought me as a baby, yeah right. In the year 2000 he became a professor of acting at the Bruckner University in Linz. He explored the boundaries of theater and acting, and in 2002 in Zagreb, Croatia, he founded a new The/Ater which helps actors make theatrical plays to inform and educate young people in solving social issues, through plays such as Say no to the drugs and Violence has no Excuse. Existentialism and realism made him explore beyond theater again, and in 1997 in the framework of the European Cultural Month in Ljubljana, with the jazz quartet Lolita from Ljubljana and on the basis of Bear by Anton Pavlovich Chekhov, he made a play for the jazz quartet and one actor, which toured around the world and received numerous prizes. In 2006, he wrote Interludes 0-24. In 2011, the boundaries of traditional and recognizzeable theater break and he becomes a guest professor in the Doctorate Program of the Academy of Arts in Belgrade, and professor of acting at the Art Academy in Osijek. For organized theater impact on the development of children, in 2012 he became a UNDP Goodwill Ambassador for Tolerance and Non-Violence. He had acted in and directed 126 plays. He played in 33 films and 24 TV series. For his work, he has received 60 Art awards, 4 MESS Golden Laurel Wreaths in Sarajevo, 3 Gold Monodrama Medals in Zemun, 2 Sterija awards in Novi Sad... He lives in Vienna, and lives and breathes theater. 65

PROMOCIJA KNJIGE TRAG U VREMENU MLADENA BIĆANIĆA 5.10.2015. / 13.00 Galerija Gabrijel / Kamerni teatar ‘55

BOOK PROMOTION A TRACE IN TIME BY MLADEN BIĆANIĆ 5.10.2015 / 13.00 Gallery Gabrijel / Chamber Theater ‘55

Mladen Bićanić je rođen 1949. u Bjelovaru. Klasičnu gimnaziju završio je u Tuzli a Fakultet političkih znanosti, Odsjek novinarstvo, u Zagrebu. U Radio Tuzli zaposlen je do 1989, u rubrici kulture. Od tada je free lancer, koji djeluje u Bosni i Hercegovini. Sarađivao je sa tjednikom Walter, a sada je stalni saradnik kulturnog priloga KUN u dnevnom listu Oslobođenje, kao i programa kulture na BHT1. Prati pozorišni život u BiH i regionu, kroz festivale, premijere i gostovanja.

Mladen Bićanić was born in 1949 in Bjelovar. He graduated from classical high school in Tuzla, and from the Faculty of Political Sciences, department of Journalism, in Zagreb. He worked at Radio Tuzla until 1989, in their Culture sector, and has been a freelancer since, working in Bosnia and Herzegovina. He collaborated with the staff of the weekly Walter, and is now a permanent associate of the culture column KUN in the daily Oslobođenje, as well as culture programs on BHT1. He follows the theatrical life in BiH and the region, through festivals, premieres, and performances.

Tekstovi i prikazi u ovoj knjizi pokazuju kako se mora biti meritoran, autoritativan, dobrano književno i teatrološki načitan prije pisanja o pozorištu. Posebno želim istaći da se vidi i osjeti u ovim prikazima znanje o praktičkim mogućnostima i vrednotama pozorišnog čina, kao i svih elemenata predstave. Za steći i imati takav renome, odista je potrebno vremena i kontinuiranoga rada. Osviještenosti vlastitog značaja, kao i ljubavi prema teatarskoj umjetnosti. Zato se može reći da su pred nama tekstovi vlastite, bićanićevske kritičarske poetike, prepoznatljive po stilu i formi. Dino Mustafić Okupljanjem golemog broja kritičarskih zapisa na jednom mjestu, ova knjiga uvjerljivo pokazuje Bićanićevu ozbiljnost u pristupu kritičarskom poslu, svjedoči o njegovoj predanosti kazalištu. Ona donosi čitateljima i objektivnu kroniku i subjektivna promišljanja, ali i autentična svjedočenja o dugom periodu kazališnih procesa i događanja na širokom prostoru kulturalnih razmeđa, prožimanja i razmjena. U isto vrijeme nekome tko bi želio krenuti putem kritičkog zapisivanja o kazalištu, ova knjiga može biti korisna pouka kako se ozbiljno i odgovorno bavi kazališnom kritikom. Darko Lukić Mladen Bićanić je kritičar i kroničar pozorišnog života na ovim našim prostorima. Prateći različite festivale, od Sarajevske zime i Mess-a, Brčanskih susreta i Igara u Jajcu, preko Dubrovačkih ljetnih igara, Eurokaza i Bitefa, do Festivala bh. drame u Zenici ili Festivala novog cirkusa u Zagrebu, ovaj putnik - kritičar ne pristaje na nepropusnost vanjskih granica. Upravo ova Bićanićeva kritičarska putovanja od grada do grada, od pozorišta do pozorišta, od predstave do predstave, svjedoče o tome da se čvrste granice ponekad mogu rušiti naivnom, gotovo dječijom zapitanošću nad krhkom građom od koje se prave pozorišni snovi. Almir Bašović

