Katalog 15. Joakimfesta

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Međunarodni pozorišni festival
Knjaževsko-srpski teatar Kragujevac, Srbija
8-13. oktobar 2020.
International theatre festival
Knjaževsko–srpski teatar Kragujevac, Serbia
8th – 13th October 2020
POZORIŠTE U IZOLOVANOM DRUŠTVU
THEATRE IN AN ISOLATED SOCIETY

SADRŽAJ CONTENTS
Festivalski tim
O Festivalu
Reč direktora
Reč umetničkog direktora
i selektora
Program
GUSTAV JE KRIV ZA SVE
ZAŠTO JE POLUDEO GOSPODIN R?
LUTKINA KUĆA
KO JE UBIO DŽENIS DŽOPLIN?
FILOKTETOVA RANA
ŽIVOTINJSKA FARMA
Žiri
Umetnički direktor i selektor
Joakim Inter Fest 2019
Pokrovitelji i sponzori
Festival Team Members
About the Festival
A word from the festival director
A word from artistic director
and curator
Programme
IT’S ALL GUSTAV’S FAULT
WHY DOES HERR R. RUN AMOK?
A DOLL’S HOUSE
WHO KILLED JANIS JOPLIN?
THE WOUND PHILOCTETES
ANIMAL FARM
Jury
Artistic director and curator
Joakim Inter Fest 2019
Patrons and sponsors
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6
8
10
17
20
26
32
40
46
52
59
66
71
81

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DIREKTOR
Miloš Krstović
UMETNIČKI DIREKTOR I SELEKTOR
Slobodan Savić
VIZUELNI IDENTITET I KATALOG
Slobodan Savić, odgovorni urednik
Milena Vučković, grafički dizajner
PREVODIOCI
Boris Tiosavljević (engleski jezik)
Venko Andonovski (makedonski jezik)
LEKTOR
Aleksandra Radovanović
WEB SAJT
Zoran Miljković
ODNOSI S JAVNOŠĆU
Јovana Perić
PROJEKT MENADŽER
Vojo Lučić
BILTEN
Zoran Mišić, novinar-urednik
Aleksandar Đoković, tehnička priprema
ŠEF TEHNIKE
Saša Đorđević
TEHNIČKI KOORDINATOR
Ana Kolbjanova
DOMAĆINI TRUPA
Ivan Vidosavljević
Čedomir Štajn
FESTIVALSKI TIM FESTIVAL TEAM
MEMBERS
FESTIVAL DIRECTOR
Miloš Krstović
ARTISTIC DIRECTOR AND CURATOR
Slobodan Savić
VISUAL IDENTITY AND CATALOG
Slobodan Savić, Editor-in-Chief
Milena Vučković, graphic designer
TRANSLATORS
Boris Tiosavljević (English language)
Venko Andonovski (Macedonian language)
LECTOR
Aleksandra Radovanović
WEB SITE
Zoran Miljković
PUBLIC RELATIONS
Jovana Perić
PROJECT MANAGER
Vojo Lučić
BULLETIN
Zoran Mišić, journalist and editor
Aleksandar Đoković, technical preparations
TECHNICAL DIRECTOR
Saša Đorđević
TECHNICAL COORDINATOR
Ana Kolbjanova
HOSTS OF THE TROUPS
Ivan Vidosavljević
Čedomir Štajn

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Marija Rakočević
Ana Kolbjanova
Nenad Vulević
FINANSIJSKA SLUŽBA
Danijela Milenković
Snežana Nedeljković
Danijela Stević
Snežana Ristić
PRAVNA SLUŽBA
Svetlana Borković
Nadica Ognjanović
ORGANIZATOR
Boban Urošević
FOTO I VIDEO
Dragan Vučković
RAZVODNICE
Srna Ikić i Milica Anđelković
VOLONTERI/KE
Kancelarija za mlade Kragujevac:
Nikola Šarkočević, Stanislav Pantović,
Marija Peković, Ljiljana Božović, Slađana Jovanović
i Jelena Petrović.
Marija Rakočević
Ana Kolbjanova
Nenad Vulević
FINANCIAL DEPARTMENT
Danijela Milenković
Snežana Nedeljković
Danijela Stević
Snežana Ristić
LEGAL DEPARTMENT
Svetlana Borković
Nadica Ognjanović
ORGANIZER
Boban Urošević
PHOTO AND VIDEO
Dragan Vučković
USHERS
Srna Ikić and Milica Anđelković
VOLUNTEERS
Regional Youth Cooperation Office - Kragujevac:
Nikola Šarkočević, Stanislav Pantović,
Marija Peković, Ljiljana Božović, Slađana Jovanović
and Jelena Petrović.

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Joakimfest (do 2019. Joakim Inter Fest) je među
narodni pozorišni festival koji se održava svake
jeseni u Kragujevcu, druge sedmice u oktobru.
Festival je 2006. godine pokrenuo pozorišni re
ditelj Dragan Jakovljević, tadašnji direktor Knja-
ževsko-srpskog teatra. Od tada do danas, Festival
je prolazio kroz različita razdoblja uspona i pado-
va, u potrazi za čvrsto utemeljenim konceptom.
Početkom 2019. godine, izborom Slobodana Savi-
ća, uglednog pozorišnog kritičara iz Beograda, na
mesto selektora i umetničkog direktora, izvršene
su korenite promene u strukturi i koncepciji Jo-
akimfesta. Danas je to Festival savremenog, mo-
dernog,društveno,estetskiipoetičkireferentnog
pozorišta, koji izborom predstava nastoji da bude
vidljiv i prepoznatljiv, ne samo za lokalnu zajedni-
cu,negoiuzemljiiširemregionu.Njegovkoncept
je evro-regionalni i temelji se na izboru predstava
koje su u punom saglasju sa modernim izvođač-
kim pozorišnim praksama. Joakimfest slavi i ne-
guje estetski sofisticirano, društveno odgovorno,
subverzivno i emancipatorsko pozorište, koje se
hvata u koštac s gorućim problemima i fenome-
nima vremena i sveta u kojem živimo.
Od osnivanja Festivala do danas, na Joakimfestu
(Joakim Inter Festu) izvedeno je preko 140 pred-
stava iz 25 zemalja sveta, u kojima je učestvovalo
više od 700 pozorišnih stvaralaca.
O FESTIVALU
Joakimfest (till 2019 Joakim Inter Fest) is an
international theatre festival held every fall
in Kragujevac, during the second week of Oc-
tober. The festival was established in 2006
by a theatre director Dragan Jakovljević, who
was back then the managing director of Kn-
jaževsko-srpski teatar. Since then, the festi-
val has been going through various periods
of ups and downs, seeking a solid concept. At
the beginning of 2019, when Slobodan Sav-
ić, an esteemed theatre critic from Belgrade
was elected the curator and artistic director,
radical changes have been made in the struc-
ture and concept of Joakimfest. Today, this is
a festival of contemporary, modern, socially,
aesthetically, and poetically relevant theatre
which with its selection of plays strives for
visibility and recognition not only in its local
community but in the entire country and the
wider region. It has a Euro-regional concept,
based on a selection of plays in full accord
with modern performance and theatre-relat-
ed practices. Joakimfest celebrates and fosters
aesthetically sophisticated, socially respon-
sible, subversive, and emancipatory theatre
which grapples with burning issues and phe-
nomena of the world and the times we live in.
Since the founding of the Festival to date, over
140 performances from 25 countries with the
ABOUT THE FESTIVAL

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Međunarodni žiri dodeljuje dve nagrade na
Festivalu: Gran-pri „Joakim Vujić” za najbolju
predstavu u celini i Specijalnu nagradu grada
Kragujevca.
Festival je dobio ime po „ocu srpskog pozorišta”,
Joakimu Vujiću, upravniku prvog srpskog pozo-
rišta osnovanog u Kragujevcu, tadašnjoj presto-
nici Srbije, 1835. godine.
Domaćin i organizator Festivala je Кnjažev-
sko-srpski teatar, a glavni pokrovitelj je grad
Кragujevac.
participation of over 700 theatre authors have
been performed at the Joakimfest (Joakim In-
ter Fest).
An international jury bestows two awards:
Grand prix “Joakim Vujić,” for the best overall
performance, and Special Award of the City of
Kragujevac.
The festival is named after “the father of Ser-
bian theatre,” Joakim Vujić, the managing di-
rector of the first Serbian theatre founded in
Kragujevac, the capitol of Serbia back then, in
1835.
The host and organizer of the festival is Кnja-
ževsko-srpski teatar, and the main benefactor
is the City of Кragujevac.

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Ukazana mi je velika čast da Vas mogu pozdraviti
uokviru15.Joakimfesta,Međunarodnogpozoriš-
nog festivala, koji vrednuje i promoviše savreme-
ni pozorišni jezik.
Pre petnaest godina počelo je ostvarivanje jedne
davnoosmišljeneideje,daigradKragujevacdobi-
je relevantan festival, kakav zaslužuje s obzirom
na svoju dugu pozorišnu tradiciju i pažljivo odne-
govanu publiku.
Kao jedan od najposećenijih kulturnih događaja
u Kragujevcu, Festival daje ogroman doprinos
međunarodnoj afirmaciji našeg Grada, a kultura
je ta koja, na najbolji način, predstavlja naše vred-
nosti i tradiciju.
Joakimfest je od ove godine odlukom grada Kra-
gujevca, koji je i generalni pokrovitelj Festivala,
uvršten u program Stalnih manifestacija u obla-
sti kulture od značaja za grad Kragujevac. Od ove
godine Festival ponovo finansijski pomaže i Mini-
starstvo kulture i informisanja Republike Srbije.
Koliko god smo svesni značaja razvoja nacional-
nih kultura i svega što se dešava unutar njiho-
Ihavebeengiventhegreathonorofbeingableto
greet you as part of the 15th Joakimfest, the In-
ternational Theatre Festival, which values and
promotes contemporary theatrical language.
Fifteen years ago, the realization of a long-con-
ceived idea began, so that the city of Kraguje-
vac would get a relevant festival, which it de-
serves considering its long theatrical tradition
and carefully nurtured audience.
As one of the most visited cultural events in
Kragujevac, the festival makes a huge contri-
bution to the international affirmation of our
city, and it is culture that, in the best way, rep-
resents our values and traditions.
As of this year, Joakimfest has been included
in the program of Permanent Manifestations
in the Field of Culture of Importance for the
City of Kragujevac by the decision of the City of
Kragujevac, which is also the general sponsor
of the festival. Starting this year, the Festival is
again financially aided by the Ministry of Cul-
ture and Information of the Republic of Serbia.
As much as we are aware of the importance of
U ČAST POZORIŠTA
Miloš Krstović
IN HONOR
OF THE THEATRE
Miloš Krstović
A word from the festival directorReč direktora

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vih granica, ipak u prvi plan stavljamo ideju da
svi, na kraju, pripadamo jedinstvenom prosto-
ru kulture ljudske civilizacije u kojoj fizičke,
mentalne, jezičke i druge granice mogu sa la-
koćom biti prevaziđene snagom i kreativnošću
darovitih i nadahnutih umetnika.
Loše okolnosti u kojima živimo i nimalo optimi-
stičnaslikadanašnjegsvetamogupostati,naža-
lost, izgovor da se odustane od borbe i unapred
preda. Knjaževsko-srpski teatar i Međunarodni
pozorišni festival Joakimfest nalaze i nalaziće
načine kako da, u vremenu prepunom iskuše-
nja, budu sa svojom publikom, uvek prisutni i
svesni trenutka.
U posebnom, festivalskom, radosnom ruhu,
iako u neveselim okolnostima pandemije vi-
rusa Covid 19, očekuje nas selekcija izuzetnih
predstava. Svim ljubiteljima pozorišne umet-
nosti želim da u narednih nekoliko dana uži-
vaju u magiji pozorišta, a našim gostima da se
ugodno osećaju u Kragujevcu i Republici Srbiji.
Dobro došli na 15. međunarodni pozorišni fe-
stival Joakimfest!
the development of national cultures and ev-
erythingthathappenswithintheirborders,we
still place in the foreground the idea that all of
us,afterall,belongtoauniqueculturalspaceof
human civilization in which physical, mental,
linguistic and other boundaries can be easily
overcome with the strength and creativity of
gifted and inspired artists.
Theadversecircumstancesweliveinandbyno
means optimistic image of today’s world can
become, unfortunately, an excuse to give up
the fight and surrender in advance. Knjaževs-
ko-srpski teatar and the International Theatre
Festival Joakimfest are finding and will be
finding ways to, in a time full of temptations,
be with their audience, always present and
aware of the moment.
In special, festival-like, joyful garments, albeit
in the unhappy circumstances of the Covid-19
pandemic, a selection of exceptional perfor-
mances awaits us. I wish all theatrical art afi-
cionados to enjoy the magic of the theatre in
the next few days, and our guests to feel com-
fortable in Kragujevac and the Republic of Ser-
bia.
Welcome to the 15th Joakimfest International
Theatre Festival!

