Sreten Asanović, Nomina, Plima, Ulcinj, 2011
By: Ivana Ančić
English version will be available soon.
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 >
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.
Sreten Asanović, Nomina, Plima, Ulcinj, 2011
By: Ivana Ančić
English version will be available soon.
OSMI I SEDMI PUTNIK, Aleksandar Bjelogrlić, Citadela, Agora, Zrenjanin, 201
By: Dalibor Plečić
English version will be available soon.
Stjepan Gulin, Paz’te sad, paz’te sad (Meandarmedia, Zagreb, 2011.)
Authors: Ivana Ančić
Igor Marojević, Kroz glavu (Dosije, Beograd, 2012.)
Author: Dalibor Plečić
Damir Miloš, Pisa. Povratak (Meandarmedia, Zagreb, 2011.)
Author: Morena Livaković
POLITIČKE I DRUŠTVENE KONSTRUKCIJE IDENTITETA U VIDEO-PERFORMANSIMA NA BEOGRADSKOJ SCENI 1970-ih
Esej Vladimira Bjeličića
Esej u celini možete pročitati na portalu SEEcult.org
Esej Tihane Bertek
Od promatrača do sudionika
GALERIJA KAPELICA I POST-JUGOSLAVENSKI BODY ART (1995–2010)
Esej – Bojan Krištofić
Esej o radovima Šejle Kamerić, Maje Bajević i Nebojše Šerića Shobe
Piše: Slađana Golijanin
ESEJ – Razvaline socijalizma kao inspiracija za muzejske eksponate Mrđana Bajića i skulpturalne dosetke Ivana Fijolića
By: Milena Milojević
Piše: Nino Kovačić
Gostujuća izvedba šibenskog HNK, Pir malograđana, prema tekstu mladog Bertolda Brechta (napisan 1919.) izvedena je po sljedećoj formuli: na Danima satire u satiričkom kazalištu Kerempuh gledamo satiričan komad. Prema reakcijama publike, bila je uspješna, ali teško se oteti dojmu da je smijeh bio formulaično zagarantiran, jer bi takav instruirani moment humora trebao zauzdati spontani smijeh. Je li se možda radilo o “malograđanskom” humoru?
Glumice i to, KNAP, Zagreb, premijera 12.5.2012.
Piše: Nino Kovačić
Glumice i to, nova predstava u zagrebačkom KNAP-u, neobičan su kazališni ‘slučaj’. Naime, predstavu su, dramaturški i režijski osmislile te, naravno, glumački ostvarile četiri mlade glumice. U trenutačnoj opće-društvenoj, pa tako i kazališnoj situaciji, kojom prijete olovni pojmovi poput recesije, prekarijata i outsourcinga (nedavno su najavljena i otpuštanja “hladnopogonskih” glumaca), one su, kako piše u najavi “nezaposlene i pune entuzijazma, odlučile su preuzeti stvar u svoje ruke i napraviti hit!”. Očito sklone postdramskom pristupu izvedbi koji se, između ostalog, bazira na ekipnoj work-in-progress metodi, izvedbenoj anti-iluziji i autoreferencijalnosti, glumice/autorice su se “trgnule” i napravile parodiju o tome kako rade predstavu, po ironičnom ključu: kad ne ide pravljenje predstave treba napraviti predstavu o tome kako se ne može raditi predstava.
“Nije život biciklo”, Biljana Srbljanović, režija: Anselm Veber, Produkcija: Šaušpilhaus Bohum, Nemačka; Sterijino pozorje 2012, selekcija Nacionalne drame i pozorišta
By: Tamara Baračkov
English version will be available soon.
„Grebanje, ili kako se ubila moja baka“, Tanja Šljivar, režija: Selma Spahić, Bosansko narodno pozorište Zenica/Bitef teatar-Hartefakt (Beograd), premijera: 7. septembar 2012. (Zenica), 11. oktobar 2012. (Beograd)
By: Tamara Baračkov
English version will be available soon.
„Sluga dvaju gospodara“, Karlo Goldoni, režija: Boris Liješević, Grad teatar Budva/Srpsko narodno pozorište Novi Sad/Narodno pozorište „Toša Jovanović“ Zrenjanin, premijera: 27. jul 2012.
By: Tamara Baračkov
English version will be available soon.