The texts and illustrations in this book show how one must be meritorious, authoritative, well literary and theatrically read before writing about the theater. I would particularly like to point out that these depictions demonstrate knowledge of the practical possibilities and values of a theatrical act, as well as all elements of a performance. It takes time and continuous work to acquire and maintain such a reputation. Awareness of one’s own significance, as well as love for the art of theater. That’s why we can say that what we have here are texts of poetic critique specific only to Bićanić, recognizable by its style and form. Dino Mustafić By bringing together a huge number of critiques in one place, this book convincingly shows Bićanić’s serious approach to the work of a critic, and bears witness to his commitment to theater. It provides the readers with both an objective chronicle and subjective considerations, but also the authentic testimonies of the long period of theatrical processes and events on a wide area of cultural crossroads, interactions, and exchanges. At the same time, this book can be a useful textbook on responsible engagement in theatrical criticism for anyone looking to try their hand in critical writing about the theater. Darko Lukić Mladen Bićanić is a critic and a chronicler of theatrical life in our region. Following various festivals, from Sarajevo Winter and MESS, Brčko Theater Gatherings, and Theater Festival of BiH in Jajce, through Dubrovnik Summer Festival, Eurokaz, and Bitef Festival, to Bosnian Drama Festival in Zenica and the New Circus Festival in Zagreb, this travelling critic does not accept the impermeability of the external borders. Bićanić’s travels from town to town, from theater to theater, from play to play, testify that solid boundaries can sometimes be demolished by the naive, almost childish questioning of fragile materials from which theater dreams are made. Almir Bašović

Autorica / Author: Nina Mitrović Režija / Direction: Primož Bebler Igraju / Cast: Bine Matoh Blaž Valič Jezički konsultant / Language Consultant: Srečko Fišer Scenografija / Stage Design: Pietro Lantieri Kostimografija / Costume Design: Tanja Zorn Grželj Kompozitor / Composer: Mirko Vuksanović Dizajner svjetla / Light Design: Samo Oblokar Fotografija / Photography: Zavadlav Pavšič Produkcija / Production: Slovensko narodno gledališče NOVA GORICA

NINA MITROVIĆ

SUSRET ENCOUNTER SNG Nova Gorica

08/10/15 22.00 Kamerni teatar ‘55 Chamber Theater ‘55 Trajanje / Running time: 60 min. Slovenija / Slovenia 68

PREDSTAVA

akon dugog niza godina, tridesetogodišnji sin – oduvijek prekoravan zbog svoje nestabilnosti i beskorisnosti – posjećuje svog šezdesetogodišnjeg oca. Razlog njegove posjete je očevo zdravstveno stanje. Razmjenjuju tek nekoliko riječi, ali njihov susret traje dovoljno dugo da na sceni padne mrak. Iako su tek dva člana porodice na sceni, kamerna predstava Susret, zapravo, govori o cijeloj jednoj porodici. Susret raščlanjuje odnos između oca i sina, odnos koji je oduvijek bio uvjetovan temeljnim razlikama u njihovim karakterima i njihovom nespremnošću da saslušaju jedan drugoga. Situacija koja je ovdje prikazana je ponovni susret nakon godinama dugog zastranjivanja, u vrijeme kada se otac suočava sa svojom skorom smrću.

PERFORMANCE

fter a long period of absence, a 30-year old son – forever scorned for being a faltering and useless sort of character – visits his sixty-year old father. The reason behind his decision is the father’s medical condition. Few words are exchanged between them, but the encounter lasts long enough for the darkness to fall. Although only two members are present, the chamber play Encounter is, is fact, a play about the entire family. Encounter dissects the relationship between the father and the son, a relationship that has always been conditioned by the fundamental differences in their characters and their unpreparedness to listen to one another. The situation the play shows is an encounter after years of estrangement, in a time when the father in facing the end of life fast approaching.