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Posle Covida 19 svet više neće biti isti kao pre. To
je globalno mišljenje, opšte mesto i čvrsto uko-
renjena floskula naše svakidašnjice. Već mese-
cima živimo u svetu i vremenu „nove normal-
nosti” koja, između toliko toga ostalog, nalaže
i fizičku distancu među ljudima. Takozvana
nova normalnost lišila nas je dodira i zagrlja-
ja, rukovanja i poljubaca. Zatvorila je međudr-
žavne granice, pozorišta i bioskope, koncertne
dvorane i muzeje, restorane i sportske stadione,
škole i univerzitete... Izolacija, samoizolacija i
fizičko distanciranje postali su naša svakodne-
vica, način života i ophođenja, kao da do sada
nismo bili dovoljno zatvoreni u sebe i sopstve-
ne domove, kao da nismo bili dovoljno otuđeni
i (samo)izolovani u sopstvenoj usamljenosti, u
veštačkim, virtuelnim i viralnim svetovima.
Da li je ta „nova normalnost” gorki plod i pogub-
na posledica pandemije virusa Covid 19, koji je
pokorio svet bez trunke baruta, ili je to način
života na koji smo se odavno navikli (ili su nas
navikavali), onog trenutka kada smo pristali da
svoja osećanja izražavamo sms porukama, emo-
tikonima i stikerima, a da nam „realnost”, opi-
pljivost, neponovljivost i užitak stvarnog života
POZORIŠTE
U IZOLOVANOM
DRUŠTVU
Slobodan Savić
After Covid-19, the world will never be the same
as before. It is a worldwide public opinion, a
common statement and a firmly rooted mock
profound phrase of our everyday life. We have
been living for months in a world and a time
of the “new normalcy” which, among so many
other things, requires a physical distance be-
tween people. The so-called new normalcy has
deprived us of touch and hugs, handshakes and
kisses. It has shuttered interstate borders, the-
atres and cinemas, concert halls and museums,
restaurants and sports stadiums, schools and
universities... Isolation, self-isolation and phys-
ical distancing have become our everyday life,
the way of life and behavior, as if we have not
been withdrawn enough in ourselves and our
own homes, as if we have not been sufficiently
alienated and (self) isolated in our own lone-
liness, in artificial, virtual and viral worlds. Is
this “new normalcy” a bitter fruit and a devas-
tating consequence of the Covid-19 pandemic,
which has conquered the world without a single
bullet being fired, or is it the way of life we have
long been accustomed to (or have been primed
to get accustomed to), the moment we agreed
THEATRE IN AN
ISOLATED SOCIETY
Slobodan Savić
A word from the artistic director
and curator
Reč umetničkog direktora
i selektora

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posreduju elektronski mediji i društvene mre-
že?! Možda će nam vreme i dalji sled događaja u
ovom, za mene nema sumnje, naopakom svetu
pružiti neke odgovore ili smernice. Možda. Naša
je dužnost kao samosvesnih i odgovornih poje-
dinaca, kao što je to dužnost odgovornog pozori-
šta i umetnosti uopšte, da postavljamo pitanja.
Ne moram posebno da naglašavam i objašnja-
vam koliko je bilo teško, naporno i stresno, u
pojedinim trenucima čak iscrpljujuće, sačiniti
ovogodišnju selekciju i organizovati Festival u
uslovima pandemije, straha i podozrenja, za-
tvorenih pozorišta i granica, uz nemogućnost
da zdrav razum predvidi šta će biti sutra, a ka-
moli mesec ili nekoliko meseci unapred. Ali, ja
nisam odustajao, ni u jednom trenutku, a selek-
ciju sam zaokružio još početkom jula meseca.
Uostalom, lako je odustati kada nemate selekci-
ju kvalitetnih predstava.
Organizacija međunarodnog pozorišnog festi-
vala u ovakvim (ne)uslovima, kada je većina
festivala i drugih manifestacija otkazana u ze-
mlji i svetu, vrhunski je podvig i za organizatore
i za domaćine, ali, i pre svega, za sva pozorišta
koja ove godine učestvuju na Festivalu u ne-
normalnim uslovima „nove normalnosti”. Kn-
jaževsko-srpski teatar i grad Kragujevac mogu
biti ponosni na to. Dakle, uprkos teškoj i ne-
to express our feelings through text messages,
emoticons and stickers, and that the “reality”,
tangibility, uniqueness and bliss of real life are
being mediated by electronic media and social
networks?! Perhaps time and further sequence
of events in this, for me, beyond any doubt,
twisted world, will provide us with some an-
swers or guidelines. Perhaps. It is our duty as
self-conscious and responsible individuals, as it
isthedutyofresponsibletheatreandartingen-
eral, to ask questions.
Idon’thavetoemphasizeandexplainhowhard,
taxingandstressful,andattimesevenexhaust-
ingitwastomakethisyear’sselectionandorga-
nize the Festival in the conditions of pandemic,
fear and qualm, closed theatres and borders,
with the common sense unable to predict what
will happen tomorrow, let alone a month or a
few months in advance. But at no moment was I
giving up, and I completed the selection already
in early July. After all, it’s easy to give up when
you have no quality performances to select.
The organization of an international theatre
festival in such (anti) conditions, when most
festivals and other events in the country and
the world have been canceled, is a supreme ac-
complishment for both the organizers and the
hosts, but, above all, for all theatres participat-

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izvesnoj situaciji, Joakimfest i ove godine slavi
i neguje estetski sofisticirano, društveno odgo-
vorno, subverzivno i emancipatorsko pozorište
koje se hvata u koštac s gorućim problemima i
fenomenima vremena i sveta u kojem živimo.
Najzad, i da se u potpunosti razumemo, ovogo-
dišnja selekcija nije iznuđena pandemijom, niti
je rezultat bilo kakvih kompromisa. Ovih šest
predstava bi učestvovale na 15. Joakimfestu i da
nije Covida 19, jer to zaslužuju svojim estetskim
kvalitetima, tematskim opsegom i maestral-
nom glumačkom igrom.
Svet je i pre pandemije virusa Covid 19 bio po-
larizovan i podeljen. Na bogate i siromašne, na
velike sile, globalne vladare i male narode, na
velike i male kulture… Danas je svet podeljen,
uz sve nabrojane i nenabrojane podele, na zdra-
ve i bolesne od virusa Covid 19, na one koji sebi
mogu da obezbede odgovarajuće lečenje i one
koji to ne mogu, na one koji će moći da kupe
vakcinu i one koji to neće moći. Podnaslov ovo-
godišnjegfestivala(Pozorište u izolovanom druš
tvu), na prvi pogled, referira na tešku situaciju
u kojoj su se našli svet, umetnost i pozorište u
vremenu pandemije. Ali to je samo prvi sloj,
prvi nivo značenja. Ono što je još važnije, birao
sam predstave koje na relevantan pozorišni na-
čin tematizuju život u izolovanom društvu. Sve
jedno da li smo izolovani zbog bolesti, siromaš-
inginthisyear’sFestivalatabnormalconditions
of the “new normalcy”. Knjaževsko-srpski teat-
ar and the city of Kragujevac can be proud of
that. So, despite the difficult and uncertain
situation, Joakimfest once again celebrates
and nurtures an aesthetically sophisticated,
socially responsible, subversive and emanci-
patory theatre that tackles the burning issues
and phenomena of the time and world which
we live in. Finally, and to make things perfect-
ly clear, this year’s selection was not forced
upon us by the pandemic, nor is it the result
of any compromises. These six performances
would participate in the 15th Joakimfest even
if it weren’t for Covid-19, because they deserve
it for their aesthetic qualities, thematic range
and masterful acting performances.
The world was polarized and divided even be-
fore the Covid-19 pandemic. It has been divid-
ed into the rich and the poor, the great powers,
global rulers and small nations, the great and
small cultures… Today, the world is divided,
with all the enumerated and unnumbered
divisions, into healthy people and those sick
with the Covid-19 virus, those who can pro-
vide themselves with an appropriate treat-
ment and those who cannot, those who will
be able to buy the vaccine and those who will
not. At first glance, the subtitle of this year’s

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tva, uskraćenih ljudskih prava, unutar sopstve-
ne porodice i braka (kao Ibzenova Nora), unu-
tar mikro totalitarne zajednice koja aludira na
društvo u celini (Životinjska farma), u svetu post
istine (Filoktetova rana), kategoričkog imperati-
va napretka i uspeha (Zašto je poludeo gospodin
R?) ili kao manipulacijama podložna glasačka
mašina i jeftina radna snaga čiji je protagonista
takozvani mali čovek (Gustav je kriv za sve).
Mi koji živimo na Balkanu, i u Srbiji, vrlo dobro
znamo kako je živeti u izolovanom društvu: izo-
lovanom ekonomski, politički, kulturno… iza
zatvorenih granica, iza spuštenih rampi.
Pozorište koje na umetnički i estetski referen-
tan način tematizuje različite vrste izolacije,
koje uprkos zahtevanoj fizičkoj distanci prelazi
rampu, u središtu je moje ovogodišnje selekcije.
To je suština. Covid 19 je samo jedna od referen-
ci, sveprisutni povod i preteća posledica.
Uprkos takozvanim novim pozorišnim tenden-
cijama, uprkos teorijama i studijama koje poku-
šavaju da ih objasne, istinsko pozorište ne po-
stoji bez prisustva živog glumca na sceni, kao
što ne postoji ni bez publike. Tako je odvajkada,
odprvihigrokazanašihdalekihpredakaujedva
osvetljenim pećinama, od antičke Grčke do da-
nas. U to smo se najbolje uverili proteklih mese-
ci dok smo gledali snimke pozorišnih predstava
festival (Theatre in an Isolated Society) refers
to the difficult situation which the world, art
and theatre found themselves in during the
pandemic. But that is only the first layer, the
first level of meaning. More importantly, I
have chosen the performances that thematize
life in an isolated society in a relevant theat-
rical way. It doesn’t matter if we are isolated
due to illness, poverty, denied human rights,
within our own family and marriage (like Ib-
sen’s Nora), within a small-scale totalitarian
community that alludes to society as a whole
(Animal Farm), in the world of post-truth (The
Wound Philoctetes), in the categorical impera-
tive of progress and success (Why Does Herr R.
Run Amok?)orasamanipulation-pronevoting
machine and cheap labor whose protagonist is
the so-called little man (It’s All Gustav’s Fault).
WewholiveintheBalkans,andinSerbia,know
very well what it is like to live in an isolated
society: economically, politically, culturally
isolated - behind closed borders, behind low-
ered boom barriers. The theatre which in an
artistically and aesthetically referential way
thematizesdifferenttypesofisolation,which,
despite the required physical distance, cross-
es the barrier, is at the center of my selection
this year. That is the essence. Covid-19 is just
oneofthereferences,aubiquitouscauseanda

14
koji su preplavili internet. Pozorište je uvek bilo
za zajednicu i u zajednici, onih na sceni i onih
u gledalištu. Kolikogod to bilo u nesaglasju sa
savremenim teorijama performativnih umet-
nosti, bez te zajednice, bez interakcije glumaca
i publike, nema istinskog pozorišta. Pozorišna
predstava je neponovljiv, jedinstven čin. Kao što
ne možemo ući u istu reku dvaput, tako ne mo-
žemo dvaput gledati istu predstavu, bez obzira
koliko je puta iznova gledamo. U tome je nepo-
novljiva čar pozorišne umetnosti. Zato verujem
da će gledaoci i ove godine uživati u izabranim
predstavama, bez obzira što će publika morati
da nosi maske i sedi na propisanoj udaljenosti, i
od glumaca i među sobom.
menacing consequence. Despite the so-called
new theatrical tendencies, despite the theo-
ries and studies trying to explain them, true
theatre does not exist without the presence of
a living, breathing actor on the stage, just as it
cannot exist without an audience. This has al-
ways been the case, since the first performanc-
es of our distant ancestors in barely lit caves,
since Ancient Greece. This has been most evi-
dent in the past months when watching video
recordings of theatre performances that have
flooded the Internet. Theatre has always been
for the community and in the community, of
those on the stage and those in the audience.
As much as it is in discord with contemporary
theories of performing arts, without that com-
munity, without the interaction of actors and
audiences, there is no true theatre. A theatri-
cal performance is a unique, one-of-a-kind act.
Just as we cannot enter the same river twice, so
we cannot watch the same show twice, no mat-
ter how many times we rewatch it. That is the
unique charm of the art of theatre. This is why
I believe the spectators will enjoy the selected
performances this year as well, despite the fact
that the audience will have to wear masks and
sit at the prescribed distance, both from the ac-
tors and from each other.

