51st International Theater Festival MESS

Dear audience, dear friends, dear guests of the MESS Festival, Following our 50th anniversary last year, we now present to you the new edition of the oldest festival in the Balkans – and yet forever young in its exploration of the stage, in its determination to be provocative, exciting and interesting. This description is entirely applicable to this year's programme, with six different programmes and plays that keep everything on the edge, always questioning, since we live in a world with no real focus. That is why performing arts remain connected to the basic elements of existence – to suffering, sorrow, death and happiness. For half a century, MESS has been reviving itself in its tension, like yet another bridge in Sarajevo, spanning between the banks of the audience and the stage, between reality and life on one bank, and imagination and magic on the other. Theatre makes life more dense and yet more legible, it is the concentration of time that allows us to memorise the flickers of magnificence that changes us as persons, that open a different, ever changing image of the world, the image that we ourselves must change if we want to look towards the future where politics will learn from art. And so, let us wish this MESS, the 51st, to be our RETURN TO THE FUTURE, for we all truly need it.

Dino Mustafi}

Po{tovana publiko, dragi gosti Festivala MESS i prijatelji,

nakon 50 jubilarnog festivala pro{le godine, pred vama je novo izdanje najstarijeg festivala na Balkanu, ali vje~ito mladog u scenskom traganju, u opredjeljenju da bude provokativan, uzbudljiv i zanimljiv. Takav je i ovogodi{nji program, svrstan u {est festivalskih kategorija sa predstavama u kojima je sve na rubu, sve je neprestano u znaku pitanja, jer `ivimo u svijetu koje vi{e nema sredi{ta. Zato pozori{na umjetnost ostaje vezana za temeljne konstante postojanja - za patnju, tugu, smrt, sre}u. MESS je festival koji se pola stolje}a obnavlja u napetosti, koji se propinje kao jo{ jedan sarajevski most izme|u gledalaca i pozornice u spajanju dvaju obala, stvarnosti i `ivota sa imaginacijom i magijom. U pozori{tu je `ivot ~itljiviji i zgusnutiji, to je koncentrat vremena u kome pamtimo iskre uzvi{enosti koje nas mijenjanju kao ljude, otvaraju drugu i promjenljivu sliku svijeta koju mo`emo ili moramo promijeniti ako `elimo da se okrenemo budu}nosti kao vremenu u kojem }e politika u~iti od umjetnosti. Zato, po`elimo da ovaj 51 MESS bude nas POVRATAK U BUDU]NOST, nama tako potreban i nu`an.

Dino Mustafi}

SCONCERTO – Teatro di Musica Gardenija GARDENIA

Male dvorske dame THE MAIDS OF HONOUR / LES MENINAS

Pakao HELL

Radio Muezzin DISSONORATA – Ubistvo iz ~asti u Kalabriji DISSONORATA - A MURDER OF HONOUR IN CALAbRI

Italija/Italy

Narodno pozori{te Sarajevo 19.30 The Sarajevo National Theater 19.30

30/09/11

SCONCERTO Teatro di Musica

PREDSTAVA

Na sceni su orkestar i dirigent. Me|utim, muzi~ari sviraju zasebne solo dionice; ona ili on prati svoj li~ni put. Dirigent diriguje – ni{ta i nikome. Zauzet je potpuno druga~ijom vrstom ku{nji i muka, od kojih je prva agoniziraju}a potreba da uspostavi red vlastitih kontradiktornih misli, osje}aja, raspolo`enja i fantazija.

Ovaj neprestani tok rije~i, kojim se objedinjuje haoti~na dinamika svijeta, u svoj svojoj grubosti daje glas tom odsustvu smisla i smjera, u kojeg svi osje}amo da smo uronjeni.

Me|u njima prolije}u ~esto beskorisne rije~i iz pro{losti, tvore}i jezik izvan konteksta sada{njosti. Iz ovog konstantnog kratkog spoja, nestvarnog, grotesknog i bolno tu`nog krajolika ru{evina, pojavljuju se neprestani bljesci uzbu|enja, hrabrosti, nje`nosti, humora i ozloje|enosti. Muzika se sa svojim rastu}im valom zvukova sudara sa ova dva toka rije~i, u jednom momentu ih prati nude}i izlaz, ve} u drugom se protive}i, pa ~ak ih i ignori{u}i. ^ini se kao da se samo muzikom mo`e uzdi}i na nivo kojeg, sve vi{e otrcani verbalni izra`aj, nije u stanju dose}i.

PERFORMANCE On stage appears an orchestra, complete with a conductor. However, the musicians play solo, each following his or her own personal path. The conductor conducts nothing. He is too busy with quite different trials and torments, starting with the agonizing desire to bring order to his own mind, crossed by a torrent of the most diverse and contrasting thoughts, sensations, emotions, moods and fantasies. This continuous verbal flow, which contains the chaotic swirling of the world, gives voice, in its complete crudeness, to that void of sense and direction, into which we all feel ourselves plunged. between them fly the often useless words of the past, with a language completely unrelated to the present.

From this constant short-circuit, this unreal, grotesque and painful landscape of ruins, come continuous flashes of commotion, courage, tenderness, humour, and indignation, which are unfailingly followed by frustration, disorientation, deadlock, and disillusion. The music crashes into this double flow of words with its ever-growing wave of sound, at times accompanying it on its journey and showing a possible way out, in other moments opposing it, even ignoring it completely.

It is almost as if only music could hope to reach a point that an evermore exhausted verbal expression is unable to arrive.

Re`ija / Director:

TONI SERVILLO Servillo je vode}a figura evropskog teatra, kao izvo|a} i kao reditelj. U`iva jednak uspjeh u operi, re`iranju priznatih predstava u mnogim vode}im evropskim operskim ku}ama. Glumom u filmovima, privukao je pa`nju me|unarodne publike. Me|u mnogim drugim nagradama, osvojio je Evropsku filmsku nagradu za najboljeg evropskog glumca 2008. godine.

FRANCO MARCOALDI Poznat i cijenjen italijanski pjesnik. Autor je putopisa, eseja i romana. Sara|uje sa kulturnom sekcijom italijanskih dnevnih novina „La Repubblica“. Radio je i u pozori{tu, ali i sa kompozitorima Giorgiom battistellijem i Fabiom Vacchija.

GIORGIO BATTISTELLI biv{i student Karlheinza Stockhausena i Mauricija Kagela, battistelli je jedan od najrelevantnijih kompozitora savremene klasi~ne muzike. Napisao je gotovo 20 opera za mnoge me|unarodne operske ku}e. bio je umjetni~ki voditelj mnogih va`nih muzi~kih institucija, te je nagra|en mnogim me|unarodnim nagradama. Njegovu muziku objavljuje „Ricordi“.

TONI SERVILLO Rije~i / Words:

FRANDO MARCOALDI Kompozitor / Composer:

GIORGIO BATTISTELLI Simfonijski orkestar Sarajevske Filharmonije / Sarajevo Philharmonic Orchestra Dirigent / Conductor:

MARCO LENA Uz u~e{}e / With the participation of:

PEPPE SERVILLO Kostim / Costumes:

ORTENSIA DE FRANCESCO Zvuk / Sound:

DAGHI RONDANINI Svijetlo / Lighting by:

PASQUALE MARI Izdava~ / Published by:

CASA RICORDI Produkcija / Production:

TEATRI UNITI, FONDAZIONE TEATRO DI SAN CARLO, FONDAZIONE RAVELLO, FONDAZIONE MUSICA PER ROMA AUTHORS TONI SERVILLO A leading figure in European theatre, both as a performer and a stage director. He enjoyed equal success in opera, staging acclaimed productions in many of Europe’s leading opera houses. His acting work in cinema has brought him to the attention of a wide international audience. Among many other prizes, he won the 2008 „European Film Award“ for best European Actor.

FRANCO MARCOALDI A well known and appreciated Italian poet. He is an author of travel books, essays and novels. He collaborates with the cultural section of the Italian daily newspaper „La Repubblica“. He has been working in theatre and music with composers Giorgio battistelli and Fabio Vacchi.

GIORGIO bATTISTELLI A former student of Karlheinz Stockhausen and Mauricio Kagel, he is one of the most relevant composers of contemporary classic music. He wrote nearly 20 operas for several international opera houses. He has been the artistic director of many important music institutions and has been awarded various international prizes. His music is published by „Ricordi“.

TEATAR

THEATER

Teatri Uniti je osnovan u Napulju 1987. godine, kao stalni laboratorij za produkciju i istra`ivanje savremenih izvedbenih umjetnosti, nakon {to su ujedinjena tri postoje}a teatra, Falso Movimento, Teatro dei Mutamenti i Teatro Studio di Caserta.

Od tada, je trupa uspje{no predstavljala svoje produkcije u najva`nijim me|unarodnim pozori{tima i festivalima. Teatri Uniti je gradio svoj pozori{ni jezik na originalan na~in upotrebljavaju}i elemente muzike, knji`evnosti, likovnih umjetnosti, a od 1991. godine i kinematografije, realiziraju}i nezavisne produkcije nekoliko izvanrednih filmova, koji su predstavljeni i nagra|ivani na velikim me|unarodnim filmskim festivalima: Veneciji, Cannesu, berlinu i Locarnu.

Teatri Uniti was founded in Naples in 1987, as a permanent laboratory for the production and the study of contemporary performing arts, after the union of three pre-existing groups, Falso Movimento, Teatro dei Mutamenti and Teatro Studio di Caserta. Since then, the company has been successfully presenting its productions in the most important international theatres and festivals. Teatri Uniti has been weaving their own theatrical language in an original way, with music, literature, visual arts, and has established, since 1991, a strong relation with cinema through the independent creative production of some remarkable movies, which were presented and awarded at the main international film festivals: Venice, Cannes, berlin and Locarno.

U saradnji sa / In collaboration with:

PICCOLO TEATRO, MILANO & MITO SETTEMBREMUSICA

WORLD MESS

AUTORI

Belgija / Belgium

Narodno pozori{te Sarajevo 19.30 The Sarajevo National Theater 19.30 Trajanje / Running time 105 min.

01/10/11

GARDENIA

MESS - BALET FEST SARAJEVO

PREDSTAVA

"Ma~ka ima devet `ivota. Oni imaju vi{e.

A tokom svog posljednjeg `ivota, nalaze jedni druge u sigurnom getu. Ako se u{unjate u njihov svijet, mo`ete ih vidjeti kako se bore kand`ama, kako re`e i sik}u. A kada se geto sru{i, ~ini se kao da su svi njihovi `ivoti potro{eni. Putovanje u ni{tavilo je pora`avaju}e. Jer ~ak i ko`a pamti. Inspirirana filmom „Yo soy así“ (rediteljice Sonie Herman Dolz), u kojem nam zatvaranje transvestitskog kabarea u barceloni nudi kratak pogled u privatni `ivot nezaboravne grupe starih umjetnika, glumica Vanessa Van Durme skupila je par prijatelja transseksualaca i transvestita, kako bi privolila reditelje Alaina Platela i Franka Van Laeckea, te kompozitora Ste ven Prengelsa, za rad na projektu koji je jedinstven u svakom pogledu. „Gardenija“ prodire duboko u turbulentne `ivote devet neobi~nih ljudi. Sedam starijih likova, )se naizgled bez napora kre}u zonom sumraka kakvim se ~ini `ivot izme|u mu{kog i `enskog identiteta. Oni su u kontrastu i skladu sa „mladim momkom“ i „pravom `enom". Svako od njih je u potrazi za ne~im.

Svako ima vlastitu intrigantnu pri~u. Ponekad smije{nu, a ponekad nepodno{ljivo silnu.“

PERFORMANCE “A cat has nine lives. They have more.

And during their final life, they found each other in a safe ghetto. If you sneak your way in, you can see them clawing, growling and hissing. And when the ghetto is demolished, all lives seem to have been used up. The trip to nothingness is crushing. because even skin has a memory. Inspired by the penetrating film Yo soy así (by Sonia Herman Dolz), in which the closing of a transvestite cabaret in barcelona offers us a glimpse into the private lives of a memorable group of old artists, actress Vanessa Van Durme collected a number of transsexual and transvestite friends in order to win over directors Alain Platel and Frank Van Laecke, and composer Ste ven Prengels, for a project that can be called unique in every respect. „Gardenia“ goes deep into the turbulent lives of nine striking people. Seven older individuals who seemingly effortlessly navigate the twilight zone between being male and being female. They are in contrast and harmony with a "young guy" and a "real woman". Each on a quest. Each with their own intriguing story. Sometimes funny, sometimes overwhelming. „

Alain Platel - Frank Van Laecke Alain Platel - Frank Van Laecke

DIRECTORS

ALAIN PLATEL In 1984 Alain Platel set up a small group with a number of friends and relatives to work collectively.

Emma (1988) signalled his concentration on directing. He was responsible for bonjour Madame (1993), La Tristeza Complice (1995) and Lets Op bach (1998), with which les ballets C de la b (as the group was now called) rocketed to the international top.vsprs (2006) proved to be a turning point in his career. So far, his work had been exuberant in both the diversity of performers and the themes, but now it became more profound and intense, and revealed a world of passion and desire, and violence, as in Nine Finger (2007) with benjamin Verdonck and Fumiyo Ikeda. He also almost surreptitiously entered the arena of the dance film together with british director Sophie Fiennes (because I Sing in 2001, Ramallah!Ramallah!Ramallah! in 2005, and VSPRS Show and Tell in 2007), and the solo with de balletten en ci en là (2006), an impressive view of what goes on in a twenty-year-old dance company, taking us all the way to Vietnam and burkina Faso, but also and mainly being an ode to his hometown Ghent.

FRANK VAN LAECKE Frank Van Laecke's versatility earned him the title of 'Wizard' in countless press reviews.After writing a number of TV series for the Flemish public television broadcasting company VRT (FC de Kampioenen, Het KoekoeksnestĽ), he made a name for himself as a director of plays and operas. He also ventured into directing musicals (Hollywood by night, Jesus Christ Superstar, Jekyll & Hyde) and extravagant theatrical productions, which brought him considerable international fame. In the past few years, he achieved resounding successes with the musicals Kuifje en de Zonnetempel (Tintin and the Temple of the Sun), The Prince of Africa, Dracula, Rembrandt - the musical, Pirates Pirates! and Daens, often working together with composer Dirk brossé. Frank Van Laecke signed on as the artistic and actors director of booh!, a youth series for VTM. The series was nominated by the press as the best programme of 2005. A second series soon followed. With the greatest of ease, Frank Van Laecke returned to directing works with a purer aesthetic, such as the sincere theatrical production based on the love letters of Anton Chekhov, „Jouw hand in mijn hand“ in 2006. That same year saw the premiere performance of Kijk mama, ik dans (Look mummy, I'm dancing), a monologue directed jointly with Vanessa Van Durme. Frank Van Laecke received numerous awards, both in belgium and abroad, for his direction.

TEATAR „Kompaniju les ballets C de la b“ (iz Genta, belgija) osnovao je Alain Platel 1984. godine. Od tada, kompanija je do`ivjela veliki uspjeh u zemlji i inozemstvu. Tokom godina se razvila u umjetni~ku platformu za razli~ite koreografe, koji su svoju inspiraciju crpili ne samo od Alaina Platela, nego i od Christine De Smedt, Koena Augustijnena i Lisija Estarasa.

Hans Van de broeck i Sidi Larbi Cherkaoui su tako|er jedno vrijeme bili ~lanovi ove teatarske skupine. Kompanija se jo{ uvijek dr`i svog na~ela da omogu}i umjetnicima iz razli~itih umjetni~kih disciplina da sudjeluju u ovom dinami~nom kreativnom procesu. Upravo zbog svoje „jedinstvene mje{avine umjetni~kih vizija“, „les ballets C de la b“ nije lako klasificirati. Ipak, mo`e im se pripisati ne{to sli~no house stilu (popularan, anarhi~an, eklekti~an, po`rtvovan), a moto kompanije je: „Ovaj ples je za svijet, a svijet je za svakoga“.

THEATER les ballets C de la b (Ghentbelgium) was founded by Alain Platel in 1984.

Since then, it has become a company that enjoys great success at home and abroad. Over the years, it has developed into an artistic platform for a variety of choreographers, taking its inspiration not only from Alain Platel, but also from Christine De Smedt, Koen Augustijnen and Lisi Estaras. Hans Van de broeck and Sidi Larbi Cherkaoui were previously also members. The company still keeps to its principle of enabling artists from various disciplines and backgrounds to take part in this dynamic creative process. As a result of its 'unique mixture of artistic visions', les ballets C de la b is not easy to classify. It is nevertheless possible to discern something like a house style (popular, anarchic, eclectic, committed), and its motto is: “this dance is for the world, and the world is for everyone“.

Reditelji / Directors

ALAIN PLATEL FRANK VAN LAECKE Po ideji / based on a concept of:

VANESSA VAN DURME Muzika / Music

STEVEN PRENGELS Scenografija / Set Design

PAUL GALLIS Kostimografija / Costume Design

MARIE 'COSTUME' LAUWERS Dizajn svjetla / Light Design

KURT LEFEVRE Dizajn zvuka / Sound Design

SAM SERRUYS Savjeti za kostime /Costume Advice

YAN TAX Izrada kostima /Costumes realized by:

ATELIER ANETTE DE WILDE ATELIER NTGENT O.L.V. AN DE MOL: MIEKE VAN DER CRUYSSEN SUL HEE MYS HELENA VERHEYEN Frizure / Coiffures

CLAUDINE GRINWIS PLAAT STULTJES Inspicijent / Stage manager

WIM VAN DE CAPPELLE Realizacija scene / Set realized by:

SCENOGRAFSKI ATELJE NT GENT / SCENOGRAPHY ATELIER NTGENT Transport scene / Set Transport

LUC LAROY Fotografija / Photography:

LUK MONSAERT Menad`er produkcije / Production management

VALERIE DESMET Menad`er turneja / Tour management

EMILIE DE ROO Produkcija / Production

LES BALLETS C DE LA B Koproducenti / Coproduction NTGent, La rose des vents (Villeneuve d'Ascq), TorinoDanza, Biennale de la danse de Lyon, Tanz im August (Berlin), Théâtre national de Chaillot (Paris), Brighton festival, Centro Cultural Vila Flor Guimarães, La Bâtie-Festival de Genève, Festival d'Avignon Uz zahvalnost / With thanks to: Kryolan België - za profesionalnu {minku / for professional make-up Marie-Jo & PrimaDonna – za donje rublje / for lingerie Les ballets C de la B podr`ani su od strane flamanskih vlastim Grada Genta, Provincije Isto~ne Flandrije. / Les ballets C de la B is supported by the Flemish authorities, City of Ghent, Province East Flanders.

Kreacija i uloge / Created and performed by:

VANESSA VAN DURME GRIET DEBACKER TIMUR MAGOMEDGADZHIEV (ZAMJENA / REPLACED BY: HENDRIK LEBON) ANDREA DE LAET RICHARD 'TOOTSIE' DIERICK DANILO POVOLO GERRIT BECKER DIRK VAN VAEREN- BERGH RUDY SUWYNS

WORLD MESS

REDITELJi ALAIN PLATEL 1984. godine, sa nekoliko prijatelja i ro|aka formira malu grupu, kako bi radili na zajedni~kim projektima.

Predstava „Emma“ (1988) njegov prvi rediteljski projekat. Tako|er je re`irao „bonjour Madame“ (1993), „La Tristeza Complice“ (1995), i „Let's op bach“ (1998), s kojim se „les ballets C de la b“ (kako se grupa sada zove) vinula ka me|unarodnom vrhu. Predstava „vsprs“ (2006) pokazala se prekretnicom u njegovoj karijeri. Do tada je njegov rad karakterizirala raznolikost izvo|a~a i tema, ali je sada postao odre|eniji i intenzivniji, i otkrio svijet strasti, `elje i nasilja, kao {to se vidi u predstavi „Nine Finger“ (2007), u kojoj glume benjamin Verdonck i Fumiyo Ikeda. On je tako|er, gotovo potajno, u{ao u arenu plesnog filma, uz britansku rediteljicu Sophie Fiennes (“Jer ja pjevam” 2001. godine, „Ramallah! Ramallah! Ramallah!“ 2005. godine, i „VSPRS Show and Tell“ 2007. godine), te solo izvedbom sa kompanijom „de balletten en ci en hr là“ (2006), impresivnim pogledom na ono {to se doga|a u dvadesetogodi{njoj plesnoj kompaniji, koja nas vodi sve do Vijetnama i burkine Faso, ali koja je, prete`no, oda njegovom rodnom Ghentu.

FRANK VAN LAECKE Raznolikost opusa Franka Van Laeckea omogu}ila mu je nadimak „~arobnjak“ u nebrojenim novinskim kritikama. Nakon {to je napisao scenarij za nekoliko TV serija za flamanskog javnog emitera VRT (FC de Kampioenen, Het KoekoeksnestĽ), slavu je stekao kao re`iser dramskih i operskih predstava. Tako|er se upustio i u re`iranje mjuzikla („Hollywood by night“, „Jesus Christ Superstar“, „Jekyll & Hyde“) i ekstravagantne pozori{ne produkcije, koje su mu donijele me|unarodnu slavu. U posljednjih nekoliko godina, postigao je veliki uspjeh s mjuziklima „Kuifje en de Zonnetempel“ („Tintin i Hram Sunca“),“ Princ Afrike“, „Drakula“, „Rembrandt – Mjuzikl“, „Gusari, gusarii!“ i „Daens“, ~esto rade}i zajedno sa kompozitorom Dirkom brosséom. Frank Van Laecke je tako|er umjetni~ki direktor i direktor gluma~kog ansambla na seriji za mlade „booh!“, kanala VTM. Ova serija je bila nominovana za najbolji program 2005. godine. S velikom lako}om, Frank Van Laecke se vratio re`iranju predstava, sa jasnije definiranom estetitkom, kao {to je predstava na temelju ljubavnih pisama Antona ^ehova, „Jouw hand in mijn hand“, 2006. godine. Iste godine premijerno se izvodi i “Kijk mama, ik dans” (“Vidi mama, ja ple{em”), monolog koji je re`irao zajedno s Vanessom Van Durme. Frank Van Laecke je za svoje re`ije dobivao brojne nagrade, kako u belgiji, tako i inozemstvu.

Meksiko / Mexico

Pozori{te mladih 22.00 The Youth Theatre Sarajevo 22.00 Trajanje / Running time 95 min.

01/10/11

Ernesto Anaya Ottone

LAS MENINAS / MALE DVORSKE DAME THE MAIDS OF HONOUR

PREDSTAVA

U posljednjih 20 godina svog `ivota, Diego Velázquez odustao je od slikarstva i umjetni~kog rada uop}e, da bi se potpuno posvetio svom najve}em cilju: da bude odlikovan Kri`om Santiaga, plemenitom titulom koju dodjeljuje {panska kruna. No, iz godine u godinu, kri` biva dodijeljen nekom drugom. Velázquez po~inje gubiti nadu – osje}a kako mu se pribli`ava posljednji ~as, te jo{ samo jednom uzima kist da na platno prenese jedno od najva`nijih remek djela u historiji umjetnosti: "Las meninas" ("Male dvorske dame").

Kako je to uop}e bilo mogu}e? Ko i {ta stoji iza ove nezaboravne slike? Tokom predstave, otkrivamo tvrdoglavu i o~ajnu namjeru jedne slike koja ~ezne da bude naslikana, kao i borbu dvorskog umjetnika koji shvata da mo`e stvoriti portret koji }e prevazi}i sve portrete, sliku koja }e zarobiti ne samo njegov svijet, nego i sve naredne svjetove... sliku koja }e nas sve zarobiti.

During the last 20 years of Diego Velázquez´s life, he gave up painting and all artistic work to dedicate himself fully to his greatest goal: obtaining the Santiago Cross, a noble title given by the Spanish crown. But, year after year, the Cross is given to someone else. Velázquez starts to lose his spirit - he feels his final hour approaching and takes the paintbrush one last time to deliver on the canvas one of the most important masterpieces in art history: Las meninas.

How was this possible? Who and what is behind this memorable painting? Throughout the play, we discover the perverse and desperate intent of a painting longing to be painted, the struggle of a court artist that realizes he can create a portrait that will transcend all portraits, a painting that will trap not only his world, but all the worlds to come… a painting that will trap us all.

PERFORMANCE

born in Madrid, Ignacio García is an established international stage director in the fields of opera and theatre. He earned a bA in Stage Direction from the Royal Dramatic Art School in Madrid, was granted the Young Directors Award by the Spanish Stage Directors Association (A.D.E), as well as won the First Creative Stage Competition, organized by the Teatro Real de Madrid. He worked as the Associate Director at the Español Theatre in Madrid from 2004 to 2009.

His stage work includes: Hurtado de Mendoza y Quevedo´s Los empeños del mentir, Sor Juana Inés de la Cruz´s Los empeños de una casa, Rodríguez Méndez´s Flor de Otoño, Alonso de Santos´s En el oscuro corazón del bosque, Ernesto Caballero´s En la Roca and Ernesto Anaya´s Las Meninas. In the opera world, he has staged: Purcell´s Dido and Aeneas, Rossini´s La scala di seta, Stravinsky´s A soldier´s tale, Hasse´s La contadina, Camilla de Rossi´s Il sacrificio di Abramo, Monteverdi´s Il combattimento de Tancredi e Clorinda, Sorozábal´s La eterna canción and black el payaso, bach´s Kaffeekantate, britten´s The little sweep, Luis de Pablo´s Un parque, Jesús Rueda´s Orfeo, Albéniz´s Iberia, Martín y Soler´s Il tutoreburlato, Pergolesi´s Adriano in Siria, La serva padrona and Livietta e Tracollo, Verdi´s Oberto conte di san bonifacio and Aída, Donizetti´s Emilia di Liverpool, Rita and Poliuto; boccherini´s Clementina, Nin-Culmell´s La Celestina, Alessandro Solbiati´s Il carro e i canti, Ch. Gounod´s Faust, J. Massenet´s Werther, Carlisle Floyd´s Susannah and this year´s successful production of Gaztambide´s El estreno de una artista and barbieri´s Gloria y Peluca. This year he has staged 7 productions in different countries and venues, such as the Liverpool Philharmonic Hall, the Carlo Felice Theatre in Genova, the Arriaga Theatre in bilbao and the Alexandrinksy Theatre in San Petersburg.

DIRECTOR

Re`ija / Stage Director

IGNACIO GARCÍA Scenografija i kostimografija / Set and Costume Designer

CORDELIA DVORAK Dizajn svjetla / Lighting Designer

MATÍAS GORLERO Dizajn zvuka / Sound Designer

IGNACIO GARCÍA Asistent reditelja / Assistant Director

MARISOL ROCHA Inspicijent / Stage Manager

RAÚL MUNGUÍA Zamjenici producenta / Associate Producers

AURORA CANO NICOLÁS ALVARADO Izvr{ni producent / Executive Producer

ZAZIL SERVÍN LUNA Asistent produkcije / Production Assistant

BLANCA GUEVARA Produkcija / Production

TEATRO DE BABEL – DRAMAFEST Koproducenti (Meksiko) / Co-producers (Mexico) CONSEJO NACIONAL PARA LA CULTURA Y LAS ARTES (Nacionalno vije}e za kulturu i umjetnost / National Council for Culture and Art) INSTITUO NACIONAL DE BELLAS ARTES (Nacionalni institut za likovne umjetnosti / National Graphic Arts Institute) UNIVERSIDAD NACIONAL AUTÓNOMA DE MÉXICO (Nacionalni nezavisni univerzitet u Meksiku / National Independent University of Mexico) MUSEO UNIVERSITARIO ARTE CONTEMPORÁNEO (Univerzitetski muzej savremene umjetnosti / University Museum of Contemporary Art) FUNDACIÓN CULTURAL TELEVISA (Televisa Fondacija za kulturu / Televisa Cultural Foundation) FUNDACIÓN CULTURAL BANCOMER (Bancomer Fondacija za kulturu / Bancomer Cultural Foundation) SECRETARÍA DE RELACIONES EXTERIORES (Ministarstvo vanjskih poslova / Foreign Affairs Ministry) EMBAJADA DE MÉXICO EN SERBIA (Ambasada Meksika u Srbiji / Embassy of Mexico in Serbia) Co-producers (Spain) / Koproducenti ([panija) EMBAJADA DE ESPAÑA EN MÉXICO (Ambasada [panije u Meksiku / Embassy of Spain in Mexico) CENTRO CULTURAL DE ESPAÑA EN MÉXICO ([panski kulturni centar u Meksiku / Spanish Cultural Centre in Mexico)

TEATAR

THEATER

„Teatro de babel“ nastao se kao rezultat potrebe za novom generacijom meksi~kih umjetnika/ca koji bi kreirali savremeno pozori{te na osnovu istra`ivanja novih trendova u dramskom pisanju u Meksiku i u inostranstvu. Pozori{te je usmjereno na savremeno dramsko stvarala{tvo i me|unarodnu saradnju. „Teatro de babel“ 2004. godine predstavlja prvo izdanje DramaFesta (Meksiko-Velika britanija), koji je dobio nagradu Fringe First Award 2005. godine na Festivalu u Edinburghu za predstavu „The Girls of the 3.5 Floppies“ meksi~og dramskog pisca Luisa Enriquea Gutiérreza Ortiza Monasterija, u re`iji Johna Tiffanyja. Od tada je DramaFest kreirao dvonacionalne produkcije sa Njema~kom, SADom, Argentinom, ^ileom, [panjolskom ~ime je postao najva`niji novi doga|aj dramskog pisanja u Meksiku.

Teatro de babel emerges as a result of the need of a new generation of Mexican artists to produce contemporary theatre, by researching new writing tendencies both within Mexico and abroad.

Therefore, its main focus is contemporary playwriting and international colaboration. In 2004, Teatro de babel presented its first edition of the DramaFest (Mexico- UK), which ended up earning the Festival a “Fringe First Award” at the 2005 Edinburgh Festival for the play “The Girls of the 3.5 Floppies”, a work by Mexican playwright Luis Enrique Gutiérrez Ortíz Monasterio and british director John Tiffany. Since then, the DramaFest has developed binational productions with Germany, USA, Argentina, Chile and Spain, becoming the most important new writing event in Mexico.

Uloge / Cast

JAVIER DÍAZ DUEÑAS AURORA CANO ICHI BALMORI VIOLETA SARMIENTO ARTURO VENCES

WORLD MESS

REDITELJ Ignacio García je etablirani reditelj na me|unarodnoj sceni u oblastima opere i pozori{ta. Diplomu iz teatarske re`ije stekao je na „Kraljevskoj {koli dramske umjetnosti“ u Madridu, dobio je Nagradu mladih reditelja - Udru`enja {panskih pozori{nih reditelja (ADE), te pobijedio i na Prvom kreativnom scenskom takmi~enju, u organizaciji „Teatro Real de Madrid“.

Izme|u 2004. i 2009. godine, radio je i kao reditelj-saradnik „Español Pozori{ta u Madridu“.

Njegova pozori{na djela uklju~uju: „Los empeños del mentir“ („Muke laganja“) Hurtada de Mendoze y Quevedoa, „Los empeños de una casa“ („Muke jedne ku}e“), „Sor Juane Inés de la Cruz Flor de Otoño“ („Jesenji cvijet“) Rodrígueza Méndeza, „En el oscuro corazón del bosque“ („U sakrivenom srcu {ume“) Alonsa de Santosa, „En la Roca“ („Na stijeni“) Ernesta Caballera, te „Las Meninas“ („Male dvorske dame“) Ernesta Anaye. U svijetu opere, re`irao je: „Dido i Enej“ Purcella, Rossinijevu „La scala di seta“ („Skalu od svile“), „A soldier´s tale“ („Pri~u jednog vojnika“) Stravinskog, Hasseovu „La contadina“ („Seljakinja“), „Il sacrificio di Abramo“ („Abrahamova `rtva“) Camille de Rossi, „Il combattimento de Tancredi e Clorinda“ („borbe za Tancredi i Clorindu“) Monteverdia, „La eterna canción“ („Vje~na pjesma“) i „black el payaso“ („Pajac black“) Sorozábala, bachovu „Kaffeekantate“, brittenovu „The little sweep“, „Un parque“ („Park“) Luisa de Pabla, „Orfeo“ („Orfej“) Jesúsa Ruede, „Iberia“ Albéniza, „Il tutore burlato“ Martín y Solera, „Adriano in Siria“ („Adriano u Siriji“),“ La serva padrona and Livietta e Tracollo“ Pergolesija, Verdijeve „Oberto conte di san bonifacio“ i „Aídu“, Donizettijevu „Emilia di Liverpool“,“ Ritu i Poliuto“; boccherinijevu „Clementinu“, Nin-Culmellovu „La Celestina“, „Il carro e i canti“ („Karavan i pjesme“) Alessandra Solbiatija, Ch. Gounodovog „Fausta“, „Werthera“ J. Masseneta, „Susannah“ Carlislea Floyda, te ovogodi{nju uspje{nu produkciju Gaztambideove opere „El estreno de una artista“ („Osloba|anje umjetnika“) i barbierijeve „Gloria y Peluca“. Ove godine, Garcia je re`irao sedam komada u razli~itim zemljama i na razli~itim mjestima, kao {to su Liverpool Filharmonija, Pozori{te Carlo Felice u \enovi, Pozori{te Arriaga u bilbau, te Pozori{tu Alexandrinksy u Sankt Petersburgu.

Holandija / The Netherlands

Narodno pozori{te Sarajevo 19.30 The Sarajevo National Theater 19.30 Trajanje / Running time 100 min.

03/10/11

PAKAO HELL

MESS - BALET FEST SARAJEVO

PREDSTAVA

„[to je pakao, ili pakao o kojem ovdje govorimo? Svako ima svoju interpretaciju, jer je pakao nepoznat. On mo`e biti imaginarno mjesto, ili mjesto koje postoji u na{im umovima. Za nas, pakao se javlja na raznim mjestima, i nema nu`no negativni polaritet.

Pakao vidimo kao mjesto gdje se stvari mogu dogoditi, a ne kao antitezu nebu ili raju. Pakao predstavlja istra`ivanje nepoznatog.“ „Potraga za ekstremnim minimalizmom, i za maksimiziranjem ekstrema.“ Emio Greco i Pieter C. Scholten „U trenutku kada se potpuno goli ansambl okuplja pod ogoljenim stablom, kao skupina Adama i Eva, i scenom odjeknu gromoglasni tonovi beethovenove Pete simfonije, postaju `iva slika Hieronymusa boscha, ostvarena minimalisti~kim senzibilitetom.

Njihova tijela – osvijetljena jarkom ~istom bijelom, hladno plavom ili zlatnom bojom – netom postaju besramno ~ista, ozna~ena samo o`iljcima i muskulaturom svakog glumca. U PAKLU, ta tijela, ogoljena do sr`i, postaju agonija i ekstaza ~ovje~anstva. A u mjestu u kojem je tijelo najva`nije – kako kr{}anstvo opisuje pakao i one koji u njemu zavr{e – nestaju milost i razum. Takav je i Grecov PAKAO.“ Camille Lefevre – „Star Tribune Minneapolis“ 2007

PERFORMANCE “What is hell, or the hell? Everyone has his or her own interpretation, because hell is the unknown. It may be an imaginary place, or a place that may exist in our minds. To us, hell occurs in a variety of places and does not necessarily have negative polarity.

We see hell as a place where things can happen, not as the antithesis of heaven or paradise. It represents an exploration into the unknown.”

“A search for extreme minimalism and for a maximizing of extremes. “ Emio Greco and Pieter C. Scholten

„When the fully nude ensemble gathers under the bare tree like a group of Adams and Eves, then bursts forth to the thunderous strains of beethoven’s 5th, they become a live-action Hieronymus bosch painting via a minimalist sensibility.

Their bodies - lit stark white, cool blue or golden -- are at once unabashedly pure, and marked with the scars and musculature of their physicality. In HELL, these bodies, stripped to their essence, are the agony and ecstasy of humanity. And where the body is paramount which is how Christianity pictures hell, and those left behind in it-- all mercy and reason have vanished, which is also what Greco’s HELL feels like.“ Camille LeFevre – „Star Tribune Minneapolis“ 2007

Koreografija / Choreography:

EMIO GRECO PIETER C. SCHOLTEN Zvuk, svjetlo i pozornica/Sound, Light and Stage Concept:

PIETER C. SCHOLTEN EMIO GRECO Dizajn svjetla / Light Design:

HENK DANNER Kostimografija / Costume Design:

CLIFFORD PORTIER Muzika / Music: Muzi~ki kola` a.o., koji uklju~uje dio allegro con brio iz Betovenove Pete simfonije / A sound collage a.o. including the allegro con brio from Beethoven's Fifth Symphony Produkcija / Production:

ICKAMSTERDAM Koprodukcija / Co-production: Théâtre de la Ville (Paris, F); Festival Montpellier Danse 2006 (Montpellier, F); Maison de la Culture d’Amiens (Amiens, F)

CHOREOGRAPHERS EMIO GRECO and PIETER C. SCHOLTEN Since 1995 Emio Greco and Pieter C. Scholten have worked together in their joint search for new dance forms. Emio Greco (Italy) received his dance education at the Centre de Danse International Rosella Hightower in Cannes, and danced with the ballet Antibes Cote d’Azur, directed by Patrick Tridon. From 1993 until 1996, Greco danced in works by visual artist and director Jan Fabre, and from 1996 until 1998 he collaborated with Japanese choreographer Saburo Teshigawara in various productions. Pieter C. Scholten (Netherlands) studied drama and initially directed theatre productions about historical characters like Oscar Wilde, Yukio Mishima and Pier Paolo Pasolini. He worked with several choreographers as a dance-dramaturge. In 1995, he developed the Dance Instants, short “work-in-progress” projects for choreographers and dancers. For both artists, the search for a new dramaturgy of the body is an important motivating factor.

Out of curiosity for the body and its inner motives, they created their first joint work in 1996: the solo bianco, which became the first part of the trilogy Fra Cervello e Movimento (between brain and Movement). In that same year, they wrote a manifesto setting out 7 principles of dance and their impact on the body and the spectator. They founded dance company Emio Greco I PC in 1996.

From the beginning, it has been more than a dance company: it promotes a broader attitude towards the consciousness of the body. It initiated a series of Salons on Dance & Discourse, established a section devoted to research on recording and notation of body movement, and developed an educational programme under the name of Accademia Mobile.

Predstavu PAKAO omogu}io je Doris Duke Fond za Ples Nacionalnog plesnog projekta, projekta kojeg finansira New England Fondacija za umjetnost, uz finansiranje Nacionalne zaklade za umjetnost, Doris Duke Dobrotvorne Fondacije, i Ford Fondacije.

HELL is made possible by the Doris Duke Fund for Dance of the National Dance Project, a programme administered by the New England Foundation for the Arts with funding from the National Endowment for the Arts, the Doris Duke Charitable Foundation, and the Ford Foundation.

Fotografija/Photogrphy

SEONGNAM ART CENTRE Plesa~i/ Dancers:

VICTOR CALLENS DERECK CAYLA VINCENT COLOMES SAWAMI FUKUOKA EMIO GRECO NEDA HADJI-MIRZAEI

TEATAR

THEATER

ICKamsterdam Plesna trupa „Emio Greco I PC“ je, kao prirodan nastavak svog rada, formirala Me|unarodni koreografski umjetni~ki centar u Amsterdamu (ICKamsterdam), kojeg su Emio Greco i Pieter C. Scholten slu`beno otvorili 2009. godine.

Me|unarodni koreografski umjetni~ki centar u Amsterdamu (ICKamsterdam) je platforma za savremeni ples. Centar ujedinjuje snage werkplaatsa (radionica), productiehuis (produkcijskih centara), istra`iva~kih platformi i trupa, ~ime te`i kontinuiranom razvoju i oboga}ivanju plesa.

Me|unarodnim i interdisciplinarnim pristupom, ICKamsterdam ulazi u dijalog s obe}avaju}im i ve} afirmiranim talentima unutar i izvan svijeta plesa, kako bi razmijenili ideje, poticali jedni druge i radili na inovacijama. Sredi{nje mjesto u Centru ICK su produkcije plesne trupe „Emio Greco I PC“, sa kojom Centar sara|uje, te rezidentne umjetnice Andree bo!i. Rad je usmjeren na: razvoj talenata i preno{enje znanja, promi{ljanje i istra`ivanje, inovacije i saradnju.