Kroz privid komunikacije između dva čovjeka koja nastoje pročešljati neka intimna poglavlja svoje male zajednice, ali imaju premalo razumijevanja i sposobnosti da se dublje povežu, u fragmentima se ukazuje slika cijele njihove porodice. Through the semblance of a communication between the two characters who try to work through the intimate chapters of their small community, but have far too little understanding and personal capabilities to form a deeper bond, the image of the entire family appears through fragments. REDITELJ

rimož Bebler rođen je u New Yorku 1951. godine. Studij teatarske režije završio je na Fakultetu dramske umjetnosti u Beogradu 1976. Tu ostaje tri godine kao umjetnički rukovodilac i reditelj gdje priređuje jedan nesvakidašnji repertoar – od Sheparda do adaptacija srpske epske poezije. 1979. godine prelazi u Narodno pozorište Népszihaz u Subotici. Znatno uzbudljivija iskustva imao je nakon dvije predstave u privatnom pozorištu kojeg je osnovao sa prijateljima u Beogradu pod nazivom Autorska radionica Raskorak, a koje su u određenoj mjeri bile inspirirane poznatom britanskom televizijskom serijom The Spitting Image. Njihova prva multimedijalna predstava Anatomija duplog gulaša (1982) zasmetala je određenim utjecajnim kulturnim krugovima koji su pokušali prekinuti njeno prikazivanje iz “etičkih razloga”. Još kontroverznija bila je predstava Sudac (1984) koja se pretvorila u veliki politički skandal – čak je i jugoslovensko predsjedništvo raspravljalo o njoj, što predstavi nije bila namjera. Od 1984. do 1992. godine osnovao je jedno lutkarsko pozorište u Beogradu. Kada se multinacionalna država konačno raspala, Bebler se odlučio preseliti u Sloveniju, zemlju u kojoj su njegovi roditelji odrasli. U novom okruženju počeo se baviti radijskim izvještavanjem i režijom. Od 1998. do 2009. ponovo je angažiran u jednom pograničnom gradu – Novoj Gorici pored italijanskog grada Gorizije. Pozorište u koje je došao bilo je tek regionalno – Primorsko Dramsko; pod njegovim umjetničkim vodstvom ovo pozorište je preraslo u narodno pozorište – jedno od tri u Sloveniji. Od 2009. do 2011. godine bio je umjetnički direktor Slovenačkog stalnog teatra u Trstu. Preminuo je u novembru 2013. godine nedugo nakon premijerne izvedbe Susreta autorice Nine Mitrović u Slovenačkom narodnom pozorištu u Novoj Gorici.

DIRECTOR

rimož Bebler was born in New York, 1951. He finished his studies of theater directing at the Belgrade drama academy in 1976. He then stayed there for three years as artistic leader and director – making surprises in the repertoire from Shepard to adaptations of Serbian epic poetry. In 1979 he moved to a big national theater Népszihaz in Subotica. He went through even more exciting experiences after two productions of a private theater he established with his friends in Belgrade, named Authors’ Workshop Raskorak and slightly inspired by the well known British TV production The Spitting Image. Their first multimedia performance, The Double Goulash Anatomy (1982) irritated some very influential cultural circles, who tried to stop the production for “ethical reasons”; even more controversial was The Judge (1984) which became a really big political scandal: even the Yugoslav Presidency discussed about it – being an unwilling part of the show. From 1984 till 1992 he made a puppet theater in Belgrade. When the multinational country was finally divided, he decided to move to the part where his parents grew up, Slovenia. In the new environment he started with radio reporting and directing. From 1998 till 2009 he has been once again engaged in a bordering town, Nova Gorica, just beside the Italian Gorizia. The theater he came to was regional, Primorsko Dramsko; in the course of his artistic leadership it was promoted to a Slovene National Theater, one of the three in the country. From 2009 till 2011 he was artistic director of Slovene Repertory Theater Trieste in Italy. He died in November 2013 just after opening night of his performance Mitrović’s Encounter at Slovene National Theater Nova Gorica.