17
PROGRAM FESTIVALA
FESTIVAL PROGRAMME

8. oktobar
Po crtanom filmu ,,Gustav’’
Koncept i režija: Kokan Mladenović
Pozorište ,,Kostolanji Deže’’
Subotica (Srbija)
9. oktobar
Rajner Verner Fasbinder, Mihael Fengler
Režija: Bobo Jelčić
Jugoslovensko dramsko pozorište
Beograd (Srbija)
10. oktobar
Henrik Ibzen
LUTKINA KUĆA
Režija: Botond Nađ
Mađarsko pozorište Kluž
Kluž (Rumunija)
11. oktobar
Tijana Grumić
Režija: Sonja Petrović
Srpsko narodno pozorište
Novi Sad (Srbija)
12. oktobar
FILOKTETOVA RANA
Po komadu Hajnera Milera „,Filoktet’’
Režija: Boris Krastev
Pozorišna laboratorija ,,Sfumato’’
Sofija (Bugarska)
13. oktobar
Džordž Orvel
ŽIVOTINJSKA FARMA
Režija: Ljupčo Georgijevski
Narodno pozorište ,,Anton Panov’’
Strumica (Severna Makedonija)
18
Organizatori zadržavaju pravo izmene programa.

8th October
Based on the cartoon “Gustav”
Concept and directing: Kokan Mladenović
Theatre Kosztolányi Dezső
Subotica (Serbia)
9th October
Rainer Werner Fassbinder, Michael Fengler
Directed by Bobo Jelčić
Yugoslav Drama Theatre
Belgrade (Serbia)
10th October
Henrik Ibsen
A DOLL’S HOUSE
Directed by Botond Nagy
Hungarian Theatre of Cluj
Cluj (Romania)
11th October
Tijana Grumić
Directed by Sonja Petrović
Serbian National Theatre
Novi Sad (Serbia)
12th October
Inspired by Heiner Müller’s play “Philoctetes”
Directed by Boris Krastev
Theatre Laboratory Sfumato
Sofia (Bulgaria)
13th October
George Orwell
ANIMAL FARM
Directed by Ljupčo Georgievski
National Theatre Anton Panov
Strumica (North Macedonia)
19
The organizers reserve the right to change the programme.

20
Po crtanom filmu ,,Gustav’’; Koncept i režija: Kokan Mladenović
Pozorište ,,Kostolanji Deže’’, Subotica, Srbija
Based on the cartoon “Gustav”; Concept and directing: Kokan Mladenović
Theatre Kosztolányi Dezső, Subotica, Serbia

21
Dramaturg: Kornelija Goli
Kompozitor: Arpad Serda
Scenograf: Marija Kalabić
Kostimograf: Marina Sremac
Maske: Nenad Gajić
Asistent: Žofija Serda
Konsultant: Igor Greksa
Igraju:
David Buboš
Boris Kučov
Gabor Mesaroš
Imre Elek Mikeš
Krista Sorčik
Trajanje: 1 sat i 30 minuta
Dramaturge: Cornelia Goli
Composer: Arpad Serda
Set Designer: Marija Kalabić
Costume Designer: Marina Sremac
Masks: Nenad Gajić
Assistant: Žofija Serda
Consultant: Igor Greksa
Cast:
David Buboš
Boris Kuchov
Gabor Mesaroš
Imre Elek Mikes
Krista Sorčik
Running time: 1 hour and 30 minutes
8. oktobar 8th October

22
O PREDSTAVI
U središtu predstave je Gustav, poznati lik ma
đarskog crtanog filma. Sivi službenik, državlja-
nin, radnik koga izrabljuju, idealista, sluga reži-
ma. To je sve Gustav. Nekad i danas. Postavlja se
pitanje: u kojoj meri je on odgovoran za prome-
ne ili za stagnacije u društvu u kome živi.
O REDITELJU
KOKAN MLADENOVIĆ je rođen u Nišu 1970.
godine. Završio je srednju glumačku školu u
Nišu, u klasi Mime Vuković Kurić. Diplomirao
je na Katedri za pozorišnu i radio režiju Fakul-
teta dramskih umetnosti u Beogradu 1993. go-
dine, u klasi Miroslava Belovića i Nikole Jevtića.
ABOUT THE PERFORMANCE
At the center of the play is Gustav, a famous
character from a Hungarian cartoon. A gloo
my clerk, a citizen, an exploited laborer, an
idealist, a servant of the regime. Gustav is all
of it. Then and now. The question arises: to
what extent is he responsible for changes or
stagnation of the society in which he lives?
ABOUT THE DIRECTOR
KOKAN MLADENOVIĆ was born in Niš in
1970. He finished high school in Niš in the
class of Mima Vuković-Kurić. He graduated
from the Theatre and Radio Directing De-
partment at the Faculty of Dramatic Arts in
Belgrade in 1993 in the class of Miroslav Be-
lović and Nikola Jevtić.
Directed plays (selection):
Shakespeare, Buñuel, Müller: Hamletmachi
ne, Harms: Cases, Tirso de Molina: The Trick
ster of Seville and the Stone Guest, Beaumar-
chais: The Marriage of Figaro, Aleksandar
Popović: The Revolutionary Road of Bora the
Tailor, Carp Spawning, Aristophanes, Maričić,
Mladenović: Lysistrata, Peace, Velimir Lukić:
The affair of innocent Anabella, Vida Ogn-
jenović: How to Make Master Laugh, Was there
Prince’s dinner?, Agota Kristof: The Notebook,
Dušan Kovačević: Marathon Runners Do a Lap
of Honour, The Balkan Spy, The Meeting Point,
Slobodan Selenić: Chastizing the People in Two

23
Režije (izbor):
Šekspir, Bunjuel, Miler: Ha
mlet, Harms: Slučajevi, Tirso
de Molina: Seviljski zavodnik i
kameni gost, Bomarše: Figaro
va ženidba, Aleksandar Popo-
vić:Razvojni put Bore Šnajdera,
Mrešćenje šarana, Aristofan,
Maričić, Mladenović: Lisistra
ta, Mir,VelimirLukić:Afera ne
dužne Anabele, Vida Ognjeno-
vić: Kako zasmejati gospodara,
Je li bilo kneževe večere, Agota
Krištof: Velika sveska, Dušan
Kovačević: Maratonci trče po
časni krug, Balkanski špijun,
Sabirni centar, Slobodan Sele-
nić: Ruženje naroda u dva dela, Henrik Ibzen: Per
Gint, Šekspir: Bogojavljenska noć, San letnje noći,
Ukroćena goropad, Sonet 66, Ljubomir Simović:
Putujuće pozorište Šopalović, Goran Petrović,
Kokan Mladenović: Opsada crkve Svetog Spasa,
Goran Stefanovski: Bahanalije, Mihail Bulga-
kov, K. Mladenović: Majstor i Margarita, Mirjana
Novaković, K. Mladenović: Strah i njegov sluga,
Goran Petrović: Skela, DŽ. J. Tolkin, K. Mlade-
nović: Hobit, DŽ. M. Bari, M. Stojanović: Petar
Pan, Enda Volš: Disco pigs, Slobodan Vujanović:
Poslednja smrt Frenkija Suzice, Fosi, Kander, Eb
Čikago, Darjan Mihajlović: Amselfeld, Maja Pele-
vić: Ja ili neko drugi…
Bio je umetnički direktor Pozorišta „Dadov”,
umetnički direktor Narodnog pozorišta u Som-
Parts, Henrik Ibsen: Peer Gynt, Shakespeare:
Twelfth Night, A Midsummer Night’s Dream,
The Taming of the Shrew, Sonnet 66, Ljubomir
Simović: The Travelling Troupe Šopalović, Go-
ran Petrović, Kokan Mladenović: The Siege of
the Saint Salvation Church, Goran Stefanovs-
ki: Bacchanalia, Mihail Bulgakov, K. Mlade-
nović: The Master and Margarita, Mirjana No-
vaković, K. Mladenović: Fear and His Servant,
Goran Petrović: The Ferry, J. R. R. Tolkien, K.
Mladenović: The Hobbit, J. M. Barrie, M. Sto-
janović: Peter Pan, Enda Walsh: Disco Pigs,
Slobodan Vujanović: The Last Death of Frank
ie the Teardrop, Fosse, Ebb, Kander: Chicago,
Darjan Mihajlović: Amselfeld, Maja Pelević: I
or somebody else…

24
boru, direktor Drame Narodnog pozorišta u Be-
ogradu i direktor pozorišta Atelje 212.
Za svoj rad, dobio je nagradu „Bojan Stupica”, ne-
koliko Sterijinih nagrada, kao i sve druge značaj-
ne nagrade na festivalima u Srbiji i regionu.
O POZORIŠTU
Suočava, šokira, uzbudjuje, čini te radoznalim i
zavisnim. To je Pozorište „Kostolanji Deže” već
21. godinu. Pozorište se tokom vremena iskri-
stalisalo kao eksperimentalno, tzv. umetničko
pozorište grada Subotice, prepoznatljivo po oso-
benom radu i estetici reditelja Andraša Urbana.
Trupa broji pet stalnih glumaca. Predstave se
igraju na mađarskom jeziku, a od 2007. godine
postojiiprevodnasrpski.Tokomproteklihgodi-
napredstavesuizvođenenaraznimpozorišnim
festivalima, ne samo u regionu i Evropi, nego i
u Aziji, u Južnoj Americi, 2011. godine u Indiji,
a 2012. godine u Brazilu. Stalni je gost najvaž-
nijih pozorišnih festivala, kako u Srbiji, tako i u
Mađarskoj, i na raznim pozorišnim događajima
u regionu. U ovom pozorištu suština je prven-
stveno na savremenom studijskom radu koji se
organski vezuje za realnost kako lokalnog, tako
i globalnog života. Predstave u izvedbi ovog po-
zorišta dokaz su da i eksperimentalni komadi
mogu da budu deo pozorišnog mejnstrima, a
da istovremeno, po umetničkim standardima,
zauzmu istaknuto mesto u regionu. U ime ra-
zličitosti od 2006. godine „saobraća” Dezireov
tramvaj, što je jedan jedinstveni, celogodišnji
program, čiji je cilj da upozna vojvođansku pu-
He was the Artistic Director of the Dadov The-
atre, the Artistic Director of the National The-
atre Sombor, the Director of Drama at the Na-
tional Theatre in Belgrade and the Director of
the Atelje 212 Theatre.
For his work, he received the “Bojan Stupica”
Award, several “Sterija” Awards as well as all
other important awards at festivals in Serbia
and the region.
ABOUT THE THEATRE
It confronts, shocks, excites, makes you curi-
ous and envious. That is what the Kosztolányi
Dezső Theatre has been for 21 years. Over
time, the theatre has firmly established itself
as an experimental, so-called artistic theatre

bliku sa umetnicima i autorima koji u okviru
sopstvene umetnosti izvode eksperimentalne,
uzbudljive, i kvalitetne produkcije na pozoriš-
noj paleti. Od 2009. godine pozorište ima svoj
regionalni, međunarodni, savremeni pozorišni
festival, Desire Central Station, kojim je izborio
važnu poziciju u kulturnom životu ovog regiona.
of the city of Subotica, recognizable by the id-
iosyncratic work and aesthetics of the direc-
tor András Urbán. The theatre company has
five permanent actors. The plays are being
performed in Hungarian and there has been
a Serbian translation since 2007. In recent
years, the plays have been performed at var-
ious theatre festivals, not only in the region
and Europe, but also in Asia and South Amer-
ica; in 2011 in India and in 2012 in Brazil. It
is a guest of the most important theatre fes-
tivals in Serbia and Hungary, and at various
theatre events in the region. In this theatre,
the essence is primarily in contemporary
studio work, which is organically connect-
ed to the reality of both local and global life.
Plays performed by this theatre are a proof
that experimental pieces can also be a part
of the mainstream theatre, and at the same
time, by artistic standards, occupy a promi-
nent place in the region. In the name of di-
versity, Desiré’s Tram has been “circulating”
since 2006, which is a unique, year-round
program, the goal of which is to introduce
the Vojvodina audience to artists and au-
thors who perform experimental, exciting
and quality productions on the theatre array
within their own art. Since 2009, the theatre
has its own regional, international, contem-
porary theatre festival, Desiré Central Sta-
tion, which has won an important position in
the cultural life of this region.
25