ICKamsterdam Dance company Emio Greco I PC, organically gave rise to the International Choreographic Arts Centre Amsterdam (ICKamsterdam), which was officially launched by Emio Greco & Pieter C. Scholten in 2009. The International Choreographic Arts Centre Amsterdam (ICKamsterdam) is a platform for contemporary dance. It joins the forces of werkplaats (workshop), productiehuis (production centre), research platform and company, and thus strives for a continuous development and enrichment of dance. With an international and interdisciplinary approach, ICKamsterdam enters upon a dialogue with upcoming and established talent in and outside of the dance, in order to infect, stimulate and innovate each other. Central to ICK are the artistic productions by artist associate dance company Emio Greco I PC and artist in residence Andrea bo!i. Focal points are: talent development and knowledge transfer, reflection and research, innovation and alliance.

SUZAN TUNCA

WORLD MESS

KOREOGRAFI EMIO GRECO i PIETER C. SCHOLTEN Od 1995. godine, Emio Greco i Pieter C. Scholten djeluju zajedno u potrazi za novim plesnim oblicima. Emio Greco (Italija) stekao je plesno obrazovanje u plesnom centru „International Rosella Hightower“ u Cannesu, a plesao je sa „baletom Antibes Cote d'Azur“, u re`iji Patrick Tridona. Od 1993. do 1996. godine, Greco igra u performansima likovnog umjetnika i reditelja Jana Fabrea, a od 1996. do 1998. godine, sara|uje sa japanskim koreografom Saburom Teshigawarom u raznim produkcijama. Pieter C. Scholten (Nizozemska) je studirao dramu i isprva re`irao pozori{ne predstave o historijskim li~nostima, poput Oscara Wildea, Yukia Mishime i Piera Paola Pasolinija. Radio je sa nekoliko koreografa kao plesni dramaturg. 1995. godine, realizira projekat „Dance Instants“, kratke „radove u toku“ za koreografe i plesa~e. Za oba umjetnika, potraga za novom dramaturgijom tijela je va`an motivacijski faktor.

Iz znati`elje prema tijelu i njegovim unutra{njim motivima, 1996. godine Greco i Scholten stvaraju svoj prvi zajedni~ki rad: solo pod nazivom „bianco“, koji je postao prvi dio trilogije „Fra Cervello e Movimento“ („Izme|u uma i pokreta“). Iste godine su napisali manifest koji predstavlja sedam na~ela plesa i njihov uticaj na tijelo i gledaoca. 1996. godine osnovali su plesnu trupu „Emio Greco I PC“, koja je, od samog po~etka, i vi{e od toga: promovira {iri pristup prema svijesti o tijelu. Ova plesna trupa je pokrenula niz predstava „Dance & Discourse“, i oformila sekciju posve}enu istra`ivanju, snimanju i zapisivanju pokreta tijela, te razvila i obrazovni program pod nazivom „ Accademia Mobile“.

Njema~ka / Germany

Sarajevski ratni teatar SARTR 20.00 Sarajevo War Theatre SARTR 20.00 Trajanje / Running time 85 min.

05/10/11

RADIO MUEZZIN

PREDSTAVA

Prvi mujezin je bio nekada{nji rob, oslobo|en zbog svog milozvu~nog glasa. Sve do 1950. godine, slijepi mujezini bi se ~esto peli na munaru, kako bi slali poziv na molitvu, ezan - u sva ~etiri pravca grada. U dana{njem Kairu, ve}inu mujezina zapo{ljava dr`ava. Oni ~esto spavaju u d`amiji, i rijetko posje}uju svoje porodice na selu. Osim {to pozivaju na molitvu, oni su tako|er ~esto i domari ovih vjerskih objekata – zaklju~avaju d`amije i brinu se o ~isto}i. Kairo zovu gradom hiljadu d`amija. U stvarnosti ih ima oko 30000.Nad gradom, zvukovi ezana postaju jedan veliki, mnogostruki zvu~ni sloj. Ali, to bi se sada trebalo promijeniti: ministar vjerskih pitanja uvodi centralnog mujezina. Preko radio stanice, jedan od mujezina }e u`ivo pozivati na molitvu, a njegov poziv }e se simultano prenositi sa svake dr`avne d`amije. To nije kraj heterogenih kultura vjere, ali jeste kraj kakofonije. Ho}e li hiljade egipatskih mujezina za{utiti?

PERFORMANCE The first muezzin was a freed slave, because he had such a sweet voice. Until the 1950, blind muezzins often climbed up to the minaret in order to call to prayer –called Adhan – to all four directions of town. In present-day Cairo, most of the muezzins are employed by the State. They often sleep in the mosque and only seldom visit their family living in the village.

Apart from calling to prayer, they are also frequently the janitor of the house of worship - they lock up the building and organise its cleaning. Cairo is called the city of a thousand mosques. In reality, there are some 30,000.

Above the town, the cries become one big, manifold sound layer. This is supposed to change now: The Minister for Religious Affairs is currently introducing the centralised muezzin. Via one radio station, one proclaimer each is to go on air for simultaneous transmission from all state-owned mosques. This is not the end of the heterogeneous cultures of faith, but the end of cacophony. Will thousands of Egyptian muezzins remain silent?

Koncept i re`ija / Concept and Directior:

STEFAN KAEGI (RIMINI PROTOKOLL) Dramaturgija / Dramaturgy:

LAILA SOLIMAN Kompozitor i dizajn zvuka / Composer and Sound Designer:

MAHMOUD REFAT Scenografija / Set Design:

MOHAMED SHOUKRY Video dizajn / Video Design:

BRUNO DEVILLE SHADY GEORGE FAKHRY (CAIRO)

Stefan Kaegi produces documentary theatre plays, radio shows, and works in the urban environment in a diverse variety of collaborative partnerships. Using research, public auditions and conceptual processes, his pieces are developed specifically out of the issues of the location. This is achieved in the productions by letting what they call ‘Experts' find their voice. This is how he directed “Mnemopark”, a model railway world in the basel Theatre – a live film (set in 1:87 scale), which has been shown in over thirty cities between Tokyo and Montreal. Kaegi has toured across Europe for over two years, with two bulgarian lorry drivers and an adapted truck for “Cargo Sofia”. In 2008, he developed “Radio Muezzin” in Cairo – a project about the call to prayer in this age of technical reproduction.

DIRECTOR

Dizajn svjetla / Light Design:

SVEN NICHTERLEIN SAAD SAMIR HASSAN (CAIRO) Asistent reditelja, izvedba / Director’s Assistant, Performance Manager:

DIA HAMED Tehni~ki direktori / Technical Direction:

SVEN NICHTERLEIN SAAD SAMIR HASSAN (CAIRO) Video operator / Video Operator:

BODO GOTTSCHALK Podr{ka na turnejama /Touring Support:

SAMAH SAMIR MOHAMED SLEIMAN MOHAMED MOSTAFA Prijevod i titlovi / Translation and Subtitles:

EBTIHAL SHEDID TEATAR

THEATER

Namjera “Teatra Rimini Protokoll” je da ra{~lani osje}aj za realnost, te prika`e sve njene aspekte iz neobi~nih perspektiva. Na ovaj na~in, trojac od dva reditelja I rediteljice je na scenu postavio “Sjednicu njema~kog parlamenta u punom sazivu”, pomo}u 200 gra|ana iz bona (u predstavi „Deutschland 2“). U predstavi „Rok“, koristili su glasove pogrebnika i studenata medicine da bi predstavili nove pogrebne obi~aje. U predstavi „Sabenation“ u briselu rekonstruisali slu~aj bankrota belgijskog nacionalnog avioprevoznika Sabena. Njihove najnovije produkcije uklju~uju „Call Cutta in a box“, jedan-na-jedan, koji se odvija u`ivo iz call-centra u Indiji, „100% berlin”, te „Hauptversammlung“ („Glavna skup{tina“), parazitsku intervenciju povodom sastanka dioni~ara u Daimleru. 2007. godine, ”Rimini Protokoll” je nagra|en Faust Pozori{nom Nagradom, a 2008, evropskom nagradom „Nove pozori{ne stvarnosti“.

Rimini Protokoll's purpose is to take apart the sense of reality, and present all its facets from unusual perspectives. In this way, the trio of directors reproduced the full session of the German Parliament using 200 citizens from bonn (“Deutschland 2”). In “Deadline”, Kaegi made use of voices of undertakers and medical students to present new funeral customs. They reconstructed the bankruptcy of the belgian national airline Sabena in brussels (“Sabenation”). The latest productions include “Call Cutta in a box”, a oneto-one telephone performance that takes place live from a call centre in India, “100% berlin”, and “Hauptversammlung” (“Annual General Meeting”), a parasitic intervention on the occasion of the shareholders' meeting at Daimler. In 2007, Rimini Protokoll was awarded the Faust Theatre Prize, and in 2008, the European “New Realities in Theatre ” Prize.

AHMED SAID GHADA EL-SHERBINY Produkcijski menad`ment / Production Management:

LENA MODY KATINKA VAHLE JULIANE MÄNNEL LANA MUSTAQH (CAIRO) Hvala / Thanks to: MOHAMED SLEIMAN, SAKINA ABUSHI, NEUKÖLLNER BEGEGNUNGSSTÄTTE BERLIN E.V., DOA ALY, KHALED SAMY, AHMED EL ATTAR, MOURAD SADEK, HEBA AFIFI. Produkcijski detalji / Production Details Produkcija HAU Berlina i Goethe-Instituta u Egiptu. Realizovano u koprodukciji sa Festivalom d’Avignon, Bonlieu Scène Nationale Annecy, Festivalom d’Athènes et Épidaure, Steirischer Herbst Festivalom, i Graz i Zürcher Theater Spektaklom.

Finansirano od strane Federalne Fondacije za kulturu Njema~ke, [vicarskog Vije}a za umjetnost, i Ureda Gradona~elnika Berlina, tj Konzulata Senata za kulturna pitanja. U saradnji sa El Sawy Culturewheel iz Kaira.

A production by HAU Berlin and GoetheInstitute Egypt. In Co-production with Festival d’Avignon, Bonlieu Scène Nationale Annecy, Festival d’Athènes et Épidaure, Steirischer Herbst Festivalom, and the Graz and Zürcher Theater Spektakel. Funded by the German Federal Cultural Foundation, Swiss Arts Council Pro Helvetia and the Department of the Mayor of Berlin – Senate Chancellery – Cultural Affairs. In cooperation with El Sawy Culturewheel, Cairo.

Uloge / Cast:

ABDELMOTY ABDELSAMIA ALI HINDAWY HUSSEIN GOUDA HUSSEIN BDAWY MANSOUR ABDELSALAM MANSOUR NAMOUS MOHAMED ALI MAHMOUD FARAG SAYED ABDELLATIF MOHAMED HAMMAD

WORLD MESS

REDITELJ Stefan Kaegi u razli~itim vrstama saradnje stvara predstave dokumentarnog teatra, radijske emisije, te kreira u urbanom prostoru. Koriste}i istra`ivanja, javne audicije i konceptualne procese, njegove predstave nastaju iz specifi~ne problematike odabranih lokacija. Ovo se u predstavama posti`e tako {to se daje prostor lokalnim ‘ekspertima’ da iznesu svoja mi{ljenja.

Na ovaj na~in je Kaegi re`irao „Mnemopark“, maketu svijeta `eljeznica u basel Teatru – kao `ivi film (postavljen prema skali 1:87), koji je prikazan u vi{e od trideset gradova, od Tokija do Montreala. Sa predstavom “Cargo Sofia” Kaegi je proveo dvije godine na turneji Evropom, u adaptiranom kamionu sa dvojicom bugarskih voza~a. 2008. godine, razvio je projekat „Radio Mujezin“ u Kairu - projekat o pozivu na molitvu u dana{njem vremenu tehni~ke reprodukcije.

Italija / Italy

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

07/10/11

DISSONORATA Ubistvo iz ~asti u Kalabriji DISSONORATA A murder of honour in Calabria

PREDSTAVA Uzimaju}i kao polazi{te kratku, ali simboli~nu pri~u o jednoj `eni iz Kalabrije, ova predstava stvara priliku za razmi{ljanje o polo`aju `ena u cjelini.

Kada govori o vlastitom selu, ta `ena govori o polo`aju `ena u na{em globalnom selu. U predstavi se ~uje vi{e glasova.

Glasovi majki, baka, tetki, njihovih prijatelja i prijateljica i prijatelja i prijateljica njihovih prijatelja i prijateljica. Me|u njima se naro~ito isti~e jedan glas. Mala, tragi~na i potresna pri~a jedne `ene iz ju`ne Italije. Iz njene pri~e izranja Kalabrija u kojoj su pomije{ani elementi grotesknog i nadrealnog, ponekad ~ak i komi~nog, uz stalno prisustvo gorke ironije u tragi~nom kontekstu. „Ispred crnih zavjesa, stoji jedna stolica na kojoj Saverio La Ruina, producent i autor za Scenu Verticale, sjedi osamdeset minuta, vo|en vrtlogom vlastitih rije~i, prekinut samo kad mijenja pri~u, tako da Gianfranco De Franca, koji je iza njega, mo`e razbiti tok njegove pri~e, zvukovima svojih instrumenata.“ Franco Quadri, La Repubblica „Usamljena slika te `ene ostaje utisnuta u na{im o~ima i umovima, zahvaljuju}i snazi ekspresivnog jezika, koji, ~ak i pomo}u jednostavne opreme, daje `ivot zabavnom i `eljnom paralelnom svemiru. Saverio La Ruina je izvrsno napisao i izveo ovu nu`nu predstavu na strogom kalabrijskom dijalektu, sa svima razumljivom komunikativnom snagom. [tavi{e, on te navodi da se smije{, da afektira{, da misli{. [...] Ova pri~a je dugi flashback, poku{aj da se poprave detalji koji su naizgled besmisleni, ali klju~ni ako se pro~itaju na pravi na~in.“ Simona buonomano,“Hystrio „

PERFORMANCE Taking as its starting point a small but emblematic story of a woman in Calabria, the play creates an occasion for some reflection on the condition of women in general. Speaking of her own village, she is speaking about the condition of women in our global village. Multiple voices are heard in the play. Voices of mothers, grandmothers, aunts, of their friends and friends of their friends. And among these one in particular. The small, tragic and moving story of one woman from Southern Italy. From her tale emerges a Calabria that mixes elements of the grotesque and surreal, sometimes even comic, on a continuous tone of bitter irony in a tragic context. „In front of the black curtains, here is only the chair on which Saverio La Ruina, producer and author for Scena Verticale, is sitting for eighty minutes, led by the whirl of his own words, interrupted only at the changes of the narration, so that Gianfranco De Franco, who is behind him, can break the flow by the sounds of his instruments.”

Franco Quadri, “la Repubblica” „The lonely image of this woman remains impressed in our eyes and mind, thanks to the strength of an evocative language, which, even in the simplicity of equipment, gives life to an amusing and yearning parallel universe. Saverio La Ruina excellently writes and performs this essential play in a strict Calabrian dialect, with such a communicative power that is understandable to everybody. What’s more, he gets you to smile, affect, think. […] The tale is a long flashback, an attempt to fix details which are apparently meaningless, but essential if they are read in the right way. “ Simona buonomano,”Hystrio”

Re`ija, gluma i text / Written, directed and performed by:

SAVERIO LA RUINA Muzi~ka izvedba / Live music:

GIANFRANCO DE FRANCO – MANDARA PROJECT Svjetlo i zvuk / Lights and Sound:

DARIO DE LUCA Menad`er turneja / Tour manager:

SETTIMIO PISAN Fotografija / Photography:

T. LE PERA Production / Produkcija:

SCENA VERTICALE

Saverio La Ruina graduated from the School of Theatre in bologna, continued his training with Jerzy Stuhr, and has worked with Leo De berardinis and Remondi & Caporossi. In 1992, with Dario De Luca, he founded Scena Verticale. In 2007, with the monologue Dissonorata, he received two UbU Prizes: “best Italian Actor” and “best Italian Text”. In 2010, with the play la borto, he receives another UbU Prize for “best Italian Text” and the Hystrio Dramaturgy Award.

DIRECTOR

TEATAR

THEATER

„Scena Verticale“ je pozori{na trupa sa sjedi{tem u Castrovillariju, u ju`noj Italiji.

Posljednjih nekoliko godina, njene predstave osvajaju neke od najva`nijih italijanskih pozori{nih nagrada, te su izvo|ene van Italije, na turnejama u SAD, Argentini, Engleskoj, Njema~koj, Francuskoj, Rusiji, Irskoj, belgiji i Hrvatskoj. Od 1999. godine, pozori{te organizuje Festival Primavera dei Teatri, koji je sada postao referentni teatarski doga|aj u savremenom italijanskom pozori{tu. „Kalabrijska trupa 'Scena Verticale' je me|u najvitalnijim i najizra`ajnijim trupama na{eg juga: ukorijenjena i upu}ena na sje}anje na svoju zemlju, oni izvode to sje}anje pomo}u malih pri~a pro`etih ironijom i poet~no{}u. Trupa osvaja svoje gledaoce izvanrednom izvedbom.“ Emanuela Garampelli

Scena Verticale is a theatre company based in Castrovillari, in Southern Italy.

Over the last few years, its plays have won some of the most important Italian theatre awards and have been staged abroad, with tours in the USA, Argentina, England, Germany, France, Russia, Ireland, belgium, Croatia. Since 1999, it has organized the Primavera dei Teatri Festival, now a reference point in contemporary Italian theatre. „The Calabrian company Scena Verticale is among the most vital and expressive of our south: rooted and alert to the memory of their own land, they perform it with little stories hinged with irony and poetic tension; this company has won spectators with an extraordinary performance.“ Emanuela Garampelli

WORLD MESS

Saverio La Ruina je diplomirao na Teatarskoj {koli u bologni, nastavio obuku sa Jerzy Stuhrom, te je radio s Leom de berardinisijem, i Remondi & Caporossijem.

1992. godine, osniva Scenu Verticale s Dariom De Lucom. 2007. godine, za monolog Dissonorata, primio je dvije UbU nagrade: za najboljeg talijanskog glumca i za najbolji talijanski tekst. 2010. godine, s predstavom “la borto”, prima jo{ jednu UbU nagradu za najbolji talijanski tekst i dramatur{ku nagradu Hystrio.

REDITELJ

Radni~ka hronika THE WORKER'S CHRONICLE

Kad sam bio mrtav WHEN I WAS DEAD

Arapska no} THE ARAbIAN NIGHT

[ta se desilo nakon {to je nora napustila mu`a WHAT HAPPENED AFTER NORA LEFT HER HUSbAND

Leonce i Lena LEONCE AND LENA

Hipermnezija HYPERMNESIA

Otac na slu`benom putu WHEN FATHER WAS AWAY ON bUSINESS

bosna i Hercegovina/ bosnia and Herzegovin

Narodno pozori{te Sarajevo 19.30 The Sarajevo National Theater 19.30 Trajanje / Running time 90 min.

04/10/11

Petar Mihajlovi} RADNI^KA HRONIKA THE WORKER'S CHRONICLE

PREDSTAVA „Radni~ka hronika“ ima u sebi ne~eg od dokumentarne drame. Ona govori o savremenoj dru{tvenoj situaciji o kojoj ~esto javljaju mediji – dugotrajnom {trajku radnika fabrike koja je propala u poku{aju vlasni~ke transformacije. Pisac sa saose}anjem, razumijevanjem i ironijom govori o ovom dnevno aktuelnom dru{tvenom doga|aju. On zapa`a va`an paradoks: ljudi u ovim socijalnim sukobima nemaju identitet, iako svako od aktera ima specifi~nu li~nu dramu. Radnici se razlikuju samo po rednom broju i godinama sta`a, a ‘glavni radnik’, tj. radnik bez broja, je savremeni “everyman”. ‘Ostala lica’, po prijedlogu pisca, mogu igrati isti glumci koji igraju sedam radnika, jer je zajedni~ka crta svih lica to da ne razumiju situaciju u kojoj su se na{li. Razlikuju se po na~inu na koji je ne razumiju, a ‘na~ini’ zavise od dru{tvene pozicije u datom sukobu.

Kao {to likovi nemaju identitet tako nemaju ni imena, ve} se razlikuju po zanimanjima. Komad se pribli`ava farsi, i ta farsi~nost „Radni~ku hroniku“ spa{ava od tugaljivosti melodrame, koja kao senka nadlije}e tu`ne `ivotne pri~e likova. Posebnu vrednost komadu daju dijalozi i monolozi koji imaju notu dokumentarnog, i istovremeno ukazuju da pisac veoma dobro poznaje `argon i govornu fakturu socijalnog miljea o kome pi{e.

Worker’s Chronicle has in it something pertaining to the docudrama. It talks about a contemporary social situation that is frequently discussed by the media – a longstanding strike of the workers of a factory that had collapsed as a result of an attempt to change its owner. With compassion, understanding and irony, the author discusses this very current social event. He notes an important paradox: the people involved in these social conflicts have no identity, even though each of them suffers a very specific personal drama. Workers are distinguished only by serial number and number of years of service, while the “foreman”, or lead worker, is a worker without a number - a contemporary Everyman. The “others”, by request of the writer, must be played by the same actors who also play the roles of seven workers, because the common characteristic of them all is that they do not understand the situation in which they find themselves. They do differ in the ways in which they do not understand it, while these “ways” are determined by the social positions in a given conflict.

Just as the characters have no identity, they also have no names, and are distinguished by occupation. As the play approaches farce, the farce saves the Chronicle from the pitying feeling of a melodrama, which, shadow-like, hovers over the sad life stories of the characters. The special value of the play comes from its dialogues and monologues, which have a touch of the documentary, and at the same time indicate that the writer is very familiar with the jargon and language habits of the social milieu he writes about.

PERFORMANCE

Re`ija i adaptacija / Director and adaptation:

ANA \OR\EVI] Scenografija / Stage design:

DRAGANA PURKOVI]-MACAN Kostimografija / Costume Design:

IVANA JOVANOVI] Muzika / Music:

SOPOT Asistent reditelja / Assistant director:

BORIS MILANOVI] Asistent kostimografa / Assistant to Costume Design:

JELENA KARANOVI] Lektura / Language editing:

MILORAD TELEBAK Inspicijent / Stage manager:

NADA GALI] Sufler / Prompter:

SVJETLANA POPOVI] Produkcija /Production:

Ana \or|evi} graduated Theatre Direction at the Faculty of Dramic Arts in belgrade in 2000 with William Shakespeare’s A Midsummer Night’s Dream, produced by the Podgorica City Theatre, and under the mentoring of Professor Egon Savin. between 2000 and today, she has, among other works, also directed Stevan Koprivica's When You Grow Up You’ll be Me by (bo{ko buha Theatre, belgrade); Nikolaj Koljada's Sling (belgrade Drama Theatre, belgrade); Miroslav belovi}'s Crane’s Feathers (Children and Youth Theatre, Skoplje); her own play House between Earth and Sky (bo{ko buha Theatre, belgrade); Andreas Sam’s Train Schedule by Kis/baleti}/\or|evi} (Scene Studio, Yugoslav Drama Theatre, belgrade, Don Juan by J.b.P. Moliere (bitef Theatr, belgrade); Giovanni boccaccio's Decameron in her own dramatic adaptation (Evening Scene, bo{ko buha Theatre, belgrade); Joe Orton's What The butler Saw (Subotica National Theatre), The Knaut Girl by Laza Lazarevi} in her own dramatic adaptation(„bojan Stupica“ Theatre, Yugoslav Drama Theatre, belgrade), Sue Towsend's The Secret Diary of Adrian Mole („Jazavac“ City Theatre, banja Luka); Notes from the Underground by F. M. Dostoevsky, in her own dramatic adaptation („bojan Stupica“ Theatre, Yugoslav Drama Theatre, belgrade); N.V. Gogol's The Marriage (Sombor National Theatre). She lives in belgrade.

DIRECTOR

TEATAR

THEATER

Mjesto i uloga banjalu~kog profesionalnog pozori{ta „Narodnog pozori{ta Republike Srpske“ (jedinog u Republici Srpskoj, pored „Dje~ijeg pozori{ta RS“, tako|e u banjoj Luci), koje je oduvijek (a tako je i sada) bilo i vi{e od pozori{ta jednog grada, njegovo „zvanje i pozvanje“ da bude NARODNO, svakako su nove koordinate, u ~ijem odre|enju valja promi{ljati programske, repertoarske i svake druge te`nje ovda{njih (i dana{njih) „pozori{tnika“.

Kona~no, tu je (na poslijjetku, ali nikako najmanje va`no!) PUbLIKA, nu`ni i neophodni korektivni element, posebno kod nas, u sredini i vremenu kada je argumentovana, temeljita i stru~no verifikovana pozori{na kritika "karika koja nedostaje".

A sve ovo, naprijed re~eno, slijedi u jednom vremenu koje je obilje`eno ratnim i poratnim traumama i svakovrsnim isku{enjima. Eto, ukratko, "rama za sliku" pozori{ta i pozori{ne umjetnosti, danas i ovdje, u novom vijeku i novom milenijumu.

The place and role of banja Luka’s professional theatre National Theatre oft he Republic of Srpska (which, alongside the “RS Children's Theatre“, also in banja Luka, is the only theatre in the Republika Srpska), is and has always been more than just a city theatre. Its current role and intention of being a NATIONAL theatre are certainly new coordinates, which need to be used when considering the programming, repertoire and any other aspirations of local (and present-day) "theatricians”. At last (but certainly not at least!), there is the AUDIENCE, the essential and necessary corrective element, especially for us, at a time and place when an argumented, thorough and professionally verified theatre criticism is the “missing link".

And all of the above discussed follows at a time marked by war and postwar traumas and all kinds of temptations. So here we have a “picture frame“ for theatre and the art of theatre, here and now, in a new century and new millennium.

NARODNO POZORI[TE REPUBLIKE SRPSKE / NATIONAL THEATRE OF THE REPUBLIC OF SRPSKA Uloge / Cast:

BRANKO JANKOVI] ZLATAN VIDOVI] MILJKA BR\ANIN-BABI] SANDRA LJUBOJEVI] GORAN JOKI] @ELJKO ERKI] DRAGANA MARI]

MITTEL EUROPE

Ana \or|evi} je diplomirala Pozori{nu re`iju na „Fakultetu dramskih umetnosti“ u beogradu 2000. godine predstavom „San letnje no}i“ Viljema [ekspira u produkciji Gradskog pozori{ta u Podgorici, pod mentorstvom prof. Egona Savina. U periodu od 2000. godine do danas re`irala je, izme|u ostalih, sljede}e predstave: „Kad poraste{ bi}e{ ja“ Stevana Koprivice (Pozori{te ‘’bo{ko buha’’, beograd); „Pra}ka“ Nikolaja Koljade (beogradsko dramsko pozori{te, beograd); „@dralovo perje“ Miroslava belovi}a (Teatar za deca i mladinci, Skoplje); „^ardak ni na nebu ni na zemlji“ Ane \or|evi} (Pozori{te ‘’bo{ko buha’’, beograd); „Red vo`nje“ Andreasa Sama, Ki{/ baleti}/\or|evi} (Scena Studio, Jugoslovensko dramsko pozori{te, beograd); „Don @uan“ @. b. P. Molijera (bitef teatar, beograd); „Sirano“ @oa Rutsa (Ve~ernja scena Malog pozori{ta ‘’Du{ko Radovi}’’, beograd); „Dekameron“ \ovanija boka~a u sopstvenoj dramatizaciji (Ve~ernja scena pozori{ta ‘’bo{ko buha’’, beograd); „[ta je sobar vidio“ D`oa Ortona, (Narodno pozori{te Subotica); „[vabica“ Laze Lazarevi}a u sopstvenoj dramatizaciji, (Teatar ‘’bojan Stupica’’, Jugoslovensko dramsko pozori{te, beograd) „Tajni dnevnik Adrijana Mola“ Sju Taunzend, (Gradsko pozori{te ‘’Jazavac’’, banjaluka); „Zapisi iz podzemlja“ F. M. Dostojevskog u sopstvenoj dramatizaciji (Teatar ‘’bojan Stupica’’, Jugoslovensko dramsko pozori{te, beograd); „@enidba“ N. V. Gogolja (Narodno pozori{te Sombor). @ivi u beogradu.

REDITELJ

Slovenija/Slovenia

Pozori{te mladih 22.00 The Youth Theatre Sarajevo 22.00 Trajanje / Running time 75 min.

04/10/11

KAD SAM BIO MRTAV WHEN I WAS DEAD

PREDSTAVA

De brea re`ira adaptaciju filma "Kad sam bio mrtav", djelo velikog njema~kog reditelja Lubitscha, iz najranijih dana njegove filmske karijere, 1916. godine. Film, u kojem Lubitsch tuma~i jednu od uloga, je bruleska i dugo se smatrao izgubljenim. „Kad sam bio mrtav“ se zasniva na pri~i o mu`u koji najavljuje samoubistvo, a potom nestaje, da bi se opet pojavio preru{en kao druga osoba. U ovoj brulesci, zaplet se razvija druga~ije od, na primjer, poznatog Pirandellovog romana „Pokojni Matija Pascal“. Lubitschev junak je lakoumni “bon vivant”, koji se voli i{unjati iz ku}e u ve~ernjim satima da bi i{ao u klubove igrati {ah sa drugim mu{karcima. To ljuti njegovu suprugu, ali jo{ vi{e njegovu punicu. Jednog dana (zapravo, usred no}i), ona zaklju~a vrata dok je on jo{ vani, tako da nesretni suprug mora provesti no} u hodniku, na neudobnom stubi{tu. On sutradan najavljuje svoju namjeru da po~ini samoubistvo i nestaje. No, umjesto da umre, on izlazi u dru{tvo da ponovo okusi slobodu `ivota neo`enjenog mu{karca. Me|utim, dok je „udovica“ u `alosti, suprug postaje umoran od plandovanja. Vra}a se svojoj `eni, koju jo{ uvijek voli, ali preru{en u batlera. No, njegova punica je ve} u potrazi za novim mu`em za svoju k}erku – ~ak jednog dovodi ku}i.

De Brea here directs an adaptation of the film „When I Was Dead“, which the great German director Lubitsch made at the very beginning of his film career in 1916. Starring Lubitsch himself, the film is a burlesque, and had been long considered lost. „When I Was Dead“ is based on the story of a husband who announces his suicide but then disappears; then he reappears, disguised as somebody else. In this burlesque film, the plot develops differently from, for example, Pirandello’s famous novel „The Late Mattia Pascal“. Lubitsch’s hero is a frivolous bon vivant, who likes to sneak out in the evenings to go to clubs to play chess amongst men.This annoys his wife, but bothers his mother-in-law even more.

One day (actually, in the middle of the night), she locks him out and the unfortunate husband has to spend the night in the hallway on the uncomfortable staircase. The next day he announces his intention to commit suicide and disappears. But instead of dying, he goes out to taste again the freedom of the bachelor life. However, while 'the widow' is in mourning, the husband also becomes tired of idling about. He returns to the wife he still PERFORMANCE

Re`ija / Director

DIEGO DE BREA Scenografija / Set Designer

DIEGO DE BREA Kostimografija / Costume Designer

BJANKA AD@I] URSULOV Kompozitor / Composer

JO@E [ALEJ Dizajn svjetla / Light Designer

MILAN PODLOGAR Produkcija / Production

SLOVENSKO NARODNO GLEDALI[^E DRAMA LJUBLJANA Foto / Photography

Diego de brea studied Comparative Literature and Art History at the Faculty of Arts in Ljubljana. In 1995, he started studying Theatre Direction at the Academy for Theatre, Radio, Film and Television in Ljubljana. His graduation piece, "The birth of Light", won an award at the International Student Production Theatre Festival in brno. He has authored a number of wellknown performances in Slovenian repertory and non-institutional theatres. He tackles many genres ranging from youth pieces and puppet shows (even a puppet opera), to self-authored projects, classical and contemporary texts as well as musical woodwill. In Italy, he directed a self-authored project Leonora, starring the opera singer Eleonora Jankovich and based on Wagner’s motifs. His performances toured both in Slovenia and abroad - in belgrade, at the Varna Festival in bulgaria, at the Mladi levi and Exodos Festivals, in London, Paris, Antwerp, Mons, Dortmund and at the Iberoamericano Festival in bogotå, Colombia. His self-authored project Duel (Glej Theatre), received a special award at the bor{tnik Drama Meeting. In 2005, de brea received the aesthetic breakthrough award at the same festival for his performances "Queen Margot" and "Edward II". He also received the Golden bird Award for Theatre in 2002.

DIRECTOR

PRODUKCIJA

PRODUCTION

Slovensko narodno gledali{~e u Ljubljani je jedno od devet profesionalnih repertoarnih pozori{ta u Sloveniji, i ujedno, najstarije od tri pozori{ta koje je osnovala Vlada Republike Slovenije. Kao glavno dramsko pozori{te u Sloveniji, njegov repertoar sadr`i djela savremene, klasi~ne i eksperimentalne drame slovenskih i stranih dramati~ara. U ansamblu su 49 stalnih ~lanova, iako se desetak umirovljenih ~lanova ansambla, kao i studenti Akademije za pozori{te, radio, film i televiziju (AGRFT), redovno pojavljuju u predstavama pozori{ta. Pozori{te godi{nje predstavlja deset do ~etrnaest novih produkcija, dok se repertoar obi~no sastoji od vi{e od dvadeset predstava. Pozori{te redovno predstavlja svoje najzna~ajnije produkcije na slovenskim pozori{nim festivalima, kao {to su bor{tnikov pozori{ni festival, Slovenska dramska sedmica, Slovenski festival kamernog teatra (SKUP) i drugi. U posljednjih nekoliko sezona, ansambl je tako|er uspje{no u~estvovao na me|unarodnim festivalima u Njema~koj, [vedskoj, Portugalu, ^e{koj, Poljskoj, Rumuniji, bosni i Hercegovini, Ju`noj Koreji, Gr~koj, Hrvatskoj, Italiji, Austriji, Crnoj Gori, Srbiji, Ma|arskoj, Slova~koj, Kipru i drugim.

Tokom posljednjeg desetlje}a, SNG Drama Ljubljana usmjerila je repertoar ka najzahtjevnijim djelima klasi~nih autora, te ka savremenim dramskim djelima i nekomercijalnim evuopskim i slovenskim savremenim dramskim tekstovima. Ove predstave postavljene su uglavnom u skladu sa savremenim praksama performansa, ~ime se ~uva kontakt repertoara sa savremenim evropskim teatrom. U tu svrhu, SNG Drama anga`ovala je nekoliko mla|ih redatelja s novim osje}ajima poetike i estetike.

The Slovene National Theatre Drama Ljubljana is one of the nine professional repertoire theatres in Slovenia, and at the same time, the oldest of the three theatres founded by the Government of the Republic of Slovenia. being the major drama theatre in Slovenia, the theatre's repertoire includes contemporary, classical, and experimental drama works of Slovene and foreign playwrights.The ensemble includes 49 permanent members, though a dozen retired members of the ensemble, as well as students of the Academy of Theatre, Radio, Film and Television (AGRFT) regularly appear in the theatre's productions. The theatre annually presents 10 to 14 new productions, while the repertoire commonly consists of over twenty performances. The theatre regularly presents its most visible productions at Slovene theatre festivals, such as the bor{tnik Theatre Festival, Slovene Drama Week, Slovene Festival of Chamber Theatre (SKUP) etc. In recent seasons, the ensemble has also successfully participated in international festivals in Germany, Sweden, Portugal, the Czech Republic, Poland, Romania, bosnia and Herzegovina, South Korea, Greece, Croatia, Italy, Austria, Montenegro, Serbia, Hungary, Slovakia, Cyprus etc.

Over the last decade, SNG Drama Ljubljana focused its repertoire to most demanding works of classical authors, to modern dramatic works, and non-commercial European and Slovene contemporary dramatic texts, which were predominantly staged in line with contemporary performing practices, thus keeping the theatre's repertory in touch with contemporary European theatre.

To this purpose, SNG Drama commissioned a number of younger directors with new poetics and aesthetics.

PETER UHAN Uloge / Cast:

ALOJZ SVETE JANEZ [KOF JERNEJ [UGMAN BORIS MIHALJ JO@E [ALEJ

MITTEL EUROPE

REDITELJ Diego de brea studirao je Komparativnu knji`evnost i Historiju umjetnosti na Umjetni~kom fakultetu u Ljubljani. Pozori{nu re`iju na Akademiji za teatar, radio, Film i televiziju u Ljubljani upisuje 1995. godine. Njegova diplomska predstava, "Ro|enje svjetlosti", nagra|ena je na Me|unarodnom pozori{nom festivalu studentske produkcije u brnu. Autor je poznatih predstava u slovenskim repertoarnim i neinstitucionalnim teatrima. bavi se razli~itim `anrovima, od predstava za mlade i lutkarskih predstava (~ak i lutkarske opere), preko autorskih projekata, klasi~nih i savremenih tekstova, sve do muzi~kog vodvilja. U Italiji je, prema Wagnerovim motivima, re`irao autorski projekt "Leonora" sa operskom pjeva~icom Eleonorom Jankovich. Njegove postavke gostovale su u Sloveniji i u inostranstvu - u beogradu, na festivalu u Varni u bugarskoj, na festivalima Mladi lijevi i Exodos, u Londonu, Parizu, Antwerpenu, Monsu i Dortmundu, te na Iberoamericano Festivalu u bogoti, u Kolumbiji. Za autorski projekt "Dvoboj" (Glej teatar) dobio je posebnu nagradu na bor{tnikovim susretima. 2005. godine je istom festivalu primio Nagradu za inovativnost u umjetnosti za predstave "Kraljica Margot" i "Edvard II". Primio je i Zlatnu pticu za teatar 2002. godine.

bosna i Hercegovina / bosnia and Herzegovina

Pozori{te mladih 22.00 The Youth Theatre Sarajevo 22.00 Trajanje / Running time 95 min.

05/10/11

Roland Schimmelpfennig ARAPSKA NO] THE ARABIAN NIGHT

PREDSTAVA „Arapska no}“ koja se desi u ovom komadu nije samo jo{ jedna dra`esna fantazija o 'preplitanju sna i jave'. To je hiljadu prva [eherezadina no}, koja nas podsje}a na to da je te`nja da se do|e do neke definitivne verzije o nama samima samo jedan beznade`an i nemogu} san. I da istina ne le`i u jednom, ve} u mnogo snova. Tema je simboli~na i jaka, nimalo laka za razumijevanje.Mjesto de{avanja je jedna vi{espratnica, u njoj se ljudi skoro i ne poznaju, a to se najbolje vidi kada jedna od dvije junakinje drame, Fatima, ne uspijeva u}i u svoju zgradu, jer se ne mo`e sporazumjeti sa `enom od koje tra`i pomo} preko interfona. U predstavi se politi~ka poruka vjerovatno ne vidi eksplicitno. Sve ima svoju simboliku, i ono {to vidimo jeste da je svaki lik zarobljen u svom bolu.

Na kraju se svako bori protiv svojih poriva i strahova.

Arapska no} simboli{e i ne{to {to dugo, beskrajno traje...

Svi junaci su zato~enici ove no}i, upleteni u sopstvene navike, u niz istih doga|aja koji se ponavljaju iz dana u dan. Njihov tok izmijenit }e samo jedan pokvareni lift.

PERFORMANCE „The Arabian Night“ that takes place in this piece is not just another charming fantasy about 'the intertwining of fantasy and reality.' It is Scheherazade’s 1001st night, which reminds us that the desire to reach a definitive version of ourselves is just a hopeless and impossible dream. And that the truth lies not in one, but in many dreams. The topic of this play is symbolic and strong, and not at all easy to understand. (...)The action takes place in a high-rise, where people hardly know one another.

This is best seen when one of the two heroines of the play, Fatima, cannot enter her building, because she cannot communicate with the woman she is asking for help from over the intercom. (...) The political message in the play is probably not explicitly seen.

Everything has its own symbolism, and what we see is that each character is trapped in his or her own grief. At the end, each character is fighting against his or her own instincts and fears. (...) Arabian Night also symbolizes something that goes on for a long, endless time... All the characters are prisoners of the night, caught up in their own habits, in the same series of events that are repeated from one day to another. But their course in life will be changed by single broken-down elevator.

Re`ija / Director:

FILIP GRINVALD Scenografija / Stage Design:

VLADIMIR PAVLOVI] Kostimografija / Costume Design:

SABINA TRNKA Jezi~ka adaptacija / Language Adaptation:

HASAN D@AFI] Izbor muzike / Musical Selection:

FILIP GRINVALD Scenski pokret / Movement on Stage:

HARIS BURINA

Filip Grinvald was born in 1984 in belgrade. He studied Directing at the Faculty of Dramatic Arts in belgrade, in the class of professor Egon Savin. His graduation piece was Goldoni’s “Mirandolina” at the National Theatre in Sombor. In the Republic of Srpska National Theatre in banja Luka, he directed the play “Savage Path” by F.X. Kroetz, “Vitamins” by V. Ion, and “Stone balloon - My Memories” by R. Smiljani}, while, at the belgrade Drama Theatre, he directed D.L. Abaire’s “Rabbit Hole”. For his direction of “Savage Path”, he won the Award for best Young Director at the MESS International Theatre Festival in Sarajevo in 2008.