Promocija priručnika za PREDŠKOLSKE USTANOVE Kako upoznati djecu sa pozorištem i pozorište sa djecom? 10.10.2015. / 11.00 Galerija Gabrijel / Kamerni teatar ‘55

BOOK Promotion Manual for preschool INSTITUTIONS How to introduce children to the theater, and the theater to children? 10.10.2015 / 11.00 Gallery Gabrijel / Chamber Theater ‘55

Priručnik Kako upoznati djecu sa pozorištem i pozorište sa djecom? osmislili su pozorišni umjetnici/e koji stvaraju za djecu sa željom da se podrže i osnaže stručnjaci/kinje koji rade u predškolskim ustanovama i koji posreduju u prvim kontaktima djece sa pozorištem. Umjetnici/e i organizacije koji su okupljeni oko regionalne platforme za razvoj plesnog pozorišta za djecu – Generator, smatraju da su djeca važni partneri u našem zajedničkom kulturnom okruženju i da ih treba odmah u njega uključiti. Cilj ovog priručnika je da se djeca na raznovrsne načine upoznaju sa pozorištem, da budu inspirisana i podstaknuta na razmišljanje, na dijalog i na stvaranje. Rani susret sa pozorištem može biti od presudnog značaja za sva dalja iskustva i susrete sa umjetnošću, kao što i priprema djece za pozorišno iskustvo koje im predstoji, te podsticanje interesovanja, radoznalosti i mašte u velikoj mjeri mogu utjecati na kvalitet njihovog susreta sa pozorištem.

The manual How to introduce children to the theater, and the theater to children? was designed by theater artists who create for children, with the desire to support and empower the professionals who work in preschools and who mediate the children’s first interactions with the theater. Artists and organizations gathered around Generator, the regional platform for the development of dance theater for children, believe that children are important partners in our common cultural environment and should be included in it straight away. The aim of this manual is that children learn in different ways with the theater, to be inspired and encouraged to think, discuss, and create. An early introduction with the theater can be of crucial importance for all further experiences and encounters with art, just as the preparation of children for theatrical experience that awaits them, and encouraging their interests, curiosity, and imagination can greatly affect the quality of their experience in the theater.

NA SETU PREDSTAVE ZABRANJENA ZONA / Schaubühne Berlin GUIDED TOUR ON THE FORBIDDEN ZONE SET / Schaubühne Berlin

THE PAPER CINEMA RADIONICA THE PAPER CINEMA WORKSHOP

KOORDINATORICA RADIONICA / WORKSHOP COORDINATOR: IRMA ALIMANOVIĆ-ALIHODŽIĆ irma@mess.ba 72

Fotografija / Photography: Stephen Cummiskey 74

NA SETU PREDSTAVE ZABRANJENA ZONA Schaubühne Berlin ZA TEATARSKE PROFESIONALCE/KE, STUDENTE/ICE UMJETNIČKIH AKADEMIJA, GOSTE I GOŠĆE FESTIVALA 3.10.2015. 16.00 - 17.00 Olimpijska dvorana “Juan Antonio Samaranch” (Zetra) (Maksimalan broj učesnika/ica: 25)

GUIDED TOUR ON THE FORBIDDEN ZONE SET Schaubühne Berlin FOR THEATER PROFESSIONALS, STUDENTS OF ART ACADEMIES, GUESTS OF THE FESTIVAL 3.10.2015 16.00 - 17.00 Olympic Hall “Juan Antonio Samaranch” (Zetra) (Max number of the participants: 25)

Tehnička ekipa teatra Schaubühne Berlin sastavljena od trojice kamermana i dvojice tehničara će podijeliti svoja dugogodišnja iskustva u radu sa rediteljicom Katie Mitchell na njenoj posebnoj teatarskoj tehnici Live Cinema. Učesnici/e će imati priliku pogledati Making Of video i proći kroz set koji uključuje nekoliko odvojenih prostorija iz različitih epoha te voz iz 1940. godine.

The technical crew of the theater Schaubuhne Berlin, composed of three cameramen and two technicians, will share their years of experience in working with Director Katie Mitchell and her special theatrical technique of Live Cinema. Participants will have the opportunity to see the Making Of video and go through a set that includes several separate rooms from different eras and a train from 1940.

Fotografija / Photography: Jose Farinha

THE PAPER CINEMA RADIONICA ZA TEATARSKE REDITELJE/ICE, GLUMCE/ICE, PERFORMERE/KE, LUTKARE/KE, STUDENTE/ICE GLUME I REŽIJE 10.10.2015. 15.00 - 18.00 Sarajevski ratni teatar - SARTR (Maksimalan broj učesnika/ica: 25)

THE PAPER CINEMA WORKSHOP FOR THEATER DIRECTORS, ACTORS/ACTRESSES, PERFORMERS, PUPPETEERS, DIRECTING AND ACTING STUDENTS 10.10.2015 15.00 - 18.00 Sarajevo War Theater - SARTR (Max number of the participants: 25)

Ova trosatna intenzivna radionica namijenjena je onima koji studiraju animaciju, umjetnost, teatar ili film i koji se žele upoznati sa tehnikama kojima se kompanija The Paper Cinema služi.

