Viewing posts from: Performing arts

22.12.2011.

To love your country, there is no need for advertising?!

Patriotic Supermarket, directed by Dino Mustafić, a Kulturanova Association (Novi Sad), Multimedia Centre (Prishtina) and Bitef Theatre (Belgrade) co-production

By: Vanja Nikolić

We will understand each other! We are talking! are the sentences that are being cried out, just like slogans, at the end of Patriotic Supermarket. Bearing in mind the play premiered during another round of important, but unsuccessful negotiations between Belgrade and Prishtina, Serbia and Kosovo, Serbian politicians and the European Union, it is obvious the meaning of these words comes across as extremely ironic. The only ones who are not talking to each other on a global level are the Albanians and the Serbs, constantly finding themselves in the crossfire.

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20.12.2011.

THE PROBLEM OF CONTEXT

2050 – A Day in November by Lorenz Hippe, directed by Ninoslav Šćepanović, Mostar Theatre of Youth (guest performance in Bitef Theatre in Belgrade, November 19, 2011)

By: Nikola Skočajić

It is well known to the cultural public of Bosnia and Herzegovina what is happening at the Mostarski teatar mladih (MTM, Mostar Youth Theatre), which, after being renamed from an independent to a public institution, has obviously become a burden for the city budget. As an outside observation, it is difficult to understand the bureaucracy regarding the way in which the City government handles the its staff collective, which has been fired, with suitable demonstrations of power which can be seen in employing the already employed City employees, as well as in less sophisticated methods –changing locks on theatre doors. While the Initiative of the Committee for Restoration of the Independent Theatre of Mostarski teatar mladih, with the ex-director of MTM Sead Đulić, has to work covertly on the street, the newly formed MTM is visiting Belgrade’s Bitef Theatre with Lorenz Hippe’s piece 2050 – A Day in November.

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30.11.2011.

Manipulation of Voyeurs

I hate the Truth, directed by Oliver Frljić and produced by Theatre &TD

Written by Sandro Siljan

That’s Not the Way it Happened! Oliver Frljić Hates the Truth, produced by Theatre &TD, premiered in May 2011 in SEK, a small, claustrophobic space at Zagreb Student Centre. It is a project that deals with the issue of theatrical self-representation of Oliver Frljić’s childhood in the form of a bourgeois tragedy, where he is both the author of the text and the director.

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28.11.2011.

THE RICH CRY TOO

Miroslav Krleža’s Gospoda Glembajevi (The Glembays), directed by  Jagoš Marković, Atelje 212, Belgrade

By: Sandro Siljan

After it hasn’t been played in Belgrade theatres for forty years, Miroslav Krleža’s Gospoda Glembajevi (The Glembays) was put to stage during previous theatre season at Atelje 212 under the direction of Jagoš Marković. During the presentation of the theatre’s program, for the season named nEXt YU, the theater manager Kokan Mladenović said that he had chosen this author because “in the times of tabloid cultural values, in the times of demise of any criteria, it is very important to stage Miroslav Krleža not only because of his creative opus, but also because of all of his intellectual and social engagement that can serve as a reference we should look up to.” When the season’s theme is in question, The Glembays present an interesting choice because they, thanks to their presence in school reading lists and Antun Vrdoljak’s film adaptation, have become sort of a common point, and the theme of decadence of the petty bourgeois who got rich by stealing and taking advantage of the society is more than present in all countries of the region.

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28.11.2011.

THE CHERRY ORCHARD

Višnjik, A. P. Čehov, directed by Dejan Mijač, JDP, premiered on October 4, 2011.

By: Nikola Skočajić

It is easy to recognize the referential body with which Dejan Mijač, willingly or unwillingly, established a relation in the last play he would, allegedly, direct and for which, symptomatically, he had chosen Anton Chekhov’s last drama. However, regardless of the fact that Uncle Vanya, directed by Jürgen Gosch, played at the very same stage just over a year ago, we should take into consideration the said relationship of this domestic towards that guest production.

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