DIRECTOR

Organizacija i asistentica produkcije / Organiser and Production Assistant:

SANDRA IKANOVI] Prevodilac / Translator:

LJUBI[A MATI] Producenti / Producers:

HAZIM BEGAGI] ARMIN ]ATI] Koprodukcija / Coproduced by: BOSANSKO NARODNO POZORI[TE / NARODNO POZORI[TA TUZLA THE BOSNIAN NATIONAL THEATRE / TUZLA NATIONAL THEATRE Uloge / Cast:

EDHEM HUSI] D@ENANA D@ANI] TEATAR

Bosansko narodno pozori{te Zenica je osnovano 1950. godine. Od tada do danas izvelo je 662 premijere i vi{e od 10 000 predstava.

Tokom svoje historije, bNP Zenica je izgradilo prepoznatljiv stil i poetiku, i zauzelo zna~ajno mjesto u porodici bosanskohercegova~kih teatara. U~estvovalo je na brojnim teatarskim festivalima i ostvarilo veliki broj gostovanja. Za rad i umjetni~ka postignu}a dobilo je zna~ajne nagrade i dru{tvena priznanja. bNP Zenica je osniva~ i organizator Festivala bh. drame. Nosilac je i koordinator evropskog pozori{nog projekta „No} teatra (za biH)“. Osim teatarskih, bNP Zenica je organizator i doma}in i drugih kulturnih i zabavnih programa i manifestacija, zna~ajnih za cjelokupan kulturni `ivot u gradu Zenici, u Zeni~ko-dobojskom kantonu i {ire. bNP Zenica je ~lan Me|unarodne mre`e za savremene izvedbene umjetnosti (IETM), a njegova Dje~ija, omladinska i lutkarska scena ~lanica je Me|unarodne asocijacije teatara za djecu i mlade (ASSITEJ).

Narodno pozori{te Tuzla, kao sljednik stogodi{nje pozori{ne tradicije u bosni i Hercegovini, nastalo je na temeljima `ivog pozori{nog amaterizma i brojnih gostovanja putuju}ih pozori{ta u Tuzli. Prije nego {to je osnovano Narodno pozori{te, pozori{na umjetnost za Tuzlu nije bila nepoznata. Narodno pozori{te Tuzla je imalo sre}u da se ambicije njegovih osniva~a, Radoslava Zoranovi}a i Ahmeda Muradbegovi} a, a ne{to kasnije i Kalmana Mesari}a - ne zadovolje formalnim odr`avanjem Pozori{ta u `ivotu.

Ovaj izuzetni stvarala~ko-marketin{ki trio uspio je da Narodnom pozori{tu Tuzla ve} prvih godina priskrbi epitet ozbiljne, zahtjevne i kvalitetne pozori{ne ku}e, {to se, sude}i po mnogim pokazateljima (gostovanja ili stalni anga`mani istaknutih glumaca i reditelja) - znalo cijeniti na teatarskom prostoru biv{e Jugoslavije. Pola stolje}a rada Narodnog pozori{ta Tuzla obavezuju}i je povod da se zaokru`i to pozori{no i kulturolo{ko vrijeme. Obilje pozori{nih doga|aja zavre|uje revalorizaciju i na kraju svake decenije, i po svome kvanutumu, a mnogo vi{e po svome zna~enju za kulturni i historijski prostor.

THEATER

The Zenica Bosnian National Theatre was founded in 1950. Since then, it has staged 662 premieres and had more than 10.000 performances.

During its history, the Zenica bosnian National Theatre has developed a recognizable style and poetic, and has assumed a significant place in the family of biH theatres. The theatre has taken part at numerous theatre fesivals and has had many guest performances.

For its work and accomplishments, it has received both significant rewards and social recognitions. The Zenica bosnian National Theatre is the founder and organizer of the biH Drama Festival. It is also the leader and coordinator of the European theatre project, “Theatre Night”, for bosnia and Herzegovina. besides theatre programs, the Theatre is also organiser and host of other cultural and entertainment programs, which are significant in the overall cultural life in the city of Zenica, the Zenica-Doboj Canton and beyond. The Zenica bosnian National Theatre is a member of the International Network for Contemporary Performing Arts (IETM), while its Children, Youth and Puppet Stage is a member of the International Association of Theatre for Children and Young People (ASSITEJ).

The Tuzla National Theatre, as a successor to a centuries-old theatrical tradition in bosnia and Herzegovina, has emerged on the roots of live theatre amateurism and numerous performances of by traveling theatres in Tuzla. before its establishment, theatre art as such was unknown in Tuzla (...) The Tuzla National Theatre has had the good fortune that the ambitions of its founders, Radoslav Zoranovi} and Ahmed Muradbegovi}, and a little later, Kalman Mesari} – did not settle for just keeping the Theatre alive formally (...) This exceptional creative-marketing trio managed to give the Tuzla National Theatre, even early on, the renown of a serious, demanding and high-quality theatre company, which, according to many indicators (its performances, or a continuing engagement of prominent actors and directors) – knew how to value the theatrical space of the former Yugoslavia. (...) Half a century of the Tuzla National Theatre Tuzla is an unmissable reason to round up a theatrical and cultural era. Its plethora of theatre events deserve to be re-evaluated at the end of each decade, both due to their quality, but much more because of its significance in our cultural and historical milieu.

AN\ELA ILI] SINI[A UDOVI^I] ADNAN OMEROVI]

MITTEL EUROPE

Filip Grinvald ro|en je 1984. godine u beogradu. Re`iju je studirao na Fakultetu dramskih umetnosti u beogradu u klasi profesora Egona Savina. Diplomirao je Goldonijevom Mirandolinom u Narodnom pozori{tu u Somboru. U Narodnom pozori{tu Republike Srpske u banjaluci re`irao je predstave „Staza divlja~i“ F. X. Kroetza, „Vitamini“ V. Ion i „balon od kamena - moja sje}anja“ R. Smiljani}, a u „beogradskom dramskom pozori{tu“ predstavu „Ze~ija jama“ D. L. Abairea. Za re`iju predstave „Staza divlja~i“ dobio je nagradu za najboljeg mladog reditelja na Internacionalnom teatarskom festivalu MESS Sarajevo 2008.

REDITELJ

^e{Ka Republika / The Czech Republic

Narodno pozori{te Sarajevo 19.30 The Sarajevo National Theater 19.30 Trajanje sa pauzom / Running time with intermission 140 min.

06/10/11

Elfriede Jelinek

[TA SE DESILO KADA JE NORA NAPUSTILA MU@A WHAT HAPPENED WHEN NORA LEFT HER HUSBAND komedija sa songovima /comedy with songs PREDSTAVA

Predstava „[ta se desilo nakon {to je Nora napustila mu`a“, ili „Stubovi dru{tva“ je Jelinekina prva drama. To je gotovo jedina informacija koju mo`ete prona}i istra`uju}i o ovom dramskom tekstu, koji nas, tako|er u naznakama, i sa specifi~nim prizvukom prijekora, obavje{tava da se radi o drami ljevi~arskih stavova, koji se sa savremene ta~ke gledi{ta najbolje mogu razumjeti ako se ova drama ~ita kao feministi~ka komedija. Prema tome, Jelinek se nesumnjivo predstavlja kao ljevi~arska feministkinja.

Dakako je mogu}e slo`iti se s takvim stavom, kojeg su 2006. godine predstavili Verena Mayer i Roland Koberg, autori objektivne monografije Elfriede Jelinek – Portret, ali samo u onoj mjeri u kojoj je mogu}e to tvrditi za sve {to se odnosi na samu autoricu i njena djela. Pitanje je da li autoricu mo`emo ili trebamo kritikovati zbog ljevi~arskih stavova, i kako je do njih do{la.

PERFORMANCE The play What Happened After Nora Left Her Husband, or The Pillars of Society is Jelinek’s first drama. This is virtually all we can find written about it in the secondary literature, which in some cases also briefly, as though in a reproachful undertone, informs us that it is a leftist play which from today’s viewpoint can be best understood if we read it as a feminist comedy.

Accordingly, Jelinek unambiguously appears to be a leftist feminist. Certainly, it is possible to agree with such a view, presented in 2006 by Verena Mayer and Roland Koberg, authors of the creditable and objective monograph Elfriede Jelinek. Ein Portrait, yet only to the extent to which it is possible to claim that about everything pertaining to both Jelinek’s works and herself. The question is whether the author can and should be upbraided for her leftist attitudes and how she has arrived at such attitudes.

Re`ija / Director:

MICHAL DO^EKAL Dramaturgija / Dramaturgy:

DARIA ULLRICHOVÁ Scenografija / Stage Design:

MARTIN CHOCHOLOU[EK Kostimi / Costumes: KATEŘINA ŠTEFKOVÁ Muzika / Music: MILOŠ ORSON ŠTĚDROŇ Pokret / Motion:

PETRA HAUEROVÁ Prijevod / Translation:

JITKA JÍLKOVÁ Fotografija/Photography

LUCIE JANSCH

Michal Do~ekal is the Stage Director and Artistic Director of the National Theatre Drama. From 1991 to 1994, he was stage director at the Ka{par Theatre Society (directing, among other plays, Katynka (Kleist), Doňa Juana (T. de Molina, H. bylina’s adaptation), Clavija (Goethe, J. Vostrý’s adaptation). between 1994 and 2002, not only as a stage director, but also artistic director, he transformed Prague’s Divadlo Komedie (which became Theatre of the Year 1996, and received the Alfréd Radok Award), directing Chekhov ’s The Three Sisters, Shakespeare’s King Lear, A Midsummer Night’s Dream, The Taming of the Shrew and The Merchant of Venice, Enquist’s bildmakarna (The Image Makers), Christie’s Ten Little Indians, etc. A landmark artistic achievement was his 2001 conception of Marlowe’s The Tragical History of Doctor Faustus, staged in the underground of Vy{ehrad Castle in Prague (Divadelní noviny Award). At the tim e, he also worked as a guest director at other theatres.

He became Artistic Director of the National Theatre Drama in 2002. He debuted with Rostand’s Cyrano de bergerac, followed by 4.48 Psychosis (Kane), Like Totally Weird (Mastrosimone), Krapp’s Last Tape (beckett/Mihalovici), The Miser (Molière), Hypermarket (Klimá~ek), The Persecution and Torture of Dr. [alda (Anonymous), Sellers of Souls (bassetti) , Pygmalion (Shaw), Father (Jirásek), At Home (Franti{ák), A Little Might Music (Kohout).

DIRECTOR

Produkcija / Production:

NÁRODNÍ DIVADLO PRAHA / THE NATIONAL THEATRE PRAGUE Uloge / Cast:

KATEŘINA WINTEROVÁ IGOR BAREŠ VLADISLAV BENEŠ JAROMÍRA MÍLOVÁ MILOSLAV MEJZLÍK ONDŘEJ PAVELKA PETR MOTLOCH EVA SALZMANNOVÁ EVA VRBKOVÁ / MARIE ŠTÍPKOVÁ KATEŘINA PETROVÁ ALEXEJ PYŠKO LUBOŠ VESELÝ HANA IGONDA ŠEVČÍKOVÁ

TEATAR

THEATER

Narodno pozori{te u Pragu ~ine tri umjetni~ka odsjeka - opera, drama i balet – ~iji se nastupi naizmjeni~no smjenjuju u povijesnoj zgradi Narodnog pozori{ta, Pozori{ta Estates, Nove Scene i Pozori{ta Kolowrat. Sva tri umjetni~ka odsjeka svoj repertoar biraju ne samo iz bogatih klasi~nih izvora, nego se, pored ~e{kih autora, tako|er fokusiraju i na savremene internacionalne autore.

Umjetni~ki ansambl Drame Narodnog pozori{ta se sastoji od istaknutih umjetnika iz tri generacije ~e{kog pozori{ta. Repertoar ovog pozori{ta izrazito je sveobuhvatan: od klasi~ne komedije i klasika svjetske dramske literature, razli~itih vrsta nastupa i dobrotvornih predstava, do postavki savremenih dramskih tekstova. Samo na taj na~in ansambl i uposlenici Drame Narodnog pozori{ta svojoj publici mogu pru`iti sadr`aje koji se njih i o~ekuju. Najve}e blago Narodnog pozori{ta su njegovi glumci. Oni su nositelji njegove tradicije: svaki dan, oni rije~i pjesnika pretvaraju u opipljivu stvarnost, i oni predstavljaju budu}nost pozori{ta. U ansamblu Narodnog pozori{ta u Pragu, sa~injenom od velikog broja vrhunskih umjetnika razli~itih generacija, `ivo sje}anje nekada{njeg teatra ujedinjeno je sa `eljom mladih da dosegnu nove kreativne standarde.

A gledati umjetnost koju svi oni zajedni~ki stvaraju ~ista je radost.

Today’s National Theatre comprises three artistic ensembles – opera, drama and ballet – which alternate in performances in the historic building of the National Theatre, the Estates Theatre, the New Stage and the Kolowrat Theatre. All three artistic ensembles choose their repertoire not only from the wealth of classical references, but in addition to Czech authors also focus on modern international creative work.

The artistic ensemble of the National Theatre Drama is made up of distinguished artistic personalities of Czech theatre spanning the generations. The backbone of the repertoire is extremely comprehensive. From classic comedies and international dramas, through mixed bills and benefit performances, to contemporary drama. Only in this manner can the National Theatre Drama provide the public with the service that is expected of it. The greatest treasure of the National Theatre is its actors. These are the bearers of its tradition; every day the words of poets are made flesh, and they represent the theatre’s future. In this multigenerational ensemble, composed of such a number of superb professionals within the National Theatre Drama, the living memory of the theatre is wedded with the desire of youth to reach new heights. And the art of all of them is a sheer joy to behold.

MITTEL EUROPE

Michal Do~ekal je reditelj i umjetni~ki direktor Drame Narodnog pozori{ta. Od 1991. do 1994. godine bio je reditelj Pozori{nog dru{tva Ka{par, gdje izme|u ostalog, re`ira drame „Katynka“ (Kleist), „Dona Juana“ (T. de Molina, u adaptaciji H. byline), „Clavija“ (Goethea, a u adaptaciji J. Vostrý). Izme|u 1994. i 2002. godine, djeluju}i i kao reditelj, ali i kao umjetni~ki direktor, osniva pra{ku Divadlo Komediju (koja je progla{ena Teatrom godine 1996. godine, i primila Nagradu Alfred Radoka), postaviv{i na scenu ^ehovljeve „Tri sestre“, Shakespeareovog „Kralja Lira“, „San ljetne no}i“, „Ukro}enu goropadnicu“ i „Mleta~kog trgovca“, Enquistovog „bildmakarna“ (“Sliku Tvoraca”), Christieovu „Deset malih Indijanaca“ itd. Jedan od njegovih klju~nih umjetni~kih dostignu}a je i postavka Marloweove „Tragi~ne povijesti Doktora Fausta“, koja je postavljena u podrumu zamka Vysehrad u Pragu (a koja je nagra|ena Nagradom Divadelní noviny). U to vrijeme, tako|er radi i kao gostuju}i reditelj u drugim pozori{tima.

Postao je umjetni~ki direktor Drame Narodnog pozori{ta 2002. godine. Tu je debitirao predstavom Rostanda „Cyrano de bergerac“, a nakon nje su uslijedile „4,48 Psihoza“ S. Kane, kao i Mastrosimonova „Potpuno ^udni“, „Krappova posljednja traka“ becketta / Mihalovicija, Molièrov „Tvrdica“, „Hipermarket“ Klimá~eka, „Progon i mu~enje dr. [alda“ anonimnog autora, bassettijevi „Prodava~i du{a“, „Pygmalion“ Shawa, „Otac“ Jiráseka, „Kod ku}e“ Franti{áka i „Mala mo}na muzika“ Kohouta“.

REDITELJ

Rumunija / Romania

Narodno pozori{te Sarajevo 19.30 The Sarajevo National Theater 19.30 Trajanje / Running time 100 min.

07/10/11

Georg Büchner LEONCE I LENA LEONCE AND LENA

PREDSTAVA

„I Leonce i Lena bje`e od ku}e kako bi izbjegli vjen~anje koje za njih planiraju drugi. Me|utim, oni se neminovno zaljubljuju jedno u drugo. Pisana u vrijeme kada se Njema~ka sastojala od vi{e od osamdeset malih dr`ava, drama 'Leonce i Lena' je prvi “remake” dramske knji`evnosti koja se bavi depersonaliziraju}im mehanizmom koji dovodi do razdora mi{ljenja i govora. To je komedija u kojoj se likovi igraju i kvare svoje igra~ke - ma{ine smrti, kako bi prona{li svoju slobodu.“ Gábor Tompa

PERFORMANCE “both Leonce and Lena run away from home to escape the wedding planned for them by others. However, they inevitably fall in love. Written during the time when Germany consisted of more than eighty small states, ‘Leonce and Lena’ is the first remake of dramatic literature that deals with the depersonalizing mechanism that leads to the discord of thinking and speech. It is a comedy in which the characters play with and spoil their death-machine toys, in order to find their own freedom.”

Gábor Tompa

Re`ija / Director:

Gábor Tompa graduated in Stage and Film directing from the I.L. Caragiale Theatre and Film Academy in bucharest in 1981, having been the student of some outstanding figures such as Liviu Ciulei, Mihai Dimiu, Cătălina buzoianu, founders of the worldfamous Romanian school of stage directing. Since 1981, Tompa has been directing at the Hungarian Theatre of Cluj, Romania. In 1987, he became the Artistic Director of the Theatre, and after the political changes, he undertook the management of the theatre as well. Since 1989, he has been a Professor at the Szentgyörgyi István Theatre Academy in Tg-Mureş. He founded the Faculty of Dramatic Art in Cluj and has run its directing programme since 1991.

He has staged more than 80 plays and produced another 80. From March 2006 to April 2008 (when the Hungarian Theatre of Cluj joined the UTE), he was an individual member of the Union of European Theatres. Since 2007, he has been Head of Directing at the Theatre and Dance Department of the University of California, San Diego. He is the general and artistic director of the Hungarian Theatre of Cluj.

PÉTER MIXTAY

DIRECTOR

GÁBOR TOMPA Dramaturgija / Dramaturge:

ANDRÁS VISKY Scenografija i kostimografija / Stage and Costume Design:

CARMENCITA BROJBOIU Muzika / Music:

VASILE ŞIRLI Koreografija / Choreographer:

FLORIN FIEROIU Asistent re`ije / Director’s Assistant:

ISTVÁN ALBU Inspicijent / Stage Manager

LEVENTE BORSOS,

Sufler / Prompter

IMOLA KEREZSY Fotografija/Photography

IŠTVÁN BIRÓ Produkcija / Production

MA\ARSKO POZORI[TE CLUJ / THE HUNGARIAN THEATRE OF CLUJ Uloge / Cast:

LORÁND VÁTA BALÁZS BODOLAI ENIKŐ GYÖRGYJAKAB GÁBOR VIOLA EMŐKE KATÓ

TEATAR

THEATER

Ma|arsko pozori{te Cluj je osnovano 1792. godine, kao prva ma|arska pozori{na trupa u Transilvaniji. Transilvanija je sada dio moderne Rumunije, dok Ma|arsko pozori{te Cluj funkcionira kao repertoarno pozori{te, koje u cijelosti finansira rumunsko Ministarstvo kulture i nacionalne ba{tine. Predstave se izvode na ma|arskom jeziku, dok publika obi~no na raspolaganju ima simultani prijevod na rumunski ili engleski jezik.

Gábor Tompa postaje 1990. godine umjetni~ki direktor Pozori{ta. Pod njegovim vodstvom, pozori{te nastavlja Haragovu tradiciju inovacije, putem repertoara koji uklju~uje klasi~na remek-djela, kao i savremene drame. Tokom posljednjih 20 godina, Ma|arsko pozori{te Cluj radi u skladu sa novim trendovima savremenog pozori{ta, te je zauzelo svoje mjesto u krugu evropskih pozori{ta. Ovo je uglavnom rezultat me|unarodne koprodukcije i saradnje sa svjetski poznatim profesionalcima.

Na 215. godi{njicu svog postojanja, 2007. godine, Ma|arsko pozori{te Cluj uspje{no organizira Me|unarodni pozori{ni festival INTERFERENCES, pokazav{i 12 produkcija iz sedam zemalja.

Naredne godine, Pozori{te je prihva}eno kao punopravni ~lan Unije pozori{ta Evrope.

Nakon toga, u jesen 2008. godine, Ma|arsko pozori{te Cluj je, zajedno sa Pozori{tem bulandra iz bukure{ta, bilo doma}in 17.

Festivala Unije pozori{ta u Evropi.

The Hungarian Theatre of Cluj was founded in 1792, and was the first Hungarian theatre company in Transylvania. Transylvania is now part of modern day Romania, and the Hungarian Theatre of Cluj functions as a repertoire theatre, entirely subsidized by the Romanian Ministry of Culture and National Heritage. Performances are presented in Hungarian, with simultaneous translation into Romanian or English usually available.

In 1990, Gábor Tompa was appointed Artistic Director of the Hungarian Theatre of Cluj.

Under his leadership, the theatre has continued Harag's tradition of innovation, based on a repertoire that includes classic masterpieces, as well as contemporary plays. During the last 20 years, the Hungarian Theatre of Cluj has aligned with the new trends of contemporary theatre and taken its place in the circuit of European theatres. This has been largely due to international co-productions and collaborations with world renowned professionals.

In 2007, on the 215th anniversary of its existence, the Hungarian Theatre of Cluj successfully hosted the INTERFERENCES International Theatre Festival, with 12 productions from 7 countries.

The following year, the theatre was accepted as a full member of the Union of the Theatres of Europe, and in the fall of 2008, the Hungarian Theatre of Cluj, together with the bulandra Theatre from bucharest, hosted the 17th Festival of the Union of the Theatres of Europe.

CSILLA VARGA JÓZSEF BÍRÓ ATTILA ORBÁN SÁNDOR KERESZTES FERENC SINKÓ ERVIN SZŰCS LEHEL SALAT RÓBERT LACZKÓ VASS SZABOLCS BALLA ALPÁR FOGARASI MELINDA KÁNTOR SZABOLCS BALLA ALPÁR FOGARASI SALAT LEHEL FERENC SINKÓ

MITTEL EUROPE

Gábor Tompa je diplomirao teatarsku i filmsku re`iju na I.L.Caragiale Akademiji za pozori{te i film u bukure{tu 1981. godine, gdje je bio student istaknutih profesora, kao {to su Liviu Ciulei, Mihai Dimiu, Catalina buzoianu, osniva~a svjetski poznate rumunske {kole teatarske re`ije. Od 1981. godine Tompa re`ira u Ma|arskom pozori{tu Cluj, u Rumuniji. 1987. godine, postao je umjetni~ki direktor ovog pozori{ta, a nakon politi~kih promjena, postao je i njegov generalni direktor. Od 1989. godine, on radi kao profesor na Pozori{noj Akademiji Szentgyörgyi István u Tg-Mureşu. Osnovao je Fakultet dramskih umjetnosti u Cluju, i tu vodi program re`ije od 1991. godine. Re`irao je i vi{e od 80 predstava, a producirao jo{ 80. Od marta 2006. godine do aprila 2008. godine (kada se Ma|arsko pozori{te Cluj pridru`ilo UTE), bio je pojedina~ni ~lan Unije evropskih pozori{ta.

Od 2007. godine, radi kao [ef katedre za Re`iju Odsjeka za pozori{te i ples Univerzitet u Kaliforniji – San Diego, uz prethodno spomenuti rad kao generalni i umjetni~ki direktor Ma|arskog pozori{ta Cluj.

REDITELJ

Narodno pozori{te Sarajevo 19.30 The Sarajevo National Theater 19.30 Trajanje / Running time 100 min.

08/10/11

bosna i Hercegovina / bosnia and Herzegovina

Bosansko narodno pozori{te Zenica 19.30 The Bosnian National Theater Zenica 19.30 Trajanje / Running time 100 min.

09/10/11

HIPERMNEZIJA HYPERMNESIA

PREDSTAVA

“Za osam ljudi koje gledamo na sceni intimna historija je nu`no obilje`ena ekstremnim dru{tveno-politi~kim okolnostima. Ali me je zanimala prvenstveno intimna historija. Dobro, historijske ~injenice su tu (iako ih sukobljene strane razli~ito tretiraju), ali {ta se tebi doga|alo? A tebi? Kako si ti to tada vidio/vidjela, sa pet, deset ili trinaest godina? Znala sam da }u spajanjem ljudi iz Sarajeva, beograda i Pri{tine i bavljenjem njihovim biografijama nu`no dobiti politi~ki kontekst. Htjela sam da on bude prisutan kroz predstavu ba{ onoliko koliko je obilje`io `ivote osmero djece ili adolescenata/kinja u to vrijeme. Iz njihove vizure, u tada{njem trenutku, bez komentara iz dana{njice. Tih dvadeset godina su ve}ina `ivota ili cijeli `ivot za autorski tim. Ostavile su nepovratne posljedice i nebrojene o`iljke. Ali je to istovremeno na{ `ivot, jedina stvarnost koju smo odrastaju}i poznavali. I ti individualni do`ivljaji, pogled na svijet djece koja odrastaju u ekstremnim okolnostima, to je ono {to me zanima.”

Selma Spahi}

PERFORMANCE „The intimate histories of eight people on the stage are necessarily marked by extreme social and political circumstances. I was primarily interested in their intimate histories. Historical facts are there, no doubt (though treated differently by conflicting sides) but what happened to you? And you? What were your perceptions of the circumstances when you were five, ten or thirteen? I knew that by selecting people from Sarajevo, belgrade and Pristine to work with their life stories, the political context would necessarily emerge. I wanted it to be present in the play to the extent to which it had marked their lives as children and adolescents. I wanted the story to be told from their perspective, the one they had at those particular moments without any interference from this day. The twenty years we tackle represent almost their whole lives. Those twenty years have left a number of irreversible consequences and numberless scars. but those are our lives, the only reality we have known growing up. The individual experiences, the worldviews of children growing up in extreme circumstances – that is what I am interested in.“ Selma Spahi}

Re`ija / Director:

SELMA SPAHI] Dramaturzi / Dramaturges:

NATA[A GOVEDARICA FILIP VUJO[EVI] Scenografija, kostimografija / Stage and Costume Ddesign:

SANJA D@EBA Muzika / Music:

DRA[KO AD@I] Scenski pokret / Stage Movement:

DALIJA A]IN Dizajn svjetla / Light Design:

MILAN TVRDI[I]

born in 1986, Selma Spahi} graduated from the Sarajevo Academy of Dramatic Arts. Her graduation piece was “The Spring Awakening” by Frank Wedekind. She also directed: “The Effect of Gamma Rays on Man-in-the-Moon Marigolds” by Paul Zindel, “Victory” by Lada Ka{telan, “One Flew Over the Cuckoo’s Nest” by Dale Wasserman, “The Lonesome West” by Martin McDonagh, “The Illness of Family M” by Fausto Paravidino, and “How I Learned to Drive” by Paula Vogel. At the Sarajevo International Theater Festival (MESS) “The Spring Awakening” was awarded the special jury prize for the most original director’s research. Within the same festival, “The Lonesome West” received the brave New World Award from the Sarajevo daily “Dani.” “Victory” was awarded the best directed play at the 16th Theater Gathering in brcko. In 2009 and 2010, “The Lonesome West” and “How I Learned to Drive” received respectively the Klju~ tma~e award for the best theater productions in bosnia and Herzegovina.

DIRECTRESS

Saradnica na kostimu i scenografiji / Assistant to Stage and Costume Design:

EMINA KUJUND@I] Majstor svjetla / Lighting Manager:

RADOVAN SAMOLOV Majstor tona / Tone Manager:

MIROLJUB VLADI] Inspicijent / Stage Manager:

MAJA JOVANOVI] Korepetitor / Accompaniment :

MILENA MORAV^EVI] VJ:

GORAN BALABAN Producent / Producer:

ANDREJ NOSOV Izvr{na producentica / Executive Producer:

MILICA MILI] Asistenti produkcije / Assistants to Production:

ADMIR CRV^ANIN KRISTIJAN [UJEVI] Produkcija/ Production:

HARTEFAKT FONDACIJA / TEATAR

THEATER

Hartefakt fond Hartefakt fond je nezavisna regionalna fondacija osnovana u beogradu 2009. godine koja za cilj ima da u~estvuje u stvaranju anga`ovane umjetnosti koja afirmi{e pozitivne promjene u dru{tvu. @elimo da stvorimo prostor u kome }e nove umjetni~ke generacije kriti~ki preispitivati i mijenjati dru{tvo u kome `ive. Na kraju, svojim radom doprinosimo kreiranju jedinstvenog regionalnog kulturnog prostora, kao mogu}e alternative za nagomilane probleme u kulturi.

Hartefakt Fund The Hartefakt Fund is an independent regional foundation established in belgrade in 2009, which aims to participate in the creation of socially engaged art that supports positive changes in society. We want to create a space in which new artistic generations can critically examine and change the society they live in. In the end, with our work, we contribute to creating a single regional cultural space, as well as possible alternatives for the many problems that plague culture today.

Bitef teatar Ostaju}i na tragu glavne koncepcije da podsti~e i promovi{e nove pozori{ne stilove i tendencije, bitef teatar profili{e svoj repertoar u pravcu – sa jedne strane ~istog plesnog izraza, koji }e biti oli~en u radu bitef Dance kompanije, i sa druge strane predstava koje nisu `anrovski nu`no precizno definisane, ve} ~ine grani~na podru~ja izme|u dramskog, fizi~kog, muzi~kog i vizuelnog pozori{ta.

Bitef Theatre While remaining on the path of its main concept – to encourage and promote new theatrical styles and tendencies, the bitef Theatre profiles its repertoire, on the one hand, in the direction of pure dance expression, which will be embodied in the work of the bitef Dance Company, while, on the other hand, it focuses on plays that are not necessarily precisely defined as far as genre, but border between the dramatic, physical, musical and visual theatre.

BITEF TEATAR Uloge / Cast:

ERMIN BRAVO JELENA ]URUVIJA-\URICA MAJA IZETBEGOVI] TAMARA KRCUNOVI] DAMIR KUSTURA SANIN MILAVI] MILICA STEFANOVI] ALBAN UKAJ

MITTEL EUROPE

REDITELJICA Selma Spahi} ro|ena je 1986. godine. Diplomirala je re`iju na Akademiji scenskih umjetnosti u Sarajevu sa predstavom ‘’bu|enje prolje}a’’ po tekstu Franka Vedekinda. Re`irala je ‘’Utjecaj gama zraka na sablasne nevene’’ Paula Zindela, ‘’Pobjedu’’ Lade Ka{telan, ‘’Let iznad kukavi~jeg gnijezda’’ Dalea Wassermana, ‘’Usamljeni Zapad’’ Martina Mekdone, ‘’bolest porodice M’’ Fausta Paravidina, ‘’Kako sam nau~ila da vozim’’ Paule Vogel. ‘’bu|enje prolje}a’’ nagra|eno je Specijalnom nagradom `irija za rediteljsko istra`ivanje na Internacionalnom teatarskom festivalu MESS, te je kao i ‘’Usamljeni Zapad’’ u sklopu MESS-a dobilo nagradu Hrabri novi svijet, magazina Dani. Predstava ‘’Pobjeda’’ dobila je nagradu za najbolju re`iju, na XXVI Pozori{nim susretima u br~kom. ‘’Usamljeni Zapad’’ i ‘’Kako sam nau~ila da vozim" dobile su "Klju~ tma~e" za najbolje predstave u cjelini u biH u 2009. i 2010. godini.

Srbija / Serbia

Narodno pozori{te Sarajevo 19.30 The Sarajevo National Theater 19.30 Trajanje / Running time 80 min.

09/10/11

Abdulah Sidran OTAC NA SLU@BENOM PUTU WHEN FATHER WAS AWAY ON BUSINESS

PREDSTAVA

Kultno djelo jednog od najzna~ajnijih autora eks-jugoslovenske pozori{ne i filmske umjetnosti – Abdulaha Sidrana u re`iji Olivera Frlji}a, najintrigantnijeg reditelja iz regiona. Ova pri~a o jednoj sarajevskoj porodici u ranim pedesetim godinama, u vrijeme sukoba Tita i Staljina, postavljena je kao sje}anje dje~aka Dine, koga igra Vlastimir \uza Stojiljkovi}, ~iji otac u informbiroovskim previranjima zavr{ava u zatvoru. Jedna o~eva neoprezna i usputna izjava pred ljubavnicom, udru`ena sa njenom ljubomorom i osvetoljubivo{}u, potpuno }e promijeniti njihove `ivote.

Predstava kroz intimnu pri~u oslikava svu kompleksnost tog politi~kog trenutka, preispituje nesretno vrijeme i historijske doga|aje koji se prelamaju preko sudbina obi~nih, nedu`nih ljudi. Vrijeme u kome je samo jedna pogre{na rije~ izre~ena na pogre{nom mjestu, pred pogre{nim ljudima mogla potpuno da uni{ti dotada{nji `ivot.

This is the famed work of one of the most significant artists of the ex-Yugoslav theatre and film - Abdulah Sidran, and is here directed by Oliver Frlji}, the region’s most intriguing director.

Its story, that of a Sarajevo family in the early fifties, during the conflict between Tito and Stalin, is told as a memory of a boy named Dino, played by Vlastimir \uza Stojiljkovi}, whose father ends up in jail due to the Cominform turmoil. The father's one reckless and casual comment in front of his mistress, coupled with her jealousy and vindictiveness, would completely change the family’s lives.

Through their intimate story, the play illustrates the complexity of this political moment, examines this unhappy time, and the historical events that unfold at the expense of ordinary, innocent people.

A time when a single wrong word, said in the wrong place and in front of the wrong people, could completely destroy one’s life to the point.

PERFORMANCE

Re`ija i autor songova / Director and Songwriter:

Theatre director Oliver Frlji} was born in Travnik in 1976. He graduated with a degree in Philosophy and Religious Culture in 2002, and also got a degree in Theatre Direction and Radiophony from the Academy of Dramatic Arts in Zagreb.

His productions were presented at numerous festivals: the Wiener Festwochen (Vienna), the Perforation Festival (New York), Gavelline ve~eri (Zagreb), Splitsko ljeto (Split Summer), Sterijino pozorje, Dani satire (Days of Satire, New York), Festival of biH Drama (Zenica), Contemporary Dance Week, Zlatni lav (Golden Lion, Umag), Diskurs Festival (Giessen), Karantena (Quarantine, Dubrovnik), APAF (Salzburg), Freischwimmer Festival (Vienna, berlin, Hamburg, Dusseldorf, Zurich), Zadar snova, Osje~ko ljeto kulture (Osijek Summer of Culture), the [ibenik International Children's Festival.

He directed his first important play on the international stage arena, Preklet naj bo izdajalec svoje domovine (Damned be the Traitor of His Homeland) in 2010 at the Slovenian Youth Theatre in Ljubljana. The play received two bor{tnik Awards in Maribor, was invited to perform at different venues. That same year, he directed the play Spring Awakening at ZKM, which won him the Award for best Performance of the Festival at the more and more important Yugoslav theatre festival “bez prevoda”, while, at the same time, directed “Pierre de Marivaux’s Discussion” at the Montenegrin National Theatre in Podgorica. At the end of the year, he directed the play Cowardice at the National Theatre in Subotica, which many critics declared the theatrical event of the season in Serbia. The performance won the Award for best Play at the 56th Sterijino pozorje Festival in Novi Sad, while Oliver Frli} got the Sterija Award for Direction.

Sufler / Prompter:

DIRECTOR

TEATAR

Pozori{te Atelje 212 je zapo~elo svoj `ivot 12. novembra 1956. godine, premijernim koncertnim izvo|enjem Geteovog “Fausta” u re`iji Mire Trailovi}, u kome su igrali Marija Crnobori, Mata Milo{evi}, Viktor Star~i} i Ljubi{a Jovanovi}, u maloj sali stare zgrade “borbe” u kojoj je bilo samo 212 stolica u gledali{tu.

Pojava Ateljea 212 zna~ila je prekretnicu u pozori{nom `ivotu ne samo beograda, ve} i ovog dijela Evrope. Atelje je osnovan kao pozori{te u kome bi se igrala nova avangardna drama, od velikog uticaja u Evropi u to vrijeme. Osim toga, `eljeli su da osnuju pozori{te koje }e se i organizaciono razlikovati od postoje}ih, koje prije svega ne}e biti institucija. U traganju za pogodnim prostorom u kome bi realizovali svoju ideju otkrili su ~itaonicu novinske ku}e „borba“, a borislav Mihajlovi} Mihiz nazvao je novo pozori{te: Atelje 212. Publika je tog 12. novembra 1956. aplaudirala, a javnost je bila blagonaklona prema ovom neobi~nom pozori{tu s neobi~no izvo|enim predstavama.

Tokom 54 godine koje su uslijedile, Atelje 212 je kroz svoje predstave, pisce i reditelje, a naro~ito kroz svoje velike glumce, izraslo u jedno od najzna~ajnijih pozori{ta sa ovih prostora.

THEATER

The life of the Atelje 212 (Atelier 212) Theatre began on 12 November 1956, with the premiere of “Faustus”, directed by Mira Trailovi}, and starring Marija Crnobori, Mata Milo{evi}, Viktor Star~i} and Ljubi{a Jovanovi}, in the little hall of the old “borba” building, which then had an auditorium with only 212 seats.

The establishment of Atelier 212 was a turning point in theater life not only belgrade, but in this part of Europe. Atelier 212 was founded as a theatre where the new avant-garde drama could be played, which was of great influence in Europe at that time. In addition, they wanted to establish a theatre different from existing theatres in terms of its organization- a theatre which primarily will not be an institution. In their search forf suitable space to realize this idea, they discovered the reading room of the “borba“ newspaper company, and borislav Mihajlovic Mihiz called the new theatre: Atelje 212. The audience at the Atelier on 12 November 1956 applauded, while the public welcomed this unusual theatre with unusually constructed performances.

During the 54 years that followed, Atelier 212, has, through its performances, writers and directors, and especially with the help of its great actors, grown into one of the most important theatres in this area.

OLIVER FRLJI] Dramaturgija / Dramaturgy:

JELENA MIJOVI] Scenografija / Set Design:

MARIJA KALABI] Kostimografija / Costume Design:

SANDRA DEKANI] Kompozitor / Composer:

IRENA POPOVI] Asistent reditelja / Director's Assistant:

JOVANA TOMI] Dizajn svjetla / Light Design:

RADOMIR STAMENKOVI] Dizajn tona / Tone Design:

DRAGAN STEVANOVI] Lektor / Language Editor:

RADOVAN KNE@EVI] Maska i {minka / Masks and Makeup:

ROZALIJA TANASIJEVI] Organizator / Organiser:

MILENA LAZOVI] Inspicijent /Stage Manager:

EMILIJA RAFAJLOVI] SNE@ANA BUDIMLI] Produkcija / Production

ATELJE 212 Uloge / Cast:

VLASTIMIR \UZA STOJILJKOVI] GLIGORIJE MARINKOVI] BRANISLAV TRIFUNOVI] HANA SELIMOVI] FE\A STOJANOVI] IVAN JEVTOVI] ALEKSANDRA JANKOVI] NIKOLA JOVANOVI] TANJA PETROVI] MILO[ KLAN[^EK ALJO[A VU^KOVI] DANICA MAKSIMOVI] JELENA BLAGOJEVI] /NINA RACA EROL KADI] MIODRAG KRSTOVI] IRENA POPOVI] Muzi~ari / Musicians: NIKOLA DRAGOVI], VIOLINA / VIOLIN \OR\E ANTI], TROMBON / TROMBONE URO[ ANTI], HARMONIKA / ACCORDION VLADIMIR GURBAJ, KLARINET / CLARINET DANILO TIRNANI], UDARALJKE / PERCUSSIONS

MITTEL EUROPE

Oliver Frlji} je pozori{ni reditelj ro|en u Travniku 1976. godine. Diplomirao je 2002. godine Filozofiju i Religijsku kulturu, kao i Pozori{nu re`iju i Radiofoniju na Akademiji dramske umjetnost i u Zagrebu.