26
Rajner Verner Fasbinder, Mihael Fengler
Režija: Bobo Jelčić
Jugoslovensko dramsko pozorište, Beograd, Srbija
Rainer Werner Fassbinder, Michael Fengler
Directed by Bobo Jelčić
Yugoslav Drama Theatre, Belgrade, Serbia
foto: Maja Medić

27
Dramaturgija: Nataša Govedarica
Scenografija: Aleksandar Denić
Kostimografija: Maja Mirković
Scenski govor: Ljiljana Mrkić Popović
Dizajn svetla: Dejan Draganov
Majstor svetla: Branko Radinović Protić
Majstor zvuka: Krešo Horvatić
Igraju:
Gospodin R: Boris Isaković
Gospođa R: Nataša Tapušković
Šef: Branko Cvejić
Hana: Dubravka Kovjanić
Kolega 1: Milan Marić
Kolega 2: Bojan Dimitrijević
Komšinica: Jelena Stupljanin
Baka R: Vesna Čipčić
Deda R: Feđa Stojanović
Amadeus, sin: Pavle Korać
Saradnik: Rade Stojiljković
Dramaturge: Nataša Govedarica
Set Designer: Aleksandar Denić
Costume Designer: Maja Mirković
Speech: Ljiljana Mrkić Popović
Lighting Designer: Dejan Draganov
Lighting Technician: Branko Radinović Protić
Sound Engineer: Krešo Horvatić
Cast:
Herr R: Boris Isaković
Mrs R: Nataša Tapušković
Boss: Branko Cvejić
Hanna: Dubravka Kovjanić
Colleague 1: Milan Marić
Colleague 2: Bojan Dimitrijević
Neighbor: Jelena Stupljanin
Grandma R: Vesna Čipčić
Grandpa R: Feđa Stojanović
Amadeus, son: Pavle Korać
Associate: Rade Stojiljković

28
O PREDSTAVI
Gospodin R. živi u Zapadnoj Nemačkoj počet-
kom sedamdesetih godina. Ima porodicu koju
voli, posao do kog mu je stalo, svoj stan i svoj te-
levizor koji često gleda. Na televiziji svakodnev-
no sluša vesti o velikim uspesima i ohrabrujuće
reči političara. Njegov dom posećuju prijatelji
i rodbina. Gospodin R. ima ambicije koje gaji,
brige koje ga tište i uspomene koje neguje. Ima
dobro zdravlje i ispunjen ljubavni život. Jednoga
dana, međutim, gospodin R. iznenada…
Zašto je poludeo gospodin R? I zašto ga mi, koji
ne živimo u Zapadnoj Nemačkoj početkom se-
damdesetih, tako dobro razumemo?
Film Rajnera Vernera Fasbindera i Mihaela Fen-
glera Zašto je poludeo gospodin R… (Warum läuft
Herr R. Amok?), snimljen je 1969. godine. Pored
ostalih nagrada, osvojio je Zlatnog medveda na
Filmskom festivalu u Berlinu.
O REDITELJU
BOBO JELČIĆ je diplomirao režiju na Akademi-
ji dramskih umjetnosti u Zagrebu. Režirao je u
svim većim pozorištima u Hrvatskoj: S druge
strane, Galeb, Izlog (ZKM); Allons enfants (Dubro-
vačke ljetne igre); Tihi obrt (ADU); Ko rukom od
neseno(Kulturapromjene);Na kraju tjedna(HNK
Zagreb); Govori glasnije (Satirično kazalište Ke-
rempuh). Režirao je i u pozorištima u Nemačkoj,
Švajcarskoj, Austriji i u Hrvatskom narodnom
kazalištu u Mostaru. Profesor je glume na Aka-
demiji dramske umjetnosti u Zagrebu.
Herr R. lives in West Germany in the early
1970s. He has a family he loves, a job he cares
for, his own flat and his own television set
which he watches frequently. On TV he lis-
tens to the news about great achievements
and encouraging words from the politicians.
Friends and family come to visit. Herr R.
has his own ambitions, his own worries and
memories he cherishes. He is of good health
and leads a healthy love life. However, on one
fine day, Herr R suddenly….
Why does Herr R. run amok? And why do we,
who do not live in West Germany in the early
1970s, understand him so well?
Rainer Werner Fassbinder and Michael Fen-
gler’s Why Does Herr R. Run Amok? was made

29
Od 1995. godine sarađuje sa Natašom Rajko-
vić, koristeći nove metode u radu sa glumcima.
Reč je o specifičnom procesu tokom kog glum-
ci, zajedno sa rediteljem, na probama razvi-
jaju postavljene teme, postajući tako koautori
predstava. Koristeći ovu metodu, realizovali su
nekoliko predstava među kojima su: Promatra
nja (1997), Usporavanja (1998), Nesigurna priča
(1999), Heimspiel (2002. Hanover), X Wohnun
gen (2002. Duizburg, 2004. Berlin), S druge stra
ne (2006), Fast Sicher (2007. Cirih) i Izlog (2010,
predstava je gostovala na Bitefu 2011).
Ovo je prvi put da režira predstavu u Jugoslo-
venskom dramskom pozorištu, kao i u Srbiji.
Takođe je filmski režiser i njegova filmografi-
ja uključuje: Ono sve što znaš o meni, Stranac
i Transmanija. Godine 2005. tandem Rajko-
vić-Jelčić završava svoj prvi eksperimentalni
film Ono sve što znaš o meni, koji je imao pre-
mijeru na Filmskom festivalu u Motovunu.
in 1969. Among oth-
er awards, it won the
Golden Bear Award at
the Berlin Internation-
al Film Festival.
ABOUT THE DIRECTOR
BOBO JELČIĆ gradu-
ated theatre directing
from the Academy of
Dramatic Art in Za-
greb. He has directed
at all major theatres
in Croatia: On the Oth
er Side, The Seagull, The Shop Window (ZYT);
Allons enfants (Dubrovnik Summer Festival);
Silent Turnaround (ADA); As If It Never Hap
pened (Culture of Change); At the end of the
week (CNT Zagreb); Speak Louder (Kerempuh
Satirical Theatre). He has also directed in the-
atres in Germany, Switzerland, Austria and
at the Croatian National Theatre in Mostar.
He teaches acting at the Academy of Dramat-
ic Art in Zagreb.
He has been collaborating with Nataša Ra-
jković since 1995, using new methods when
working with actors. It is a specific process
during which the actors, together with the
director, develop the set themes at rehears-
als, thus becoming co-authors of the plays.
Using this method, they have realized sev-
eral plays, among which are: Observations
(1997), Slowdowns (1998), An Uncertain Story
(1999), Heimspiel (2002 Hanover), X Wohnun

30
Prvi samostalni dugometražni igrani film Bobe
Jelčića, Obrana i zaštita, premijerno je prikazan
na Filmskom festivalu u Berlinu (2013). Film je
nagrađen na festivalu u Ljubljani, a na festiva-
lu u Puli dobio je sedam Arena. Bogdan Diklić,
koji u ovom filmu tumači glavnu mušku ulogu,
dobio je nagradu na festivalu u Sarajevu. Bobo
Jelčić je dobitnik brojnih priznanja.
O POZORIŠTU
Jugoslovensko dramsko pozorište (JDP) osno-
vano u Beogradu 1947, oduvek je bilo jedno od
najvažnijih i najreprezentativnijih dramskih te-
atara u bivšoj Jugoslaviji. Od osnivanja ove kuće
njeni su radni principi ostali nedirnuti: angažo-
vani su najbolji glumci i najbolji reditelji na pred-
stavama po klasičnim i savremenim delima,
kako domaćih tako i stranih autora. Akcenat je
na novom čitanju poznatih drama i na inscena-
ciji smelih novih drama koje se bave aktuelnim
temama. JDP gostuje u Evropi, zemljama bivše
Jugoslavije, kao i u drugim krajevima sveta.
Od 2006, JDP je član prestižne Unije teatara
Evrope (Union des Théâtres de l’Europe), naj-
uglednije pozorišne zajednice, osnovane 1990.
gen (2002 Duisburg, 2004 Berlin), On the Oth
er Side (2006), Fast Sicher (2007 Zurich) and
The Shop Window (2010; it was a guest play at
BITEF 2011).
This is the first time he is directing a produc-
tion at the Yugoslav Drama Theatre as well as
in Serbia. He is also a film director and his
filmography includes Everything You Know
About Me, A Stranger and Transmania. In
2005, the Rajković-Jelčić tandem completed
their first experimental film, Everything You
Know About Me, which premiered at the Mo-
tovun Film Festival. Bobo Jelčić’s first inde-
pendent feature film, Defence and Protection,
premiered at the Berlin International Film
Festival (2013). The film was awarded at the
festival in Ljubljana and won seven Golden
Arena Awards at the festival in Pula. Bogdan
Diklić, who plays the male lead in this film,
won the Heart of Sarajevo Award at the fes-
tival in Sarajevo. Bobo Jelčićis is a holder of
numerous awards.

ABOUT THE THEATRE
Yugoslav Drama Theatre (YDT), founded in
Belgrade in 1947, has always been one of the
most important and representative drama
theatres in the former Yugoslavia. Since its
foundation, its working principles have re-
mained intact: the best actors and the best
directors have been hired for plays based on
classical and contemporary works, by both do-
mestic and foreign authors. The emphasis is
on a new interpretation of well-known plays
and on staging daring new plays that tackle
current topics. YDT performs across Europe,
in the countries of the former Yugoslavia, as
well as in other parts of the world. Since 2006,
YDT has been a member of the prestigious
Union of the Theatres of Europe (Union des
Théâtres de l’Europe), the most prestigious
theatre community, founded in 1990.
31

32
Henrik Ibzen
LUTKINA KUĆA
Režija: Botond Nađ
Mađarsko pozorište Kluž, Kluž, Rumunija
Henrik Ibsen
A DOLL’S HOUSE
Directed by Botond Nagy
Hungarian Theatre of Cluj, Cluj, Romania
foto: István Biró

33
Adaptacija teksta: Agneš Kali, Botond Nađ
Vizuelni efekti: Andraš Ranc
Scenografija: Karmenčita Brožboju, Andraš Ranc
Kostimografija: Karmenčita Brožboju
Dramaturg: Agneš Kali
Dizajn muzike i zvuka: Bence Konja Ite
Koreografija: Kinga Etveš
Digitalna grafika: Sidonija Sederješi
Dizajn svetla: Romeo Groza
Inspicijent: Reka Zongor
Igraju:
Torvald Helmer: Balaž Bodolai
Nora: Aniko Pete
Gospođa Linde: Čila Albert
Krogstad: Lorand Vata
Doktor Rank: Gabor Viola
Ana Marija: Melinda Kantor
Kido: Žuža Tetsegi
Text adaptation: Ágnes Kali, Botond Nagy
Visual design: András Rancz
Set Designer: Carmencita Brojboiu, András Rancz
Costume Designer: Carmencita Brojboiu
Dramaturge: Ágnes Kali
Music and sound design: Bence Kónya Ütő
Choreographer: Kinga Ötvös
Digital graphics: Szidónia Szederjesi
Lighting Designer: Romeo Groza
Stage Manager: Réka Zongor
Cast:
Torvald Helmer: Balázs Bodolai
Nora: Anikó Pethő
Mrs. Linde: Csilla Albert
Krogstad: Lóránd Váta
Dr. Rank: Gábor Viola
Anne Marie: Melinda Kántor
Kiddo: Zsuzsa Tőtszegi
10.oktobar 10th October