The three hour intensive workshop is for students studying animation, art, theater or film who want an introduction to the techniques used within The Paper Cinema.

Radionica otpočinje kratkim uvodom o kompaniji te jednom kraćom izvedbom. Nakon toga učesnici/e će biti podijeljeni u grupe pri čemu će svaka grupa osmisliti jednu kratku priču i nacrtati njene likove. Nakon što likovi budu preobraženi u Paper Cinema lutke, učesnici/e će biti provedeni kroz osnove njihove animacije u stvarnom vremenu. Uz učešće grupa osmislit će se i popratna muzika te zvučni efekti specijalno za njihovu izvedbu. Radionica će završiti tako što će svaka grupa izvesti svoju predstavu pred ostalim učesnicima/ama.

The workshop opens with a brief introduction to the company, including a short performance. Then, working in groups, they will devise a short story and begin drawing the characters. After making these into Paper Cinema style puppets, the participants are guided through the basics of how to animate them in real time. With the groups’ input, a live musical score, including sound effects, will be written especially for their show. The session will conclude with each group performing their show to the rest of the participants.

The Paper Cinema su uspješno držali radionice u Ujedinjenom Kraljevstvu i inostranstvu, na festivalima, u teatrima, umjetničkim galerijama, školama i na fakultetima.

The Paper Cinema have successfully delivered these workshops in the UK and internationally, at theaters, festivals, art galleries, colleges and schools.

PRIMOŽ BEBLER

ačno pre 27 godina predstavom Misterija Beograd otvorena je Večernja scena Malog pozorišta Duško Radović, čija je primarna delatnost bila dečija dramska i lutkarska produkcija. Bio je to veliki događaj za pozorišni život Beograda. Večernja scena Radović donela je Beogradu jedan nov i neobično snažan pozorišni impuls. Ono što se mora zabeležiti kao neprikosnoveno i sačuvati od svakog zaborava je da su velike želje i umetnička stremljenja našeg pozorišta, konačno dobila svoj oblik 1. decembra 1984. godine kada je Primož Bebler postao upravnik Malog pozorišta Duško Radović. Samo je Primož, čovek velike pozorišne energije, mogao u jednom trenutku na jednoj sceni da organizuje tri scene – lutkarsku i dramsku dečiju scenu i Večernju scenu. Upravo na njegovom pozorišnim stavovima nastao je fenomen “Radovića”. Kao pravi pozorišni čovek voleo je i poštovao pozorište i ljude u njemu. Nije imao predrasuda, niti je bio čovek jedne estetike. Uvek otvoren za inovativne ideje i eksperimente, nove pozorišne tendencije, sa željom da stvori bezkompromisno i umetničko značajno pozorište. Od našeg pozorišta stvorio je jedinstven umetnički prostor, gde su se okupljala najveća imena Jugoslovenskog pozorišta, ali gde su stasavali novi umetnički naraštaji, kojima je Primož davao šansu i bodrio ih u njihovom radu. Bio je jednako posvećen repertoaru, ansamblu, tehnici... Rado se sećamo Primoževe spremnosti na sve i više od toga. Stvarali smo i radili u atmosferi koja nije ograničavala našu umetničku slobodu i maštu. Kao virus, na nas je prenosio strast i radost stvaranja. Zajedno smo čuvali i gradili naše pozorište. Bilo je to vreme velike gradnje – i umetničke i one ljudske. Uz Primoža smo rasli, učili i uvek bili gladni novih predstava, uzbuđenja, punih sala... Ostaje nam lepota našeg rada sa Primožem. To je ono što nam niko, pa ni banalnost zvana smrt, ne može oduzeti. Pamtimo ga ne samo po dobrim predstavama i velikim stvarima koje je učinio za naše pozorište, već po nečem većem i od same umetnosti – bio je čovek! Bio je i ostaće dobri duh našeg Malog Pozorišta. Kolektiv Malog pozorišta Duško Radović