Njegove produkcije bile su predstavljene na mnogobrojnim festivalima: Wiener Festwochen (be~), Perforation Festival (New York), Gavelline ve~eri (Zagreb), Splitsko ljeto, Sterijino pozorje, Dani satire (Zagreb), Festival bH drame (Zenica), Tjedan suvremenog plesa, Zlatni Lav (Umag), Diskurs festival (Giessen), Karantena (Dubrovnik), APAF (Salzburg), Freischwimmer Festival (be~, berlin, Hamburg, Diseldorf, Cirih), Zadar snova, Osje~ko ljeto kulture, Me|unarodni dje~iji festival [ibenik...

Prvu va`niju predstavu na me|unarodnoj sceni, „Preklet naj bo izdajalec“ svoje domovine, re`ira 2010. godine u Slovenskom mladinskom gledali{~u u Ljubljani. Predstava dobija dvije bor{tnikove nagrade u Mariboru i pozive na mnoga gostovanja. Iste godine re`ira i predstavu „bu|enje prolje}a“ u ZKM-u, za koju na sve va`nijem Jugoslovenskom pozori{nom festivalu bez prevoda u U`icu dobija nagradu za najbolju predstavu festivala, a u Crnogorskom narodnom pozori{tu u Podgorici re`ira „Raspravu Pjera de Marivoa“. Krajem iste godine re`ira i predstavu „Kukavi~luk“ u Narodnom pozori{tu Subotica, koja je od mnogih kriti~ara progla{ena pozori{nim doga|ajem sezone u Srbiji, a na 56. Sterijinom pozorju u Novom Sadu osvojila je Sterijinu nagradu za najbolju predstavu, a Oliver Frli} je dobio Sterijinu nagradu za re`iju.

REDITELJ

Naslov THE TITLE

U traganju za bojom kestena IN SEARCH OF THE COLOUR OF CHESTNUT

Mena`erija MENAGERIE

Ovo je moj otac – Obe}ana gozba dio III THIS IS MY FATHER – The promissed feast part III

No}ne more ti{ine NIGHTMARES OF SILENCE

Dies irae_5 epizoda o kraju vrste - Diptih vrste (Dio Prvi) DIES IRAE _ 5 EPISODES AbOUT THE END OF THE SPECIES - Diptych on the species (part 1)

[vicarska / Switzerland

Sarajevski ratni teatar SARTR 18.00 Sarajevo War Theatre SARTR 18.00 Trajanje / Running time 60 min.

02/10/11

NASLOV THE TITLE

PREDSTAVA

„Naslov“ je izvedbeno istra`ivanje, koje predla`e nesporazum kao samostalan na~in komunikacije. Hajde da se slo`imo o tome da ne razumijemo jedni druge! I tako, pristupamo fenomenu nesporazuma kao prilici za kreiranje „nerazumnih“ modela komunikacije. Pitamo se kako nesporazum mo`e biti izvor kreativnosti, koja nudi nove mogu}nosti zna~enja. Mi stvaramo dispozitive za iracionalno komuniciranje.

Stoga gledamo ~isti ~in stvaranja zna~enja. Kako bi naru{ili poredak na{ih misli i otvorili novi prostor za nezamislive misli, mi oduzimamo zna~aj predmetima, njihovoj svrsi i na{em iskustvu s njima. [to je to izvan na{e ta~ke gledi{ta? „Naslov“ je rezultat ovog istra`ivanja, te refleksija ovih ideja u tjelesno-misaonoj ekspresiji.

PERFORMANCE „Title“ is a performative research, that proposes misunderstanding as a way of communication in itself. Let us agree on the fact that we do not understand each other! And so, we approach the phenomenon of misunderstanding as an opening for “unreasonable” models of communication. We wonder how misinterpretation can be the source of creativity, that expands the possibilities for what something can mean.

We create dispostives for irrational communication.

Therefore we look at the pure act of creating meaning.

In order to disorganize our mind and to open new space for the inconceivable thought, we disconnect the significance from the objects, from their function and from our experience with them. What is beyond one’s point of view? “Title” is the result of this investigation, and the consequences of those ideas in our body- mind expression.

Koncept i uloge / Concept and Performance:

LAURA KALAUZ MARTIN SCHICK Umjetni~ki savjetnici / Artistic Advice:

SIMONE AUGHTERLONY BO WIGET JANEZ JAN[A Producent / Producer:

NADA ESPECIAL TANZ Produkcija/Production:

KALAUZ/SCHICK Podr`ano od/Supported by:

MARTIN SCHICK Ro|en je u Fribourgu, [vicarska, `ivi u berlinu i Cirihu. Studirao je pozori{te na Univerzitetu za umjetnost u bernu, gdje je diplomirao 2005. godine sa najvi{im ocjenama. Nekoliko godina je radio kao glumac na televiziji i filmu („Nordwand“, „Tandoori Ljubav“), te na samostalnim pozori{nim i plesnim projektima. Uz strast koju od djetinjstva osje}a za ples, na njega su uticali rad sa Davidom Zambranom, Minako Seki, Elias Cohen (i drugi), a nekoliko godina bio je i ~lan SIWICa. Ve} dvije godine intenzivno sara|uje sa Laurom Kalauz, te je dobitnik Pokroviteljske nagrade ZKba u Theaterspektakel Zürichu. Trenutno radi kao glumac u Pozori{tu Neumarkt u Cirihu, i kao koreograf na predstavi „Udaljeni gra|anin“. 2010. godine, radio je i kao koreograf za Dr`avno pozori{te u Saarbrückenu u Njema~koj. Schick u svom radu istra`uje tehniku treninga tijela pod nazivom bodyweather, tango, i ono {to predstavlja temelj pokreta.

DIRECTRESS AND DIRECTOR

LAURA KALAUZ Laura Kalauz was born in buenos Aires, Argentina where she studied Dance and Sciences of Social Communication at the University of buenos Aires. In 2003, she graduated as Dance Maker at the Hogeschool voor de Kunsten– Dansacademie Arnhem, Holland. Since then, she has lived in Zürich, where she works as independent choreographer. Her work poses questions on the routines and patterns of contemporary life. Her interest lies in revisiting the taken-for-granted assumptions that rule social behaviour, and that shape our model of communication. She has collaborated with the artists Martin Schick, Krööt Juurak, Simone Aughterlony, Nicolas Galeazzi and Marina belobrovaja. She has directed: “Multiverse” (2007), “Excuse me, please could you choreograph me” (2007-10), “Do what you see/ See what you do” (2009). The last two works: “Title” (2009) and “CMMN SNS PRJCT“ (2011), have been produced in collaboration with Martin Schick.

MARTIN SCHICK Martin Schick was born in Fribourg, Switzerland, in 1978, and lives in berlin and Zurich. He studied theatre at the University of Arts in berne, where he graduated in 2005 with distinction. He worked several years as an actor for television and cinema (“Nordwand”, “Tandoori Love”) and for independent theatre- and dance-projects. Passionately associated with dance since childhood, he was influenced by working with David Zambrano, Minako Seki, Elias Cohen (amongst others), and was a member of “SIWIC” for several years. For two years, he has intensely collaborated with Laura Kalauz, and is the winner of the ZKb Patronage Prize at Theaterspektakel Zürich. He is currently working as an actor at Theater Neumarkt Zürich and as a choreographer for “Remote Citizen“, and in 2010, for Staatstheater Saarbrücken, Germany, always investigating the bodyweather-trainingtechnique, tango, and that which underlies movement.

TEATAR

THEATER

kalauz / schick - U okviru svoje umjetni~ke saradnje, Laura Kalauz (ARG) i Martin Schick (CH) istra`uju modele komunikacije, uticaj konvencija (umjetni~kih, administrativnih, politi~kih itd.) unutar pozori{nog miljea i obratno. Rade na scenskom pokretu, istra`ivanjima, izvedbama i instalacijama, i postavljaju pitanja o granicama i mogu}nostima izvedbenog prostora. Njihova predstava „Naslov“, dobila je Pokroviteljsku nagradu ZKba 2009. godine u Theaterspektakelu Zürich. Njihova posljednja predstava (CMMN SNS PRJCT) premijerno je prikazana u martu 2011. godine, u okviru Me|unarodnog festivala Freischwimmer (berlin / Hamburg / be~ / Cirih / Dizeldorf).

kalauz / schick - In their artistic collaboration, Laura Kalauz (ARG) and Martin Schick (CH) investigate models of communication, the impact of conventions (artistic, administrative, politic etc.) within the theatrical milieu, and vice versa. They work on scenic plays, researches, performative acts and installations, raising questions about the limits and possibilities of performative space.

Their piece “Title” was honoured with the ZKb Patronage Prize 2009 at Theaterspektakel Zürich.

Their last piece (CMMN SNS PRJCT) premiered in March 2011, within the frame of the International Festival Freischwimmer (berlin/ Hamburg/ Wien/ Zürich/ Düsseldorf).

FORDERPRICE ZKB 2009, THEATERHAUS GESSNERALLEE & TANZHAUS WASSERWERK ZURICH, PRHELVETIA (CH)

FUTURE MESS

REDITELJICA IREDITELJ

LAURA KALAUZ Ro|ena je u buenos Airesu, (Argentina) gdje je studirala ples i nauke dru{tvene komunikacije na Univerzitetu u buenos Airesu. 2003. godine, diplomirala kao plesni kreator na Hogeschool voor de Kunsten-Dansacademie u Arnhemu, u Nizozemskoj. Od tada `ivi u Cirihu, gdje radi kao nezavisni koreograf. Njezin rad postavlja pitanja o rutini i obrascima savremenog `ivota. Njezin interes le`i u propitivanju pretpostavki koje vladaju dru{tvenim `ivotom, a koje se uzimaju zdravo za gotovo, i koje oblikuju na{e modele komuniciranja. Sara|ivala je sa umjetnicima Martinom Schickom, Kröötom Juurakom, Simoneom Aughterlony, Nicolasom Galeazzi i Marinom belobrovajom.

Re`irala je predstave: „Multiverse“ (2007), „Oprostite, molim Vas mo`ete li me koreografirati?“ (2007-10), „Radite ono {to vidite / Gledajte ono {to radite“ (2009). Njena posljednja dva djela, „Naslov“ (2009) i „CMMN SNS PRJCT“ (2011) ra|eni su u saradnji sa Martinom Schickom.

bosna i Hercegovina / bosnia and Herzegovina

Kamerni teatar '55 22.00 Chamber Theater '55 22.00 Trajanje / Running time 75 min.

02/10/11

Safet Plakalo U TRAGANJU ZA BOJOM KESTENA IN SEARCH OF THE COLOUR OF CHESTNUT

PREDSTAVA „I sam veliki obo`avalac Silvije Plat, sve vreme sam, pored razmi{ljanja o enigmati~noj li~nosti ove pesnikinje, razmi{ljao o drugom pesniku involviranom u ovu pri~u, samom Safetu, koji se trudi svojim delom da do~ara delo i `ivot drugog velikog pesnika, njegove voljene Silvije. Ima ne~ega dirljivo sizifovskog i godoovskog u tom poku{aju, koji iako osu|en na to da nikada ne bude sasvim uspe{an, jer kako mo`emo znati sasvim egzaktno ko je bila Silvija kad ne znamo ni ko smo mi sami, ipak polu~uje svojim trudom i ljubavlju lepe rezultate, i isijava empatsku patnju koju je Safet Plakalo ose}ao ulaze}i u unutra{nji dijalog sa ve~nim Silvijinim bolom, ovekove~enim u njenim pesmama. Zato sam se ja odlu~io da glavni lik moje postavke bude Autor, namu~eni i po`rtvovani Autor koji poku{ava da napi{e dramu o Silviji, kog gledamo kako kuca na svojoj pisa}oj ma{ini delo satkano od patnje, i igra sve likove Silvijinog `ivota uklju~uju}i i samu Silviju, sve intenzivnije i vehementnije ka kraju predstave, dok mu se naposletku svest ne pocepa i on ne izgubi kontakt sa realno{}u. Dok traje taj bolni proces kreacije, Autora pohodi duh Silvije Plat, muza boli ra|anja, koja mu govori svoje stihove, ohrabruju}i ga, proganjaju}i ga, teraju}i ga da napi{e delo dostojno makar deli}a patnje koju je ona osetila pi{u}i svoju poeziju, a pre toga, i pre svega, `ive}i. Da li smo na{om predstavom u Mostarskom teatru mladih dosegli Safetov poku{aj da dosegne poetski svet Silvije Plat, ostaje na publici da proceni.“ Stevan bodro`a

"being a big fan of Sylvia Plath myself, in addition to thinking about the enigmatic personality of this poetess, I also constantly thought about the other poet involved in this story, about Safet, who strives, with his work, to depict the work and life of another great poet, his beloved Sylvia.

There is something touchingly Sisyphean and Godot-like in this attempt, which, although destined to never be completely successful –how can we know exactly who Sylvia was, when we do not even know who we are – still, as a result of much effort, brings forth beautiful results, and radiates an emphatic pain that Safet Plakalo felt when going into an internal dialogue with Sylvia’s eternal pain, made eternal in her poems. That is why I decided that the main character of my production is the Author, the anguished and dedicated Author who tries to write a play about Sylvia, whom we see typing on his typewriter a work composed of suffering, and who plays all the characters in Sylvia’s like, including that of Sylvia herself. He does so more intensely and vehemently as the show nears an end, his consciousness eventually tearing up in pieces, which is when he loses contact with reality. While this painful process of creation goes on, the Author is visited by the spirit of Sylvia Plath, the muse of the pain of birth, which tells him her verses, encouraging him, haunting him, compelling him to write something that is, at least to a small extent, deserving of the suffering she felt writing these poems, and before that, and above all, living. Whether our performance at Mostar Youth Theatre reached Safet’s attempt to reach the poetic world of Sylvia Plath, is for the audience to determine.

Stevan bodro`a PERFORMANCE

DIRECTOR Stevan bodro`a was born in 1978 in belgrade, where he majored in theatre and radio directing at the Faculty of Dramatic Arts in belgrade, and where he now works as an Assistant in the course “Theatre Direction”. During his studies, he directed the plays “Gentleman” by Philipp Lohle, “Oliver Twist”, according to a dramatization by Jeremy brock, “The Hedgehog House” by branko ]opi}”, “Dangerous Liaisons/Quartet” by Christopher Hampton/ Heiner Muller, “Little Red Riding Hood, a Comedy for Children and Adults” by Igor bojovi}”, “Flower buds” by Sanja Domazet”, “Prometheus in Chains” by Aeschylus, “The Runner” by Mattias Andersson, “Iphigenia at Aulis” by Euripides, “Leaden Wings” by Sanja Domazet “Carius and bactus” by Thorbjorn Egner, “Tattoo Lesson” by Konstantin Kostenko “The Holy Fixer” by Thomas berhnard, “The Swing” by Edna Mazi, “This Could be Your Lucky Day”, by Mileta Prodanovi}, “Mother and Child” by Jon Fosse, “The bitter Tears of Petra von Kant” by Rainer Werner Fassbinder, “Face of Fire” by Marius von Mayenburg, “Coast, Dump” by Heiner Muller, “Medea” by Heiner Muller, and “Generative Space”, by a group of authors. The play “Oliver Twist” was awarded the “Du{ko Radovi}" Children’s Theatre Award for best Play in 2009, while “The Runner” was the “bo`idar Valtrovi}” Award for best Director in 2006.

TEATAR

THEATER

Mostarski teatar mladih nije samo teatar, ili pozori{te, ili kazali{te. Mostarski teatar mladih je i teatar i pozori{te i kazali{te. Mostarski teatar mladih je prije svega ideja. Ideja sna`no distancirana od svih ideologija, nacionalizama i podjela bilo koje vrste. Mostarski teatar mladih je projekat novog, otvorenog, aktuelnog, istra`iva~kog bavljenja umjetno{}u teatra. To je mjesto stvarala~kog istra`ivanja na kojem je estetika sveto pravilo, ali joj je ipak pretpostavljena etika. To je profil tre}eg teatra u kojem uz profesionalan anga`man i rezultat mora u radu postojati i ljubav koju nosi amaterizam. Mostarski teatar mladih nije teatar u kojem se radi. U Mostarskom teatru mladih se `ivi. Tu predstava nikad nije gotova. Ona je `iv organizam koji se stalno mjenja, dogra|uje, istra`uje... Tu glumac radi i onda kada nema predstavu ili probu, jer zna da uvijek ima {ta nau~iti. Mostarski teatar mladih opredijeljen je za interakciju sa publikom koju cijeni, uva`ava, ali i informi{e, obrazuje i vodi kroz neslu}ene mogu}nosti teatra u istoriji civilizacije.

Mostarski teatar mladih okrenut je budu}nosti crpe}i sva bogatstva {to ih nudi pro{lost i sada{njost. Mostarski teatar mladih okrenut je Svijetu, da bi u~io, ali i da bi pou~avao. Mostarski teatar mladih je most za budu}nost.

Osnovan je 24. februara 1974. godine i od tada djeluje, uprkos svim neda}ama minulog vremena, u kontinuitetu. Do sada smo realizirali 149 premijernih predstava i odigrali oko 6.000 repriznih predstava, te oko 1.300 drugih programa. Na{e predstave i programe vidjelo je oko 2.200.000 gledatelja na pet kontinenata. Dobitnici smo zna~ajnih doma}ih i me|unarodnih nagrada za umjetni~ke rezultate. Od 1975. godine organizator smo Me|unarodnog teatarskog festivala autorske poetike. Uz Festival organiziramo i Alternativnu akademiju kao specifi~an vid edukacije teatarskih umjetnika iz cijelog svijeta, koja se ove godine odr`ava po 27. put.

The Mostar Youth Theatre is not just a theatre, in whatever language. The Mostar Youth Theatre is a theatre of all languages. The Theatre is, above all, a theatre of ideas. Ideas which are particularly independent of all ideologies, nationalism and divisions of any kind. The theatre is a project that focuses on a new, open, contemporary and research-oriented art of theatre. It is a place for creative exploration, where aesthetic values are the rule to live by, preceded in significance only by ethics. This is the profile of another kind theatre in which, alongside attention to professionalism and success, a love that results from amateurism must also exist. The Mostar Youth Theatre is not a theatre when one work. It is a theatre where one lives. There, a play is never over. It is a living organism that constantly changes, upgrades, investigates... A place where an actor works even when there are no plays or rehearsals, because he knows he always has something to learn. The Mostar Youth Theatre is committed to interact with its audience, which it appreciates, respects, but also informs, educates and guides through unsuspected possibilities of theatre in the history of civilization. The Mostar Youth Theatre is turned to the future, drawing on all the riches offered by past and present. The Mostar Youth Theatre is turned to the World, to learn from it, but also to teach it. The Mostar Youth Theatre is a bridge to the future.

The Mostar Youth Theatre was opened on 24 February 1974 and has, since then, and despite all the problems of recent times, maintained a steady, uninterrupted course, with 149 premieres and around 6000 repeat performances, as well as 1,300 other events. Its plays and shows have been attended by over 2.2 million viewers on five continents. The ensemble has also received significant local and international awards for their artistic achievements.

Since 1975, we have organised an International Theatre Festival of Original Poetics. In addition, we also organise an Alternative Academy, as a specific form of educating theatre-workers from around the world, which will this year be held for the 27th time.

Re`ija / Direction:

STEVAN BODRO@A Adaptacija / Adaptation:

LJUBINKA STOJANOVI] Muzika / Music:

DAMIR IMAMOVI] Uloge / Cast:

AMRA PRUTINA ENES SALKOVI] Produkcija/Production

MOSTARSKI TEATAR MLADIH 1974 / MOSTAR YOUTH THEATRE 1974

FUTURE MESS

REDITELJ Stevan bodro`a ro|en je 1978. godine u beogradu, gdje je diplomirao pozori{nu i radio re`iju na Fakultetu dramskih umetnosti u beogradu, gdje danas radi kao asistent na predmetu Pozori{na re`ija. U toku studija re`irao je predstave „Gospodin““ Philipp Lohle, „Oliver Twist”, prema dramatizaciji Jeremy brocka, „Je`eva ku}ica” branka ]opi}a, „Opasne veze/Kvartet“ Christophera Hamptona/Heinera Mullera, „Crvenkapa, komedija za djecu i odrasle” Igora bojovi}a, „Pupoljci” Sanje Domazet, „Prometej u okovima” Eshila, „Trka~” Mattiasa Anderssona, „Ifigenijina smrt u Aulidi” Euripida, „Krila od olova” Sanje Domazet, „Karijus i baktus” Thorbjorna Egnera, „^as iz tetova`e” Kostantina Kostenka, „Svetopopravitelj” Thomasa berhnarda, „Ljulja{ka” Edne Mazija, „Ovo bi mogao biti va{ sre}an dan“ Milete Prodanovi}, „Majka i dete“ Jon Fossea, „Gorke suze Petre von Kant“ Rainera Vernera Fassbindera, „Vatreno lice“ Marius von Mayenburga, „Obala, |ubri{te“ Heinera Mullera, „Medeja” Heinera Mullera, „Generative space“ grupe autora. Predstava „Oliver Tvist“ dobitnik je Godi{nje nagrade Malog pozori{ta Du{ko Radovi} za najbolju predstavu 2009. godine, a predstava „Trka~“ dobitnik je nagrade bo`idar Valtrovi} za najbolju re`iju 2006. godine.

Hrvatska / Croatia

Kamerni teatar '55 22.00 Chamber Theater '55 22.00 Trajanje / Running time 65 min.

03/10/11

MENA@ERIJA MENAGERIE po motivima drame Staklena mena`erija Tennesseea Williamsa/ based on the play The Glass Menagerie by Tennessee Williams PREDSTAVA Autorski projekt redateljsko – dramatur{kog tima Anice Tomi} i Jelene Kova~i}, radnog naslova „Mena`erija“, inspiriran je posljednjim prizorima drame „Staklena mena`erija“ Tennessee Williamsa.

Situaciju obiteljske ve~ere istovremeno razara i dr`i na okupu pojava dugo o~ekivanog gosta kroz kojega se neprestano obnavlja `elja za Drugim. Kroz pukotine svakodnevnih razgovora sastavljenih od bezbroj puta izgovorenih re~enica probija se ekstremna emocionalnost koja likove zati~e nespremne. bave}i se i dalje obiteljskom zajednicom kojoj prijeti uni{tenje, autorice ovoga puta propituju sposobnost kazali{ta da u situaciji supostojanja gledatelja i glumca podnese iskrenu emocionalnost koja gledatelja suo~ava s istinskom ranjivo{}u simuliranih likova i gluma~kih tijela. Likovi ponovno izgovaraju toliko puta izgovorene re~enice, koje ih onda sasvim slu~ajno ili namjerno rastvaraju u ekstremne emocije. Tako postavljaju}i pitanja o nama samima, ali i o onima koji nam stoje nasuprot. U `ivotu i u teatru. „Sve ono {to se kod Williamsa mo`e i{~itavati izme|u redaka, u predstavi „Mena`erija“ izvu~eno je do ekstrema. Uvijek iste re~enice dobivaju poantu u za~udnim grimasama koje izra`avaju razli~ite emocije – od ~u|enja i hvatanja zrakam do bezglasna krika nad u`asom i prazninom egzistencije. Va`an katalizator ovako prenagla{enih emocija postaje glazbena podloga, koju je pomno odabrao i obradio Frano \urovi}.“ Kim Cuculi}, „Novi list“

Inspired by the closing scenes of Tennessee Williams' play The Glass Menagerie, the author project, under the working title of “Menagerie“ has been realised by the director – dramaturge team of Anica Tomi} and Jelena Kova~i}. A family dinner situation is both destroyed and kept together by the appearance of a long-expected guest, through which longing for the Other is permeated. An extreme emotionality seeps through the cracks of everyday conversations, composed of phrases repeated for the umpteenth time, catching the characters unprepared. Once again, the authors deal with a family community threatened to be destroyed, this time examining the ability of the theatre, in a situation of a co-existence of the spectator and the actor, to endure the sincere emotionality, which puts the spectator face to face with the authentic vulnerability of the make-believe protagonists and acting bodies. The characters repeat the same sentences again and again, which then accidentally or deliberately decompose the characters into extreme emotions. Such emotions ask questions about us, but also about those facing us - in life, as well as in theatre.

"Everything that could in Williams' work be read between the lines, is, in the play Menagerie, drawn out to an extreme. One and the same sentences are given a point of bizarre grimaces, which express different emotions from wonder and gasping for air, to soundless screams of horror and the emptiness of existence. What becomes an important catalyst for these overemphasized emotions is the play’s soundtrack, which is carefully selected and adapted by Frano \urovi}. " Kim Cuculi}, “Novi list” PERFORMANCE

Re`ija / Directress

ANICA TOMI] Dramaturgija / Dramaturge

JELENA KOVA^I] Muzika / Music

FRANO \UROVI] Produkcija/Production:

HKD TEATAR RIJEKA Uloge / Cast:

EDITA KARA\OLE ANDREJA BLAGOJEVI] DAMIR ORLI] DRA@EN MIKULI]

DIRECTRESS Anica Tomi} graduated from the Academy of Dramatic Arts with a degree in theatre directing and radio-phony, and also received a degree in Comparative literature and Croatian studies at the Faculty of Philosophy in Zagreb. She was a scholar of the Amsterdamse Hogeschool voor de Kunsten, and semestral fellow of IUP, USA. As an actress, she has performed in theatre, film and television, including the plays: “Judgement Day”, “The bitter Tears of Petra von Kant”, “Tilla’s box”, “Grand Master of All Knaves”, “Cam’s Account of Death”, “Seven Against Thebes”, “blind Spots” (HRT), “Sons of bitches”, “blind Spots” “Dido and Aeneas / Death in Venice / Plague ", etc. She directed the following plays: “Voice imitators” (&TD); “Sons of bitches” (&TD), “Grga ^varak” (DK Dubrava), “Pea on a Princess” (TNT), “Plague” (&TD), “Charlie, the baby Elephant” (Pozori{te), “Pirate Academy” (TNT), “Excuse me, can I tell you ...?” (ZKM). She also co-authored the plays: “Voice Imitators”, “Sons of bitches”, “Grga ^varak”, “Queen Washing Machine”, “Excuse me, can I tell you ..?”.

TEATAR

THEATER

Teatar HKD je udru`enje teatarskiih profesionalaca, koju su 1993. pokrenuli dramski glumac Nenad [egvi} i redatelj Lary Zappia, u `elji da u se u Rijeci zaigra jedan druga~iji dramski repertoar: klasici XX. st., koji jo{ nisu igrani na hrvatskom jeziku u Rijeci, te aktuelne dramske uspje{nice sa svjetskih teatarskih scena.

Malobrojna skupina zapo~ela je radom na sceni Hrvatskog kulturnog doma i, s izuzetkom dviju predstava, („U o~ekivanju Godota“, 1995. i „Sekretarice“, 1996.g., koje su zbog rekonstrukcije scene Doma izvedene u dvorani Filodrammaticae), do danas djeluje na istoj sceni u Strossmayerovoj 1, gdje ima i sjedi{te.

Organizacijski je skupina ispo~etka djelovala pri ustanovi Hrvatski kulturni dom. Ga{enjem ustanove kratko vrijeme djeluje pri Odjelu gradske uprave za kulturu, da bi od 1998. osnovana i registrirana kao udru`enje. Razvijanjem Hrvatskog festivala malih scena Rijeka, te promjenom imena u Me|unarodni festival malih scena, udru`enje stavlja u ime i rije~ „festival“, te slu`beni naziv udruge postaje HKD Me|unarodni festival malih scena Rijeka.

HKD Theatre is an association of theatre professionals, started in 1993 by theatre actor Nenad [egvi} and director Lary Zappia, with a desire for a different repertoire of drama to be played in Rijeka: the classics of the twentieth century, who had not yet been performed in Croatian in Rijeka, as well as current drama hits from world theatre.

The small troupe began work on the stage of the Croatian Cultural House (HDK) and, with the exception of two plays (Waiting for Godot in 1995, and The Secretary in 1996, which, due to the reconstruction of the stage at the House, were performed at the Filodrammaticae), has staged performances to this day on the same stage at its headquarters at 1 Strossmeyer Street. In institutional terms, the group was initially affiliated with the Croatian Cultural House. When the House was closed down for a short time, the troupe worked within the City Department of Culture, only to be fully registered as a association since 1998. Having launched the Rijeka Croatian Small Stage Festival, and with a change of name: The International Small Stage Festival, the association included the word “festival" in its name. Soon after, the official name of the association became “The HDK International Small Stage Festival of Rijeka”.

FUTURE MESS

REDITELJICA Anica Tomi} diplomirala je teatarsku re`iju i radiofoniju na ADU, te komparativnu knji`evnost i kroatistiku na FF u Zagrebu. bila je stipendistica Amsterdamse Hogeschool voor de Kunsten, te semestralna stipendistica IUP-a, SAD. Kao glumica nastupa u teatru, na filmu i televiziji: „Sudnji dan“, „Gorke suze Petre von Kant“, „Tillina kutija“, „Veliki me{tar sviju hulja“, „Kamov smrtopis“, „Sedmorica protiv Tebe“, „Mrtvi kutevi“ ( HRT), „Ku~kini sinovi“, „Didona i Eneja/Smrt u Veneciji/Kuga“ itd. Profesionalne re`ije: „Imitatori glasova“ (&TD); „Ku~kini sinovi“ ( &TD), „Grga ^varak“ (DK Dubrava), „Gra{ak na zrnu kraljevne“ (TNT), „Kuga“ (&TD), „Cirkuski sloni} Charlie“ (Kazali{te), „Piratska akademija“ (TNT), „Oprostite, mogu li vam ispri~ati...?“ (ZKM). Koautorica je tekstova: „Imitatori glasova“, „Ku~kini sinovi“, „Grga ^varak“, „Kraljica Ve{ma{ina“, „Oprostite mogu li vam ispri~ati..?“.

Nizozemska / The Netherlands

Akademija scenskih umjetnosti Sarajevo 18.00 Academy of Performing Arts Sarajevo 18.00 Trajanje / Running time 105 min.

05/10/11

OVO JE MOJ OTAC THIS IS MY FATHER

PREDSTAVA

Otac i sin susre}u se na pozornici. Otac je `ivio u Nizozemskoj i Izraelu, dok je njegov sin Ilay ro|en u Izraelu, ali je odrastao u Nizozemskoj. Koriste}i o~evu biografiju kao polaznu ta~ku, Ilay, zajedno s publikom, poku{ava shvatiti njihove razli~ite na~ine razumijevanja `ivota. Ilay je Jevrej, dok njegov otac nije – da li pripadnici drugih religijskih ili nacionalnih skupina imaju druga~ije mi{ljenje o mr`nji i diskriminaciji od Jevreja? Negdje izme|u memoara i knji`evnog djela, u kojima je opisan privatni `ivot i politika, Ilay den boer istra`uje, kroz pri~u o svojoj porodici, pitanje `idovskog identiteta danas. „Ovo je moj otac“ je tre}a epizoda u seriji predstava „Obe}ana gozba“, nizozemsko/izraelskog dramskog reditelja Ilay den boera. U ovoj seriji predstava, Ilay pobli`e analizira sebe, svoju porodicu, dr`avu Izrael i jevrejsku historiju. Dok ovo istra`uje, on poku{ava imenovati ono {to se ne mo`e imenovati u ratu, nevjerojatnu slo`enost jevrejske historije, i izlo`iti i otkriti jevrejski identitet. Osje}aj odgovornosti u svijetu koji pripada svim ljudima, a time i publici, bit }e stavljen na ku{nju. „Ovo je moj otac na savr{en na~in prikazuje pozori{ni talent Ilaya den boera - on se usu|uje izraziti svoje li~ne opsesije, i zna kako to u~initi na najbolji na~in.“ Kester Freriks, “NRC Handelsblad”

PERFORMANCE A father and son meet on stage. The father has lived in both Holland and Israel, while his son Ilay was born in Israel, but grew up in Holland. Using his father's biography as a starting point, Ilay, together with the audience, tries to grasp their different ways of understanding life.

Ilay is Jewish, his father is not - does a Gentile have a different opinion on hate and discrimination?

Somewhere between a memoir and a work of fiction, mixing private life and politics, Ilay den boer examines, through the story of his family, the question of Jewish identity today.

“This is my dad” is the third episode in the series of performances “The Promised Feast” by the Dutch/Israeli theatre maker Ilay den boer. In this series of performances, Ilay takes a close look at himself, his family, the state of Israel and the Jewish history. by researching this, he attempts to name the unnameable of a war, the incredible complexity of the Jewish history, and to expose and unravel the Jewish identity. The sense of responsibility in this world of all people, and therefore of the audience, will be put to the test.

“This is my father shows Ilay den boers’ theatrical talent in a perfect way - he dares to express his personal obsessions, and knows how to do this in a powerful form.”

Kester Freriks, “NRC Handelsblad”

Koncept i izvedba / Concept and performance

ILAY DEN BOER Prijevod / Translation

GERT DEN BOER Asistent dramaturgije / Assistant to Dramaturgy

MAYA VAN DEN HEUVEL-ARAD Scenografija / Stage Design

EDO SUTHERLAND Konsultant za muziku / Musical consultant

MELLE KROMHOUT Muzi~ki aran`man / Musical Arrangement

ANAN DEN BOER

The Dutch / Israeli theatre maker Ilay den boer was born in Jerusalem, and moved to the Netherlands when he was three years old. Ilay den boer studied at the Amsterdam School of the Arts. Since season 2008/2009, he has the six-part series of performances, “The Promised Feast”. In this series of performances, Ilay takes a close look at himself, his family, the state of Israel and the Jewish history. This series is produced by Het Huis van bourgondië, with co-producers Over het IJ Festival, detheatermaker, Het Lab Utrecht and Keesen&co. Furthermore, Ilay den boer a member of the Artistic board of the Stichting Nieuwe Helden Foundation.

DIRECTOR

Dizajn svjetla / Lighting Design

ROBERT RICHTER Trener / Coach

WILLIBRORD KEESEN Odnosi sa javno{}u i marketing / PR & Marketing

MEREL SCHREURS, BENOÎT VANRAES Umjetni~ki direktor / Artistic Director

PIET MENU Generalni direktor / Managing Director

KARIN VAN LEEUWEN Producent / Producer

JOSÉ SCHURINGA Produkcija / Production

HET HUIS VAN BOURGONDIE PREDSTAVA/PERFORMANCE TEATAR

THEATER

Het Huis van bourgondië je pozori{te u Maastrichtu, Nizozemska. U Het Huis van bourgondië, mladi i perspektivni teatarski reditelji dobivaju priliku da kreiraju svoje prve predstave.

Het Huis van bourgondië is located in Maastricht, the Netherlands. At Het Huis van bourgondië, young promising theatre directors get the chance to make their first performances.

FUTURE MESS

REDITELJ Nizozemsko-izraelski pozori{ni reditelj Ilay den boer ro|en je u Jeruzalemu, a u Nizozemsku se preselio sa tri godine. Studirao je na amsterdamskoj [koli za umjetnost i. Od 2008./2009. sezone, kreira seriju od {est predstava, po nazivom „Obe}ana gozba“. U ovoj seriji predstava, Ilay blisko analizira sebe, svoju porodicu, dr`avu Izrael i `idovsku povijest. Producenti projekta su Het Huis van bourgondië, s koproducenti Over Het IJ Festival, detheatermaker, Het Lab Utrecht i Keesen&co. Uz to, Ilay den boer je ~lan umjetni~kog odbora Fondacije Stichting Nieuwe Helden.

Iran

Sarajevski ratni teatar SARTR 18.00 Sarajevo War Theatre SARTR 18.00 Trajanje / Running time 60 min.

08/10/11

Sanaz Bayan / Amir Kianpour NO]NE MORE TI[INE NIGHTMARES OF SILENCE

PREDSTAVA

Otkad su Amerikanci napali Irak, sjena novog rata prekrila je Iran, i prijeti nam mogu}nost da se stravi~no iskustvo ponovi. Ro|ena sam 1983. godine u Teheranu. Tri godine ranije, ira~ka vojska Saddama Husseina napala je na{u zemlju. Rat je trajao osam godina, {to zna~i da sam prvih pet godina `ivota provela u panici od bombi i granata. No}u smo morali gasiti svjetla, i biti spremni bje`ati u skloni{ta kada ~ujemo „Crvenu sirenu“; strahovali smo za vlastite `ivote, za `ivote na{ih roditelja i prijatelja. A sada, pojava te proklete sjene u`asava i mene i sve druge koji se sje}aju tih tamnih no}i. Predstava pri~a pri~u o ratu u Teheranu (ali ne i iz perspektive rata ili grani~nih gradova), kako ga vidi petogodi{nja djevoj~ica.

Likovi su `rtve rata, koji ne uti~u na rat. Oni nisu ni vojnici ni politi~ari. Predstava pripovijeda doga|aje na tri razli~ite razine: dana{nje stvarnosti, ratnih dana, te no}nih mora glavnog lika, Negin, sada odrasle djevojke od 27 godina. Predstava je izvedena prvi put u Teheranu 2008. godine.

PERFORMANCE Since Americans invaded Iraq, a shadow of a new war has floated amidst Iran's sky, and the possible repetition of a horrifying experience threatens us. I was born in 1983 in Tehran. Three years earlier, Saddam Hussein's Iraqi army had attacked our country.

The war went on for eight years, and the first five years of my life I spent in a panic of bombs and missiles. We had to turn off the lamps at nights, and be ready to rush to the shelters when we heard the "Red Siren"; we worried about our lives, the lives of our parents and our friends. And now, the appearance of that doomed shadow of new war terrifies me, and the other people who remember those dark nights. The story narrates the war in Teheran (but not from the perspective of fronts or border towns) through a five-year old girl’s point of view. The characters are victims, who are not in charge of the war. They are neither warriors nor politicians. The play narrates events at three various levels: the realities of present day, the war days, and the nightmares of the main character, Negin, now grown up, at the age of 21.

The play was produced and performed in Teheran in 2008.

KAZEM SAYAHI Kazem Sayahi ro|en je 1978. godine. Diplomirao je pozori{nu glumu. Sayahi je re`irao i slijede}e predstave: „No}ne more o ti{ini“ (2002 - 2010) i „Jednostavnu pri~u“ (1999). Igrao je i u predstavama: „12“ (u re`iji Mamizhe Mohamedi, 2009), „Danas te ne volim“ (u re`iji Ali Hashemija, 2007), „Jednostavni dijelovi“ (u re`iji Ali Hashemija, 2009), „Imigranti“ (u re`iji Sanaza bayan, Teheran, 2006), „No}ne more o ti{ini“ i „Ku}a za lutke“ (u re`iji Sanaz bayana, 2006 - 2011). Tako|er igra u i TV seriji „Detektivi" (u re`iji Hamida Labkhandeha, 2009) i „Aghaghia Aleja“ (u re`iji Reze Atarana, 2004).

SANAZ bAYAN Sanaz bayan je ro|ena 1983. godine. Diplomirala je dramsku knji`evnost. Napisala je i re`irala predstave: „Polusjenka“ (2003), „Crni san“ (2004), „No}ne more o ti{ini“ (2008 2010), „balade za sjenku“ (2011). Tako|er je re`irala i predstave „Imigrante“ Slavmira Merozheka (2006) i Ibsenovu „Ku}u za lutke“ (2006 - 2011).

Re`ija / Director

KAZEM SAYAHI SANAZ BAYAN Scenografija / Stage Design

AHMAD KACHECHIAN Kostimografija / Costume Design

MARAL MIZAN Muzika / Music

ANKIDO DARASH Dizajn svjetla / Lighting Design

KAZEM SAYAHI [minka / Make up

HAMRAZ BAYAN Uloge / Cast

SARVENAZ NANKALI AFSANEH SARFEJOO AMIRHOSSEIN ASANI SHIMA BAKHSHANDEH KAZEM SAYAHI

DIRECTOR AND DIRECTRESS

KAZEM SAYAHI Kazem Sayahi was born in 1978. He has a b.A at Theatre Acting. Sayahi has directed the following plays: “Nightmares of Silence” (2002 – 2010) and “A Simple Story” (1999). He has acted in the plays: “12” (directed by Mamizhe Mohamedi 2009), “Don’t Love You Today” (directed by Ali Hashemi 2007), “Simple Parts” (directed by Ali Hashemi 2009), “Immigrants” (directed by Sanaz bayan, Teheran, 2006), “Nightmares of Silence” and “A Doll’s House“ (directed by Sanaz bayan 2006 - 2011). He also plays in the TV series “Detectives” (directed

by Hamid Labkhandeh 2009) and “Aghaghia Alley“(directed by Reza Ataran 2004).

SANAZ bAYAN Sanaz bayan was born in 1983. He has a b.A in Dramatic Literature. He is the writer and director of plays: “Penumbra” (2003), “black dream” (2004), “Nightmares of Silence” (2008 2010), “ballads for a Shadow” (2011). He also directed Slavmir Merozhek's “Immigrants” (2006) and Ibsen's “A Doll’s House” (2006 - 2011).