34
O PREDSTAVI
Biti u komi znači biti u osetljivom stanju. To je
inercija. Njom se meri vreme. To je suprotnost
slobodi.Ljudskabićasusklonazatvaranjuulaži,
izmišljene stvarnosti, stare traume, zlostavlja-
nja što se ponavljaju. Oni imaju tendenciju da
se prepuste stanjima koja su nalik komi, i da se
bespomoćno nadaju čudu. Ali koliko dugo mo-
žemo sebe držati u zatočeništvu? Koliko dugo
možemo da lažima ulepšavamo svoj život u sa-
mici? I šta će se dogoditi ako se probudimo iz
ovog stanja nesvesti?
Ako shvatimo da je čudo koje čekamo samo zja-
peća crna rupa koja se rastače u hologramima i
na kraju nas prepušta same sebi?
Nora shvata da kućica za lutke u kojoj živi po-
staje sve tešnja. Da se iza ukrašenih zidova kriju
Being in a coma is being in a vulnerable state.
It’s inertia. It’s marking time. The opposite of
freedom. Human beings are prone to impris-
oning themselves in lies, imaginary realities,
old traumas, repetitive abuses. They tend to
yieldtocoma-likestatesandpowerlesslyhope
for miracles. But for how long can we hold our-
selves captive? For how long can we embellish
our solitary confinement with lies? And what
happens if we wake up from this state of un-
consciousness? If we realize that the miracle
we are waiting for is just a gaping black hole
that dissolves in holograms and ultimately
leaves us to fend for ourselves?
Nora realizes that the doll house she inhabits
is getting increasingly narrower. That behind
the embellished walls lie the recurring cata-
tonic nightmares which she must fight if she
wants to become a human being. If she wants
to be free. With freedom comes sacrifice.
Awakening is a painful process, a swirling
hypnosis. A tarantella. A fight, where cruelty
finds you without accoutrements. Agamem-
non sacrifices Iphigenia in order to win the
war. And Nora sacrifices her present in order
towinherownwars.Nowadays,womenspend
several years in prison because they stand up
for their rights. Nora has done her time and
can now leave her dollhouse.

35
katatonične noćne more protiv
kojih se mora boriti ako želi da
postane ljudsko biće. Ako želi da
bude slobodna. Sloboda sa so-
bom povlači i žrtvu.
Buđenje je bolan proces, hi
pnotišući kovitlac. Svojevrsna
tarantela. Borba u kojoj vas
okrutnost zatekne bez zaštitne
opreme. Agamemnon žrtvuje
Ifigeniju kako bi pobedio u ratu.
A Nora žrtvuje svoju sadašnjost
da bi pobedila u sopstvenim ra-
tovima. U današnje vreme žene
provode po nekoliko godina u
zatvoru zbog zalaganja za svoja
prava. Nora je odslužila svoju
kaznu i sada može da napusti
kućicu za lutke.
O REDITELJU
BOTOND NAĐ (Brašov, 1993). Po završetku stu-
dija na dramskom odseku srednje umetnič-
ke škole „Plugor Sandor” u mestu Sveti Đorđe
(rum. Sfântu Gheorghe), studirao je na Odseku
za pozorišnu režiju Univerziteta umetnosti u
Targa Murešu, u klasi Lasla Bočardija. Predsta-
va Lutkina kuća je njegova druga postavka u Ma-
đarskom pozorištu Kluž, posle predstave Slep.
Prethodno je pravio produkcije u nekoliko zna-
čajnih pozorišnih trupa kao što su: Mađarsko
pozorište Kluž, Narodno pozorište „Radu Stan-
ca“ u Sibiu, Pozorište „Tamaši Aron” iz Svetog
Đorđa, Pozorište „Andrej Murešanu”, „Reaktor”
ABOUT THE DIRECTOR
BOTOND NAGY (Braşov, 1993). After graduat-
ing from the Drama Department of the Plugor
Sándor Art High School in Sfântu Gheorghe,
he studied at the Theatre Directing Depart-
ment of the University of Arts Târgu Mureş,
in László Bocsárdi’s class. His play, A Doll’s
House is his second staging at the Hungarian
Theatre of Cluj, after The Blind.
Hehadcreatedproductionsatseveralimport-
ant theatre companies: Hungarian Theatre of
Cluj, Radu Stanca National Theatre of Sibiu,
Tamási Áron Theatre of Sfântu Gheorghe,
Andrei Mureșanu Theatre, Reactor − a space

36
- prostor za kreativne eksperimente, Pozorište
„Figura studio” itd.
Godine 2017. osvojio je prvu nagradu na Naci-
onalnom pozorišnom festivalu „DbutanT”, kao
i nagradu za najbolju režiju na Festivalu mađar-
skih pozorišta u Kišvardi za režiju Puškinovog
Onjegina, izvedenu u pozorištu „Figura studio”
u Georgeniju. Njegove predstave pokušavaju da
reinterpretiraju već ustaljene forme pozorišta.
Trude se da vreme u kojem živimo predstave na
najsiroviji mogući način. Njegove produkcije su
tehno-poetske instalacije nalik video klipovi-
ma, zasnovane na pažljivo osmišljenim emoci-
onalnim nitima.
Najviše ga zanimaju reinterpretacija i mešanje
klasičnih tekstova, kao što su Gospođica Julija sa
scenama iz filmografije Tarkovskog, po Strin-
dbergovoj predstavi, Tenesi Vilijams: Tramvaj
zvani želja, Ivona, prema drami Vitolda Gom-
for creative experiment,
Figura Studio Theatre etc.
In 2017, he won the first
prize at the DbutanT Na-
tional Theatre Festival, as
well as the Best Direction
Award at the Festival of
Hungarian Theatres in Kis-
várda for his direction of
Pushkin’s Onegin, staged at
the Figura Studio Theatre
in Gheorgheni.
His performances try to
reinterpret the already es-
tablished forms of theatre.
They try to present the
age we live in as raw a state as possible. His
productions are video clip - like techno-po-
etic installations that are based on carefully
thought out emotional threads.
He is mostly interested in reinterpreting
and mixing classical texts, such as Miss Julie
with Tarkovsky scenes, based on Strindberg,
Tennessee Williams: A Streetcar Named De
sire, Yvonne, based on Witold Gombrowicz’s
play Yvonne, Princess of Burgundy, Henrik
Ibsen: Hedda Gabler, Samuel Beckett−Boto-
nd Nagy: Krapp’s Last Tape, William Shake-
speare: Hamlet rework etc.
He also considers it important to present texts
by contemporary authors, such as Ágnes Kali−
Benji Horváth: Faust Family or Matei Vișniec:
The Story of the Panda Bears Told by a Saxo
phonist who has a Girlfriend in Frankfurt.

37
broviča Ivona, burgundska kneginja, Henrik Ib-
zen: Heda Gabler, Samjuel Beket − Botond Nađ:
Krapova poslednja traka, Vilijam Šekspir: Ha
mlet prerada itd.
Takođe smatra važnim da predstavi teksto-
ve savremenih autora, kao što su Agnes Kali -
Bendži Horvat: Porodica Faust ili Matej Višnjek:
Priča o pandama koju priča saksofonista koji ima
devojku u Frankfurtu.
Takođe je radio u nezavisnim pozorištima, po-
put „Reaktora” u Klužu, gde je takođe napisao
tekst produkcije Preko celog tvog lica, ili u ne-
zavisnom pozorištu „Artscape” u Baja Mareu,
gde je režirao Kjærlighet. Tela. Tihi okeani Igora
Bauersima i Gaspara Noea.
Učestvovao je u radionicama koje su održavali
umetnici kao što su Gžegož Jažina i Endru Vi-
snevski. Prozvan enfant terrible svoje genera-
cije od strane rumunske pozorišne struke, sa-
rađivao je sa značajnim rediteljima, kao što su
Gabor Tompa i Radu Afrim.
O POZORIŠTU
Mađarsko pozorište Kluž, osnovano 1792. godi-
ne, najstarije je stalno mađarsko pozorište. To je
repertoarsko pozorište, koje u celosti finansira
rumunsko Ministarstvo kulture. Pod vođstvom
upravnika i umetničkog direktora Gabora Tom-
pe, od 1990. godine, ovo pozorište je postalo naj-
nagrađivanija pozorišna institucija u zemlji.
Mađarsko pozorište Kluž je element koji defini-
še kulturni identitet grada, s obzirom da ima
status člana Unije teatara Evrope od 2008. go-
dine, pri čemu istovremeno aktivno učestvuje
He has also worked at independent theatres,
such as the Cluj Reactor, where he also wrote
the text of the All Over Your Face production, or
at the Artscape Independent Theatre in Baia
Mare, where he directed Igor Bauersima−Gas-
par Noé’s Kjærlighet. Bodies. Silent oceans.
He participated in workshops held by such
artists as Grzegorz Jarzyna and Andrew Vis-
nevski. Nicknamed by the Romanian theatri-
cal profession his generation’s enfant terrible,
he has collaborated with notable directors,
such as Gábor Tompa and Radu Afrim.
ABOUT THE THEATRE
The Hungarian Theatre of Cluj, founded in
1792,istheoldestpermanentHungariancom-
pany. It is a repertory theatre, entirely subsi-
dized by the Romanian Ministry of Culture.
Under the leadership of the general manager
and artistic director Gábor Tompa since 1990,
the company has become the most awarded
theatrical institution in the country.
The Hungarian Theatre of Cluj is a defining
element of the city’s cultural identity, having
had the status of a member of the European
Theatre Union since 2008, being at the same
time an active participant in the projects co-
ordinated by the Union. Its productions are
representative of an experimental theatrical
language, very much connected to the cur-
rent international theatrical trends, while
its company is considered to be one of the
most important in the country. The theatre’s
repertory includes both classical, as well as

38
u projektima kojima koordinira Unija. Produk-
cije ovog pozorišta predstavljaju eksperimen-
talni pozorišni jezik, u bliskoj vezi sa trenutnim
međunarodnim pozorišnim trendovima, dok
se njegova trupa smatra jednom od najvažni-
jih u zemlji. Repertoar pozorišta uključuje kako
klasične, tako i savremene predstave, zasnova-
ne na delima mađarske i svetske književnosti.
Pored predstava na velikoj i maloj sceni, u po-
zorištu se takođe održavaju čitalačke pozorišne
sesije i organizuju kulturni programi u okviru
zajednice. Mađarsko pozorište Kluž takođe je
organizator dvogodišnjeg Međunarodnog pozo-
rišnog festivala „Interferencije”.
contemporary productions, based on pieces
stemming from Hungarian and universal lit-
erature alike. In addition to the main hall and
studio hall performances, the theatre also
holds readers’ theatre sessions and organizes
community cultural programs. The Hungari-
an Theatre of Cluj is also the organizer of the
biennial Interferences International Theatre
Festival.
Thetheatre’sownaesthetics,bornatthemeet-
ing point between the Hungarian theatrical
tradition and the Romanian school of direct-
ing, is reinforced by guest creators who en-
sure a sense of continuous spiritual renewal.
Beyond the repertory system meant to meet
the needs of a wider audience, the theatre
aims to be a venue for cre-
ating new needs, and orga-
nizing related events − cre-
ative workshops, initiation
programs, workshops etc.
– which beget an open en-
vironment, in touch with
the needs of its audience.
Taking advantage of the
benefits of a multicultur-
al environment, the the-
atre does not address only
the local community, or a
single language commu-
nity: all its performances
are subtitled in Romanian,
while some also benefit
from English subtitles.

39
Estetika samog pozorišta, rođena na mestu gde
se sreću mađarska pozorišna tradicija i rumun-
ska škola režije, pojačana je gostujućim stvara-
ocima koji garantuju osećaj neprekidne duhov-
ne obnove.
Pored repertoarskog sistema koji bi trebalo da
zadovolji potrebe šire publike, pozorište želi da
bude mesto za stvaranje novih potreba i orga-
nizovanje srodnih događaja - kreativnih radio-
nica, programa inicijacije, radionica itd. - koji
stvaraju otvorenu sredinu, u dodiru sa potreba-
ma svoje publike.
Koristeći blagodati multikulturnog okruženja,
pozorište se ne obraća samo lokalnoj zajednici,
niti samo zajednici jednog jezika: sve predstave
su titlovane na rumunski jezik, dok neke kori-
ste i engleske titlove.