xactly 27 years ago, the performance of a play Mystery Belgrade opened the Evening Stage of the Little Theater Duško Radović, whose primary activity was the children’s drama and puppet productions. It was a great event for the theatrical life of Belgrade. Radović Evening Stage has given Belgrade a new and unusually strong theatrical impulse. What must be recorded as sacrosanct and protected from being forgotten is the fact that the great desires and artistic aspirations of our theater finally took their shape on December 1st, 1984 when Primož Bebler became the manager of Little Theater Duško Radović. Only Primož, a man of great theatrical power, could to organize three scenes at one time on one stage - puppet and children’s drama stage, and the Evening stage. The phenomenon of “Radović” was created precisely based on his theatrical attitudes. As a true man of theater, he loved and respected theater and the people in it. He had no prejudices, nor was he a man of singular aesthetics. Always open to innovative ideas and experiments, new theater tendencies, with a desire to create uncompromising and artistically significant theater. He created a unique art space at our theater, where the biggest names in the Yugoslav theater gathered, but also where generations of new artists flourished, to whom Primož gave an opportunity and encouraged them in their work. He was equally devoted to the repertoire, the ensemble, the technique... We fondly remember Primož’s readiness for anything, and more. We created and worked in an atmosphere that did not limit our artistic freedom and imagination. As a virus, he infected us with passion and joy of creation. Together, we guarded and constructed our theater. It was a time of great construction – both artistic and human. With Primož we grew, learned, and were always hungry for new performances, excitement, packed theater halls… We are left with the beauty of our work with Primož. That is something that no one, not even the banality called death, can take away from us. We remember him not only for good performances and the great things he has done for our theater, but for something higher than art itself – for being a man! He was and will remain the guardian spirit of our little theater. Collective of the Little Theater Duško Radović

Nagradom Sound of MESS odaje se priznanje za najbolje korištenje muzike i zvuka u teatru, auditivnost pozornice ili muzikom generisanu predstavu. Direkcija festivala MESS i Radiosarajevo.ba, kao dugogodišnji medijski pokrovitelj ovog festivala, nagradom Sound of MESS žele skrenuti pažnju javnosti i teatarskim djelatnicima/ama na značaj koji muzika i zvuk imaju u savremenom teatru. The award Sound of MESS honours the best use of music and sound in the theater, auditory properties of a stage, or a performance generated through music. The MESS Festival and Radiosarajevo.ba as its long-time media partner wish to use the Sound of MESS award to draw the attention of the public and theater professionals on the importance of music and sound in contemporary theater.

GENERALNI SPONZOR / GENERAL SPONSOR

FESTIVAL FINANSIRALI / FINANCED BY

FESTIVAL POMOGLI / SUPPORTED BY

GENERALNI PARTNER / GENERAL PARTNER

OFICIJELNO VOZILO FESTIVALA / OFFICIAL VEHICLE FESTIVAL

OFICIJELNO PIĆE FESTIVALA / OFFICIAL DRINK FESTIVAL

SPONZORI I PRIJATELJI FESTIVALA / SPONSORS AND FRIENDS OF THE FESTIVAL

GENERALNI MEDIJSKI Pokrovitelji / GENERAL MEDIA SPONSOR

MEDIJSKI PARTNERI / MEDIA PARTNERS

SUORGANIZATORI FESTIVALA / CO-ORGANIZERS

ZOI’84 Olimpijski centar Sarajevo

ZOI’84 Olympic Centre Sarajevo

Bosna i Hercegovina Ministarstvo odbrane Министарство одбране Ministry of Defense

SELEKTORI/ICE FESTIVALA / FESTIVAL PROGRAMMERS: Giorgio Ursini Uršić Dino Mustafić Selma Spahić Vida Ognjenović DIREKCIJA / DIRECTORATE: Dajana Gurda Lejla Hasanbegović Ira Isović Belma Jusufović Mirna Ler Aida Mujković Dino Mustafić Bojan Mustur Selma Spahić Mirsada Škrijelj FOTOGRAFI / PHOTOGRAPHERS: Velija Hasanbegović Nikola Blagojević ODNOSI SA JAVNOŠĆU / PUBLIC RELATIONS: Una Bejtović Emir Muhamedagić Benjamin Bajramović Rasim Pavica IZDAVAČ / PUBLISHER: J.U. MES - Međunarodni teatarski festival – Scena MESS Public Institution MES - International Theater Festival – MESS Scene ZA IZDAVAČA / FOR PUBLISHER: Dino Mustafić UREDNICA / EDITOR: Belma Jusufović ADAPTACIJA TEKSTOVA / TEXT ADAPTATIONS: Nejra Babić

PRIJEVOD / TRANSLATION: Selma Asotić Merima Dervišić Jovan Eranović Nedžla Idrizbegović D. Sarzinski Aida Spahić DIZAJN / DESIGN: Fabrika DTP: Bojan Mustur ŠTAMPA / PRINT: Blicdruk TIRAŽ / COPIES: 1.000

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