FUTURE MESS

REDITELJI REDITELJICA

Italija / Italy

Pozori{te mladih Sarajevo 22.00 Sarajevo Youth Theater 22.00 Trajanje / Running time 60 min.

08/10/11

DIES IRAE_5 EPIZODA O KRAJU VRSTE - Diptih vrste (Dio Prvi) DIES IRAE _ 5 EPISODES ABOUT THE END OF THE SPECIES - Diptych on the species PREDSTAVA

Vi nikada ne}ete imati priliku hodati rame uz rame sa neandertalcem. Niti }ete imati priliku razgovarati sa mezopotamcem ili promatrati nebo s Mayama. Nikada ne}ete vidjeti dolazak delegacije vanzemaljaca na zemlju na filmskom platnu, niti }ete ikada vidjeti kako se sunce pretvara u supernovu.

Zapravo, vi niste vidjeli trenutak svog ro|enja, niti }ete vidjeti va{u smrt. Sada{nje vrijeme je historijski prezent. Sada{nje vrijeme je konvencija. Sada{nje vrijeme je, prije svega, prostor djelovanja. Da bi kolonizirali pro{lost i budu}nost, mo`emo razmi{ljati o dva razli~ita arheolo{ka pristupa: prvom, kao iskopavanju pro{losti, i drugom kao o sahranjivanju sada{njosti, koja }e biti iskopana u nekoj dalekoj budu}nosti.

Oduvijek smo ostavljali znakove, i to }emo nastaviti raditi. Hajdemo `ivjeti i slaviti na{e vrijeme, a zatim se vratiti u prah.

PERFORMANCE You'll never have the chance to walk by a Neanderthalian's side. Nor will you have the chance to speak with a Mesopotamian or observe the sky with a Maya. You'll never see the arrival of an alien delegation on a movie screen, and you'll never see the sun turning into a supernova. Actually, you haven't seen your birth, and you won't see your death. The present is a historical tense. The present is a convention. The present is above all space of action. In order to colonize the past and the future, we may think of two opposing types of archaeology: the first one digging up the past, and the second one burying the present in the wait for a future disinterment. We've always been leaving signs, and we'll keep leaving them. Let's live and celebrate our times and then be back to dust.

Teatro Sotterraneo was set up in autumn 2004 for the 11/10 In Apnea Project, a project taking place at the same time as the Generazione Premio Scenario 2005. In the following years, Teatro Sotterraneo produced „Post-it“ (2007), „La Cosa 1“ (2008), „The Diptych about the Species“ (20092010), composed of „Dies irae _ 5 episodes about the end of the species“ and „The Origin of Species“ from Charles Darwin, „The Republic of Children“ (child theatre play, 2011) and „Homo ridens“ (2011). Since 2008, Teatro Sotterraneo has been part of the Fies Factory One project, promoted by Centrale Fies, and was granted the Region Tuscany Annual Fund for young theatre groups. In 2008-2009, it was also supported by the ETI “Nuove Creatività” project. In 2009, Teatro Sotterraneo was awarded with both the Lo Straniero and Ubu Speciale prizes, and in 2010 it was awarded with the Hystrio-Castel dei Mondi Prize.

TEATAR

Teatro Sotterraneo osnovan je u jesen 2004. godine za 11/10 In apnea rojekat, koji se odvijao u isto vrijeme kada i Generazione Premio Scenario 2005. godine. Tokom narednih godina, Teatro Sotterraneo je producirao „Post-it“ (2007), „La Cosa 1“ (2008), „Diptih o vrsti“ (2009-2010), koja se sastoji se od „Dies irae_5 epizoda o kraju vrste“ i „Porijekla vrsta“, zasnovane na radovima Charlesa Darwina, „Republika djece“ (dje~ja predstava 2011. godine) i „Homo ridens“ (2011).

Od 2008. godine, Teatro Sotterraneo je dio projekta Fies Factory One, koji promovira Centrale Fies, gdje je osvojio Nagradu za mlade pozori{ne grupe Godi{njeg fonda regije Toskane.

Tokom 2008. i 2009. godine, teatar je tako|er podr`ao projekat ETI „Nuove Creatività“. 2009. godine, Teatro Sotterraneo je osvojio i nagrade Lo Straniero i Ubu Special, dok je 2010. godine dobio nagradu Hystrio-Castel dei Mondi.

Kreativni tim / Collective Creation

TEATRO SOTTERRANEO Dramaturgija / Dramaturgy:

DANIELE VILLA Dizajn svjetla / Light Design

ROBERTO CAFAGGINI Kostimografija / Costume Design

LYDIA SONDEREGGER Produkcija / Production:

TEATRO SOTTERRANEO Uloge / Cast

SARA BONAVENTURA IACOPO BRACA MATTEO CECCARELLI CLAUDIO CIRRI

FUTURE MESS

THEATER

Vrijeme ~ekanja TIME TO WAIT

Translunarni raj TRANSLUNAR PARADISE

WACHT Autoportret SELF-PORTRAIT

Starac i more OLD MAN AND THE SEA

Bosna i Hercegovina / Bosnia and Herzegovina

Centar za kulturu „Sarajevo“ 18.00 Sarajevo Centre for Culture 18.00 Trajanje / Running time 50 min.

04/10/11

VRIJEME ^EKANJA TIME TO WAIT Prema dramskom tekstu „Čekaonica“ B. Lije{evi} / B. Dimitrijevi} / Based on the play “Waiting Room” by B. Lije{evi} / B. Dimitrijevi} PREDSTAVA

„Vrijeme ~ekanja“ predstavlja istinit mozaik dana{njeg `ivljenja mladog ~ovjeka, daje sliku traumati~nog prilago|avanja na nova pravila dru{tvene igre gdje mlad ~ovjek neprestano ne{to i{~ekuje, vreba priliku, nada se! Ovo }e biti nastojanje da kroz pozori{nu predstavu, vrlo oprezno, razjasnimo i pomognemo mladom ~ovjeku da lak{e i bezbolnije u|e u svijet odraslih. Uvo|enje lutki u prostor komunikacije daje jo{ jednu mogu}nost gluma~kom izrazu da poka`e njegovu vje{tinu.

PERFORMANCE “Waiting Time" is a true mosaic of the present-day life of a young man, and gives a picture of a traumatic adjustment to new rules and games, where a young man, constantly waiting for something, keeps a lookout for a chance, a hope! This play will be an effort to use a play to, very carefully, clarify and help a young person venture into the world of adults in an easier and more painless way. The introduction of mannequins into a space of communication provides another opportunity for actors to show their skills of expression.

Kolektivno autorstvo / Creative collective:

Neformalna grupa pod nazivom Poetski teatar mladih 'JUVENTA' oformljen je 2001. godine, a okuplja srednjo{kolce, realizuju}i autorske predstave „Ljubav je smisao za ljepotom“, „Zlatni trenutak vje~nosti“, „Ispovijest narkomana“, „Vrijeme ki~a i {unda“, „Raskr{}e“ i „U labirintu seksualnosti“, ~iji je umjetni~ki rukovodilac i reditelj Jasna Dikli}. U~estvovali su na mnogim festivalima u biH i inostranstvu, i dobili 23 presti`ne nagrade. Ovi projekti su uspjeli okupiti veliki broj mladih ljudi, ~ije se slobodno vrijeme osmislilo, pokrenulo njihovu ma{tu, dati su im preduslovi za ljubav prema poeziji, teatru, lijepoj knji`evnosti i drugim vidovima duhovnosti. Sve predstave imale su veliki odjek u javnosti i me|u njihovim vr{njacima. Ove predstave su gledale hiljade mladih. Predstave njeguju autorski izraz, jer predstavljaju slo`en i integriraju}i oblik u~enja koji poma`e mladom ~ovjeku da izrazi i razvije svoje osje}aje, sposobnosti i stavove.

Tako|er, ova vrsta anga`mana poma`e mladima u oblikovanju govorne vje{tine, razvijanju ma{te i kreativnosti, sticanju dru{tvene svijesti, humanih i moralnih uvjerenja. Mladi ~ovjek kroz ovaj vid aktivnosti sti~e sigurnost i samopouzdanje, u~i da razumije me|uljudske odnose i pona{anja, i u~i sara|ivati, cijeniti sebe i druge, istovremeno u~e}i kako ste}i priznanje drugih.

U ovom teatru svoje gluma~ke po~etke imali su: Amila Terzimehi}, Adi Hrustemovi}, Ivana Vojinovi} i Edin Avdagi}, i kasnije postali studenti Akademije scenskih umjetnosti. Danas, na kraju njihovog {kolovanja, ponovo su se okupili da zajedni~ki naprave predstavu „Vrijeme ~ekanja“.

POETSKI TEATAR MLADIH 'JUVENTA' / JUVENTA POETIC YOUTH THEATRE Koreografija / Choreographer:

JELENA RUSJAN Dramaturgija / Dramaturge:

ASJA KRSMANOVI] Izrada lutaka / Puppet Design:

MIRJANA ^ISTOPOLJSKI Grafi~ki dizajn, svjetlo, ton / Graphic Design, Lighting, Sound:

RE[AD HAD@IBAJRI] Obuka glumaca animatora / Animation Coach for the Actors:

MARIO DRMA] Asistent re`ije / Assistant to the Director:

ADIS OMEROVI] Produkcija / Production:

CENTAR ZA KULTURU 'SARAJEVO' / SARAJEVO CENTRE FOR CULTURE Uloge / Cast:

AMILA TERZIMEHI] ADI HRUSTEMOVI] IVANA VOJINOVI] EDIN AVDAGI] THEATER

The “Juventa” Poetic Youth Theatre, an informal theatre group, was created in 2001, and brings together high school students, who then put together original plays, such as “Love is the Sense of beauty”, “Golden Moment of Eternity”, “Confessions of a Drug Addict”, “The Time of Kitsch and Trash”, “Crossroads” and “In the Maze of Sexuality”. With the guidance of their artistic manager and directress Jasna Dikli}, the Theatre participated in many festivals in bosnia and Herzegovina and abroad, and received 23 prestigious awards. These projects have managed to gather a large number of young people, for whom the Theatre planned their free time, kickstarted their imagination, and gave them the prerequisites to develop a love of poetry, theatre, fiction and other forms of spirituality. All of their plays resonated loudly with the public, and with their peers, and were watched by thousands of young people. The performances foster a personal expression, as they represent a complex and integrated way of learning that helps a young person express and develop their emotions, skills and attitudes. Also, this type of activity helps shape young people’s vocal skills, develop their imagination and creativity, and acquire a social awareness, as well as human and moral beliefs. Through this kind of activity, young people develop a certainty and a confidence, learn to understand human relationships and behaviour, learn to cooperate, to appreciate themselves, to appreciate others, all the while learning how to gain the recognition of other people.

In this theatre, the following actors has their beginnings: Amila Terzimehi}, Adi Hrustemovi}, Ivana Vojinovi} and Edin Avdagi}, who later became students of the Academy of Performing Arts. Today, at the end of their studies, they come together again to stage “Waiting Time.”

IYME MESS

TEATAR

Ujedinjeno Kraljevstvo / United Kingdom

Akademija scenskih umjetnosti Sarajevo 23.00 Academy of Performing Arts Sarajevo 23.00 Trajanje / Running time 75 min.

06/10/11

TRANSLUNARNI RAJ TRANSLUNAR PARADISE

PREDSTAVA

Translunarni raj ... mjesto u kojem vrijeme stoji. „Pozori{te Ad Infinitum“ poziva vas na putovanje `ivota, smrti i vje~ne ljubavi, inspirirano pjesmom W.b. Yeatsa, „Kula“. Nakon smrti supruge, William bje`i u raj ma{te i sje}anja iz pro{losti, u mjesto daleko od stvarnosti njegove tuge. Vra}aju}i se iz mrtvih, Rose ponovno posje}uje svog udovca, da bi izvela posljednji ~in ljubavi: kako bi mu pomogla da se oprosti od nje.

Sna`na pri~a o `ivotu i smrti, ispri~ana bez rije~i.

PERFORMANCE Translunar Paradise… a place where time stands still. Theatre Ad Infinitum invites you on a journey of life, death, and enduring love inspired by W. b. Yeats’ poem, The Tower. After his wife passes away, William escapes to a paradise of fantasy and past memories, a place far from the reality of his grief. Returning from beyond the grave, Rose revisits her widowed companion to perform one last act of love: to help him let her go.

A poignant tale of life and death told without words.

George Mann is a practitioner, actor, writer and director. George trained for two years at the École Internationale de Théatre Jacques Lecoq in Paris 2006, and graduated from the Royal Holloway University of London with a 1st class honours degree in Theatre Studies in 2004.

He formed Theatre Ad Infinitum in 2006, creating “behind the Mirror” at the Pleasance in Edinburgh’s Festival Fringe 2008, which went on to receive critical acclaim, and Arts Council funding for a spring 2009 tour in the UK. “Odyssey”, the company’s second piece was a sell-out hit.

George received The Stage best Solo Performer Award for his one-man performance of Homer’s classic tale, directed by Nir Paldi, which now tours internationally. His experience includes codirecting “Peer Gynt” with Ahuris Theatre in Japan; acting as Musical Director, Composer, and Actor with Compagnie Act Theatre in France; running workshops for the National Youth Theatre, and many schools and universities, and he is also a Visiting Acting Tutor at Rose bruford Drama College. George has performed with compagnie Le Jacquerie and Plateform Théatre in Paris, France, and worked with Gardzienice Theatre Company, lead by Wlodzimierz Staniewski, in Poland.

DIRECTOR

TEATAR

THEATER

Teatar Ad Infinitum sa sjedi{tem u Londonu, ~ini ansambl educiran po Lecoq principima sa ciljem uspostavljanja novog i originalnog teatarskog izraza za publiku razli~itih kultura. Na ~elu kompanije su dva umjetni~ka direktora, Nir Paldi (Izrael) i George Mann (Velika britanija), koji rade i zajedno, a i samostalno, da bi stvarali nove i kvalitetne teatarske predstave. Osim toga, Teatar Ad Infinitum je nedavno otvorio ogranak u Kanadi, na ~ijem je ~elu Umjetni~ka direktorica Amy Nostbakken, koja radi samostalno, ali i s timom u Velikoj britaniji i koja dijeli njihovu strast za inovativnim i me|unarodnim teatrom.

Theatre Ad Infinitum is a Lecoq-trained international ensemble based in London, which develops new and original theatre for a multi-cultural audience. The company is led by two Artistic Directors, Nir Paldi (Israel) and George Mann (UK), who work together and independently to create new and high quality theatre. Additionally, Theatre Ad Infinitum have recently created a base in Canada, led by Artistic Director Amy Nostbakken, who is working together and independently with the UK team, and who shares their passion for innovative and international theatre-making.

Re`ija, Dramski koncept / Directed and Story Conceived by:

GEORGE MANN Muzika / Music:

KIM HERON GEORGE MANN Dizajn svjetla / Lighting Design:

PETER HARRISON Kostimografija / Costume:

CLARE AMOS Scenografija i izrada scene/ Set Design and Construction

FRANCESCO GORNI Fotografije / Photos

ALEX BRENNER Maske / Mask Design

VICTORIA BEATON Dizajn reklame / Publicity Design

HELEN STEWART Pordukcija / Production

TEATAR AD INFINITUM / THEATRE AD INFINITUM Organizacija i uloge / Devised and performed by:

KIM HERON GEORGE MANN DEBORAH PUGH

IYME MESS

REDITELJ George Mann je izvo|a~, glumac, pisac i reditelj. Dvije godine se obrazovao na Me|unarodnoj {koli za teatar Jacques Lecoq 2006. godine, a diplomirao je 2004. godine na Royal Holloway Univerzitetu u Londonu, kao najbolji student Pozori{nih studija. 2006. godine je osnovao Teatar Ad Infinitum, re`iranjem predstave „Iza ogledala“ u pozori{tu Pleasance na edinbur{kom Fringe Festivalu 2008., koja je pokupila pohvale kriti~ara, i dobila sredstava Vije}a za umjetnost za proljetnu turneju po Velikoj britaniji 2009. godine. Druga predstava pozori{ta, „Odiseja“, je bila hit za koju se uvijek tra`ila karta vi{e. Mann je za svoju solo izvedbu „Homerove klasi~ne pri~e“, u re`iji Nir Paldi, koji se sada me|unarodno izvodi, dobio nagradu za najboljeg solo izvo|a~a na sceni. Kore`irao je predstavu „Peer Gynt“ sa pozori{tem Ahuris u Japanu, radio je i kao reditelj mjuzikala, kompozitor i glumac sa Pozori{tem Compagnie Act u Francuskoj, vodio radionice za Narodno pozori{te mladih, te za mnoge {kole i univerzitete, a radi i kao gostuju}i predava~ glume na [koli drame Rose bruford. George je glumio sa Compagnie Le Jacquerie i Pozori{tem Plateform u Parizu, a radio je i sa pozori{nom kompanijom Gardzienice, na ~elu sa Włodzimierzom Staniewskim, u Poljskoj.

Nizozemska / The Netherlands,

Umjetni~ka galerija BiH 24.00 Art Galery BiH 24.00 Trajanje / Running time 20 min.

07/10/11

WACHT!

PREDSTAVA

[to biste vi u~inili da osje}ate da unutar vas postoji vi{e nego {to se mo`e vidjeti? O ~emu biste ma{tali? Mi svi ponekad osje}amo potrebu da se oslobodimo dnevne kolote~ine. U potrazi smo za poticajem, za avanturom, za pripitomljavanjem unutra{njeg nemira. Wacht! je komi~na predstava bez rije~i, za svakoga ko je ikada sanjao da uradi stvari druga~ije. Predstava nakon koje zasigurno vi{e nikada ne}ete pro}i kroz muzej, a da se ne nasmijete.

PERFORMANCE What would you do if you felt that there is more inside you than can be seen? What would you fantasise about? We all feel the urge once in a while to break free from the daily grind. In search of stimulus, in search of adventure, in search of taming the restlessness inside. Wacht! is a funny performance without words for anyone who has ever dreamed of doing things differently. A performance that makes sure you’ll never walk through a museum without a grin again.

Koncept / Concept

HISKE ERIK Uloge / Cast

HISKE ERIKS Credits:

MANON NIEUWEBOER CASPAR NIEUWENHUIS

DIRECTRESS Hiske Erik graduated from acting school in 2010, at the Hogeschool voor de Kunsten Utrecht (HKU).

After her studies, she played at TG MAX (“Alone in the world”), TG Aluin (“Know your classics!”), and performed at several Dutch festivals. Her solo performance “Wacht!”previously played in Utrecht, Amsterdam, Rome, bilbao and belgrade. For her performance in Serbia, she won an award for best Performer.

IYME MESS

REDITELJICA Hiske Erik diplomirala je glumu 2010. godine na „Hogeschool voor de Kunsten“ u Utrechtu (HKU). Nakon studija, igrala je u „TG MAXu“ (u predstavi „Sam na svijetu“), u TG Aluinu („Upoznaj svoje klasike!“), te predstave je izvodila na nekoliko festivala u Nizozemskoj. Njena solo predstava „Wacht!“ je ve} izvo|ena u Utrechtu, Amsterdamu, Rimu, bilbaou i beogradu. Za svoj nastup sa ovom predstavom u Srbiji je osvojila nagradu za najboljeg izvo|a~a.

UK i Portugal / UK and Portugal

Art Kino Kriterion 24.00 Kriterion Art House 24.00 Trajanje / Running time 40 min.

08/10/11

AUTOPORTRET SELF-PORTRAIT

Gdje ste ro|eni?

Koje je va{e dr`avljanstvo?

Koliko imate godina?

Da li ste seksualno aktivni?

Da li redovno idete u WC? Koliko puta sedmi~no?

Ima li kakvih bolesti u va{oj porodici?

Kojih bolesti?

Rak? Ko je imao rak?

Molimo odgovorite na pitanje.

PERFORMANCE Where were your born?

What’s your nationality?

What’s your age?

Are you sexually active?

Do you go to the toilet regularly?

How many times a week?

Are there any diseases in your family?

Which diseases?

Cancer?

Who had cancer?

Please answer the question.

Autoportret je predstava o mom identitetu. Tokom godina, skupljala sam li~nu evidenciju (ljekarske nalaze, ultrazvu~ne snimke, vakcine), i pitala se koju ulogu naslije|e igra u na{im `ivota. To bi mogla biti ispitiva~ka uloga, neka istraga, ili mo`da manifest protiv svih upitnika koje moramo ispuniti u na{im `ivotima.

Ipak, nije. To je samo autoportret. Mo`da, automatski autoportret.

Self-portrait is a play about my identity. Over the years, I collected my personal records (medical examinations, radiographies, vaccines) and wondered what role the heritage plays in our lives. It could be an interrogatory role, an inquiry or, even, a manifesto against all the questionnaires that we have to answer during our lives, but it isn’t. It is just a self-portrait. Perhaps, an automatic self-portrait.

PREDSTAVA

DIRECTRESS Ana Mendes’ work is based on the idea of movement. She also likes silence. And rhythm. Ana started to work as a writer and got published in Europe and brazil. One of her books was adapted into stage, which led to an opportunity to work in theatre. Since then, she only writes for theatre. She was awarded playwriting prizes in Portugal and UK. Her plays were produced in England, Portugal and France. Currently, Ana lives in London, where she completed an M. A. in Writing for Performance at Goldsmiths College. Prior to this, she studied cinema in France. She also directs experimental short-films. Self-portrait is her first performance, but has been received with great acclaim in England, Ireland and Netherlands.

Re`ija / Director:

ANA MENDES Napisala i izvodi / Performer and playwright:

ANA MENDES Dizajner / Designer:

JEONGHOON CHA Slike / Pictures:

ANA MENDES

IYME MESS

REDITELJICA Rad Ane Mendes se temelji se na ideji kretanja. Ona tako|er voli ti{inu. I ritam.

Ana je po~ela raditi kao pisac, i radove objavljivala u Evropi i brazilu. Jedna od njenih knjiga adaptirana je za pozori{te, ~ime je po~ela svoj rad u pozori{tu. Od tada pi{e samo za pozori{te. Dobitnik je nagrada za dramsko pisanje u Portugalu i Velikoj britaniji. Njena predstave postavljane su na scene u Engleskoj, Portugalu i Francuskoj. Trenutno, Ana `ivi u Londonu, gdje je zavr{ila magistarski studij iz Pisanja za scenske umjetnosti na Goldsmiths Collegeu. Prije toga, studirala je filmsku umjetnost u Francuskoj. Tako|er re`ira eksperimentalne kratke filmove. „Autoportret“ je njena prva autorska predstava, koja je izuzetno dobro primljena u Engleskoj, Irskoj i Nizozemskoj.

Bosna i Hercegovina / Bosnia and Herzegovina

Akademija scenskih umjetnosti Sarajevo 18.00 Academy of Performing Arts Sarajevo 18.00 Trajanje / Running time 45 min.

09/10/11

Ernest Hemingway STARAC I MORE OLD MAN AND THE SEA

PREDSTAVA

„Predstava 'Starac i more' istra`uje star~eve i ljudske motive koji nas tjeraju u jedno slijepo i bezizlazno traganje za svojom li~no{}u. U predstavi je naglasak stavljen na doga|aje koji su prethodili samom ~inu lova. Drugim rije~ima, svi motivi koje starac ima, da bi krenuo u lov na ribu svih riba, proizlaze iz njegove pro{losti i nemogu}nosti kompletiranja svoje li~nosti jakom emotivnom vezom. Zamjenu za tu vezu i za svoju pro{lost starac pronalazi upravo u svojoj ribi i, u odnosu naspram nje.

Predstava je kombinacija verbalnog i neverbalnog teatra, i poku{ava napraviti simbiozu ta dva 'stila' da bi se dobila jedna ~vrsta cjelina.“ Dino Rogi}

PERFORMANCE “The play The Old Man and the Sea explores the old man's, as well as and human motivations that force us into a blind and hopeless search for our personality. The show's emphasis is on the events that preceded the very act of hunting. In other words, all the motivation that the old man has for setting out on a hunt for the fish of all fishes, arises from his past and the impossibility of completing his personality with a strong emotional connection. The old man finds a substitute for this bond for his past in this fish, and in his relation to it.

The show is a combination of verbal and nonverbal theatre and tries to make a symbiosis of these two "styles" to obtain a homogeneous unit.”

Dino Rogi}

Autor koncepta / Author of Concept:

DINO ROGI] Mentorica / Mentor:

SANJA BURI] Produkcija/Production

AKADEMIJA SCENSKIH UMJETNOSTI SARAJEVO / ACADEMY OF THE PERFORMING ARTS SARAJEVO Uloge / Cast:

DINO ROGI] AMILA TERZIMEHI] EMIR FEJZI]

Dino Rogi} is a soon-to-be graduate at the Academy of Performing Arts in Sarajevo. His professional acting work before he entered the Academy were W. Shakespeare's “As You Like It” (where he played Oliver), T. Stoppard's “Rosencrantz and Guildenstern Are Dead” (in the role of Actors), G. boccaccio’s “Decameron”, (in the role of Petruccio). During his studies, he acted in “Tartuffe” by R. W. Fassbinder/Paul/J.b.Moliere (playing the part of Cleant and the Policeman), V. Sigarev’s “Plasticine” (The Groom, the Cadet), A. P. Chekhov’s “The Seagull” (Sorin), D. buzzati’s "Seven Floors" (as the Doctor), M. Mahmutagi}’s “SisoJesus” (as the Priest), and H. Ibsen’s “Nora” (as Helver).

DIRECTOR

TEATAR

THEATER

Akademija scenskih umjetnosti Sarajevo (ASU) je po~ela sa radom 1981. godine, kada je upisala prvu generaciju studenata na Odsjeku za glumu.

Potom je uslijedilo otvaranje Odsjeka za re`iju (1989.), a u ratnoj 1994. godini, pokrenut je i Odsjek za dramaturgiju. bitan segment rada Akademije ostvaruje se na Otvorenoj sceni „ObALA“, kultnom sarajevskom pozori{tu, gdje se studenti predstavljaju svojim radovima, ali gdje i profesionalni glumci, reditelji i pisci svojim radom oboga}uju teatarski `ivot Sarajeva i biH. Potreba za Akademijom se javila jer, prema podacima iz 1981. godine, bosanskohercegova~ka pozori{ta su imala oko 180 zaposlenih glumaca ali samo njih 24 je imalo zavr{enu odgovaraju}u {kolsku spremu.

Zbog toga je odlu~eno osnovati Akademiju scenskih umjetnosti u Sarajevu (ASU) kojoj su mogli upisati i kandidati iz drugih republika tada{nje SFRJ. Akademija scenskih umjetnosti zapo~ela je svoj rad 2. decembra 1981. godine. Me|utim tek nakon ~etiri godine dobila je potpunu fizionomiju kada su se formirali svi predvi|eni odsjeci i kada je prva generacija studenata zavr{ila {kolovanje.

Otvorena scena „Obala“, nastala sredinom osamdesetih, zami{ljena je kao "laboratorij u kome }e studenti, posebno IV godine, obavljati svoj prakti~ni rad“, ali i mjesto na kojem studenti mogu javno prikazati svoj umjetni~ki anga`man.

Tu su scenu dugim radom studenti i nastavnici iz zapu{tenih podrumskih prostorija pretvorili i u kultnu sarajevsku pozornicu, izgradiv{i u podrumu zgrade na Obali salu za scenski pokret i garderobu.

The Performing Arts Academy was founded in 1981, when it opened its doors for its first students in the Department of Acting. Then in 1989, the Department of Directing was opened, while the Department of Dramaturgy was opened during the war, in 1994.

A large and significant part of the activities of the Academy takes shape on the Obala Open Stage, where students also have the possibility to publicly present their works, and where professional actors, directors and writers can showcase their work, and thus enrich the theatre scene of Sarajevo and bosnia and Herzegovina.

The need for an Academy arose due to the fact that in 1981, according to data, bosnian theatres had about 180 actors, only 24 of them with a relevant theatre degree. It was therefore decided to establish an Academy of Performing Arts in Sarajevo (ASU), which also accepted students from other republics in the former Yugoslavia.

The Academy opened its doors in December 1981. Four years later, its “physiognomy” was completed when all its planned departments were established, and when the first generation of graduates left the school. (...)

The Obala Open Stage, established in the mideighties, was conceived as a “laboratory where students will, especially in their fourth year, do their practical work”, but also a place where students can show their artistic achievements to the public. Through many years of work, the students and teachers of the Academy constructed a stage, an auditorium and wardrobe, turning this abandoned basement into a cult Sarajevo theatre stage.

IYME MESS

REDITELJ Dino Rogi} je trenuta~no apsolvent na Akademiji scenskih umjetnosti u Sarajevu.

Profesionalni projekti prije akademije bili su mu W. Shakespeareova „Kako Vam Drago“ (uloga Olivera), T. Stoppardova „Rosencrantz i Guildenstern su mrtvi“, (uloga Glumaca) „Dekameron“ G. boccaccia, (uloga Petrucia). U toku studija na Akademiji scenskih umjetnosti u Sarajevu igrao je u predstavama: „Tartif“ R. W. Fassbindera/Paula, i J.b. Moliera (uloge Kleanta, Policajca), V.Sigarjevom „Plastelinu“ (uloge Mlado`enja, Pitomac), A .P. ^ehovom “Galebu“ (uloga Sorina), D. buzzatijevoj „Sedam Spratova“ (uloga Doktora), M. Mahmutagi}evom “Sisoisus“ (uloga Sve}enika), i H.Ibzenovoj „Nori“ (uloga Helvera)

Radionica tehnike glasa za glumce/ice VOICE TECHNIQUE WORKSHOP FOR ACTORS

RIMINI PROTOKOLL MASTER CLASS Radionica teatarske kritike THEATRE CRITICS WORKSHOP

Radionica dramskog pisanja PLAY WRITING WORKSHOP

Mala scena Narodnog pozori{ta 10.00-16 .00 Cabaret stage National theatre Sarajevo10.00-16 .00

01-04/ 10/11

Art kino Kriterion 14:00 Kriterion Art House 14:00

05/10/11

Anna Zubrzycki Radionica tehnike glasa za glumce/ice

ANNA ZUbRZYCKI je suosniva~ica i jedna od direktora/ica trupe Piesn Kozla, kao i njihova glavna glumica, predava~ica tehnike glasa, te voditeljica magistarskog programa za glumce/ice koji Piesn Kozla vodi za Manchester Metropolitan University School of Theater. Piesn Kozla je prve ~etiri godine od osnivanja provela pri centru Jerzy Grotowski za teatarsko kulturno istra`ivanje u Wroclawu, Poljska. Od 2002. godine kompanija radi u vlastitom teatarskom prostoru u blagovaonici manastira iz XIV st. u srcu Wroclawa. Kompanija koja je sa~injena od internacionalnog ansambla ima reputaciju najuzbudljivije i najinovativnije u cijelom teatarskom pokretu nove avangarde u Poljskoj, ~ime nastavlja dugu tradiciju poljskih teatarskih trupa, ali je kroz svoju posve}enost i stalno istra`ivanje stvorila jedinstven izvo|a~ki stil.

Anna Zubrzycki zapo~ela je svoju teatarsku karijeru 1975. godine u Theater-in Education Jigsaw Company u Kanberi, Australija. Od 1977. do 1992. bila je glavna glumica u Centru teatarske prakse Gardzienice u Poljskoj. Me|u njenim istaknutijim nagradama su: nagrada teatarske kritike za najbolju `ensku ulogu – Isolde u Carmina burani, najbolja `enska uloga 2009. godine za Lady Macbeth u Macbeth-u, Poljski nacionalni orden za zaslugu u kulturi 2005. godine, medalja Lublinskog vojvodstva za promociju kulture u regiji. Kao osniva~ica poljskog ogranka me|unarodne dobrotvorne organizacije Rokpa, pomogla je u osnivanju javnih kuhinja u Poljskoj te putovala na Tibet kako bi nadgledala projekte organizacije.

Stefan Kaegi Rimini Protokoll Master Class Stefan Kaegi ro|en je 1972. u [vicarskoj. Studirao je umjetnost u Cirihu i dramu na Univerzitetu Giessen. Jedan je od umjetni~kih direktora kompanije Rimini Protokoll te je uz svoju partnericu Helgard Haug i partnera Daniela Wetzela, jedna od vode}ih li~nosti u savremenom dramskom pisanju. U svom radu Rimini Protokoll naj~e{}e kreira predstave sa~injene od stvarnog `ivota na sceni, sa stvarnim protagonistima/cama umjesto glumaca/ica, tzv. „eskpertima svakodnevnog `ivota“. Dokumentarstück ili dokumentarni teatar za{titni je znak Rimini Protokolla.

Odbacivanjem „pri~e“ u korist istra`ivanja, oni stvaraju situacije na granici izme|u performansa i dru{tvenih studija, fikcije i stvarnosti, umjetnosti i novinarstva. U predstavi „Terero portero“, vratari iz buenos Airesa stajali su na ulici i govorili o svom poslu, dok su u isto vrijeme njihovi glasovi pu{tani u sali u kojoj je sjedila publika. U brazilu, Kaegi se zaputio u sirotinjske ~etvrti, a u bugarskoj je putovao sa voza~ima kamiona. Predstava „Deadline“, izvedena u Hamburgu, koristila je glasove pogrebnika i studenata medicine da bi predstavila nove pogrebne obi~aje. Predstava „Deutschland 2“ bila je igrana reproducija kompletne osamnaestosatne sjednice njema~kog bundestaga i uklju~ivala je dvjesto gra|ana bonna, biv{e njema~ke prijestolnice. Za predstavu „Call Cutta“ Kaegi je postavio cijelu telefonsku centralu u Kalkuti iz koje su gledaoci u berlinu navigirani preko mobilnih telefona.

Rimini Protokoll je dobio nagradu Faust Theater Prize 2007., kao i evropsku nagradu „Nove realnosti u teatru“ 2008. godine.

Stefan Kaegi dobit }e Srebrnog lava, nagradu uspostavljenu u ~ast novih teatarskih tokova, na 41. Internacionalnom teatarskom festivalu u Veneciji u oktobru 2011. godine. U obja{njenju stoji da je Kaegi zasigurno jedna od najistaknutijih figura nove generacije umjetnika koji na pozori{te gledaju kao na medij kroz koji postavljaju vrlo va`na politi~ka i dru{tvena pitanja.

Predstava Stefana Kaegia „Radio Muezzin“ dio je World MESS programa Internacionalnog teatarskog festivala MESS 2011.

Co-founder and co-director of Piesn Kozla, leading actress, vocal techniques teacher, Course Leader of MA in Acting taught by Piesn Kozla for Manchester Metropolitan University School of Theater. The company spent its first four years in residence at the Jerzy Grotowski Centre for Theatre Culture Research in Wroclaw, Poland. Since 2002 the company has worked from its own space in the refectory of a 14th century monastery in the heart of Wroclaw. An international ensemble, the company has been hailed as the most exciting and innovative of the new avant-garde theatre movement in Poland, continuing a long tradition of Polish ensemble theatre work and, through its dedication to ongoing research, has created a unique performance style. began her acting career in 1975 with the Theater-in Education Jigsaw Company in Canberra, Australia. From 1977-1992 leading actress in the Gardzienice Theater Association in Poland. Has received awards, amongst others — Polish Theater critic’s prize for best female role - Isolde in Carmina burana, best female role of 2009 — Lady Macbeth in Macbeth, The Polish National Order for Merit in Culture, 2005, Lublin Voivodship Medal for promoting Culture in the region. Founding member of the Polish branch of Rokpa International Charity, helped to set up soup kitchens in Poland as well as traveling to Tibet to monitor its projects.

Stefan Kaegi Rimini Protokoll Master Class Stefan Kaegi was born in 1972 in Switzerland. He studied arts in Zurich and drama at the Giessen University. He is one of the art directors of the Rimini Protokoll company, a leading figure in new contemporary playwriting, together with his partners Helgard Haug and Daniel Wetzel. In it’s works Rimini Protokoll usually creates entire pieces of real life on the stage with its actual protagonists, “experts in everyday life”, in place of actors. Dokumentarstück or documentary theater are Rimini Protokoll’s mark of distinction. Rejecting the “story” in favour of an investigation creates situations on the border between performance and social investigation, fiction and reality, art and news reporting.

In the „Torero portero” performance, where porters from buenos Aires stood on the street and talked about their work, while their voices were transmitted to a hall with the audience. In brazil, Kaegi set off on a trip throug slums, being in bulgaria he travelled with lorry drivers. The „Deadline” performance (Hamburg) made use of voices of undertakers and medical students to present new funeral customs. “Deutschland 2” was a live reproduction of an entire 18-hour-session of the German bundestag, involving 200 citizens resident in bonn, the former German capital. For “Call Cutta“, Kaegi set up a call centre in Kolkata from which audiences in berlin were remote-controlled by mobile phone.

Rimini Protokoll was awarded the Faust Theatre Prize in 2007 and the European “New Realities in Theatre“ prize in 2008.

Stefan Kaegi will receive the Silver Lion Award established to honour new theatrical realities on the 41st International Theater Festival in Venice in October 2011. According to the Venecian biennale Kaegi is certainly one of the most prominent figures in the new generation of artists who look to theatre as a way to raise political and social issues.

Stefan Kaegi’s perfromance “Radio Muezzin” is in the World MESS Program of the International Theater Festival MESS 2011.

FUTURE MESS WORKSHOPS

Anna Zubrzycki Voice Technique Workshop for Actors

Sarajevo Film Academy 11:30

08/10/11

Sarajevo Film Academy

07-09/ 10/11

Fernando de Ita Radionica teatarske kritike Fernando de Ita po~eo je karijeru kao novinar u redakciji za kulturu i kazali{ni kriti~ar 1977. godine. Od tada je pisao za najva`nije novine i ~asopise iz Meksika, Latinske Amerike i [panije. Dobio je stipendiju Me|unarodne asocijacije pozori{nih kriti~ara kriti~ara (IATC) 1982. i 1983. godine, za studijski boravak u Nizozemskoj i Francuskoj.

1992. godine, bio je Predsjednik meksi~kog ogranka Asocijacije, a 1993. godine ~lan Izvr{nog odbora Asocijacije. Objavio je dvije knjige intervjua s autorima i rediteljima, kao {to su Tennessee Williams, Arthur Miller, Norman Mailer, Jean Genet, Samuel beckett, Photo: CRISA COWRIE Peter brook, Dario Fo, Pina bauch, Roberto Culi, Heiner Müller i jo{ mnogi drugi.

Autor je 12 drama, od kojih su tri izvo|ene na Narodnom pozori{tu u Meksiku, najve}em godi{njem pozori{nom doga|aju u Meksiku. Dobitnik je nekoliko nagrada za svoj rad, od kojih se isti~e Medalja Xavier Villaurrutia meksi~ke vlade, za `ivotna dostignu}a u pozori{tu. Kao novinar u podru~ju kulture, on je organizirao i dvije konferencije novinara u kulturi, na kojima su u~estvovale sve zemlje {panskog i portugalskog govornog podru~ja. Trenutno je ~lan Nacionalnog sastava umjetni~kih kreatora, te Predsjednik Ibero-ameri~ke asocijacije novinara u kulturi.

Hristo Boj~ev Radionica dramskog pisanja Hristo boj~ev ro|en je 1950. na selu u sjevernoj bugarskoj. Studirao je ma{instvo i radio kao inžinjer i upravnik fabrike sve do 1985. godine. Nakon toga zavr{io je Akademiju za teatar i film u Sofiji. Debitirao je u teatru 1984. i do 1989. napisao {est drama. Nakon pada komunizma i ukidanja cenzure, njegove drame koje su kritizirale režim napokon su mogle biti postavljene na scenu i ubrzo je postao najizvo|eniji autor u svojoj zemlji.

Satiri~ke televizijske emisije koje je radio u ovom periodu ostavile su snažan utjecaj na njegove groteskne komedije.

Drama “Pukovnik Ptica” koja je imala premijernu izvedbu 1997. postigla je najzna~ajniji me|unarodni uspjeh. Prikazana je na bonskom bienale 2000. godine. Njegove ostale drame prevo|ene su na mnoge jezike i izvo|ene {irom svijeta. Me|u posljednjim ostvarenjima su mu “^ovjek iz podzemlja”, kao i drama bazirana na romanu Kazantzarkisa “Grk Zorba”.