40
Tijana Grumić
Režija: Sonja Petrović
Srpsko narodno pozorište, Novi Sad, Srbija
Tijana Grumić
Directed by Sonja Petrović
Serbian National Theatre, Novi Sad, Serbia
foto: V.Veličković

41
Dramaturškinja: Nikolina Đukanović
Likovno rešenje kostima: Senka Ranosavljević
Scenograf: Željko Piškorić
Scenografiju ilustrovale: Nada Božić,
Ana Mihajlov Čupić
Dizajn svetla: Tihomir Boroja
Scenski pokret: Mira Beba Dobrković
Igraju:
Bojana Milanović
Sonja Isailović
Stefan Vukić
Dimitrije Aranđelović
Vukašin Ranđelović
Petar Banjac
Filip Grubač
Igor Sakač
Dramaturge: Nikolina Đukanović
Costume Designer: Senka Ranosavljević
Set Designer: Željko Piškorić
Set Design Illustration: Nada Božić,
Ana Mihajlov Čupić
Light Designer: Tihomir Boroja
Stage Movement: Mira Beba Dobrković
Cast:
Bojana Milanović
Sonja Isailović
Stefan Vukić
Dimitrije Aranđelović
Vukašin Ranđelović
Petar Banjac
Filip Grubač
Igor Sakač

42
O PREDSTAVI
Danas nam je teško da zamislimo vreme u kojem
ježenamabilozabranjenodanosepantaloneiliu
kojemjebilonedopustivodasebaverokenrolom,
ali Dženis Džoplin je odrastala upravo u jednom
takvom vremenu.
Nažalost,DženisDžoplindanasređepamtimopo
tome šta je sve uradila za žensku borbu i eman-
cipaciju žena, a češće po načinu na koji je živela,
pa na kraju i umrla, a koji mahom osuđujemo.
Isto tako, sve ono što danas znamo o Dženis, a
što nije njena duboko potresna i dirljiva muzika,
jeste ono što čujemo od ljudi koji (misle da) su je
poznavali kroz razne intervjue, knjige i filmove
o njoj. Zbog toga je nastao ovaj komad – napisan
je za pozorište, jer pozorište je jedini medij u ko-
jem možemo da damo glas upravo samoj Dženis
Džoplin da konačno ispriča svoju priču. Nije važ-
no da li je ta priča istinita, zasnovana na činje-
nicama ili hronološki dosledna, važno je da je ta
priča konačno njena. Nezamislivo je teško biti
među prvima koje reše da nose pantalone, peva-
ju rokenrol ili odluče da se ne udaju i imaju decu
jer „to tako treba“. Zato što je bilo njih takvih koje
su u nečemu bile prve, nama danas je malo lakše
da biramo i ne budemo uvek osuđivane zbog na-
ših izbora, iako se, budimo iskreni, našoj borbi ni
blizu ne nazire kraj.
Tijana Grumić
Today, it is hard for us to imagine a time when
women were forbidden to wear pants or when
they were not allowed to engage in rock and
roll,butJanisJoplingrewupinjustsuchatime.
Unfortunately, Janis Joplin is less often re-
membered today for what she did for wom-
en’s struggle and their emancipation, and
more often for the way she lived, and even-
tually died, which we mostly condemn. Also,
all we know about Janis today, and which is
not her deeply moving and touching music,
is what we hear from people who (think they)
knew her through various interviews, books
and movies about her. That’s why this play
was created - it was written for the theatre,
because the theatre is the only medium in
which we can give a voice to Janis Joplin her-
self to finally tell her story. It doesn’t matter if
the story is true, based on facts or chronolog-
ically consistent, the important thing is that
thestoryisfinallyhers.Itisunimaginablydif-
ficult to be among the first to decide to wear
pants, sing rock and roll or decide not to get
married and have children because “that’s
how it’s supposed to be.” Because there were
those who were the first in something, it is
a little easier for us today to choose and not
always be condemned because of our choic-
es, although, let’s be honest, our struggle is
nowhere near to being over.
Tijana Grumić

43
O REDITELJKI
SONJA PETROVIĆ je rođena u
Bačkoj Palanci 1990. godine.
Akademiju umetnosti, smer
Multimedijalna režija, zavr-
šila je 2015. u Novom Sadu u
klasi profesora Aleksandra
Davića. Kao rediteljka svoj po-
ziv istražuje u različitim me-
dijima kao što su film, radio
i pozorište. Snimila je neko-
liko kratkih filmova i najveći
uspeh ostvarila filmom Kafa,
koji je prikazivan na više od
petnaestfestivalaširomsveta.
Zanat je usavršavala kao asi-
stentkinja reditelja na filmu
BraniosammladuBosnuSrđa-
na Koljevića. U pozorištu se posebno interesuje
za sve oblike fizičkog teatra i bori za afirmaciju
teatra novog cirkusa. Predstava nepoznatog au-
tora, Everyman, koju je režirala, izražava se cir-
kuskim veštinama i ističe je korišćenje novih
elemenata u pozorištu, kao što su ples i akroba-
cije na svili. Njena diplomska neverbalna cirku-
ska predstava Život na visokoj nozi, kao autorski
projekat, osvaja nagradu „Zlatna mravka” za
najbolji performans u celini na 6. Mini art festu
u Sofiji (Bugarska). Afinitet koji gaji ka izraža-
vanju samo putem zvuka ispoljava režirajući
radio drame.
Autorka je i rediteljka nekoliko drama u produk-
cijiRadioBeograda,a2013.zaradiodramuTisitaj
anđeo dobija priznanje „Neda Depolo” za kreativ-
ni doprinos radio izrazu. Od 2009. vodi tradicio-
ABOUT THE DIRECTOR
SONJA PETROVIĆ was born in Bačka Palanka
1990. She graduated from Multimedia direc-
tion from the Academy of Arts in Novi Sad
in 2015 in the class of professor Aleksandar
Dević. She explores her calling as a director in
different media such as film, radio, and the-
atre. She made several short films, the most
successful being Coffee, screened at over fif-
teen festivals across the world.
She perfected her skills as the assistant di-
rector on Srđan Koljević’s film The Man Who
Defended Gavrilo Princip. When directing in
theatre, she is particularly interested in all
sorts of physical theatre and fights for the
affirmation of the new circus theatre. She
directed Everyman, a play by an anonymous

44
nalnu manifestaciju Festival ekološkog pozorišta
za decu i mlade, koji se u Bačkoj Palanci održava
od1994.Umetničkajedirektorkafestivala„Film-
ski Front“ u Novom Sadu, a osmišljava i realizuje
festivalske reklamne kampanje i performanse
(Made in Belgrade, Exit, Kampus fest…).
O POZORIŠTU
GradNoviSadspravomnosiimeSrpskaAtina,jer
je još u 19. veku postao kolevka srpskog pozorišta,
kada je (1837. godine) Leteće diletantsko pozori-
šte, kao prvi profesionalni glumački ansambl,
zaigrao predstave na slovenskom Jugu. Pozorišna
družina Jovana Kneževića gostuje 1860. godine
u Novom Sadu, što je povod Jovanu Đorđeviću
da člancima u Srbskom dnevniku potakne Srbe u
Ugarskojdasvojimprilozimapomognuosnivanje
Srpskog narodnog pozorišta. Godina 1861, 16.
(28) juli, datum je za pamćenje i istoriju: doneta
writer that features circus-like skills and
new elements such as dancing and acrobat-
ics on silk. Her graduation nonverbal circus
play and an author project, A Luxurious Life,
won the Golden Ant Award for the best overall
performance on the 6th Mini Art Fest in Sofia,
Bulgaria. She manifests the affinity towards
sound-only performances in her radio dramas.
ShedirectedseveraldramasforRadioBelgrade
and won the Neda Depolo Award for creative
contributiontoradioexpressionin2013forher
radio drama You Are My Angel. Since 2009, she
has been the director of The Festival of Ecologi-
cal Theatre for Children and Youth, a tradition-
al manifestation that has been taking place in
Bačka Palanka since 1994. She is the art direc-
tor of Film Front in Novi Sad and works on the
creation and realization of festival marketing
campaigns and performances (Mad in Bel-
grade, Exit Festival, Campus Fest, etc.).
ABOUT THE THEATRE
The city of Novi Sad rightly bears the nick-
name Serbian Athens, since as early as the
19th century it became the cradle of the Ser-
bian theatre, when (in 1837) the Flying Dil-
ettante Theatre, the first professional acting
ensemble, started performaning in the Slo-
venian South. The theatre company of Jovan
Knežević made a guest appearance in Novi
Sad in 1860, which prompted Jovan Đorđević
to, through his articles in Srbski dnevnik,
encourage Serbs in Hungary to make dona-
tions for the establishment of the Serbian Na-

45
je odluka da se osnuje Srpsko narodno pozori-
šte, prvi profesionalni teatar u Srba, zaslugom
umnih ljudi 19. veka – Jovana Đorđevića, Sveto-
zara Miletića, Stevana Branovačkog i Jovana Jo-
vanovića (potonjeg Zmaja). Čast da ponese ime
prvog upravnika pripala je Jovanu Đorđeviću.
Pored dramskog ansambla, Pozorište je u svom
sastavu još 1921. godine imalo i Operu, koja se
1925. ukida zbog finansijskih razloga, a njen rad
nastavlja Opereta do 1927. godine. Stalna Ope-
ra u Srpskom narodnom pozorištu formirana
je 14. novembra 1947. godine, a Balet 8. marta
1950. godine.
Svoju prvu pozorišnu zgradu, u kojoj se danas
nalazi, pozorište je dobilo 28. marta 1981. godi-
ne, u 120. sezoni svog postojanja. Zgradu koja se
prostire na dvadeset hiljada kvadratnih metara
projektovao je arh. prof. dr Viktor Jackijevič iz
Poljske, i ovo belo mermerno zdanje pruža ve-
like sadržajno-tehničke mogućnosti svojom ve-
likom scenom „Jovan Đorđević” sa 940 sedišta,
malom scenom „Pera Dobrinović” sa 373 sedišta,
Kamernom scenom sa 120 sedišta, salama za ba-
letske, horske i orkestarske probe, kao i komplet-
nim scenskim radionicama.
tional Theatre. July 16 (28), 1861 was a date
for remembrance and history: the decision
was made to establish the Serbian National
Theatre, the first professional Serbian the-
atre, owing to the 19th-century intellectu-
als - Jovan Đorđević, Svetozar Miletić, Stevan
Branovački and Jovan Jovanović Zmaj. The
honor of being the first general manager be-
longed to Jovan Đorđević.
Inadditiontothedramaensemble,thetheatre
had also featured the Opera since 1921, which
was abolished for financial reasons in 1925,
and its work continued with the Operetta un-
til 1927. A permanent Opera at the Serbian Na-
tional Theatre was formed on 14th November,
1947, and the Ballet on 8th March, 1950.
It got its first theatre building, which it still
occupies, on March 28, 1981, in the 120th
season of its existence. The twenty thousand
square meter building was designed by Dr.
Wiktor Jackiewicz, an architect from Poland,
and this white marble building offers great
content-related and technical possibilities
with its 940-seat “Jovan Đorđević” Main
Hall, the 373-seat “Pera Dobrinović” Studio
Hall, the 120-seat Chamber Stage, rehears-
al rooms for ballet, choirs and orchestras as
well as complete stage workshops..
45

46
FILOKTETOVA RANA
Po komadu Hajnera Milera „Filoktet”; Režija: Boris Krastev
Pozorišna laboratorija „Sfumato”, Sofija, Bugarska
Inspired by Heiner Müller’s play “Philoctetes”; Directed by Boris Krastev
Theatre Laboratory Sfumato, Sofia, Bulgaria

47
Scenografija i multimedija: Gergana Lazarova Rankal,
Jana Vasileva, Rosika Grunčarova
Muzika: Karolina Kojnova
Igraju:
Neoptelem: Atanas Petkov
Filoktet: Dejan Žekov
Odisej: Ivan Nikolov
Trajanje: 75 minuta
Scenography and Multimedia: Gergana Lazarova
Rankal, Yana Vasileva, Rosica Gruncharova
Music: Karolina Kojnova
Cast:
Neoptolemus: Atanas Petkov
Philoctetes: Deyann Zhekov
Odysseus: Ivan Nikolov
Running time: 75 minutes

