Viewing posts from: December, 2011

30.12.2011.

AESTHETICS IS DEAD, LONG LIVE AESTHETICS?

Exhibition: Art is Beautiful, Art Pavilion, Zagreb, November 10 – December 31, 2011

By: Tihana Bertek

Art is Beautiful is a multi-layered project, both conceptually and practically, designed for the Art Pavilion in Zagreb and managed by the sculptor, designer and exhibition author Ante Rašić. This multimedia exhibition with a provocatively banal title happens on several levels and in several stages. Although the entire concept is based on sculptural installation/space intervention, Rašić also uses elements of performance, audio and urban installation, all supported by elaborate web and Facebook pages.

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30.12.2011.

THE UNUSED POTENTIAL

Death is not a Bicycle (So That They Could Steal It From You)  by Biljana Srbljanović, directed by Slobodan Unkovski, Yugoslav Drama Theatre, Belgrade

By: Vanja Nikolić

Death is not a Bicycle (So That They Could Steal It From You) is an excellent title of a new text by Biljana Srbljanović. With an effect of a slogan for a new product, the title of the play stormed the market as the performance of the month in June this year. It seems that the campaign has been a success. The Great Stage of the Yugoslavian Drama Theatre is also sold out for November and the audience is amazed.

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30.12.2011.

ALEXANDER THE GREAT AND THE ART OF (MIS)UNDERSTANDING

The Beautiful, Beautiful, Beautiful Catastrophe , ZPC, Zagreb

By: Ivana Anić

Five performers, five stories. Five performers, one story? The Beautiful, Beautiful, Beautiful Catastrophe is a piece by dance artists Selma Banich, Deana Gobac and Roberta Milevoj, dance artist and critic Iva Nerina Sibila and theatrologist and critic Nataša Govedić in which they deal with their own stories, as well as other peoples’ and universal ones. The play has an experimental character but it is long and exceptionally fragmented and even leaves the first impression of being improvised. The text, the gesture, the dance, the symbolic action and the metatheatrical actions are constantly fighting for their position in the game, so that, at the end of the play, the viewer feels as if bread-crumbs, the assurance of a safe journey home have been eaten by the birds. But, the disadvantages of the conceptual duel are, at the same time, its virtues, indicating a harmony between form and content.

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26.12.2011.

SEX, DRUGS, VIOLENCE AND LAUGHTER

Dogs and Drugs, directed by Andraš Urban, Deže Kostolanji, Suboticaotica

By: Vanja Nikolić

As most of the performances of the Deže Kostolanji Theatre in Subotica, Dogs and Drugs brings a different theatre experience to the audience. It shows, in always different forms of theatre language, actors that go beyond themselves in each performance and this time a new form of experiment, which the director of this play and of the theatre, Andraš Urban, and his cast took on. All plays in this theatre derive from different processes of which actors and the director are a part of, trying to create more effective, stronger and innovative forms.

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26.12.2011.

THE MELODRAMATIC SEARCH FOR IDENTITY

Igor Štiks: Elijah’s Chair, directed by Boris Liješević, produced by Jugoslov Drama Theatre and MESS

By: Vanja Nikolić

Elijahova stolica (Elijah’s Chair) premiered exactly one year ago. Created in co-production of Yugoslav Drama Theatre and Sarajevo-based MESS Festival, it lived its modest life on Yugoslav Drama Theater’s small scene. It wasn’t much written about, it was not “the hit of the season”, it wasn’t even listed for this year’s Sterijino Pozorje Festival. And then it was selected for Bitef Festival as part of the Region in Focus Program, as yet another play dealing with the heritage of history and the understanding of one’s own identity. To the surprise of many, it was exactly Elijah’s Chair that won Mira Trailović Grand Prix Award and thus earned all the attention. And so it happened that in only three years, Bitef’s main prize was twice awarded to Yugoslav Drama Theatre and its directors. First to Miloš Lolić for Sanjari (Dreamers) and now to Boris Liješević, the author of Čekaonica (The Waiting Room) produced by Atelier 212, which two years ago won the Sterijino Pozorje Special Award, and the collaborator on several projects by Tomi Janežič whose influence is visible in several plays directed in Novi Sad. more >

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