Fernando de Ita began as cultural journalist and theatre critic in 1977. Since then, he has written in the most important newspapers and magazines from Mexico, Latin America and Spain. In 1982 and 1983, he received a fellowship from the International Association of Theater Critics (IATC) in the Netherlands and France. In 1992, he was President of the Mexican section of the IATC, and in 1993, was on the Executive Committee of that association. He has published two books of interviews with authors and directors, such as Tennessee Williams, Arthur Miller, Norman Mailer, Jean Genet, Samuel beckett, Peter brook, Dario Fo, Pina bauch, Roberto Ciulli, Heiner Müller and many more.

He is the author of 12 plays, three of which were performed at the National Theater of Mexico, the largest annual event of the Mexican scene. He has received several awards for his work, a notable one being the Medal Xavier Villaurrutia from the Mexican government for a Lifetime in Theatre. As a journalist of culture, he has organized two international cultural journalism conferences, with the participation of all countries in the Spanish and Portuguese language speaking areas.

Currently he is a member of the National System of Art Creators and President of Ibero-American Cultural Journalism Association.

Hristo Boj~ev Play Writing Workshop born in a northern bulgarian village in 1950, he studied mechanical engineering and worked as an engineer and factory manager until 1985. After that, he studied at the Academy for Theatre and Film in Sofia. He made his theatre debut in 1984 and had written six plays by 1989. After the fall of communism and the abolition of censorship, his regime-critiquing plays could finally be staged and he quickly become the most-performed author of his country. The satirical television shows he made during this time had a large impact on his absurdly grotesque comedies.

“The Colonel bird,” which premiered in 1997, is his greatest international success. It was presented at the bONN bIENNALE 2000. In addition to this work, his many other plays have been translated into numerous languages and are frequently performed in Germany and other countries worldwide. His most recent plays include “The Underground Man” and an adaptation of Kazantzakis' novel “Zorba the Greek.”

FUTURE MESS WORKSHOPS

Fernando de Ita Theatre Critics Workshop

Mali princ THE LITTLE PRINCE

Kapetan D`on Piplfoks CAPTAIN JOHN PEOPLEFOX

Pinokio u nevolji PINOCCHIO IN TROUbLE

Knjiga lutanja bOOK OF WANDERING

Padobranci – Ili umjetnost padanja PARACHUTISTS – Or on the Art of Falling

Bosna I Hercegovina / Bosnia and Herzegovina

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

01/10/11

Antoine de Saint-Exupery MALI PRINC THE LITTLE PRINCE

PREDSTAVA “Roman „Mali princ“ je jedna od naj~itanijih knjiga na svijetu (odmah nakon biblije i Marksovog „Kapitala“), i ~esto biva poticaj mnogim umjetnicima, koji su zna~enja i simboliku ovog djela tretirali kao svoju kreativnu inspiraciju. Tako se ova, u biti, bajkovita pri~a redovito nalazi na teatarskom, ponaj~e{}e lutkarskom, repertoaru. (...)

Danas, kada je ~ovjek otu|eniji nego u vrijeme nastajanja knjige, kada se sve vi{e udaljava od prirode, prijatelja, pa i ljudskosti, kada svijet strmoglavo juri u propast, samouni{tenje, Mali princ i u takvim vremenima svijetli i ukazuje nam na neke davno zaboravljene puteve ~ovje~nosti. Nevinost i ~istota djetinjstva, kao temelj ljudskih vrijednosti i eti~nosti, postaju zatomljene, izgubljene ili zaboravljene, te tragaju}i za zna~enjima koja se kriju u odnosima izme|u Malog princa i Pilota, Malog princa i Ru`e, Lisice, Zmije, tragali smo i preispitivali sebe, a svakom gledatelju ponudili mogu}nost da prepoznaju ili prona|u svog Malog princa ...

Zatim, poetski intonirana pri~a o prijateljstvu, ljubavi i privr`enosti, otvorila je mogu}nosti scenskoj igri, koja se kre}e od radosnog lirizma do lirski intonirane drame. Kako smo ovu pri~u prenijeli na otpad kao dana{nju i civilizacijsku pustinju ljudi, tragali smo za svojim izvorom, putem koji }e nas povesti u jedan druga~iji svijet koji je uvijek tu negdje, ali je zatrpan ljudskim nehatom i nebrigom, odba~en i zaboravljen, no pulsira i ~eka, jer Su{tina je o~ima nevidljiva, samo se srcem dobro vidi.”

Dubravka Zrn~i}-Kulenovi}

"The Little Prince" is one of the most read books in the world (immediately after the bible and Marx's "Capital"), and is often an incentive for many artists, who have taken the meaning and symbolism of this work as their creative inspiration. And so this fairytale in essence regularly appears in theatre, and especially in puppet repertoires.(...)

Today, when man is more alienated that he was at the time this work appeared, when he is moving more and more away from nature, friends, and humanity, when the world is rushing headlong to demise and self-destruction, The Little Prince, even at such times, points us to some long-forgotten pathways of humanity. The innocence and purity of childhood, as the foundation of human values and ethics, becomes suppressed, lost, or forgotten, and, while searching for meanings that are hidden in the relations between the Little Prince and the Pilot, Little Prince and the Rose, the Fox, or the Snake, we are in fact searching and questioning ourselves, and offering each viewer the ability to recognize or find their own Little Prince ...

Furthermore, the poetically intonated story of friendship, love and devotion has opened possibilities for stage performance, which ranges from joyful lyricism to drama told in lyrical overtones. As we have transferred this story to the waste heap that is today’s civilizational wilderness of humanity, we have searched for a source, a path that will take us into a different world that is always out there somewhere - buried beneath human carelessness and neglect, abandoned and forgotten, it pulses and waits, because the Essence remains invisible to the eyes, but is very visible to the heart.”

Dubravka Zrn~i}-Kulenovi} PERFORMANCE

DIRECTRESS Dubravka Zrn~i}-Kulenovi} is a playwright and directress who has professionally worked in theatres in bosnia and Herzegovina, Croatia and Slovenia for thirty-five years. between 1976 and 1992, she was a dramaturge at the Sarajevo Youth Theatre, and has, since 1992, worked as a freelance artist in Croatia, where she established an independent theatre intended for children and young people, who were mostly refugees. She returns to Sarajevo in 1996, as artistic director, and then as playwright, working for the Sarajevo War Theatre SARTR. With a group of artists, in 1997 she founded the Sarajevo Puppet Studio, as the first independent and non-formal school in biH for young artists and children. She has continued to expand her educational work as a permanent artistic associate at the Academy of Art in Osijek and the Academy of Performing Arts in Sarajevo.

She has been the dramaturge on over a hundred performances, and has directed the following puppet shows: Zoran Ga{i's "Far is near, near is far," Goran Simi}'s "Atomska lopta" (Atomic ball), Andersen-Yoursenar's "Little Mermaid" (co-directed with Zlatko Mikuli}), and was the author of the following projects: "Ma{taonica" (Imagination Room), "Pri~om pri~ica" (Story story), “Petar i vuk" (Peter and the Wolf), “Papirnati snovi" (Paper Dreams), “Duga, najljep{a riba oceana" (The Long, Most beautiful Fish of the Ocean) and “Stihozbornica!" (Rhymewhisperer); Ivana brli} Ma`urani}'s "Pri~a o Zorku bistrozorku" (The story of Zorko bistrozorko), "[uma Striborova" (Stribor's Forest), “Rego~", "Ribar Palunko i njegova `ena“ (Fisherman Palunko and His Wife); Mladen Kopjar's “Izvor“ (Source), Andersen's “Thumbelina“, “Cinderella“ by the brothers Grimm, Goran Simi}'s “Legenda o Dunjaluku“ (Legend of the World), Lewis Carroll's “Alice", Simi}Ostoji}'s "Hranjiva pri~a" (Nourishing Story), Exupery's "The Little Prince", A.[enoa's "The Shoemaker and the Devil", and A. Hromad`i}'s "Patuljak nam pri~a" (The Dwarf Telling Stories). She has also directed mask theatre, choreodramas and musicals. Dubravka Zrn~i}-Kulenovi} has won numerous awards as a dramaturge and director, as well as the "Grozdanin Kikot" international awards for her contribution to the dramatic education of children and young people.

TEATAR

THEATER

[kola Lutkarstva Sarajevo–Mostar, ~iji su inicijatori bili Marko Kova~evi}, Muhamed Nametak, Ljubica Ostoji}, Safet Plakalo i Dubravka Zrn~i}Kulenovi} zajedno sa Pozori{tem lutaka Mostar i Sarajevskim ratnim teatrom SARTR, osnovana je u januaru 1997.godine. Nakon obnove Pozori{ta lutaka Mostar, [kola lutkarstva Sarajevo je djelovala zasebno uz podr{ku SARTR-a. U julu 2002. godine [kola mijenja svoje ime i registruje se kao nezavisna organizacija – Studio lutkarstva Sarajevo. Program Studija je bio baziran na seminarima i kreativnim radionicama vo|enim uglavnom od strane inozemnih, ali i doma}ih, stru~njaka i edukatora i kao takav predstavljao je jedinstven oblik edukacije na prostoru biH. Zadnjih godina program Studija je usmjeren na specijalisti~ko usavr{avanje mladih umjetnika koji kroz radioni~ki pristup i kreativni proces postaju autori i realizatori lutkarskih predstava.

Na ovakav na~in, Studio promovira specifi~an, autenti~an i prepoznatljiv stil i doprinosi kvalitetu i razvoju lutkarske umjetnosti u na{oj zemlji.

Tako|er, izvode}i svoje predstave, osim teatarskih, i u prostorima u kojima djeca borave, u~e i igraju se, te putuju}i {irom biH, Studio doprinosi i populariziranju lutkarstva kao umjetnosti koja direktno uti~e na obrazovanje i odgoj djece i mladih. Iz produkcije izdvajamo najuspje{nije predstave: „Usamljena gomila“, „Izvor“, „Pal~ica“, „Doticanja“, „Pepeljuga“, „Legenda o Dunjaluku“ i „Alisa“, te one koje su na repertoaru: „Hranjiva pri~a“, „Mali princ“ i „Patuljak nam pri~a“. Studio je do sada gostovao na mnogim festivalima {irom Europe.

The Sarajevo-Mostar School of Puppetry, whose initiators were Marko Kova~evi}, Muhamed Nametak, Ljubica Ostoji}, Safet Plakalo, and Dubravka Zrn~i}-Kulenovi}, as well as the Mostar Puppet Theatre and the SARTR Sarajevo War Theatre, was established in January 1997. After the restoration of the Mostar Puppet Theatre, the Sarajevo School of Puppetry functioned independently with the support of the SARTR. In July 2002, the school changed its name and registered as an independent organization – The Sarajevo Puppet Studio. The program of the Studio was based on seminars and creative workshops led mainly by foreign, but also local experts and educators, and, as such, represented a unique form of education in bosnia-Herzegovina. In recent years, the program has been aimed at the specialist training of young artists, who, through a workshop approach and creative process, become the authors and creators of puppet theatre. In this way, the Studio promotes a specific, authentic and distinctive style, and contributes to the quality and development of puppetry in our country. Also, in addition to theatric venues, by performing his plays in other areas, areas where children live, learn and play, and by traveling across biH, the Studio contributes to the popularity of puppetry as an art form that has a direct impact on the education and upbringing of children and young people. The Studio's most successful productions have been: The Lonely Crowd, Source, Thumbelina, Touching, Cinderella, The Legend of the World and Alice, while the most visited plays in the current repertoire are Nourishing Story, The Little Prince and Dwarf Telling Stories. The studio has performed at several festivals throughout Europe.

Re`ija / Directress

DUBRAVKA ZRN^I]-KULENOVI] Scenarij / Screenplay

DUBRAVKA ZRN^I]-KULENOVI] JASMINKA PO@EK-BO@UTA Likovna rje{enja scene i lutaka / Graphic designs for the stage and puppets

ANJA PERI[I] NAIDA BEGOVI] ADISA VATRE[ IRMA VATRI] Video animacija / Video animation

NAIDA BEGOVI] Koprodukcija/Co-production: STUDIO LUTKARSTVA SARAJEVO / PUPPET STUDIO SARAJEVO ALTTEATAR KULTURNO SPORTSKI CENTAR BUGOJNO / BUGOJNO CENTRE FOR CULTURE AND SPORT Uloge / Cast

SONJA GORONJA SLAVEN VIDAK JASMINKA PO@EK-BO@UTA Glasovi / Voices

FERID KARAJICA HALIMA MU[I] JASENKO PA[I]

CHILDREN MESS

REDITELJICA Dubravka Zrn~i}-Kulenovi}, dramaturginja i rediteljica, trideset i pet godina profesionalno radi u teatrima u bosni i Hercegovini, Hrvatskoj i Sloveniji. Od 1976. do 1992. bila je dramaturg Pozorista mladih u Sarajevu, od 1992. godine kao slobodni umjetnik djeluje u Hrvatskoj i osniva nezavisan teatar koji je bio namijenjen djeci i mladima, uglavnom izbjeglicama. U Sarajevo se vra}a 1996. godine i kao umjetni~ki direktor, pa potom i kao dramaturg, radi u Sarajevskom ratnom teatru SARTR. Sa grupom umjetnika, 1997. osniva Studio lutkarstva Sarajevo kao prvu nezavisnu i ne-formalnu {kolu u biH namijenjenu mladim umjetnicima i djeci.

Pedago{ki rad usavr{ava i djeluju}i kao stalni umjetni~ki saradnik na Umjetni~koj akademiji u Osijeku i Akademiji scenskih umjetnosti u Sarajevu.

Dramaturgom je bila na preko stotinu predstava, a re`irala je sljede}e: lutkarske predstave: „Daleko je blizu, blizu je daleko“ Zorana Ga{ija, „Kockasta lopta“ Gorana Simi}a, „Mala sirena“ Andersena-Yoursenara (ko-re`ija sa Zlatkom Mikuli}em), autorski projekti: „Ma{taonica“, „Pri~om pri~ica“, „Petar i vuk“, „Papirnati snovi“, „Duga, najljep{a riba oceana“ i „Stihozbornica!“; „Pri~a o Zorku bistrozorku“, „[uma Striborova“, „Rego~“, „Ribar Palunko i njegova `ena“ Ivane brli} Ma`urani}; „Izvor“ Mladena Kopjara, Andersenova „Pal~ica“, „Pepeljuga“ bra}e Grimm, „Legenda o Dunjaluku“ Gorana Simi}a, „Alisa“ Lewisa Carrolla, „Hranjiva pri~a“ Simi}a-Ostoji}a, Exuperyjev „Mali princ“, „Postolar i vrag“ A.[enoe i A.Hromad`i}eva „Patuljak nam pri~a“. Tako|er je re`irala koreo drame i mjuzikle. Dobitnik je niza nagrada i kao dramaturg i reditelj, kao i internacionalne nagrade “Grozdanin kikot” za doprinos dramskog odgoja djece i mladih.

bosna i Hercegovina / bosnia and Herzegovina

Pozori{te mladih 11.00 The Sarajevo Youth Theater 11.00 Trajanje / Running time/Running time 60 min.

02/10/11

KAPETAN D@ON PIPLFOKS CAPTAIN JOHN PEOPLEFOX po motivima istoimene radio drame Du{ka Radovi}a/ based on the radio drama by Du{ko Radovi} Nenad Veli~kovi} PREDSTAVA

„Kapetan D`on Piplfoks“ Nenada Veli~kovi}a je pri~a o penzionisanim gusarima ispred kojih su postavljena dva izazova: da pobjede morsko ~udovi{te Sedmoglavu Alu i da shvate koju su zapravo prave `ivotne vrijednosti; tehnolo{ki napredak – beskona~ne igrice na smartphonima – koji rezultira asocijalno{}u, sebi~no{}u, dehumanizacijom; ili povratak starim vrijednostima – gusarska dru`enja, prijateljstva, po`rtvovanost, hrabrost. Kao i skoro svaka pri~a i ova ima sretan kraj; kapetan D`on Piplfoks sa svojom posadom pobje|uje Alu Sedmoglavku ne upotrijebiv{i nikakvo drugo oru`je do domi{ljatosti i vlastite neustra{ivosti, ali i neustra{ivosti svojih gusara.

Niti jedna sprava nikada ne mo`e zamijeniti vrijednost iskrenog razgovora sa prijateljem ili svaki trenutak vremena kojeg posvetimo dragim nam osobama – poruka je ove predstave.

PERFORMANCE Nenad Veli~kovi}'s Captain John Peoplefox is the story of retired pirates, faced with two challenges: to conquer a monster of the sea, by the name of the Seven-Headed Ala, and to understand what life's true values are : technological advances - the endless games on your smartphones - which result in asocial behaviour selfishness, dehumanization; or to return to the old values – the company of pirates, friendship, commitment, courage. Like almost every story, this one too has a happy ending - Captain John Peoplefox and his crew overcome Seven-Headed Ala by using no other weapons apart from the Captain's own ingenuity and fearlessness, and the fearlessness of his pirates. No such device can ever replace the value of an honest conversation with a friend, or every moment of time that we devote to those dear to us – that is the message of this play.

Re`ija / Directed by:

KA]A DORI] Scenografija, kostimografija, kreacija lutaka / Set, Costume and Puppet Design:

VANJA POPOVI] Muzika / Music:

HAMDIJA SALIHBEGOVI] NED@AD MERD@ANOVI] Scenski pokret / Stage Movement:

FERID KARAJICA Produkcija/Production

POZORI[TE MLADIH SARAJEVO / THE YOUTH THEATRE SARAJEVO Uloge / Cast:

ADMIR GLAMO^AK

Ka}a Dori} was born on 26 February 1937 in ba~ko Gradi{te in Vojvodina. She joined the National Theatre in Sarajevo in the season 1959/1960, where she remained for over thirty years, until November 1993, when she moved to britain. After a brief period in Seoul, Korea, she returned to Sarajevo in 1999. During her work at the Sarajevo National Theatre, between 1966 and 1976, she worked a Prpfessor of Acting at the Drama Studio of the MESS Festival of the Small and Experimental Stage. Ka}a Dori} is known for her large number of notable and awarded roles in Sarajevo theatres (the National Theatre, the Chamber Theatre 55), but also in theatre productions in London, in film, as well as in Radio Sarajevo's drama and entertainment programmes. She has also successfully taken on directing theatre in Sarajevo, as well as in theatre companies in London and Seoul. Among other things, Ka}a Dori} staged Shakespeare's As You Like It, J.b. Moliere's Scapino, J. Marivaux's The Game of Love and Chance, and F. Arrabal's Concert in an Egg. Ka}a Dori} was awarded the most prestigious awards for her acting and directing achievements. She is also the receipient of the Sarajevo Sixth of April Award.

DIRECTOR

TEATAR

Historijat Pozori{ta mladih Sarajevo po~inje daleke 1950. godine kada su u Sarajevu osnovana dva teatra za djecu: Pionirsko pozori{te i Pozori{te lutaka. Profesionalni ansambl Pionirskog pozori{ta formira se {ezdesetih godina, te se mijenja i naziv teatra u Pozori{te za mlade koje tendira ka postavljanju sve ambicioznijih projekata u svrhu animiranja {to {ire grupacije mladih. Formiranje Pozori{ta mladih 1977. kao jedinstvene teatarske institucije obilje`eno je promjenom repertoarske politike u kvalitativnom i kvantitativnom smislu i anga`manom eminentnih reditelja, vrhunskih umjetnika iz oblasti muzi~kog i likovnog umjetni~kog izraza koji su u ovaj teatar dolazili iz svih dijelova ex Jugoslavije, ali i Evrope. Tokom rata u devastiranoj zgradi sa prepolovljenim ansamblom Pozori{te mladih daje svoj puni doprinos odbrani grada Sarajeva i kulture od agresije i nadiru}eg primitivizma sa okolnih brda. U suradnji sa doma}im i stranim rediteljima uz zajedni~ki anga`man MESS-a i malobrojnih preostalih glumaca u Sarajevu, u Pozori{tu mladih premijerno su izvedene brojne predstave. Po zavr{etku rata pozori{te nastavlja svoju djelatnost koja rezultira nagradama: Na internacionalnom teatarskom festivalu MESS '97, '99, '01 predstave ovog pozori{ta nagra|ivane su nagradom za glavnu ulogu, nagrada kritike, nagrada ansamblu predstave. Predstave Pozori{ta mladih dobijaju i brojne nagrade glumcima, rediteljima i predstavama u cjelini na bosanskohercegova~kim teatarskim festivalima u Jajcu, Zenici, Mostaru... Od sada ve} daleke 1950. godine Pozori{te mladih Sarajevo bilo je i ostalo pozori{te svih generacija.

THEATER

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

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

DRAGO BUKA MARIO DRMA] DAMIR KUSTURA MIRZA DERVI[I] ADNAN GORO NERMIN TULI] MIRZA TANOVI] ISMIR FAZLI] SUADA AHMETA[EVI] NARDA NIK[I] ALMA MERUNIKA

CHILDREN MESS

REDITELJ Ka}a Dori} ro|ena je 26. februara 1937. godine u ba~kom Gradi{tu u Vojvodini. U sezoni 1959 / 1960. pristupila je Narodnom pozori{tu u Sarajevu u ~ijem je anga`manu bila preko trideset godina, sve do novembra 1993. godine kada se odselila u Veliku britaniju. U Sarajevo se, nakon kra}eg boravka u Seulu (Koreja), vratila 1999. godine. U vrijeme anga`mana u sarajevskom Narodnom pozori{tu, u periodu od 1966. do 1976. godine radila je kao profesor glume u Dramskom studiju pri Festivalu malih i eksperimentalnih scena MESS. Ka}a Dori} je ostvarila veliki broj zapa`enih i nagra|ivnih uloga u sarajevskim pozori{tima (Narodno pozori{te, Kamerni teatar '55), ali i u produkcijama teatara u Londonu, na filmu kao i u dramskom i zabavno-revijalnom programu Radio Sarajeva. Sa uspjehom se bavila i pozori{nom re`ijom, u sarajevskim pozori{tima ali i u pozori{nim ku}ama Londona i Seula. Izme|u ostalog, Ka}a Dori} je na scenu postavljala „Kako vam drago“ W. Shakespearea, „Skapina“ J. b. Molierea, „Igru ljubavi i slu~aja“ J. Marivoa, „Koncert u jajetu“ F. Arabala. Ka}a Dori} je dobitnica najpresti`nijih nagrada i priznanja za svoja gluma~ka i rediteljska ostvarenja. Dobitnica je i [estoaprilske nagrade grada Sarajeva.

bosna i Hercegovina / bosnia and Herzegovina

Me|unarodni franjeva~ki studentski centar 18.00 Franciscan International Student Centar 18.00 Trajanje / Running time 85 min.

03/10/11

Ale{ Kurt PINOKIO U NEVOLJI PINOCCHIO IN TROUBLE

PREDSTAVA

Komad „Pinokio u nevolji“, je napisan po motivima knjige Carla Collodia. Smje{ten je u dana{nje vrijeme. To je pri~a o ne`eljenom dje~aku koji u svom odrastanju mora da pro|e kroz razna isku{enja, u koja ga uvla~e odrasli sumnjivog morala. Svi oni poku{avaju da manipuli{u sa dje~akom, po~ev{i od njegovog oca D`epeta, preko nepismenog upravnika pozori{ta, lokalnih alkoholi~ara, lopova, narkomana, pedofila, bludnica, sadista. Dru{tvo ga svim silama `eli ubaciti u svoj beskrupulozni sistem bez vrijednosti. Pinokio mora sam da se odlu~i izme|u dobra ili zla. Ako se nekim slu~ajem odlu~i za dobro, to je pravo ~udo. Ljudi oko njega listom biraju, kad mogu da biraju, zlo. Na svom putu odrastanja po~inje da kontrolira svoje sebi~ne porive, u~i da dijeli, i poma`e bli`njima. Kona~no, `rtvuje se za spas svog oca. Glavni vodi~ kroz sve avanture je njegovo veliko srce i ponosni nos. Jer kao i Sirano, svoj nos Pinokio nosi kao usud beskompromisne iskrenosti i po{tenja.

Svi la`u. Samo neki imaju vi{e drskosti. Najgori su oni koji la`u da ne la`u. Sve pi{e na licu. Nos je samo simbol. Ovaj Pinokio nije pri~a o dje~aku koji la`e.

PERFORMANCE The play "Pinocchio in Trouble" was written on the basis of the book by Carlo Collodi.

The story has been transferred to today’s world. It is the story of an unwanted boy who, as he grows up, has to go through various trials and tribulations, into which he is ensnared by adults of dubious moral. They all try to manipulate the boy, from his father Geppetto, to an illiterate theatre manager, local alcoholics, thieves, drug addicts, pedophiles, harlots and sadists. Society is trying with all its might to throw him into its ruthless system without values. Pinocchio must decide between good and evil on his own. If by some chance he opts for good, it will be a true miracle. This is because everybody around him, when they have a chance to choose, chooses evil. On his way to adulthood, he begins to control his selfish impulses, he learns to share, and to help his neighbours. Finally, he sacrifices himself to save his father. His main guide through all the adventures are his great heart and proud nose. Because, just like Cyrano, Pinocchio wears his nose as a burden of honesty and integrity.

Everybody lies. Only some have more audacity than others. The worst are those who lie that they do not lie. Everything is written on their faces. The nose is just a symbol. This Pinocchio is not a story about a boy who lies.

Re`ija i koreografija / Direction and Choreography:

BELMA LIZDE- KURT Muzika i songovi / Music and songs:

HAMDIJA SALIHBEGOVI] NED@AD MERD@ANOVI] Scenografija i kostim / Stage and Costume Design:

SANJA D@EBA Dizajn / Design:

FABRIKA Klavir, violina, akordeon / Piano, violin and accordion:

ANA KOBELJA Fotografija / Photography

D`. DREKOVI] Produkcija/Production:

belma Lizde-Kurt is one of the most successful actresses of current theatre in biH. She has won numerous awards for best Actress, one of which was the significant best European Actress Award at the 2005 Prespa International Festival in Macedonia. This is her first independent theatre direction.

DIRECTOR

APARAT TEATAR Ova predstava ura|ena uz pomo} Programa Fonda MDG: Kultura za razvoj. / This play was realized with the help of the MDG Fund Program: Culture for Development.

Uloge / Cast:

IGOR SKVARICA IRMA ALIMANOVI] MAJA ZE^O EDHEM HUSI]

TEATAR

Aparat teatar je nastao na inicijativu grupe umjetnika, kao `elja za promjenama u teatarskoj produkciji, kao i potreba za prostorom izgra|enim od ideja, gdje bi autori mogli da ostvare vi{i nivo umjetni~kih sloboda.

THEATER

The Aparat Theatre came about as an initiative of a group of artists, as well as from a desire for change in theatre production, and a need for a space constructed of ideas, where authors could achieve a higher level of artistic freedom.

CHILDREN MESS

REDITELJ belma Lizde-Kurt je jedna od najuspje{nijih glumica novije epohe u biH. Dobila je brojne nagrade za najbolju glumicu, od kojih treba izdvojiti, nagradu za najbolju glumicu Evrope na me|unarodnom festivalu Prespa 2005 u Makedoniji. Ovo joj je prva samostalna re`ija.

Srbija / Serbia

Stolarija narodnog pozori{ta Sarajevo 11.00 i 18.00 Stage Carpentry of The Nationa Theatre Sarajevo 11.00 i 18.00 Trajanje / Running time 50 min.

06/10/11

KNJIGA LUTANJA BOOK OF WANDERING

PREDSTAVA

„bio jednom jedan… Gde su nestale granice mogu}nosti? Sve po~inje potragom za ne~im nedoku~ivim, neuhvatljivim i beskona~nim kao {to je kosmos. U poku{aju da dohvatimo ne{to o ~emu ni{ta ne znamo polako ulazimo u igru energije i metamorfoza. Pravimo sebi sopstvene zamke u koje povremeno i upadamo. Smi{ljamo pri~e u koje `elimo da drugi poveruju. Verujemo da nas svaki na{ slede}i korak vodi napred i ne prime}ujemo da prelazimo iz jednog oblika u drugi. Sklopiti se u senci. U ne~ijem tanjiru. U ~ijem tanjiru? Na zavesi, na tepihu nazire se u kom pravcu bi moglo da se krene. Uz repeticiju. Uz surovu repeticiju.

Uz nezasitu repeticiju. I za{to se ba{ tu zavr{ava? Tamo gde je sve po~elo. U utrobi. Do re mi fa sol. Solmizacija sveta. Kao refleks. I kao slutnja. Da li slutimo rastanak?

Ili je to samo po~etak ne~eg novog {to tek treba da otkrijemo. Ili ne. Da li verujemo u rastanak? U naziranju postoji opasnost privida. Stvaranje sopstvenog prostora.

Ostati sam. Da li mo`emo da verujemo u ovo {to sada vidimo ili se to ve} menja pred na{im o~ima. Kako }e{ pre}i granicu koju ne vidi{? Kako }e{ shvatiti da je ovo samo mesto `elje? NESTVARNO. NEO^EKIVANO. NEPOJMLJIVO. NEUKROTIVO. NESPOJIVO. NEMINOVNO. NEVEROVATNO. NEObI^NO. NENADANO. NEVI\ENO. NEOTKRIVENO. Sve ono {to nas ~eka na putu kad odlu~imo da lutamo.“ Maja Pelevi}

“Once upon a time there was a... Where have the limits of opportunity disappeared? It all begins with the search for something unfathomable, unattainable and infinite such as the universe. In our attempt to reach something we know nothing about, we are gradually involved in a game of energy and metamorphosis. We create our own traps for ourselves, and occasionally get caught in them. We make up stories which we wish others to believe in. We believe that every new step takes us forward, and we fail to notice that we are transformed from one form to another. To fold up in shade. In somebody’s plate. In whose plate? On the curtain, on the carpet, one can discern a possible direction. With a repetition. With a brutal repetition. With insatiable repetition. And why does it end right there? Where it all began? In the womb. Do, re, mi, fa, so. The solmisation of the world. As a reflex.

And as a premonition. Do we sense a farewell? Or is it just the beginning of something new that we have yet to discover? Or not. Do we believe in a farewell? If one discerns, one is in danger of falling for an illusion. The creation of one’s own space. To be left alone. Can we believe in what we can see now, or is it already changing in front of our very eyes? How can you cross a border you cannot see? How will you understand that this is only a place of desire? UNREAL. UNEXPECTED. UNTHINKAbLE. UNCONTROLLAbLE. INCOMPATIbLE. INEVITAbLE. UNbELIEVAbLE. UNUSUAL. UNEXPECTED. UNSEEN. UNDISCOVERED. Everything that awaits us when we decide to wander.”

PERFORMANCE

Maja Pelevi}

Autorica i koreografija / Author and Choreographer:

DALIJA A]IN Dramaturgija / Dramaturge:

MAJA PELEVI] Scena i kostimografija / Stage and Costume Design:

ZORANA PETROV Kompozitor / Composer:

VLADIMIR PEJKOVI] Fotografija/Photography

\OR\E TOMI] Produkcija / Production

MALO POZORI[TE

Dalija A}in was born in 1974, and graduated from the Lujo Davi~o ballet School. She has acquired the knowledge and practice of contemporary dance through many workshops and residencies in Europe (Paris, berlin, Vienna, Dusseldorf).

She has presented her works at local and international festivals (bITEF, bELEF, Infant, Tanz im August, Tazntendezen, Mladi levi, Week of Contemporary Dance, Oppla, Performa), and collaborated with international artists (Isabelle Schad, Thomas Lehmen).

She is the co-founder and coordinator of the Station Service for Contemporary Dance in belgrade, member of Artistic board of the Nomad Dance Academy, and Artistic director of the Festival of Choreographic Miniatures.

AUTHOR AND CHOREOGRAPHER

TEATAR

THEATER

Malo pozori{te Du{ko Radovi} je jedno od najpoznatijih i najpriznatijih dje~ijih pozori{ta u Srbiji, ~iju publiku ~ine djeca i mladi, koje je 2009. godine proslavilo 60 godina postojanja. Osnovna programska koncepcija ovog teatra po~iva na uvjerenju da pozori{te za djecu i mlade mora aktivno da korespondira sa realno{}u, bave}i se svim temama koje su aktuelne u savremenom dru{tvu. Malo pozori{te Du{ko Radovi} je posljednjih godina postalo mjesto aktivnog dijaloga, prije svega izme|u pozori{ta i njegove publike.

Trudimo se da o pozori{tu za djecu razmi{ljamo na demokrati~an na~in, kao o mjestu razmjene iskustava i ideja, o svojevrsnom forumu na kom se odvija neprestana rasprava izme|u pozori{ne i objektivne realnosti. @elimo da na{i mladi gledaoci izrastu u odgovorne i pametne gra|ane dru{tva u kom `ive, koje }e, zahvaljuju}i njima, postati mnogo bolje, ali i u odgovorne i pametne gledaoce nekih drugih, budu}ih predstava.

Na{a publika su djeca koja su zna~ajan dio svog djetinjstva provela u atmosferi mr`nje i netolerisanja svih razli~itosti, i pred nama je odgovoran zadatak da ih nau~imo osnovnim pojmovima na kojima treba da po~iva ozbiljno civilno dru{tvo kakvo }e, vjerujemo, i na{e jednog dana postati.

The Du{ko Radovi} Little Theatre is one of the best known and most respected children's theaters in Serbia, the audience of which includes both children and young adolescents, and which in 2009 celebrated its 60th anniversary. The basic concept of the theatre’s program rests on the belief that a theatre for children and young people must actively correspond with reality, and deal with all current issues in contemporary society. The Du{ko Radovi} Little Theatre has, in recent years, become a place of active dialogue, primarily between the theatre and its audience. We try to think about a theatre for children in a democratic manner, as a place for an exchange of experiences and ideas, as a forum that hosts a constant polemic between the theatre and the objective reality. We want our young viewers to grow into responsible and intelligent citizens of their society, which, thanks to them, will become much better, but also into a responsible and intelligent audience of some other future performances.

Our audience are children who spent a significant part of their childhood in an atmosphere of hatred and intolerance of differences. before us is a responsible task of teaching them the basic concepts on which to establish a serious civil society, one that, we believe, our one society will become one day.

DU[KO RADOVI] Uloge/ Cast:

DAMJAN KECOJEVI] ANA IGNJATOVI] MILICA PISI]

CHILDREN MESS

AUTORICA I KOREOGRAFKINJA Dalija A}in je ro|ena 1974. godine. Diplomirala je na baletskoj {koli Lujo Davi~o, i sticala znanje i praksu iz oblasti savremenog plesa kroz mnogobrojne radionice i boravke u Evropi (Paris, berlin, be~, Diseldorf).

Svoje koreografske radove predstavljala je na brojnim festivalima u zemlji i inostranstvu (bITEF, bELEF, Infant, Impulstanz, Tanz im August, Tazntendezen, Mladi levi, Week of Contemporary Dance, Oppla, Performa) i sara|ivala sa internacionalnim koreografima (Isabelle Schad, Thomas Lehmen).

Koosniva~ica je i koordinatorica „Stanice Servisa za savremeni ples“, koosniva~ica i ~lan umjetni~kog odbora Nomad Plesne Akademije, te umjetni~ka direktorica Festivala koreografskih minijatura.

Hrvatska / Croatia

Pozori{te mladih 12.00 The Youth Theatre Sarajevo 12.00 Trajanje / Running time 40 min.

09/10/11

PADOBRANCI - ili o umjetnosti padanja PARACHUTISTS - ON THE ART OF FALLING

PREDSTAVA

Koja to sila svijet dr`i na okupu? Za{to ljudi na "dnu" zemaljske kugle jednostavno ne padnu?

Je li prva lekcija iz letenja zapravo u~enje padanja?

Privla~e li se suprotnosti? Za{to nas neki ljudi privla~e, a drugi odbijaju?

Gravitacija je jedna od najsna`nijih sila u `ivotu ~ovjeka.

Malo dijete se vrlo rano upoznaje s njenim djelovanjem, poku{avaju}i na~initi svoje prve korake. U toj zada}i ono pada pa se vlastitim snagama ustane, zatim opet pada pa ustaje‌ dok ne nau~i hodati. Upravo takav je i cijeli na{ `ivot - protkan uspjesima, ali i padovima. Svi smo mi pomalo padobranci!

PERFORMANCE What is the force holding the world together? Why do the people who live on the "bottom" of the globe not fall of? Is the first lesson in flying actually learning to fall? Do opposites attract? Why are we attracted to some people, and while others repel us?

Gravity is one of the most powerful forces in a person's life. A little child gets to know its effects very early, while trying to make its first steps. In this task, the child falls, then musters up its own strength to stand up, then falls and gets up again ... until it learns to walk. Our entire life is exactly like this – interwoven with successes, but also failures. We're all somewhat parachuters!

Re`ija / Directon:

IVICA [IMI] Koreografija / Choreography:

LARISA LIPOVAC DAMIR KLEMENI] Dramaturgija / Dramaturgy:

NANA [OJLEV Muzika / Music:

ALEN KRALJI] Kostimografkinja / Costume Design:

HANA LETICA Fotografkinja / Photographer:

IRENA SINKOVI]

Ivica [imi} is an actor, director, the Artistic Director of Mala scena Theatre, founder of the Theatre Epicentre, a theater center for young audiences, and the Main Secretary of ASSITEJ, the World Association of Theatre for Children and Youth. He graduated in acting from the Academy of Theatre, Film and TV in Zagreb in 1983. He began acting in the Zagreb Youth Theatre Drama Studio with Zvjezdana Ladika. His greatest successes came with the plays Ma~ak D`ingiskan (Genghis Kan the Cat), and Miki Trasi, in which he played with Vitomir Lon~ar (who played Smiljka the Kitten).

After graduation, he worked as an actor at the Zagreb Youth Theatre, where, in 1995, he won the HDDU Award for best Actor in Plays for Children and Youth, for his role of the Wolf in Let's Play the Red Riding Hood.

His favorite roles have been Ariel in Shakespeare’s The Tempest (at the Histrioni in 1980), and that of Moco in The Hawk Didn’t Like Him by Fabian [ovagovi} (at DK Gavella in 1982).

DIRECTOR

TEATAR

THEATER

Mala scena vode}e je hrvatsko kazali{te za djecu i mlade, prema osvojenim nagradama u zemlji i inozemstvu te broju publike i izvedbi . Kazali{te je umjetni~ka organizacija u vlasni{tvu glumaca Vitomire Lon~ar i Ivice [imi}a te spada u najstarije hrvatske poduzetni~ke projekte u kulturi koje je jo{ uvijek aktivno. Kazali{te je osnovano 1986., a u prostoru na zagreba~kom Medve{~aku djeluje od 1988. Osim toga, Mala scena najaktivnije je hrvatsko kazali{te na me|unarodnim pozornicama, ~emu je u posljednjih pet godina posebno pridonio svjetski hit „Padobranci ili o umjetnosti padanja“, koji je izveden na svim va`nijim me|unarodnim festivalima kazali{ta za djecu i mlade, a vrhunac svojeg uspjeha predstava je do`ivjela 2009. godine nastupima u najpresti`nijim svjetskim kazali{nim prostorima, u Kennedy Centru u Washingtonu/SAD i u Sydney Opera House/Australija. Te godine kazali{te je dobilo i Plaketu Grada Zagreba. U 2010. godini Mala scena je bila prvo i jedino kazali{te iz Hrvatske koje je ikada nastupalo u presti`nom barbican Centru u Londonu, UK. Mala scena je 2008. donijela najva`niji dokument za svoje djelovanje, Strate{ki plan 2008.-2012. u kojem se repertoarom opredjeljuje za stvaranje kazali{nih programa za djecu i mlade te se u budu}nosti vidi kao jedno od europskih kazali{nih centara iz kojeg se {ire nove ideje i nova razmi{ljanja o kazali{noj umjetnosti za mladu publiku te koji promovira nove forme u skladu sa svjetskim spoznajama i suvremenim tokovima.

Mala scena is Croatia’s leading theatre for children and young people, judging by their awards at home and abroad, and the numbers of viewers and plays performed. The theatre is an artistic organization owned by actors Vitomir Lon~ar and Ivica [imi}, and is one of the oldest Croatian cultural business projects still active. The theatre was founded in 1986, and has worked at its premises in Zagreb’s Medve{~ak since 1988. In addition, Mala Scena is the Croatian theatre that is most active on international stages, which is also greatly due to its worldwide hit play, "Parachutists, or On the Art of Falling", which was performed at all major international theatre festivals for children and young people. The play achieved the peak of success in 2009, with appearances in the world's most prestigious theatres, the Kennedy Center in Washington, DC, USA, and the Sydney Opera House in Australia.

That year, the theatre received the Zagreb City Plaque. In 2010, Mala scena was was the first and only theatre in Croatia to perform at the prestigious barbican Centre in London, United Kingdom.