48
O PREDSTAVI
Filoktetova rana je projekat inspirisan koma-
dom Hajnera Milera i prati njegovu predstavu
Filoktet. Predstava pokušava da poveže savre-
mene političke duhove, uključujući koncepte
postistine, lažnih vesti i debate o migrantskoj
krizi u celoj Evropi sa mitom o drevnom hero-
ju - Filoktetu. Projekat pokušava, kroz fizič-
ki vrlo intenzivan performans, da pronađe i
predstavi pokušaj svakog glumca da, koriste-
ći moć glasa, oblikuje i pokori tela ostalih. Su-
kob je oko pitanja da li #SvakiŽivotJesteVažan
u vremenu kada je lako pogrešiti, odnosno
gde Odiseja vodi misija - da li je to Lemnos
ili Lezbos i koja je svrha te misije... Predstava
počinje predavanjem prof. Odiseja, koji stvara
novi plan koji se služi „svim sredstvima“ za
političku kampanju za prosperitet države, kao
i uvek...
O REDITELJU
Bugarski reditelj BORIS KRASTEV diplomirao
je na Nacionalnoj akademiji za pozorišnu i film-
sku umetnost (NATFA) „Kristo Sarafov” u Sofiji,
gde je studirao režiju. Takođe je stekao i titulu
mastera na temu „Pozorište: zapisi i predstav-
ljanja” na Novom univerzitetu Sorbona u Pari-
zu i „Umetnost i savremenost” na Univerzitetu
„Sveti Kliment Ohridski” u Sofiji. Govori bugar-
ski, francuski i engleski.
The Wound - Philoctetes is a project inspired by
Heiner Müller and is following his play Philoc
tetes. The performance is trying to connect
the contemporary political spirits, including
the concepts of post-truth, fake news and
the debates about the migrant crisis in the
whole of Europe with the myth of an ancient
hero - Philoctetes. The project tries, through a
very physical performance, to find and pres-
ent an attempt of each actor using the force
of the voice to mould and conquer the bodies
of the others. It is a clash around the question
whether #EveryLifeMatters in a time when one
can easily misinform the place of the mission
of Odysseus – whether it is Limnos or Lesvos as
well as the purpose of that mission… The per-
formance starts with a lection of prof. Odys-
seus, constructing a new plan of “any means”
for a political campaign for the prosperity of
the state, like always…

49
ABOUT THE DIRECTOR
The Bulgarian director BORIS KRASTEV grad-
uated from the National Academy for Theatre
and Film Art (NATFA) “Krastyo Sarafov” in
Sofia where he studied directing. He also has
a master degree in “Theatre: Writings and
representations” at Nouvelle Sorbonne 3 in
Paris and “Arts and the Contemporary” at So-
fia University “Saint Kliment Ohridski”. He
speaks Bulgarian, French and English.
Director/Co-Director
- The Wound Philoctetes, by H.Muller, Sfumato
Theatre, Sofia, Bulgaria 2019;
- Arabian Night, by R. Schimmelpfennig, Sfu-
mato Theatre, Sofia, Bulgaria 2018;
- Harbour 40, National Theatre of Northern
Greece, Thessaloniki, Greece 2017;
- Krausian Satire, ISO collective, Portuguese
National Theatre São João, Porto, Portugal
2016;
- Open Rehearsal, ISO collective, Teatro di
Roma, Rome, Italy 2016;
- Ivanov by A. Chekhov, NATFA 2015;
- Exit the King by I. Ionesco, NATFA 2015;
- Name: Gospodin by Philipp Lohle, “Nikolay
Binev - Youth Theatre” 2014;
- Without control by Y. Hristova, Theatre Sofia
2013.
Reditelj / ko-reditelj:
- Filoktetova rana, po komadu H. Milera, Pozo-
rište „Sfumato”, Sofija, Bugarska, 2019. godine;
- Arapska noć, po komadu R. Šimelfeniga, Pozo-
rište „Sfumato”, Sofija, Bugarska, 2018. godine;
- Luka 40, Nacionalni teatar Severne Grčke, So-
lun, Grčka, 2017. godine;
- Krausovska satira, ISO kolektiv, Narodno pozo-
rište „Sao Žoao”, Porto, Portugal, 2016. godine;
- Otvorena proba, ISO kolektiv, „Teatro di Roma”,
Rim, Italija, 2016. godine;
- Ivanov, po komadu A. Čehova, NATFA, 2015.
godine;
- Kralj umire, po komadu E. Joneskoa, NATFA,
2015. godine;
- Gospodin, po komadu Filipa Lolea, Pozorište
mladih „Nikolaj Binev”, 2014. godine;
- Bez kontrole, po komadu J. Hristove, pozorište
„Sofija”, 2013. godine.

50
O POZORIŠTU
Pozorišnu laboratoriju „Sfumato” osnovali su
1989. godine Margarita Mladenova i Ivan Do-
bčev, pozorišni reditelji i profesori Nacionalne
akademije za pozorišnu i filmsku umetnost
„Kristo Sarafov” iz Sofije. To je trebalo da bude
pozorišna laboratorija: teritorija za pozorišna
istraživanja. Sebe doživljava kao dugoročnu
kreativnu strategiju, vođenu uverenjem da
umetničko i duhovno imaju zajedničku pri-
rodu. „Sfumato” (izraz „sfumato” označava
tehniku slikanja gde se izbegavaju oštri obrisi)
traži presek između onoga što je ovde i onoga
tamo, sada i uvek; otkriva neigranje u igranju;
otkriva nevidljivo kroz vidljivo i analizira su-
protstavljene arhetipove.
„Sfumato” preduzima dugoročne projekte, na-
zvane programi o autorima ili temama koji idu
uz preliminarne „ekspedicije” sa filozofima,
teolozima, psiholozima itd, kako bi prikupio
materijal o toj temi. Atelje predstavlja osnovni
model kreativnog života za „Sfumato”.
Ovo pozorište je radilo koprodukcije sa Festi-
valom u Avinjonu, berlinskim pozorištem „He-
bel”, festivalom „Pasaž” iz Nansija i MESS fe-
stivalom iz Sarajeva. Iza sebe ima više od 300
predstava na više od 80 turneja ili festivala ši-
rom Evrope, Japana i Koreje, kao što su: Pariski
jesenji festival, Piccolo Teatro iz Milana, Na-
rodno pozorište u Strazburu, Svetski pozorišni
festival iz Šizuoke u Japanu, Festival scenske
umetnosti iz Seula, Kulturni centar „Oskar
Nimajer” iz Avilesa u Španiji, Centar „Mejer-
holjda” iz Moskve, pozorišta „Vera Komisaržev-
ska” iz Sankt Peterburga, „Culturgest” iz Lisa-
ABOUT THE THEATRE
Sfumato Theatre Laboratory was founded in
1989 by Margarita Mladenova and Ivan Dob-
chev, stage directors and professors at the
National Academy for Theatre and Film Arts
in Sofia. It was meant to be a theatre labora-
tory; a territory for theatrical researches. It
sees itself as a long-term creative strategy,
driven by the conviction that the artistic and
the spiritual have a common nature. The Sfu-
mato (the term “sfumato” represents a paint-
ing technique of avoiding sharply outlined
edges) seeks the intersection between here
and there, now and always; it uncovers the
non-playing in the playing; it uncovers the in
visible through the visible and it analyses the
archetypal oppositions.

51
The Sfumato undertakes long-term projects,
called programs about authors or subjects
whichgoalongwithpreliminary‘expeditions’
with philosophers, theologians, psychologists,
etc, in order to accumulate material on the
topic. The atelier constitutes the basic model
of creative life for the Sfumato.
This theatre has done co-productions with
Festival d’Avignon, Hebbel Theatre, Berlin;
Festival Passages, Nancy and MESS Sarajevo.
It has more than 300 performances at more
than 80 tours or festivals all over Europe, Ja-
pan and Korea, such as: The Autumn Festival
in Paris, Piccolo Teatro di Milano, TNS Stras-
bourg, World Theatre Festival Shizuoka, Ja-
pan; SPAF Festival, Seoul, “Oscar Niemeyer”
Centre, Aviles, Spain, Meyerhold Centre, Mos-
cow, “Komissarzhevskaya” Theatre, St. Peters-
burg, Culturgest, Lisbon, “Sao Joao” National
Theatre, Porto, and with more than 50 ateliers
and its directors with presentations to the
public in Europe and US.
With its annual festival, The Small Season,
the Sfumato provides a space for young art-
ists from all arts to showcase their work and
experimentwiththeirideas.Ithasestablished
itself as the most active forum for unconven-
tional art in Bulgaria.
Almost all Sfumato’s productions have been
awarded with national and several interna-
tional awards.
Since 1994, the Sfumato has been established
as state theatre with the status of an innova-
tive theatre. Since 2011 the Sfumato is a mem-
ber of the Union of Theatres de l’Europe.
bona, Narodno pozorište „Sao Žoao” iz Portoa,
kao i sa više od 50 ateljea i njihovih reditelja sa
prezentacijama javnosti u Evropi i SAD.
Svojim godišnjim festivalom, Mala sezona,
„Sfumato” pruža prostor mladim umetnicima
iz svih umetničkih oblasti da predstave svoj
rad i eksperimentišu sa svojim idejama. Pozo-
rište se utemeljilo kao najaktivniji forum za
nekonvencionalnu umetnost u Bugarskoj.
Gotovo sve produkcije pozorišta „Sfumato” na-
građene su nacionalnim i sa nekoliko među-
narodnih nagrada.
Od 1994. godine „Sfumato” je ustanovljeno kao
državno pozorište sa statusom inovativnog po-
zorišta.
Od 2011. godine „Sfumato” je član Unije teata-
ra Evrope.

52
Džordž Orvel
ŽIVOTINJSKA FARMA
Režija, dramatizacija i adaptacija: Ljupčo Đorgijevski
Narodno pozorište „Anton Panov”, Strumica, Severna Makedonija
George Orwell
ANIMAL FARM
Directed, dramatized and adapted by Lyupcho Gyorgievski
National Theatre Anton Panov, Strumica, North Macedonia

53
Scenografija: Valentin Svetozarev
Kostimografija: Andrej Đorgijevski
Kompozitor: Marjan Nećak
Igraju:
Napoleon: Kosta Angov
Skviler: Stojan Velkov Trn
Snoubol, Mjuriel
i Pilkington: Julija Milkova
Bokser: Igor Todorov
Bendžamin: Kire Đorgijev
Mozes: Vančo Vasilev
Klover: Jasmina Vučkova
Blubel: Ankica Beninova
Kokoška: Angelina Trenčeva Angelova
Moli: Tankica Stojanova
Buldozi: Stojan Stojanov Tači
i Vane Trajkov
Set Designer: Valentin Svetozarev
Costume Designer: Andrey Gyorgievski
Composer: Maryan Nekyak
Cast:
Napoleon: Kosta Angov
Squealer: Stoyan Velkov Thorn
Snowball, Muriel
and Pilkington: Julia Milkova
Boxer: Igor Todorov
Benjamin: Kire Gyorgiev
Moses: Vancho Vasilev
Clover: Jasmina Vuchkova
Bluebell: Ankitsa Beninova
Chicken: AngelinaTrenchevaAngelova
Mollie: Tankitsa Stojanova
Bulldogs: Stoyan Stoyanov
and Vane Traykov