In 2008Mala scena passed the most important document for their work in theatre, the 20082012 Strategic Plan, in which it pledges to devote its repertoire to creating theatre programs for children and young people, and, in the future, sees itself as one of the European theatre centers which brings forth new ideas and thoughts about the art of theatre for young audiences, and promotes new forms adapted to world developments and contemporary trends.

Produkcija/Production:

KAZALI[TE MALA SCENA/ THEATRE MALA SCENA Uloge / Cast:

KRISTINA BAJZA MAR^INKO TOMISLAV KRSTANOVI]

CHILDREN MESS

REDITELJ Ivica [imi} je glumac, redatelj, Umjetni~ki direktor kazali{ta Mala scena, osniva~ Kazali{nog epicentra, kazali{nog centra za mladu publiku, te glavni tajnik ASSITEJa, svjetske udruge kazali{ta za djecu i mlade. Diplomirao je glumu na Akademiji za kazali{te, film i TV u Zagrebu 1983. godine. Po~eo je glumiti u dramskom studiju ZKM-a sa Zvjezdanom Ladika. Najve}i uspjeh imao je s predstavom “Ma~ak D`ingiskan i Miki Trasi”, u kojoj je igrao s Vitomirom Lon~ar (Ma~kica Smiljka).

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

Najdra`e uloge su mu Ariel u “Oluji” W. Shakespearea (Histrioni 1980.) i Moca u “Sokol ga nije volio” Fabijana [ovagovi}a (DK Gavella 1982.godine)

Kreativni ples i samokspresija za djecu CREATIVE DANCE & SELF-EXPRESSION FOR CHILDREN

Centar za kulturu „Sarajevo“

01-02/ 10/11

Rebecca Davis Kreativni ples i samokspresija za djecu CREATIVE DANCE & SELF-EXPRESSION FOR CHILDREN

REBECCA DAVIS

Rebecca Davis Dance Company (RDDC) osnovana je 2005. godine kao 501(c)3 neprofitna organizacija. RDDC kreira odr`ive projekte za mlade, koriste}i ples kao obrazovno sredstvo, te na~in pomirenja u postkonfliktnim zemljama i zemljama u razvoju. Kompanija trenutno svoje aktivnosti fokusira na programme u Ruandi, bosni i Hercegovini i Gvineji. Dru{tvena aktivistkinja i plesa~ica Rebecca Davis osnovala je ovu organizaciju sa prvobitnom misijom kori{tenja plesa kao narativnog sredstva za prezentacije poznatih knji`evnih djela, zna~ajnih historijskih doga|aja, stvoriv{i repertoar sa {est savremenih baleta, inspiriranih izvornim djelima: „Antigona“ (2006), „Helen Keller“ (2007), „Darfur“ (2008), „Pohlepa: Pri~a o Enronu“ (2009), „Van Gogh“ (2009), i "braving the New World" (2010).

Me|utim, kako su Rebeccini kontakti sa ugro`enom mladom populacijom u post-genocidnim zemljama rasli, tako se razvijala i njena vizija organizacije koja bi uticala na `ivote djece. 2010. godine, RDDC je preorijentisala svoje aktivnosti da bi bile prvenstveno me|unarodne, pru`aju}i podr{ku ekonomski ugro`enim mladim ljudima u nekim od najzna~ajnijih podru~ja na svijetu. RDDC izvodi svoje programe u saradnji sa stranim partnerskim organizacijama, te uz podr{ku Ambasade SADa. Kompanija je razvila standardizirani model koji uklju~uje plesne radionice i seminare s naglaskom na nekom pitanju od zna~aja za zajednicu, ili obrazovnu temu. Nau~ene lekcije se isprepli}u.

Projekti se zavr{avaju nizom javnih nastupa, u kojem djeca uglavnom postanu nastavnici, predstavljaju}i svoje plesne radove na temu seminara skupinama odraslih u svojim zajednicama.

CHILDREN MESS WORKSHOPS REBECCA DAVIS The Rebecca Davis Dance Company (RDDC) was founded as a 501(c)3 not-for-profit organization in 2005. RDDC builds sustainable youth projects, using dance as an educational tool and a method of reconciliation in post-conflict and developing countries. The Company currently focuses its operations in Rwanda, bosnia-Herzegovina and Guinea.Social entrepreneur and dancer Rebecca Davis created the organization with the original mission of using dance as a narrative tool to communicate stories of famous literary works, significant historical events, and modern social issues to Western audiences. The Company grew quickly over five years, amassing a repertoire of six original full-length contemporary ballets: “Antigone” (2006), “Helen Keller” (2007), “Darfur” (2008), “Greed: The Tale of Enron” (2009), “Van Gogh” (2009), and “braving the New World” (2010). However, as Rebecca’s contact with underserved youth populations in post-genocide countries grew, so did her vision for an organization that could impact children’s lives. In 2010, RDDC re-oriented its operations to be primarily international, serving economically disadvantaged youth in some of the most traumatized areas of the world. RDDC executes its programs in conjunction with foreign partner organizations and support from the US Embassy. The Company has standardized a model that integrates dance workshops and seminars focusing on a community issue or an educational topic. The lessons learned are intertwined. The project concludes with a series of public performances, in which the children essentially become educators by presenting their dance works about the seminar topic to multiple groups of adults in the community.

Pismo iz 1920.

LETTER FROM 1920

Ru{enje Ajfelovog tornja TEARING DOWN THE EIFFEL TOWER

Ru`e za Anu Terezu / Fudbalske pri~e ROSAS FOR ANNE TERESA/ FOOTbALL STORIES

Bosansko narodno pozori{te Zenica 19.30 The Bosnian National Theater Zenica 19.30 Trajanje / Running time 60 min.

30/09/11

Bosna I Hercegovina / Bosnia and Herzegovina

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

09/10/11

PISMO IZ 1920 LETTER FROM 1920

PREDSTAVA

“OLIVER FRLJI] (otvoreno la`e): Vratiti se u bosnu nakon {to sam je napustio u aprilu mjesecu 1992. bilo je kao vratiti se u paralelnu stvarnost.

Jednostavno, sve te godine koje sam izbivao nisam imao mogu}nosti naviknuti se na sve nenormalnosti koje su gra|anima bosne postale norma. Ponovni susret s bosnom sru{io je sve one ideje autenti~ne bosne koje sam godinama, usprkos svim stra{nim vijestima koje su iz nje dolazile, ~uvao negdje skrivene. Zapravo, susret s tom realnom bosnom bio je toliko brutalan i toliko je ubijao sve ono {to sam `elio da bosna bude, da sam odlu~io slijediti tragove one druge, fikcionalne bosne. Nakon kra}eg tra`enja ponovno sam pro~itao Andri}evo “Pismo iz 1920.” i ta njegova, knji`evna bosna, u~inila mi se stra{nija od stvarne bosne.

Previ{e je precizno opisivala dana{nju bosnu. To je u njoj bilo najstra{nije. Scenska bosna, koju sam tijekom rada na ovom projektu stvorio, poku{ava konkurirati ovim dvjema bosnama – onoj Andri}evoj i onoj stvarnoj. Ne znam u ~emu bi im trebala konkurirati, u svojoj u`asnosti ili kao alternativa u`asima tih dvaju bosni. Ali to su ve} pitanja na koje odgovore mo`e dati samo predstava sama.”

Oliver Frlji}

PERFORMANCE “OLIVER FRLJI] (lying openly): To come back to bosnia, after I left in April 1992, was like coming back to a parallel reality. Simply speaking, in all these years of absence, I never had an opportunity to get used to all the abnormalities that, for citizens of bosnia, had become the norm. My new encounter with bosnia crushed all those ideas of an authentic bosnia, that I had, for all those years, despite all the dreadful news that came out of bosnia, kept hidden somewhere. In fact, the encounter with the real bosnia was so brutal, and killed to such an extent all of what I had wanted to make bosnia into, that I decided to follow the footsteps of the other, the fictional bosnia. After a short search, I re-read Andri}’s “Letter from 1920," and the literary bosnia he wrote about seemed more terrible than the real bosnia. It described today's bosnia too precisely.

This is what was worst. The bosnia on stage, that I had, while working on this project, created, tries to compete with the other two bosnias - that Andri} one, and the real one. I do not know what it could compete in – perhaps in all its horror, or as an alternative to the horrors of the two other bosnias. but these are questions which the play can only answer.”

Oliver Frlji}

Re`ija, koncept scene i kostima, izbor muzike /

Theatre director Oliver Frlji} holds degrees in Philosophy and Theatre Direction.

His performances are marked by a critical attitude towards social reality and the political legacy of the past twenty years. As a result of this attitude his play “bakhe”, directed in 2008 at the Split Summer Festival, was banned by the administration of the same festival. After the so-called balkan trilogy (“Turbo-folk”, “Cursed be the Traitor of his Homeland" and “Cowardice), which analyzed the phenomenon of the new social groups that emerged after the breakup of Yugoslavia, Frlji} started turning to more intimate issues, which resulted in the project, “I Hate the Truth”, staged in 2011 at the ITD Theatre, in which he staged the most traumatic events in his own family’s history. “Letter from 1920” is his first directing project in bosnia.

Producenti / Producers:

DIRECTOR

TEATAR

THEATER

bosansko narodno pozori{te Zenica je osnovano 1950. godine. Od tada do danas izvelo je 662 premijere i vi{e od 10 000 predstava. Tokom svoje historije, bNP Zenica je izgradilo prepoznatljiv stil i poetiku, i zauzelo zna~ajno mjesto u porodici bosanskohercegova~kih teatara. U~estvovalo je na brojnim teatarskim festivalima i ostvarilo veliki broj gostovanja. Za rad i umjetni~ka postignu}a dobilo je zna~ajne nagrade i dru{tvena priznanja. bNP Zenica je osniva~ i organizator Festivala bh. drame. Nosilac je i koordinator evropskog pozori{nog projekta No} teatra (za biH). Osim teatarskih, bNP Zenica je organizator i doma}in i drugih kulturnih i zabavnih programa i manifestacija, zna~ajnih za cjelokupan kulturni `ivot u gradu Zenici, u Zeni~ko-dobojskom kantonu i {ire. bNP Zenica je ~lan Me|unarodne mre`e za savremene izvedbene umjetnosti (IETM), a njegova Dje~ija, omladinska i lutkarska scena ~lanica je Me|unarodne asocijacije teatara za djecu i mlade (ASSITEJ).

The Zenica bosnian National Theatre was founded in 1950. Since then, it has staged 662 premieres and had more than 10.000 performances.

During its history, the Zenica bosnian National Theatre has developed a recognizable style and poetic, and has assumed a significant place in the family of biH theatres. The theatre has taken part at numerous theatre fesivals and has had many guest performances. For its work and accomplishments, it has received both significant rewards and social recognitions.

The Zenica bosnian National Theatre is the founder and organizer of the biH Drama Festival.

It is also the leader and coordinator of the European theatre project, “Theatre Night”, for bosnia and Herzegovina. besides theatre programs, the Theatre is also organiser and host of other cultural and entertainment programs, which are significant in the overall cultural life in the city of Zenica, the Zenica-Doboj Canton and beyond. The Zenica bosnian National Theatre is a member of the International Network for Contemporary Performing Arts (IETM), while its Children, Youth and Puppet Stage is a member of the International Association of Theatre for Children and Young People (ASSITEJ).

Me|unarodni teatarski festival MESS pro{le godine obilje`io je svoj 50. ro|endan, {to ga ~ini najstarijim teatarskim festivalom na prostoru ovog dijela Evrope. Festival MESS osnovan je kao festival malih i eksperimentalnih scena 1960. Godine. Od svog osnivanja do danas, Festival njeguje tradiciju druga~ijeg, nekonvencionalnog i anga`iranog u pozori{tu. MESS je uvijek nastojao biti revolucija duha, pobuna protiv malogra|anskog i konformisti~kog. Samo u posljednjih 6 godina publici je predstavljeno oko 150 pozori{nih predstava iz cijelog svijeta s ciljem upoznavanja publike sa najnovijim trendovima i tendencijama suvremenog teatarskog izraza. Internacionalni teatarski festival MESS je od svog osnivanja do danas bio jedan od najzna~ajnijih teatarskih doga|aja u Evropi. Festival MESS je od 1992. Godine do danas producirao preko 30 teatarskih predstava, me|u kojima i kultnu predstavu „^ekaju}i Godota“ koju je u Sarajevu 1993. godine re`irala Susan Sontag.

Last year The MESS International Theatre Festival celebrates its 50th anniversary, which makes it the oldest theatre festival in this part of Europe. The MESS Festival was established in 1960 as a Festival of small and experimental theatre, and has, from its inception, nurtured a tradition of diverse, unconventional and socially engaged theatre. The MESS has always strived to be a revolution of spirit, a revolt against petitbourgeois and conformist ideals.

In a short as period as the last six years, the Festival has staged around 150 theatre performances from around the world with the aim of introducing audiences to the most current trends and tendencies in contemporary theatre expression. As a result, the MESS International Theatre Festival has, from its establishment to the present day, remained one of the most significant event in theatre in Europe.

Since 1992. the Festival has produced more than 30 plays, among then the cult adaptation of 'Waiting for Godot', directed by Susan Sontag in Sarajevo in 1993.

Direction, Stage and Costume Concept, Musical Selection:

OLIVER FRLJI] Fizi~ka priprema glumaca / Physical training of actors:

ELMIN AHMETOVI] Inspicijentica / Stage Manager:

BORKA JOKANOVI] DINO MUSTAFI] HAZIM BEGAGI] Izvr{ni producenti / Executive producers:

OLIVER JOVI] ADNAN RE[I] Produkcija/Production: BOSANSKO NARODNO POZORI[TE ZENICA / 51. INTERNACIONALNI TEATARSKI FESTIVAL MESS SARAJEVO 2011 ZENICA BOSNIAN NATIONAL THEATRE / 51st MESS INTERNATIONAL THEATRE FESTIVAL, SARAJEVO 2011.

Uloge / Cast:

SA[A HAND@I], ADIS MEHANOVI], ENES SALKOVI], SLAVEN VIDAK

FESTIVALSKE PREMIJERE

REDITELJ Oliver Frlji} diplomirao je filozofiju i kazali{nu re`iju. Njegove predstave obilje`ene su kriti~kim odnosom prema dru{tvenoj stvarnosti i politi~kom naslje|u zadnjih dvadesetak godina. Kao rezultat ovakvog rada, uprava festivala Splitsko ljeto zabranila je njegovu predstavu “bakhe” koju je re`irao 2008. godine. Nakon tzv. 'balkanske trilogije' (“Turbofolk”, “Proklet bio izdajica svoje domovine” i “Kukavi~luk”) kojima je analizirao fenomene novih dru{tvenih zajednica nastalih raspadom Jugoslavije, Frlji} se po~eo okretati intimnijim temama {to je rezultiralo projektom “Mrzim istinu” u teatru ITD iz 2011. godine u kojem je inscenirao najtraumati~nije doga|aje iz vlastite obiteljske povijesti. Projekt “Pismo iz 1920.” njegova je prva bosanskohercegova~ka re`ija.

Bosna i Hercegovina/ Bosnia and Herzegovina

Sarajevski ratni teatar SARTR 22.00 Sarajevo War Theatre SARTR 22.00 Trajanje / Running time 100 min.

30/09/11 01/10/11

Jeton Neziraj RU[ENJE AJFELOVOG TORNJA TEARING DOWN THE EIFFEL TOWER

PREDSTAVA

Jedan Francuz, tragaju}i za muslimankom u koju je zaljubljen, zavr{ava otet u jednom stanu kod dvojice islamskih ekstremista gdje pro`ivljava pakao.

Francuz je prodava~ novina, koji u metrou upoznaje muslimanku pod nikabom. Sve se de{ava u vrijeme dono{enja zakona o zabrani no{enja nikaba u Francuskoj. Kako je u nju zaljubljen, on je `eli i vidjeti.

Nakon {to to uspije, on je vi{e ne mo`e prona}i. U me|uvremenu, dvojica islamskih ekstremista tra`e izvjesnog „manijaka“ koji muslimanskim `enama skida nikabe. Zabunom nailaze na spomenutog zaljubljenog lika i ubijaju ga, misle}i da je on manijak za kojim tragaju. Tragi~no izvire iz same situacije, dok komi~no izvire iz isuvi{e ozbiljno shva}ene misije, odnosno neshvatanja su{tine problema. „Ru{enje Ajfelovog tornja“ je tragikomedija koja se bavi nekim od najaktuelnijih evropskih problema – uvo|enjem zakona o zabrani no{enja nikaba u javnosti, terorizmom kao posljedicom niza globalnih politi~kih i vjerskih sukoba, i odnosom Zapad - Islam. Predstava suo~ava kulturne podjele, nesporazume, vjerski fanatizam, nasilje i pitanje demokratije i individualne slobode, a iznad svega `eli tretirati nerazumijevanje, stereotipe, predrasude i njihove posljedice.

While searching for the Muslim woman he is in love with, a Frenchman ends up kidnapped in an apartment with two Islamic radicals, where he goes through hell.

The Frenchman is a newsagent, who, in the subway, meets a Muslim woman in a niqab. All this happens at the time when the law prohibiting the wearing of the niqab in France is being adopted. Since he loves her, he wants to see her face. Once he succeeds, he can no longer find her. Meanwhile, two Islamic radicals are in search of a “maniac" who is taking the niqab off of Muslim women. by mistake, they run into the enamoured Frenchman, and thinking that he is the maniac, they kill him. The tragic sense of this play emerges from the very situation, while its comic sense comes from a far too serious understanding of the mission, that is, a failure to grasp the problem.

"Tearing Down the Eiffel Tower" is a tragicomedy that deals with some of the topical European issues - the introduction of laws prohibiting the wearing of the niqab in public, terrorism as a result of a series of global political and religious conflicts, and the relationship of the West and Islam. The play mutually confronts cultural divides, misunderstandings, religious fanaticism, violence and the question of democracy and individual freedom, and above all, wishes to address misunderstandings, stereotypes, prejudices, and their consequences.

PERFORMANCE

Re`ija / Director:

KUSHTRIM BEKTESHI Dramaturgija / Dramaturgy:

REA JUGO Scenografija / Stage Design:

VALENTIN SVETOZAREV Kostimografija / Costume Design:

LENA STEFANOVI] Produkcija / Production: Me|unarodni teatarski festival MESS, Sarajevo, Bosna i Hercegovina International Theatre Festival MESS, Sarajevo, Bosnia and Herzegovina Uloge / Cast:

ALBAN UKAJ AMAR SELIMOVI] DIRECTOR Kushtrim bekteshi was born in Kumanovë (Macedonia) in 1982. He graduated with a degree in Theatre Direction in 2008 at the Faculty of Dramatic Arts in Skopje, Macedonia, in the class of well-known professor and theatre director Slobodan Unkovski. He directed several theatre plays, among them: “Who’s Afraid of Virginia Woolf?” by Edward Albee, at the National Theatre of Albania, in Tirana in 2009. (Awarded the “KULT” Award for best Theatre Director of the Year 2010 in Albania); “Deathtrap” by Ira Levin, produced by SUbCULT, 2009; “Figaro Gets Divorced” by Odon von Horvath, at Macedonian National Theatre in Skopje, Macedonia, 2008; “Woyzeck” by Georg buchner, at the Albanian Theatre in Skopje, 2008; “Labyrinth of the Memory”

by Avni Halimi, co-produced by Extrem Production and the Albanian Theatre in Skopje, 2007; and “Aquarium” by Refet Abazi, at the Albanian Theatre in Skopje, 2006. He was Assistant Director in productions such as: “Peer Gynt” by H. Ibsen, directed by Slobodan Unkovski, co-produced by the Albanian Theatre in Skopje & the National Theatre of Kosova, which received the “Ibsen Award 2009” in Norway in 2010.

TEATAR

THEATER

Me|unarodni teatarski festival MESS pro{le godine obilje`io je svoj 50. ro|endan, {to ga ~ini najstarijim teatarskim festivalom na prostoru ovog dijela Evrope. Festival MESS osnovan je kao festival malih i eksperimentalnih scena 1960. Godine. Od svog osnivanja do danas, Festival njeguje tradiciju druga~ijeg, nekonvencionalnog i anga`iranog u pozori{tu. MESS je uvijek nastojao biti revolucija duha, pobuna protiv malogra|anskog i konformisti~kog. Samo u posljednjih 6 godina publici je predstavljeno oko 150 pozori{nih predstava iz cijelog svijeta s ciljem upoznavanja publike sa najnovijim trendovima i tendencijama suvremenog teatarskog izraza. Internacionalni teatarski festival MESS je od svog osnivanja do danas bio jedan od najzna~ajnijih teatarskih doga|aja u Evropi. Festival MESS je od 1992. Godine do danas producirao preko 30 teatarskih predstava, me|u kojima i kultnu predstavu „^ekaju}i Godota“ koju je u Sarajevu 1993. godine re`irala Susan Sontag.

Last year The MESS International Theatre Festival celebrates its 50th anniversary, which makes it the oldest theatre festival in this part of Europe. The MESS Festival was established in 1960 as a Festival of small and experimental theatre, and has, from its inception, nurtured a tradition of diverse, unconventional and socially engaged theatre. The MESS has always strived to be a revolution of spirit, a revolt against petitbourgeois and conformist ideals.

In a short as period as the last six years, the Festival has staged around 150 theatre performances from around the world with the aim of introducing audiences to the most current trends and tendencies in contemporary theatre expression. As a result, the MESS International Theatre Festival has, from its establishment to the present day, remained one of the most significant event in theatre in Europe.

Since 1992. the Festival has produced more than 30 plays, among then the cult adaptation of 'Waiting for Godot', directed by Susan Sontag in Sarajevo in 1993.

ADI HRUSTEMOVI] IRMA ALIMANOVI] ALMA TERZI]

FESTIVALSKE PREMIJERE

REDITELJ Kushtrim bekteshi je ro|en u Kumanovë (Makedonija) u 1982. Diplomu iz teatarske re`ije stekao je 2008. godine na Fakultetu dramskih umjetnosti u Skopju, Makedonija, u klasi poznatog profesora i pozori{nog reditelja Slobodana Unkovskog. Re`irao je i nekoliko pozori{nih predstava, me|u njima: „Ko se boji Virginije Woolf" Edwarda Albeea, u Narodnom pozori{tu Albanije u Tirani 2009. godine (kada je dobio i nagradu KULT za najboljeg pozori{nog reditelja u Albaniji za 2010. godinu), „Smrtonosnu zamku“ Ire Levina, u produkciji SUbCULTa 2009. godine, „Figaro se razvodi“ Odona von Horvatha, u Makedonskom narodnom pozori{tu u Skopju, Makedonija 2008. godine, „Woyzeck“ Georga buchnera, u Albanskom pozori{tu u Skopju 2008. godine, „Lavirint memorije“ po djelu Avni Halimija, u koprodukciji sa Extrem Production, i Albanskog pozori{ta u Skopju, 2007. godine; i „Akvarij“ po djelu Refeta Abazija u Albanskom pozori{tu u Skopju 2006. godine. bio je asistent reditelja u produkcijama kao {to su: „Peer Gynt“ H. Ibsena, u re`iji Slobodana Unkovskog, u koprodukciji Albanskog pozori{ta u Skoplju i Narodnog pozori{ta Kosova, koja je dobila i Ibsen Nagradu 2009 u Norve{koj 2010. godine.

Bosna I Hercegovina /Bosnia and Herzegovina

Narodno pozori{te Sarajevo 19.30 i 21.30 The Sarajevo National Theater 19.30 & 21.30 Trajanje / Running time 75 min.

02/10/11

RU@E ZA ANNU TERESU / FUDBALSKE PRI^E ROSAS FOR ANNE TERESA/ FOOTBALL STORIES

PREDSTAVA Kakav je ~ovjek 21. stolje}a? Koje su mu{ke `elje, ambicije i potencijali u dana{njem svijetu? Koje su prednosti i slabosti modernih mu{karaca? [ta je to mu{ki identitet na po~etku ovog stolje}a?

Tokom posljednjih 60 godina, feministi~ki pokret se borio za bolje razumijevanje `ena i njihove uloge u dru{tvu u punom smislu te rije~i. U sjeni ove pravedne borbe, nezapa`eno se odvila evolucija mu{karaca. Dana{nji ~ovjek je potpuno druga~iji od svih svojih prethodnika u povijesti. Novi koncept mu{kosti sada nastaje.

Redatelj Haris Pa{ovi} i koreograf Edward Clug su, zajedno sa kompozitorom Philipom Tanom, koncipirali ovu spektakularnu predstavu u srcu 'macho-zemlje', na balkanu. Neo~ekivano postajemo svjedoci neke promi{ljene mu{kosti, umjesto sile i snage alfa-mu`jaka. Ovdje nema traga stereotipnim o~ekivanjima balkanske egzotike. Popularne balkanske pjesme u „Ru`ama za Anne Teresu/Fudbalske pri~e“ stvaraju katkad strastvenu i erotsku atmosferu, ali ponekad izra`avaju i bolnu dramu ljudskih odnosa. Kako radnja napreduje, otkrivamo da balkan zagovara mu{ku podsvijest, i to univerzalnim jezikom sa kojim se mo`e poistovjetiti bilo koji ~ovjek, bez obzira na rasu, etni~ku pripadnost, seksualnost, obrazovanje ili socijalnu situaciju.

Jedinstveni plesni stil i `estok tjelesni izra`aj plesa~a, uz uzbudljivu vizualnu ljepotu, vrhunske pjesme i muziku izvedenu u`ivo, pretvaraju „Ru`e za Anne Teresu – Fudbalske pri~e“ u `ustri umjetni~ki do`ivljaj.

What is a man of the 21st century? What are the male desires, ambitions and potentials in today’s world? What are the strengths and weaknesses of the modern men? What is a male identity at the beginning of this century?

During the last 60 years, the feminist movement has fought for a better understanding of women and their role in the society in the full capacity. In the shadow of this just struggle, an evolution of men has happened unnoticed. Today’s man is completely different than any of his predecessors in history. A new concept of manhood emerges.

Haris Pa{ovi}, a director and Edward Clug, a choreographer together with Philip Tan, a composer, conceive this spectacular production in the heart of “macho-land”, in the balkans.

Unexpectedly, we witness a thoughtful manhood, instead of the alpha-male bully power. No trace here of the stereotypical expectations of the balkan exoticism. The balkan popular tunes in “Rosas for Anne Teresa – Football Stories” create a sometimes passionate and erotic atmosphere, and at times express a poignant drama of human relations. As the action progresses, we discover that the balkan speaks for male sub-consciousness in the universal language applicable to any man, regardless of his race, ethnicity, sexuality, education or social class.

A unique dance style and fierce physicality of the dancers, together with an exciting visual beauty, superb singing and live music make “Rosas for Anne Teresa – Football Stories” an urgent artistic experience.

PERFORMANCE

Re`ija / Director:

HARIS PA[OVI] Koreografija / Choreography:

EDWARD CLUG Muziku u`ivo izvodi / Music performed live by:

PHILIP TAN Kostimografija / Costume Design:

KAO PAO SHU Scenografija / Set design:

VEDAD ORAHOVAC Assistent reditelja / Assistant director:

BRUNO LOVRI] Video-art:

BOJAN HAD@IHALILOVI] Grafi~ki dizajn / Graphic Design:

ENES HUSEIN^EHAJI] Fotografija / Photography:

Haris Pa{ovi} has been one of the leading theatre directors in the South East Europe for more than two decades. Pa{ovi} directed in some of the most important theatres in the former Yugoslavia and participated in a number of festivals across the region. His productions have been considered as the landmarks in the theatre of the former Yugoslavia. During the siege of Sarajevo (1992-95) Pa{ovi} spent most of the time in Sarajevo managing the MES International Theatre Festival. In 1993, he organized the Sarajevo Film Festival, entitled “beyond The End Of The World”. He directed plays and produced several shows, among others “Waiting for Godot”, directed by Susan Sontag. Pa{ovi} has received many awards including the best Director Award at the MES International Theatre Festival, Sarajevo; the best Director at bITEF, belgrade; the best Yugoslav Director, UCHIMURA Prize, the best Director at the Festival of bosnian Theatres, etc. In 2005, Pasovic established the East West Theatre Company. He directed William Shakespeare's “as the biggest regional co-production in the last 20 years with an international cast“. In 2007, Pa{ovi} adapted and directed “Class Enemy” by Nigel Williams that was one of the highlights of Edinburgh International Festival, Singapore Arts Festival, Sibiu International Festival, International Theatre Festival Kontakt and many others. In 2010, he was the author and the director of the theatre dance show „Football, Football,“ the biggest cultural coproduction in bosnia and Herzegovina ever. The show was coproduced together with East West Theatre Company, Napoli Teatro Festival Italia, Singapore Arts Festival, Les ballets C de la b and Flota Institute from Slovenia. The show was performed on 3 continents (Asia, Europe, Africa) in less than a month. Most recently (2011), Pa{ovi} directed “Europe Today”, an essay by Miroslav Krleza involving some of the most acclaimed artists in the region such as Miki Manojlovic, Edward Clug, director of ballet of Slovene National Theatre Maribor and the legendary and controversial music band Laibach. Pa{ovi} is the co-founder of the Directing Department at the Performing Arts Academy. He also teaches at bLED School of Management.

DIRECTOR

JOHNNY ALEXANDRE ABBATE Dizajn zvuka / Sound Design:

PHILIP TAN Dizajn svjetla / Light Design:

HARIS PA[OVI] Glavni tehni~ar zvuka / Chief Sound Technician:

ENRICO FIDONE Tehni~ki koordinator / Technical coordinator:

NIHAD MAHMUTOVI] Scenski tehni~ar / Stage technician:

DERVI[ DAUTOVI] Menad`er programa / Program manager:

LEJLA ABAZOVI] Finansije / Finance:

SANELA BR^I] Producenti / Producers:

TEATAR

THEATER

HARIS PA[OVI],

East West Centar Sarajevo osnovan je 2005. godine kao neprofitna kulturna ustanova. Centar je najuspje{nija kulturna organizacija u bosni i Hercegovini, i jedna od vode}ih nezavisnih kulturnih organizacija u balkanskoj regiji. Do sada, Centar je producirao i predstavio programe iz oblasti scenskih umjetnosti, muziku, filmove i organizirane izlete, rasprave, forume, masterobuke i radionice. Sara|ivali smo sa umjetnicima iz vi{e od 20 razli~itih zemalja, i sa ~etiri kontinenta. Misija East West Centra Sarajevo je da podigne svijest o va`nosti multikulturalizma na balkanu i u svijetu, i da slu`i kao platforma za umjetnike koji dolaze iz balkanske regije i {irom svijeta kako bi kreirali umjetni~ka djela na najvi{im standardima. Na{i programi i politike temelje se na jednakosti i raznolikosti ljudi u pogledu etni~ke pripadnosti, rase, vjere, spola i seksualne orijentacije. East West Centar je izvodio predstave: “Klasni neprijatelj”, “Fudbal, Fudbal”, “Evropa dans” {irom balkanske regije, te i {irom svijeta (Me|unarodni festival u Edinburghu, Napoli Teatro Festival Italia, Nacionalni festival umjetnosti u Ju`noj Africi, Festival umjetnosti Singapur, Me|unarodni pozori{ni festival u Poljskoj, kao i na festivalima u Sankt Petersburgu, Sibiuu, Ljubljani, beogradu, Zagrebu, i mnogim drugim mjestima). Svoje programe smo predstavili u vi{e od 30 manjih gradova u bosni i Hercegovini.

Predstava „Klasni neprijatelj“ progla{ena je Najboljom savremenom predstavom na Me|unarodnom festivalu Kontakt, u poljskom Torunu, te najboljom predstavom godine u vode}im singapurskim novinama Strait Times, te na vode}em pozori{nom portalu Flying Inkpot. „Fudbal, Fudbal“ bio je vrhunac Nacionalnog festivala umjetnosti u Ju`noj Africi, koji se odvijao tokom FIFA-inog Svjetskog prvenstva 2010. godine

East West Centre Sarajevo was established in 2005 as non-for-profit cultural institution. It is the most successful cultural organization in bosnia and Herzegovina and one of the leading independent cultural organization in the balkan region. So far, it has produced and presented performing arts programs, music and films and organized tours, discussions, forums, masterclasses and workshops. We have collaborated with artists coming from more than 20 different countries and four continents. The mission of the East West Centre Sarajevo is to raise awareness of the importance of multiculturalism in the balkan region and around the world, and to serve as a platform for artists coming from the balkan region and around the world to produce the works of art of the highest standard. Our programmes and policies are based on the equality and diversity of people in terms of their ethnicity, race, religion, gender and sexual orientation. The East West Centre productions: ‘Class Enemy’, ‘Fudbal, Fudbal’, ‘Europe Today’ has been performing extensively in the balkan region and around the world (Edinburgh International Festival; Napoli Teatro Festival Italia, National Arts Festival of South Africa; Singapore Arts Festival; International Theatre Festival Poland as well as the festivals in St. Petersburg, Sibiu, Ljubljana, belgrade, Zagreb, and many others). We have presented our programs in more than 30 small cities in bosnia and Herzegovina. ‘Class Enemy’ has been pronounced as the best Contemporary Show at the International Festival Kontakt, Torun, Poland, and as The best Play of the Year in Singapore’s leading newspaper Strait Times and the leading theatre portal The Flying Inkpot. Performance ‘Football, Football’ was a highlight of the National Arts Festival in South Africa that was taking place during the FIFA World Cup 2010.

HAZIM BEGAGI] Izvr{ni producent / Executive Producer:

ISMAR HAD@IABDI] Produkcija / Produced by:

EAST WEST CENTER SARAJEVO U koprodukciji sa / In coproduction with:

BOSANSKO NARODNO POZORI[TE ZENICA / BOSNIAN NATIONAL THEATRE ZENICA Uloge/cast

AIDA ^ORBAD@I] THOMAS STEYAERT ULISSE ROMANO IBRAHIM OUATTARA AYBERK ESSEN AYDAR VALEEV PHILIP TAN

FESTIVALSKE PREMIJERE

Haris Pa{ovi} je ve} vi{e od dva desetlje}a jedan od vode}ih reditelja jugoisto~ne Europe. Pa{ovi} je re`irao u nekim od najva`nijih pozori{ta u biv{oj Jugoslaviji, i sudjelovao na nizu festivala {irom regiona. Njegove predstave smatraju se kultnima za pozori{ta biv{e Jugoslavije. Tokom opsade Sarajeva (1992-1995), Pa{ovi} je ve}inu vremena provodio kao direktor Me|unarodnog pozori{nog festivala MESS. 1993. godine, on je organizovao Sarajevo Film Festival, pod nazivom 'Nakon kraja svijeta'. Re`irao je i producirao mnoge predstave, me|u njima „^ekaju}i Godoa“, u re`iji Susan Sontag. Pa{ovi} je dobitnik i mnogih nagrada, uklju~uju}i i Nagradu za Najbolju Re`iju na Me|unarodnom pozori{nom festivalu MESS u Sarajevu, Nagradu za najboljeg reditelja na bITEFu u beogradu, Nagradu za najboljeg jugoslavenskog reditelja, Nagradu UCHIMURA, Nagradu za najbolju re`iju na Festivalu bosanskih pozori{ta itd. 2005. godine, Pa{ovi} osniva pozori{nu „Kompaniju East West“. Re`irao je i Williama Shakespearea, „kao najve}u regionalnu koprodukciju u posljednjih 20 godina sa me|unarodnim glumcima. 2007. godine, Pa{ovi} je adaptirao i re`irao „Klasnog neprijatelja“ Nigela Williamsa, predstavu koja je bila jedan od vrhunaca Me|unarodnog festivala u Edinburghu, Singapur Arts Festivala, Me|unarodnog festivala u Sibiuu, Me|unarodnog pozori{nog festivala Kontakt i mnogih drugih.

2010. godine, napisao je i re`irao plesnu predstavu za pozori{te, „Fudbal, Fudbal“, najve}u kulturnu koprodukciju ikada u bosni i Hercegovini. Predstava je ra|ena u koprodukciji sa East West Kompanijom, Napuljskim teatarskim Festivalom u Italiji, Singapur Arts Festivalom, Les ballets C. de la b., te Flota Institutom iz Slovenije. Predstava je u manje od mjesec dana izvo|ena na tri kontinenta (u Aziji, Evropi i Africi). Nedavno (2011. godine), Pa{ovi} je re`irao „Evropa danas“, esej Miroslava Krle`e, sa nekim od najcjenjenijih umjetnika u regionu, kao {to su Miki Manojlovi}, Edward Clug, direktor baleta Slovenskog narodnog pozori{ta Maribor, te legendarnim i kontroverznim bendom Laibach. Pa{ovi} je suosniva~ Odsjeka za re`ije Akademije scenskih umjetnosti, i tako|er predaje na [koli menad`menta bled.

REDITELJ

Public Dialogues, otvoreni razgovor i prezentacija knjige „Going Public. Archipelago balcani PUbLIC DIALOGUES, OPEN TALKS AND THE PROMOTION OF THE bOOK “GOING PUbLIC. ARCHIPELAGO bALCANI”

Ko je** Laibach?!

WHO IS** LAIbACH?!

RETROSPEKTIVA AbSTRACT.A Marketin{ke strategije scenskiih umjetnosti MARKETING STRATEGIES IN THE PERFORMING ARTS

100 godina hrvatske scenografije i kostimografije A HUNDRED YEARS OF SET AND COSTUME DESIGN IN CROATIA

Posveta Eugenu Savojskom OMAGE TO EUGEN SAVOYSKI

RELIVING (HI)STORY

Art kino Kriterion Kriterion Art House

29/09/11

ARCIPELAGO BALKANI – SARAJEVO PUBLIC DIALOGUES 17:00 – 19:00 Public Dialogues, otvoreni razgovor i prezentacija knjige „Going Public. Archipelago Balcani“ Public Dialogues, open talks and the promotion of the book “Going Public. Archipelago Balcani”

19:00 – 21:00 Otvaranje izlo`be Exhibition Opening Projekat "Archipelago balcani" u Sarajevu zavr{ava svoju ~etvrtu i posljednju fazu. Nakon {to su site-specific projekti predstavljeni u gradovima Modeni (Italija), Skoplju (Makedonija) i Tirani (Albanija), „turneja“ se zavr{ava u Sarajevu (bH).

Dvadeset godina nakon izbijanja rata u biv{oj Jugoslaviji (ljeto 1991.), projekat se okre}e od pro{losti – sa svim prizorima rata i destrukcije – te se okre}e budu}nosti balkana sa svim njegovim mje{ovitostima.

The ARCIPELAGO bALKANI Project comes to Sarajevo on the fourth and final step of the journey. After its sitespecific sub-projects were presented in the cities of Modena (Italy), Skopje (Macedonia) and Tirana (Albania), our “tour” comes to an end in Sarajevo (bosnia Herzegovina).

Twenty years after the outbreak of the war in the balkans (in the summer of 1991), the project moves away from a path through the past – with all its scenes of war and destruction – and towards to the future of the balkans, this melting pot of cultures and differences.

Prezentacija knjige BOOK PROMOTION ARCIPELAGO bALKANI. An Alternative Map (Arhipelag bALKANI. Alternativna Karta) – koju je objavio Silvana Editoriale - je put prema „novom balkanu“, koji analizira savremeni kulturni `ivot gradova i njegovih ljudi, kroz o~i umjetnika, studenata i pisaca, a u saradnji sa raznim lokalnim institucijama. Intenzivan program, koji je realizovan tokom dvije godine rada i istra`ivanja, razmjena i razmi{ljanja, po{ao je od stvarnosti tri ispitana grada: Skoplja (Makedonija), Tirane (Albanija) i Sarajeva (biH). Projekt istra`uje spoj savremene umjetnosti, urbanog razvoja i raznih dru{tvenih fenomena.

Arhipelag bALKANI.Alternativna Karta (urednica Claudia Zanfi) na jednom mjestu okuplja tekstove, fotografije i karte teoreti~ara, koji su iz prve ruke tragali i zapisivali svjedo~anstva na balkanu, kao i alternativne putopise sa li~nim iskustvima me|unarodnih umjetnika.

ARCIPELAGO bALKANI. An Alternative Map – published

by Silvana Editoriale – is a journey towards the ‘New balkans’, providing an analysis of the contemporary cultural life of the cities and their people, through the eyes of artists, students and writers, in collaboration with various local institutions. An intense programme, two years of work and research, of exchanges and reflections, starting from the reality of three case-study cities: Skopje (Macedonia), Tirana (Albania) and Sarajevo (biH).

The project examines the combination of contemporary art, urban development and various social phenomena.

Edited by Claudia Zanfi, ARCIPELAGO bALKANI.An Alternative Map brings together texts, photographs and maps by theorists who have sought out and gathered first-hand testimonies of the balkans, as well as alternative travel logs recounting the direct experiences of international artists.

Autori / Authors:

CLAUDIA ZANFI YANE CALOVSKI EDI MUKA EMINA CEVRO VUKOVI] FRANCESCA COGNI DONATELLO DE MATTIA ALTERAZIONI VIDEO AZRA NUHEFENDI] CARLA FALZONE ANDREA MARIANI IGOR SOVILJ PETER BIJL & TJERK RIDDER SUZANNE LACY

EXHIBITION OF WORKS IN THE “OPEN CITY” PROJECT Izlo`bu ~ine instalacije fotografija, mapa i crte`a, koji ~ine veliki mozaik ideja, emocija i sje}anja umjetnika, koji su pozvani da ponovno razmisle i propitaju kompleksno balkansko podru~je.

IZLO@BA

EXHIBITION The installation is made up of compositions of photographs, maps and drawings, which together constitute a great mosaic, bringing together the ideas, emotions and memories of the artists called upon to reconsider and examine the complex balkan territories.

Projekat / Project by:

Umjetnici / Artists:

Ideja projekta / Idea by:

MARINA ABRAMOVIC, ALBANIAN PAVILLION ALTERAZIONI VIDEO, BALKANDEPOT / TOMISLAV TAREK, PAVEL BRAILA, YANE CALOVSKI , DANICA DAKIC, CALIN DAN, BILJANA DJURDJEVIC GRUPA ELEMENTI (BILJANA ISIJANIN & LJUPCO ISIJANIN), THOMAS HIRSCHHORN, HRISTINA IVANOVSKA ARMIN LINKE, RASA TEODOSIJEVIC – MARINELA KOZELJ, BORJANA MRDJA, OLIVER MUSOVIK VLADIMIR NIKOLIC, DAMIR NIK[I], ADRIAN PACI, ANTON PETROV, TADEJ POGA^AR, STEFANO ROMANO MASSIMO SCIACCA, SHOBA, IGOR SOVILJ, BILJANA STEFANOVSKA, TOOA / COGNI – DE MATTIA, ZANETA VANGELI , SRDJAN JOVANOVIC-WEISS

PUBLIC DIALOGUES CONFERENCE

The Public Dialogues conference sets out to investigate, by way of dialogue, the ghosts of the past, yet with a gaze towards a new, different future, thanks to the many artists who have contributed and are still contributing to the cultural changes taking place in the Western balkans, and thanks to a dynamic communication and collaboration that have developed in the region.

During the dialogue, the artist Igor Sovilj will show images from and tell the story of his bicycle trip from Dresden to Prijedor, some 1000 kilometres travelled between past and present, between the tales of the people and history, between old borders vanishing and new names for towns appearing.

The prestigious cultural foundation, Open Society Foundation, will also cooperate to the event, as part of its commitment in organising a series of initiatives and projects to commemorate their 20th anniversary, and recognising and promoting the efforts made since then to bring about positive change in the balkan region.

aMAZEIlab Art&Cultures (Milan) / Sarajevo Centre for Contemporary Art (SCCA)

IZLO@BA RADOVA IZ PROJEKTA „OPEN CITY“ (OTVORENI GRAD) / EXHIBITION OF WORKS IN THE “OPEN CITY” PROJECT

Konferencija javni dijalozi Public Dialogues (Javni dijalozi), dijalo{ki se upu{taju u istra`ivanje duhova pro{losti, ali sa usmjerenjem ka novoj, druga~ijoj budu}nosti mogu}oj zahvaljuju}i doprinosu mnogih koji su u~estvovali, te jo{ uvijek u~estvuju, u kulturnim promjenama na Zapadnom balkanu, zahvaljuju}i dinami~noj komunikaciji i saradnji razvijenoj u regiji. Tokom debate, umjetnik Igor Sovilj }e pokazati fotografije i ispri~ati pri~u o svom putovanju na biciklu, iz Drezdena do Prijedora.

Fotografije nastale nekih 1000 kilometara izme|u pro{losti i sada{njosti, izme|u kazivanja ljudi i historije, izme|u nestanka starih granica i nastanka novih imena gradova.

Presti`na kulturna fondacija, Fond Otvoreno Dru{tvo, tako|er u~estvuje u ovom de{avanju, kao odraz svoje predanosti da, kroz seriju inicijativa i projekata, obilje`i svoju 20. godi{njicu, time svakako skre}u}i pa`nju i prepoznavaju}i sve do sada u~injenje napore da se do|e do pozitivnih promjena na Zapadnom balkanu.

aMAZEIlab Art&Cultures (Milano) / Sarajevo centar za savremenu umjetnost (SCCA)

Dijalog kroz mapiranje nezavisne kulturne scene bosne i Hercegovine / Taking part in dialogue that maps bosnia and Herzegovina’s independent cultural scene:

ABART ABRASEVIC KULTURNI CENTAR (ABRASEVIC CULTURAL CENTRE), MOSTAR BIJENALE U KONJICU (KONJIC BIENNALE & KULTZONA) MUM KOLEKTIV (MOSTARSKI URBANI POKRET / MOSTAR URBAN MOVEMENT) CID (CENTAR ZA INFORMATIVNU DEKONTAMINACIJU / CENTRE FOR INFORMATIVE DECONTAMINATION), BANJA LUKA TA^.KA, PRIJEDOR DUPLEX GALERIJA, SARAJEVO...

Intervencije na temu / Interventions by:

DUNJA BLA@EVI], SCCA, Sarajevo DANIELE ONORI, menad`er za kulturu, ambasada Republike Italije / CULTURAL OFFICER, Embassy of the Republic of Italy IGOR SOVILJ, umjetnik i kulturni aktivista / Artist and cultural activist, Prijedor

CLAUDIA ZANFI, aMAZEIlab Art&Culture, Milano

aMAZElab Art&Cultur, Milano

CLAUDIA ZANFI U saradnji sa/ In cooperation with: Sarajevo Centar za savremenu umjetnost / Sarajevo Centre for Contemporary Art (SCCA) Fond Otvoreno dru{tvo / Open Society Fund Projekat podr`ali / The project was supported by: EU, Cultural Commission, Ambasada Republike Italije, Sarajevo, regija Emilia Romagna European Union, Cultural Commission, Embassy of the Republic of Italy, Sarajevo, Emilio Romagno region Medijski partneri / Media partners: Artribune, Osservatorio Balcani e Caucaso,Teknemedia, Studio Pesci.

Podr{ka / Supported by: MiBAC, Ministero Beni Artistici e Culturali, Rome

OFF MESS

Izlo`ba radova iz projekta „Open City“

Organizator / Organiser

Art kino Kriterion Art House Kriterion

01/10/11

KO JE** LAIBACH?!

WHO IS** LAIBACH?!

O KONCERTU

Osamdesetih godina u Jugoslaviji, kulturna razmjena se odvijala u svim pravcima. Danas legendarni bendovi su dolazili iz svih regionalnih sredi{ta, te su jednako popularni kako u beogradu i Ljubljani, tako i u Sarajevu, Zagrebu ili Skoplju. ^esto se govori kako u Sloveniji vi{e nema bendova poput Laibacha, Pankrta, Miladojka Youneed, Videosex. Me|utim, oni itekako postoje.

Grupa Melodrom sa grupom Laibach ne dijeli samo glavni vokal - pjeva~ica Mina je drugi vokal Laibach-a oni tako|er dijele i konceptualnu zrelost i “dark estetiku”.

We Can't Sleep At Night su vanbra~na djeca buntovni~kog punk hedonizma Pankrta i nesta{nog indie rocka novog doba.

Urbani funk-rock Miladojke, Moveknowledgement sad se nadogra|uje sa hip hopom, dubom, indie rockom i dance ritmikom u eksplozivni miks trenutne anga`ovane muzike sa plesnim nabojem.

Ako nekome fali punk-trash-disco atmosfera Videosexa, ona }e biti prisutna u audio-vizuelnim akcijama DJ/VJ ekipa Smetnjak i Multipraktik.

ABOUT THE CONCERT During the Yugoslav eighties, cultural exchange took place in all directions. bands which are legendary today came from all the region’s centres, and were equally popular both in belgrade and Ljubljana, as well as in Sarajevo, Zagreb and Skopje.

People often say that in Slovenia there are no bands like Laibach, Pankrti, Miladojka Youneed, or Videosex.

However, they do have them.

The groups Laibach and Melodrom share not only the lead singer - singer Mina is also Laibach’s second vocalist and Laibach. They also share and conceptual maturity and dark aesthetics.

We Can’t Sleep At Night are the illegitimate children of the rebellious punk hedonism of PANKRTI, and the mischievous indie rock of a new age.

Urban funk-rock Miladojka, Moveknowledgement, are now being upgraded with hip hop, dub, indie rock and dance rhythmics, into an explosive mix of socially engaged music, with an added dance kick.

And if someone misses the punk-trash-disco atmosphere of Videosex, they will be able to see it in the audio-visual actions of DJ / VJ team Smetnjak and Multipraktik.

MOVEKNOWLEDGEMENT Moveknowledgement ne samo da sviraju muzi~ke instrumente-oni to rade perfektno. Hip hop, indie rock, dub i funk nikad nisu tako dobro zvu~ali zajedno. bend ima iza sebe 10 godina koncerata i 4 albuma. Posljednji, ovogodi{nji „pump down“ kroz tekstove, muziku i vizuelno zra~i njihovu karakteristi~nu “sci-fi estetiku”, bizarni retro-futurizam i mistiku novog doba.

WE CAN'T SLEEP AT NIGHT We Can’t Sleep At Night su neukrotivi mangupi slovena~ke prvo-je-bio-punk-potom-indie-rock scene. Interpol, MGMT i New Young Pony Club jednog dana }e mo}i re}i da su im We Can’t Sleep At Night svirali kao predgrupa.

SMETNJAK Njihov muzi~ki izraz, zgusnut u sintaksu techno - rock, besramno se podvrgava najglupljim zahtjevima trenutaka, dok njihova dra`esna grafi~ka ambala`a vje{to krije oskudicu sadr`aja.

MULTIPRAKTIK COLLECTIVE bakto i borka su veterani ljubljanske DJ scene, ~lanovi ekipe Good Foot, koja je specijalizovana za retro `anrove funk-a, soul-a, afrobeat-a, te neke savremene reinkarnacije tih scena.

KOALA™ An`e Sekelj / Koala™ `ivi u Ljubljani kao AV umjetnik, koji radi i istra`uje prije svega na podru~ju videa i projekcija. U posljednje vrijeme je najaktivniji u razvijanju imid`a mnogobrojnim stranim muzi~arima na podru~ju elektronske muzike. Trenutno je najvi{e okupiran razvojem video produkcije u kreativnom dvojcu How Do I Computer.

F[K & LINX bo{tjan ^ade` - F{k uva`eni je autor na sceni klupske kulture, kako kod kod nas, tako i u inostranstvu. Radi na podru~ju generisane elektronske slike, procesiranja video signala i stvaranja interaktivnih korisni~kih sredina. Sa svojom igricom Line Rider uspje{an je i na globalnom tr`i{tu.

THE BANDS

MELODROM If Laibach had been a woman, he would have turned out to be Melodrom. In their ten years on the scene, and three albums, the band has an important spot on the Slovenian scene, and have through their signer Mina established links with Laibach, for whom Mina has been second vocalist since 2006.

MOVEKNOWLEDGEMENT Moveknowledgement can play musical instruments – and they do so masterfully. Hip hop, indie rock, dub and funk never sounded so good together. The band has had 10 years of concerts, and 4 albums. Their most recent "pump down" through their texts and musics visually radiates their characteristic sci-fi aesthetic, a bizarre retro-futurism and a mysticism of the new age.

WE CAN’T SLEEP AT NIGHT We Can’t Sleep At Night are the untamable bad boys of the Slovenian first-there-was-punk-then-there-was-indie-rock scene. Interpol, MGMT, and New Young Pony Club will one day be able to say that their opening act were We Can’t Sleep At Night.

SMETNJAK Their musical expression, condensed in a syntax of techno - rock, falls shamelessly subject to the stupidest needs of the moment, while their lovely graphical packaging cleverly conceals a dearth of content.

MULTIPRAKTIK COLLECTIVE bakto and borka are seniors on Ljubljana’s DJ scene, members of Good Foot, a band specializing in the retro genres of funk, soul, and Afrobeat, but also in some modern reincarnations of these scenes.

KOALA ™ An`e Sekelj / Koala ™ lives in Ljubljana and works as an AV artist, researching primarily in the area of video and projection. Lately, he has mostly been active in developing the visual image of many foreign musicians of electronic music. At the moment, his most important project concerns the development of video productions, as part of the creative duo How Do I Computer.

FSK & LINX bo{tjan ^ade` - F{K is a respected music maker on the club scene, both here and abroad. He works in the fields of generated electronic images, video signal processing and the creation of an interactive user environment. His game Line Rider has made him a success in the global market.

OFF MESS

O GRUPAMA

MELODROM Kad bi se Laibach rodio kao `ensko, bio bi Melodrom. Deset godina na sceni sa tri albuma, bend je zauzeo suverenu poziciju na slovena~koj sceni, a preko pjeva~ice Mine su se povezali sa Laibachom. Mina je od 2006. godine njihov drugi vokal.

Umjetni~ka galerija BiH 18.00 Bosnia and Herzegovina Art Gallery 18.00

01/10/11

Alija Hafizovi} Haf Retrospektiva Abstract.A

Alija Hafizovi} Haf, multimedijalni umjetnik iz Sarajeva, odlu~io je da o~ima posmatra~a ponudi ono {to je stvarao u proteklih ~etrdeset i pet godina, stoje}i pred {tafelajem ili sjede}i za crta}im stolom.

Dakle, ono {to je stvorio kao slikar... budu}i da je i u mediju slikarstva volio, i jo{ uvijek voli, traganje u iskazivanju ili u opredijeljenosti prema formi, sve vrijeme se bavio i jo{ uvijek se bavi i apstrakcijom i figurom a uz povremeno ula`enje u instalaciju ili u konceptualnu umjetnost.

EXHIBITION Alija Hafizovi} Haf, a multimedia artist from Sarajevo, has decided to give us a beholder's perspective of his work in the past forty-five years, as he stood before an easel or sat at a table, drawing. A review of his work as a painter ...As he has always loved painting as a medium, and the search for an expression or for a commitment to a set form, he has all the while also dealt with the abstraction and the figure, with occasional excursions into the area of installations or conceptual art.

Zato }e centralna manifestacija doga|anja u ovoj godini (HAF45) biti Retrospektiva Abstract.A (Retrospektivna izlo`ba apstraktne umjetnosti); oko devedeset eksponata sa osam samostalnih i tri grupne izlo`be bi}e predstavljene u Umjetni~koj galeriji bosne i Hercegovine, zajedno sa radovima druga~ijeg izri~aja (multimedij, art concept, instalacija)...

Therefore, the main event of this anniversary year, HAF45, will be Abstract.A – A Retrospective (A retrospective exhibition of abstract art), composed of about ninety exhibits with eight individual and three group exhibitions, which will be presented at the bosnia and Herzegovina Art Gallery, together with works of a different expression (multimedia, concept art, installation etc.)

IZLO@BA

THE ARTIST Ali Hafizovi} Haf was born in bosnia and Herzegovina in 1940. He graduated from the Secondary School of Graphic Design, and then from the Pedagogical College, Department of Visual Arts, at the University of Sarajevo.

In his early youth, he was a singer, then later a journalist, cartoonist, graphic designer, painter, author and director of theatre, writer of stories and spoofs, radio plays and television dramas. He has had solo exhibitions of his paintings, drawings, installations, conceptual art, graphic design, cartoons and caricature portraits. He has also won awards for graphic design, newspaper stories, radio dramas and theatrical experiment.

He is a member of ULUPUbIH (Association of Artists of Applied Arts of bosnia and Herzegovina) and of ULUbIH (Association of Visual Artists of bosnia and Herzegovina), as well as of ICOGRAD. Haf has now showcased his work at forty solo exhibitions and at over sixty group exhibitions in bosnia and Herzegovina, Slovenia, Croatia, Serbia, Italy, Germany, France, Luxemburg, UAE, Turkey, etc.

GALERIJA

THE GALLERY

Od svog osnutka 1946. godine Umjetni~ka galerija biH radi u skladu sa Zakonom o likovnoj, odnosno muzejskoj djelatnosti. Posljednji put Zakon o muzejskoj djelatnosti biH donesen je ratne 1994. godine, od strane R biH.

Since its inception in 1946, the bosnia and Herzegovina Art Gallery has worked in accordance with the Law on Art and Museum Activities. The last Law on Museums was passed during the war, in 1994, by the Republic of bosnia and Herzegovina.

Od dono{enja Dejtonskog sporazuma do danas, dr`ava bosna i Hercegovina se nije odredila prema svojim osniva~kim pravima u odnosu na Umjetni~ku galeriju biH, i jo{ {est institucija kulture, navedenih u Zakonu o muzejskoj djelatnosti biH. Nerije{eno pitanje pravnog statusa ove institucije uslovljava i nepostojanje izvora finansiranja njenog redovnog rada. Rad Umjetni~ke galerije biH finansira se isklju~ivo grantovima, putem javnog konkursa, iz bud`eta Federacije biH i Kantona Sarajevo (preko resornih Ministarstva za kulturu i sport), te bud`eta Vije}a ministara biH (preko Ministarstva civilnih poslova).

Since the adoption of the Dayton Accords to this day, the state of bosnia and Herzegovina has not defined its role as the founder of the bosnia and Herzegovina Art Gallery, and of six other cultural institutions, listed in the Law on Museums in biH. Thus, the Gallery's unresolved legal status is conditioned by the lack of funding for its regular activities. The work of the bosnia and Herzegovina Art Gallery is funded exclusively from grants through public bids, from the budget of the Federation of biH and of the Sarajevo Canton (via their Ministries for Culture and Sport), and from the budget of the Council of Ministers (through the Ministry of Civil Affairs).

Ta sredstva su nepredvidiva, neredovna i umanjuju se iz godine u godinu, {to skoro u potpunosti blokira rad institucije i ote`ava pripremanje ozbiljnih finansijskih planova.

These funds are unpredictable, irregular, and reduced each year, which almost completely blocks the work of this institution, making it difficult to make serious financial plans.

Velikim i nesebi~nim anga`manom svih 18 uposlenih i na u{trb li~nih primanja, ova institucija se uspijeva odr`ati na `ivotu, pa se tako, u rasponu od 25 do 30%, tro{kovi djelovanja pokrivaju vlastitim prihodom, {to je za ustanovu iz oblasti kulture i umjetnosti izrazito visok udio samofinansiranja.

A result of the great and selfless commitment of all 18 employees of the Gallery, who sometimes sacrifice their personal income, the institution is kept barely alive. The Gallery manages to self-fund its activities to 25-30%, which, for an institution in the field of culture and art, is a high proportion of self-financing.

OFF MESS

Alija Hafizovi} Haf je ro|en u bosni i Hercegovini 1940. godine. Zavr{io je Srednju grafi~ku {kolu, zatim Vi{u pedago{ku {kolu, Odsjek Likovna umjetnost, na Univerzitetu u Sarajevu.

U ranoj mladosti bio je pjeva~, kasnije novinar, karikaturist, grafi~ki dizajner, slikar, autor i reditelj pozori{nih predstava, pisac pri~a i humoreski, radio-drama i televizijskih drama.

Organizovao je samostalne izlo`be slika, crte`a, instalacije, konceptualne umjetnosti, grafi~kog dizajna, karikature i karikaturalnog portreta. Nagra|ivan je za grafi~ki dizajn, novinske pri~e, radio-drame i za teatarski eksperiment. ^lan je ULUPUbIH-a (Udru`enje likovnih umjetnika primijenjenih umjetnosti bosne i Hercegovine) i ULUbIH-a (Udru`enje likovnih umjetnika bosne i Hercegovine), te ICOGRADA. Haf je do sada izlagao na ~etrdeset samostalnih i na preko {ezdeset grupnih izlo`bi u bosni i Hercegovini, Sloveniji, Hrvatskoj, Srbiji, Italiji, Njema~koj, Francuskoj, Luxemburgu, Emiratima, Turskoj itd.

UMJETNIK

Galerija Collegium Artisticum 19.00 Gallery Collegium Artisticum 19.00

06/10/11

branimir [enoa, scenografska skica za izvedbu drame Ernesta Didringa Opasna igra u re`iji Ive Rai}a, premijera 18.9.1909. **Sve su ovdje reproducirane skice u vlasni{tvu Hrvatske akademije znanosti i umjetnosti, Odsjeka za povijest hrvatskoga kazali{ta branimir [enoa, sketch for stage design for the performance Dangerous game, author Ernest Didring, premiered 18.9.1909.

100 GODINA HRVATSKE SCENOGRAFIJE I KOSTIMOGRAFIJE A HUNDRED YEARS OF SET AND COSTUME DESIGN IN CROATIA IZLO@BA

Na izlo`bi u Sarajevu predstaviti }e se izbor originalnih scenografskih maketa i kostima koji su bili izlo`eni u Zagrebu, oboga}en multimedijalnim prikazom ovog velikog likovnog projekta.

Prigodom otvorenja izlo`be ULUPUH }e promovirati prate}u monografiju "Sto godina hrvatske scenografije i kostimografije 1909. – 2009.“.

Istoga dana, u okviru me|unarodne suradnje dva srodna udru`enja, ULUPUH-a i ULUPUbiH-a, u istoj }e se galeriji, ali u drugom prostoru otvoriti jo{ jedna ULUPUH-ova izlo`ba, TOP 100 – SUVREMENA HRVATSKA KERAMIKA, te promovirati monografija udru`enja povodom 60 godina postojanja "ULUPUH 1950 - 2010" autorice branke Hlevnjak. To }e upotpuniti predstavljanje ULUPUH-a sarajevskoj i {iroj bosanskohercegova~koj javnosti, zapo~eto 2009. godine izlo`bom ilustracija mladih hrvatskih ilustratora i autora lutaka.

EXHIBITION The exhibition in Sarajevo will present a selection of original stage design models and costumes, which were exhibited in Zagreb, and will be complemented with a multimedia presentation of this great art project.

On the occasion of the opening of the exhibition, ULUPUH will promote its accompanying monograph, A Hundred Years of Croatian Stage and Costume Design, 1909-2009.”

The same day, as part of the international cooperation between two related associations, ULUPUH and ULUPUbiH, another ULUPUH exhibition will be opened at the Gallery (in a different room), ”TOP 100 - CONTEMPORARY CROATIAN CERAMICS”. A monograph will also be promoted on the occasion of 60 years of ULUPUH, ”ULUPUH 1950 – 2010”, authored by branka Hlevnjak.

The monograph will complement ULUPUH’s presentation to the general public in Sarajevo and biH, which began in 2009 with an exhibition of illustrations of young Croatian illustrators and puppet designers.

ABOUT EXHIBITION

The exhibition premiered in Zagreb in December in 2009, as organized by the Croatian Association of Visual Applied Artists of Croatia, the ULUPUH, and co-organized with the Croatian National Theatre in Zagreb. This is a large historical exhibition, the first of its kind in Croatia, which gives an overview of the emergence and development of the stage and costume design professions in Croatia in the last hundred years, as conceived and selected by prominent Croatian theatrologists: Dr. Ana Lederer, PhD (stage design) and Dr. Martina Petranovi} (costume design).

The preliminary project initiator and director is Ivana bakal, Croatian costume designer and president of the ULUPUH’s Department of Theatre and Film Arts. This complex project, implemented in Zagreb in five exhibition segments, presents the stage and costume designs of (usually relevant) Croatian theatre plays.

This review of the hundred years of history of these artistic professions also presents works that show the specific characteristics of the style of particular stage and costume designer, as well as of a particular epoch and the achievements of both professions. Depending on the author, place and time of occurrence of the plays, different pieces of stage and costume design are showcased - from sketches in the various techniques and formats, to photos and TV footage – through which the diversity of theatrical art is also presented. An important part of the exhibition are stage design models and theatrical costumes. To put the exhibition together, we used materials archived by the Department of History of the Croatian Theatre of the Croatian Academy of Arts and Sciences, the Museum of Arts and Crafts, the City of Rijeka Museum, theatre archives, the private collection of Mrs Marija [enoa and the Sokoli} family, and from the private archives of stage and costume designers.

GALERIJA Gradska galerija Collegium artisticum osnovana je 1975. godine kao galerija tri umjetni~ka udru`enja bosne i Hercegovine: Udru`enja likovnih umjetnika (ULUbiH), Udru`enja Likovnih umjetnika primijenjenih umjetnosti i dizajnera (ULUPUbiH) i Asocijacije arhitekata (AAbiH), preuzimaju}i naziv i ideale progresivne umjetni~ke grupacije 'Collegium artisticum' s kraja ~etvrte decenije pro{log stolje}a.

Sa ciljem da ponudi dinami~an umjetni~ki program, otvoren za sve inicijative koje podsti~u duhovnu i kulturnu klimu u Sarajevu i bosni i Hercegovini, tokom godina je u GG Collegium artisticum realizovan imponzatan broj likovnih, muzi~kih, dramskih, knji`evnih i drugih programa. Collegium artisticum se pojavljivao i kao organizator i realizator nekih od najzna~ajnijih likovnih projekata na teritoriji nekada{nje Jugoslavije, kao {to su: 'Umjetnost i kritika usred 80-ih', Jugoslovenska dokumenta 1987. i Jugoslovenska dokumenta 1989.

Tokom ratnih godina 1992.-1995., galerija Collegium artisticum nije prestajala s djelatno{}u, pronalaze}i na~ine da se odr`i konstanta kulturnih de{avanja u doba destrukcije i degradacije svih kulturnih vrijednosti. Me|u zna~ajnijim izlo`bama ovog perioda bile su: izlo`ba ratnih fotografija Milomira Kova~evi}a Stra{nog, izlo`ba slika i grafika Enrika baja i Herve Dirosa, izlo`ba plakata grupe Trio 'Pozdrav iz Sarajeva', samostalna izlo`ba Affana Rami}a itd. Nakon rata, traju napori da se obnovi predratna dinamika galerijskih i drugih de{avanja. Osim tradicionalnih godi{njih likovnih smotri 'Collegium artisticum' na kojima u~estvuju ~lanovi tri umjetni~ka Udru`enja, godi{nje u GG Collegium artisticum bude organizovano oko dvadeset izlo`bi.

GALLERY The Collegium Artisticum City Gallery was founded in 1975 as a gallery of three art associations in bosnia and Herzegovina: the Association of Visual Artists (ULUbiH), the Association of Artists of Applied Arts and Designers (ULUPUbiH), and the Association of Architects (AAbiH), and assumed the name and ideals of the progressive art group “Collegium Artisticum” at the end of their fourth decade.

With the aim of offering a dynamic art program, open to all initiatives that promote a spiritual and cultural climate in Sarajevo and bosniaHerzegovina, the Collegium Artisticum Art Gallery has through the years implemented a large number of visual, musical, dramatic, literary and other programs. Collegium Artisticum was the organizer of some of the most significant art projects in the former Yugoslavia, such as: “Art and Criticism in the 1980's”, Yugoslav Documents 1987, and Yugoslav Documents 1989.

During the war years, from 1992 to 1995, the Collegium Artisticum City Gallery did not stop its activity, finding ways to maintain a constant flow of cultural events, at a time of a destruction and degradation of all cultural values. Among the major exhibitions of this period were: an exhibition of war photographs by Milomir Kova~evi} Stra{ni, an exhibition of paintings and prints by Enriko baj and Hervé Di Rosa, an exhibition of posters by the Trio Group, “Greetings from Sarajevo”, a solo exhibition

by Affan Rami}, etc. After the war, there has been an ongoing effort to restore the dynamic of gallery and other cultural events to its pre-war state. Apart from its traditional annual art reviews, entitled “Collegium artisticum”, where members of three artistic associations showcase their work, the Collegium Artisticum City Gallery organises around twenty exhibitions per year.

Projektni tim izlo`be u Sarajevu / Sarajevo Exhibition Team: Ravnateljica projekta / Project Manager

IVANA BAKAL Likovni postav / Artistic Set-up

DARKO FRITZ, Grafi~ki dizajn / Graphic Design

MARIO ANI^I] Suradnica / Associate

KATARINA RADO[EVI] Financijsko pokroviteljstvo / Under the financial patronage of:

MINISTARSTVO KULTURE RH / THE REPUBLIC OF CROATIA MINISTRY OF CULTURE GRADSKI URED ZA OBRAZOVANJE, KULTURU I [PORT GRADA ZAGREBA / CITY DEPARTMENT FOR EDUCATION, CULTURE AND SPORT, CITY OF ZAGREB

OFF MESS

O IZLO@BI Izlo`ba je premijerno odr`ana u Zagrebu u decembru 2009. godine, u organizaciji Hrvatske udruge likovnih primijenjenih umjetnika Hrvatske - ULUPUH-a, i u suorganizaciji sa Hrvatskim narodnim kazali{tem u Zagrebu. Rije~ je o velikoj povijesnoj izlo`bi, prvoj takve vrste u Hrvatskoj, koja je dala pregled nastanka i razvitka scenografske i kostimografske struke u Hrvatskoj unatrag stotinu godina, prema koncepciji i u selekciji uva`enih hrvatskih teatrologinja: dr.sc. Ane Lederer (scenografija) i dr.sc. Martine Petranovi} (kostimografija). Idejna inicijatorica i ravnateljica projekta je Ivana bakal, hrvatska kostimografkinja i predsjednica ULUPUH-ove Sekcije za kazali{nu i filmsku umjetnost. Ovim kompleksnim projektom koji je u Zagrebu realiziran u pet izlo`benih cjelina predstavljena su scenografska i kostimografska ostvarenja (u pravilu relevantnih) predstava razli~itih hrvatskih kazali{ta. Iz sto godina povijesti ovih umjetni~kih struka predstavljeni su radovi koji u istom prezentiraju i specifi~nosti autorskoga stila odre|enoga scenografa ili kostimografa ali i stil odre|ene kazali{ne epohe i dostignu}a obiju struka. Ovisno o autoru, mjestu i vremenu nastanka predstave izlo`eni su razli~iti materijali odnosno mediji scenografskih i kostimografskih ostvarenja - od skica u razli~itih tehnikama i formatima preko fotografija do TV snimaka - kako bi se i kroz to pokazala raznovrsnost teatarske likovnosti, a va`an dio izlo`be ~inile su scenografske makete i kazali{ni kostimi. Za izlo`bu je kori{tena gra|a u vlasni{tvu Hrvatske akademije znanosti i umjetnosti Odsjeka za povijest hrvatskog kazali{ta, Muzeja za umjetnost i obrt, Muzeja grada Rijeka, iz arhiva kazali{ta, iz privatne zbirke g|e. Marije [enoe i obitelji Sokoli}, te iz privatnih arhiva scenografa i kostimografa.

Umjetni~ka galerija BiH Bosnia and Herzegovina Art Gallery

30/09/11

Slu~ajni prolaznici POSVETA EUGENU SAVOJSKOM OMAGE TO EUGEN SAVOYSKI

PERFORMANS Rat nikad nije po~eo. Rat nikada nije zavr{en. Za{to onda zgrade jo{ uvijek gore?

PERFORMANCE War never started. War never ended.

Why are buildings still burning, than?

Umjetni~ka galerija BiH 16.00 Bosnia and Herzegovina Art Gallery 16.00

07/10/11

Slu~ajni prolaznici RELIVING (HI)STORY

po motivima svega {to smo nekada u `ivotu sreli/voljeli/vidjeli/do`ivjeli

Casual Passers-by RELIVING (HI)STORY based on everything we encountered/loved/seen/lived through in our lives Umjetni~ka galerija bosne i Hercegovine primorana je zatvoriti svoja vrata za javnost. Unutra je ostala zaklju~ana izlo`ba u 9 soba 9 razli~itih boja. Vani je ostala zaklju~ana publika. Kada bi mogli proviriti kroz klju~aonicu {ta biste vidjeli? Kako `ive napu{teni eksponati? [ta bi oni rekli kada bi mogli govoriti? Kakav bi revolt mogla izraziti svaka od boja?

Zauzimaju}i prostor i postavljaju}i u njega niz razli~itih etida mladi sarajevski teatarski umjetnici bave se svim ovim pitanjima problematiziraju}i ne samo sudbinu Umjetni~ke galerije, ve} i potencijalnu sudbinu svih bosanskohercegova~kih umjetnika.

National Gallery of bosnia and Herzegovina had to close its doors for public. Exhibition in 9 rooms in different colours was locked inside. Audience is locked outside. If you could look through keyhole what would you see? How does locked exhibit lives? What would it say if it could talk?

What argument would every of these 9 colours use?

Group of young theatre artists from Sarajevo occupied space inside the exhibition putting in it series of short performances answering these questions in need to accent destiny of National Gallery, that could become destiny of all bosnian and Herzegovinian artists.

KO SU SLU^AJNI PROLAZNICI Slu~ajni prolaznici su grupa umjetnika i ljubitelja i poznavalaca umjetnosti koji su se okupili kako bi se borili za slobodu umjetnosti i pravo svih ljudi da se njom bave i u njoj u`ivaju. Grupa ne broji ~lanove i stalno prima sve one koji su spremni boriti se za svjetliju budu}nost.

WHO ARE CASUAL PASSERS-bY Casual Passers-by are group of artists and art lovers and connoisseurs of art who gathered to fight for freedom of arts and right of every person to practice and enjoy arts. Group is not counting its members and is happy to welcome everybody who believes in fighting for better future.

PERFORMANS

PERFORMANCE

Conference Marketing strategies in the Performing Arts Organizator: INTERNACIONALNI TEATARSKI FESTIVAL MESS / CMC PLATFORM Organiser:MESS INTERNATIONAL THEATRE FESTIVAL / CMC PLATFORM

Teatarska predstava ne slu`i ni~emu ukoliko ne ostvari komunikaciju sa publikom. Teatar jeste “dijalog” sa publikom. Prema teatrolo{kim kriterijima, predstava bez suodnosa sa gledateljem i segmenta recepcije nije dovr{en i cjelovit teatarski ~in. S produkcijskog stajali{ta, bez gledatelja, teatarska predstava predstavlja ogromnu koli~inu uzaludno utro{enog novca i ni{ta vi{e od toga. Kao i u svakoj drugoj proizvodnji, u teatarskoj produkciji se proizvodi proizvod kako bi se prodao konzumentima, imaju}i u vidu posebnosti koje i proizvodnja i prodaja (a i sam proizvod) u ovom slu~aju imaju u odnosu na „klasi~nu“ prodaju roba i usluga. Jo{ i danas postoji razmi{ljanje da se umjetnost i tr`i{te me|usobno isklju~uju kao pojmovi i nikako ne mogu biti u istom kontekstu.

Komentari teatarske predstave rje|e bivaju usmjereni na temeljne kvalitete ili nedostatke predstave, a sve vi{e na komentare poput „pa to je ve} vi|eno“.

Savremena marketin{ka filozofija u teatru vi{e ne nudi ne{to {to ve} nije vi|eno ili do`ivljeno, nego ono {to bi gledatelji `eljeli vidjeti u teatru, pa se tako reklama tipa „Ono {to svakako morate vidjeti u teatru“ postepeno pretvara u slogan „Ono {to ste oduvijek `eljeli vidjeti u teatru“. U marketingu teatra, u~inkovitije je usmjeravati marketin{ko djelovanje na zadr`avanje postoje}ih klijenata (gledatelja) negoli stalno iznova tra`iti nove na konkurentskom i natjecateljski postavljenom tr`i{tu.

KONFERENCIJA

CONFERENCE A theatre performance serves no purpose if it does not communicate with the audience. The theatre is a connection, a connection with the audience.

According to theatrological criteria, without establishing a relation with the spectator and a segment of reception, a play is not a complete and comprehensive theatrical act. From a production standpoint, without spectators, a play is large amount of money spent in vain - and nothing beyond that. As with any other forms of production, theatre production also creates products in order to sell them to consumers, but bearing in mind the special nature that this production and sales process (and the product itself) have in comparison with the "classic" sales of goods and services. Even today, many believe that art and the market as mutually exclusive concepts, and cannot be placed in the same context. However, the comments that people have on theater performances are rarely focused on the fundamental qualities of the performance, or its deficiencies, and increasingly include phrases such as "Well, that's already been seen before."Contemporary theatre marketing philosophy no longer offers anything that has not been seen or experienced before, but does offer spectators what they would like to see in theatre - hence advertisements such as: "Something you definitely need to see in theatre" are being gradually transformed into "Something you always wanted to see in theatre." In theatre marketing, it is more effective to focus marketing activities towards keeping one’s existing customers (i.e. spectators) than to constantly seek for new ones on a competitive and competition-eager market.

04/10/11 Hotel Bosnia 09.00

Konferencija Marketin{ke strategije scenskiih umjetnosti

SUORGANIZATORI FESTIVALA / CO-ORGANIZERS Narodno pozori{te Sarajevo Pozori{te mladih Sarajevo SARTR Sarajevo Kamerni teatar '55 Akademija scenskih umjetnosti Sarajevo Me|unarodni franjeva~ki studentski centar SSST SFA Platform CMC Collegium Artisticum Umjetni~ka Galerija biH Art kino Kriterion Centar za kulturu 'Sarajevo' bosansko narodno pozori{te Zenica baletfest

UPRAVNI ODbOR / THE bOARD Sedin Kozadra Izeta Avdi} Alija bahtanovi} Lejla Hasanbegovi} NADZORNI ODbOR / SUPERVISORY bOARD Danijela Gogi} Nedžad bori{i} Nihad Kre{evljakovi}

DIREKCIJA / DIRECTORATE DIREKTOR /DIRECTOR: Dino Mustafi} IZVR[NI PRODUCENT / EXECUTIVE PRODUCER: Nihad Kre{evljakovi} SELEKTORI PROGRAMA / PROGRAM SELECTORS: Giorgio Ursini Ur{i} Dino Mustafi} SELEKTOR FUTURE MESS / FUTURE MESS SELECTOR: Selma Spahi} PROGRAM MENAD@ER / PROGRAM MANAGER: Lejla Hasanbegovi} ORGANIZACIJA / ORGANIZATION: Ira Isovi} FINANSIJE / FINANCE: Mirsada Škrijelj PROTOKOL / PROTOCOL: Dajana Gurda

@IRI INTERNACIONALNOG TEATARSKOG FESTIVALA MESS / THE INTERNATIONL THEATRE FESTIVAL MESS JURY Fernando De Ita (Meksiko – Mexico) Nurullah Tuncer (Turska - Turkey) Gordana boban (biH) @IRI KRITIKE/THE CRITICS JURY Ian Herbert (Velika britanija – United Kingdom) Randy Gener (USA) bojan Munjin (Hrvatska - Croatia)

SEKRETARICE / SECRETARIES: Aida Mujkovi} Sandra Milanovi} ODNOSI S JAVNO[]U / PR OFFICERS: Una bejtovi} Jasmin Krlu} PRODUKCIJSKI TIM /PRODUCTION TEAM: Irma Alimanovi} Nezir Kop~i} Maja Ze}o Antonija Puti} Kerim Ma{ovi} Mia Vu~kovi} Alisa Hukovi} Damir Hercegovac Dženita Srna Almin berbi} OKRUGLI STOLOVI / THE ROUND TAbLE DISCUSSION COORDINATORS: Rea Jugo Asja Krsmanovi} PRIJEVOD TEKSTOVA / TRANSLATORS: Amira Sadikovi} Sanja Vukadinovi} @eljka Dra{kovi} Hasan Zahirovi} Ivan Radeljkovi} Jovan Eranovi} TEHNI^KI DIREKTOR / TECHINCAL DIRECTOR: Marijela Ha{imbegovi} ASISTENTI TEHNI~KOG DIREKTORA / ASSISNTANTS OF TECHINCAL DIRECTOR: Ognjen Martinovi} Zdenko bevanda

IZDAVA^ / PUbLISHER Me|unarodni teatarski i filmski festival MESS Sarajevo International Theatre and Film Festival MESS Sarajevo ZA IZDAVA^A / FOR PUbLISHER: Dino Mustafi} UREDNICA / EDITOR: Aida Pilav TEKST / TEXT: Ornela ^oli} Nejra babi} bojana Vidosavljevi} PRIJEVOD / TRANSLATION: Sabina Gadžo DIZAJN / DESIGN: Fabrika DTP Adnan Hadži} ŠTAMPA / PRINTING bY: Grafika Šaran TIRA@ / IMPRESSION: 1000