54
O PREDSTAVI
Životinjsku farmu je Orvel napisao 1944. godine,
kao reakciju na Rusku komunističku revoluciju.
To je, u stvari, satirična bajka o staljinističkom
sistemu vladavine i izdaji socijalističkih ideala.
Danas je totalitarizam komunističke ideologi-
je demaskiran i zastareo, jer je nastupilo vreme
totalitarizma takozvane demokratije. Životinjska
farma i dalje deluje kao priručnik za vladavinu i
manipulaciju narodom i nudi nove mogućnosti
za interpretaciju vremena koje je, izgleda, do-
živelo kraj istorije, pa više nije moguća nikakva
radikalna društvena promena. Neoliberalni ka-
pitalizam je zamenio komunističku parolu „Svi
su jednaki” parolom „Svi imaju jednake šanse”,
a demokratska prava su postala instrument ove-
re i davanja legitimiteta mehanizmima vlasti za
manipulaciju narodom. Ova predstava jeste buk-
var iz kojega smo poslednjih trideset godina učili
pojmove „demokratije”: korupcija, totalitarizam,
manipulacija, demagogija, propaganda, ispiranje
mozgova, kontrola. Naša je sadašnjost pod stal-
nom kontrolom i to nam je postalo svakodnevica.
A onaj koji kontroliše sadašnjost kontroliše i proš-
lost i budućnost. Pa, neka nam je sa srećom.
Ljupčo Đorgijevski
O REDITELJU
LJUPČO ĐORGIJEVSKI (1956, Bitolj) je diplomi-
rao psihologiju na Filozofskom fakultetu (1980)
i pozorišnu režiju na Fakultetu dramskih umet-
nosti u Skoplju. Od 1990. godine radi kao dra-
maturg i reditelj u NU Narodni teatar Bitolj,
Animal Farm was written by Orwell in 1944, as
a reaction to the Russian Communist Revolu-
tion. It is, in fact, a satirical fairy tale about the
Stalinistsystemofgovernmentandthebetray-
alofsocialistideals.Today,thetotalitarianism
of the Communist ideology is unmasked and
outdated, because the time of totalitarianism
of the so-called democracy has come. Animal
Farm continues to act as a manual for ruling
over and manipulating the people and offers
new possibilities for the interpretation of a
time that seems to have experienced the end
of history, so that no radical social change is
possible anymore. Neoliberal capitalism has
replaced the Communist slogan “Everyone is
equal” with “Everyone has an equal chance”,
and democratic rights have become an in-
strument of validation and giving legitimacy
to government mechanisms for manipulating
the people. This performance is a primer from
which we have been learning the concepts of
“democracy” for the past thirty years: corrup-
tion, totalitarianism, manipulation, dema-
gogy, propaganda, brainwashing, control. Our
present is under constant control and this has
become our usual daily routine. And he who
controlsthepresentcontrolsboththepastand
the future. Well, good luck to us all.
Lyupcho Gyorgievski

55
ABOUT THE DIRECTOR
LYUPCHO GYORGIEVSKI (1956, Bitola) grad-
uated from psychology at the Faculty of Phi-
losophy (1980) and theatre directing at the
Faculty of Dramatic Arts in Skopje. Since
1990, he has been working as a dramaturg
and director at the National Theatre of Bitola,
where he was also the director from 2002 to
2006. So far, he has directed over sixty plays
in all theatres in North Macedonia, and he
has also directed in Bulgaria, Russia (St. Pe-
tersburg and Kazan), Turkey and Romania.
He has directed works from world classical
and contemporary dramaturgy (Oedipus Rex,
Medea, Romeo and Juliet, Cat on a Hot Tin Roof,
The Chairs and many others), as well as North
Macedonian dramas. He achieved a particu-
lar success with the so-called North Macedo-
nian folk drama: Runaway Girl, Macedonian
Blood Wedding and Money is a Curse. His per-
formances have participated at all festivals
in North Macedonia, but also abroad (BITEF
in Belgrade, Slavic Crown in Moscow...) and
have performed in all major cities in the Bal-
kans and in several European cities (Paris,
Marseille, London, Moscow), as well as in Aus-
tralia, Canada, and the United States.
He has won several awards and honors: the
“4th November” Award of the city of Bitola, six
awards for directing, two awards for dramati-
zation and four Grand Prix for the best perfor-
manceattheVojdanČernodrinskiInternation-
al Theatre Festival, Grand Prix in Moscow and
Belgrade, three awards at the International
Festival of Antique Drama Stobi, and other.
gde je bio i direktor od 2002. do 2006. godine. Do
sada je režirao preko šezdeset predstava u svim
pozorištima u Makedoniji, a režirao je i u Bugar-
skoj, Rusiji (Sankt Peterburg i Kazanj), Turskoj i
Rumuniji. Režirao je dela iz svetske klasične i sa-
vremene dramaturgije (Car Edip, Medeja, Romeo
i Đulijeta, Mačka na usijanom limenom krovu,
Stolice i mnoge druge), kao i makedonske drame.
Poseban uspeh postigao je takozvanom make-
donskom bitovom dramom: Pobegulja, Make
donska krvava svadba i Pare su proklete. Njegove
su predstave učestvovale na svim festivalima u
Makedoniji, ali i izvan nje (Bitef u Beogradu, Sla-
vjanski venac u Moskvi...) i gostovale u svim važ-
nijim gradovima na Balkanu i u više ervopskih
gradova (Pariz, Marsej, London, Moskva), kao i u
Australiji, Kanadi i SAD.
Dobitnik je više nagrada i priznanja: Nagrada
„4. novembar” grada Bitolja, šest nagrada za

56
režiju, dve nagrade za dramatizaciju i
četiri Gran-prija za najbolju predsta-
vu na Nacionalnom makedonskom
pozorišnom festivalu „Vojdan Černo-
drinski“, Gran-pri u Moskvi i Beogradu,
trinagradenaFestivaluantičkedrameu
Stobiju, i drugo.
Trenutno radi kao reditelj u Narod-
nom pozorištu u Bitolju.
O POZORIŠTU
Prva premijera u Narodnom pozori-
štu „Anton Panov” iz Strumice održa-
na je 1. maja 1949. godine. Strumički
teatar je prvo profesionalno pozorište
u istočnoj Makedoniji. U prvim godinama rada
u njemu sarađuju kultne figure makedonske
kulturne istorije, kao što su dramski pisac Kole
Čašule, glumac Petre Prličko i mnogi drugi.
U svojoj sedamdeset godina dugoj istoriji, pozo-
rište iz Strumice je prošlo kroz različite etape
razvoja. Sedamdesete godine prošlog veka su
godine zlatnog doba Strumičkog teatra, kada
je ovo pozorište sedam godina bilo dobitnik
najviših priznanja najznačajnijeg pozorišnog
festivala u Makedoniji - „Vojdan Černodrinski”
u Prilepu. U tom periodu zaštitni znak ovog
pozorišta postaje ime dramskog pisca Anto-
na Panova, jednog od najvažnijih autora ma-
kedonske bitove dramaturgije. Osma decenija
je karakteristična po tome što dominira do-
maća dramaturgija, pre svega komadi pisaca
kao što su Mitko Madžunkov i Vase Mančev. U
devedesetim godinama prošlog veka pozorište
He is currently working as a director at the
National Theatre of Bitola.
ABOUT THE THEATRE
The first premiere at the National Theatre An-
ton Panov from Strumica was held on May 1,
1949. The Strumica theatre is the first profes-
sionaltheatreineasternMacedonia.Inthefirst
years of its work, cult figures of Macedonian
cultural history collaborated there, such as the
playwright Kole Čašule, the actor Petre Prličko
and many others.
In the seventy years of its existence, the the-
atre from Strumica has gone through various
stages of development. 1970s were the golden
age of the Strumica theatre, when, for seven
years, this theatre was the winner of the high-
est awards of North Macedonia’s most import-

57
se okreće prema postmodernoj dramaturgiji:
postavljaju se dela Zorana Stefanovića, Venka
Andonovskog i mnogih drugih. Od 2000. godi-
ne do danas, na repertoaru su komadi savreme-
nih i klasičnih dramskih autora, a gostuje i više
reditelja iz regiona (iz Bugarske, Srbije, Crne
Gore): Margarit Minkov, Hristo Bojčev, Aleksan-
dra Kovačević, Garo Ašikjan, Ljubomir Đurko-
vić, Siniša Kovačević...
Kroz pozorište u Strumici je do sada prošlo oko
1000 gostiju. Teatar u Strumici je dobio veliki
broj domaćih i međunarodnih nagrada, a do
sada je imao 393 premijere, sa oko 5000 izve-
denih predstava, koje su posetili milion i trista
hiljada gledalaca. Svoje umetničke početke u
njemu su imali glumci kao što su Risto Šiškov,
Duško Kostovski, Mite Grozdanov... i reditelji
Branko Stavrev, Aco Aleksov, Goran Trenčovski.
Pozorište „Anton Panov” danas radi u sklopu
Nacionalne ustanove Centar za kulturu „Anton
Panov” Strumica.
ant theatre festival - “Vojdan Černodrinski” in
Prilep. During the period, the trademark of the
theatrebecamethenameoftheplaywrightAn-
ton Panov, one of the most important authors
of the North Macedonian folk dramaturgy. The
eighth decade was characterized by the domi-
nation of the domestic dramaturgy, primarily
plays by writers such as Mitko Madžunkov and
Vase Mančev. In the 1990s, the theatre turned
to postmodern dramaturgy: works by Zoran
Stefanović, Venko Andonovski and many oth-
ers were staged. Since 2000, the repertoire has
included plays by contemporary and classical
playwrights, and several directors from the re-
gion (from Bulgaria, Serbia, Montenegro) have
been hosted: Margarit Minkov, Hristo Bojčev,
Aleksandra Kovačević, Garo Ašikjan, Ljubomir
Đurković, Siniša Kovačević ...
About 1000 guests have passed through the
theatre in Strumica so far. The theatre has re-
ceived a large number of domestic and inter-
national awards, and so far, it has had 393 pre-
mieres, with about 5,000 performances, which
have been seen by 1,3 million spectators. Ac-
tors such as Risto Šiškov, Duško Kostovski, Mite
Grozdanov...anddirectorsBrankoStavrev,Aco
Aleksov, Goran Trenčovski began their artistic
careers in it.
Today, National Theatre Anton Panov operates
within the National Institution - Culture Cen-
tre Anton Panov Strumica.

59
ŽIRI / UMETNIČKI DIREKTOR I SELEKTOR
JURY / ARTISTIC DIRECTOR AND CURATOR

60
ANDREJ MAŽERI(1990,No-
vači, Rumunija) je rumun-
ski pozorišni reditelj. Zavr-
šio je osnovne studije 2012.
godine i magistrirao 2014.
godine na Univerzitetu Ba-
beš-Boljaj u Klužu i sada je
u procesu izrade doktorske
disertacije na istom uni-
verzitetu. Živi u Bukureštu,
ali radi i u mnogim drugim
gradovima. Od 2014. godine
sarađivao je sa mnogim ru-
munskim pozorištima: od
državnih pozorišta u Klužu,
Bukureštu i Krajovi, do opštinskih pozorišta u
Baja Mareu, Turdi i Targu Žiju, pa do Apolo111
pozorišta, najpoznatijeg nezavisnog pozorišta u
Bukureštu. U Mađarskom državnom pozorištu u
Klužu režirao je predstavu na mađarskom. Maje-
ri je zainteresovan za savremenu dramaturgiju,
uglavnom rumunsku ili špansku, ali je takođe ra-
dio i na klasičnim dramama poput Euripidovih, i
na standardnim, poput onih Federika Garsije Lor-
ke, Vitolda Gombroviča i mnogih drugih. Njegov
rad uključuje Krvave svadbe od Lorke, Euripidovu
Medeju i Bakhe, Male dvorske dame savremenog
meksičkog dramskog pisca Ernesta Anaje i dva
najprovokativnija teksta Rodriga Garsije: Aga
memnon i Smrt i reinkarnacija kao kauboj. Većina
ANDREI MAJERI (1990,
Novaci, România) is a
Romanian theatre di-
rector. He completed
his BA (2012) and MA
(2014) at Babeș-Bolyai
University in Cluj and is
now an ABD student at
the same university. He
is based in Bucharest,
but works in many oth-
er cities as well. Since
2014 he has collaborat-
ed with a wide range
of Romanian theatres:
from the national theatres in Cluj, Bucharest
and Craiova, to the municipal theatres in
Baia-Mare, Turda and Tîrgu-Jiu, to Apollo111,
Bucharest’s most renowned independent
theatre. At the Hungarian State Theatre in
Cluj he directed a play in Hungarian. Măjeri
is interested in contemporary dramaturgy,
mostly Romanian or Spanish, but has also
worked on classical plays like Euripides’, and
canonical ones, like Federico García Lorca’s,
Witold Gombrowicz’s, and many others. His
work includes Lorca’s Blood Wedding, Eurip-
ides’s Medea and The Bacchae, contemporary
Mexican playwright Ernesto Anaya’s Las
Meninas and two of Rodrigo García’s most
ЖИРИ JURY

61
Mažerijevih dela bavi se grčkom tragedijom, ra-
tom, pitanjem šta znači biti umetnik, migracija-
ma, seksualnošću, snažnim ženskim likovima itd.
Onjevrlofleksibilanreditelj,sobziromdajeradios
velikim i manjim postavkama i izvodio predstave
na najrazličitijim mestima. Mažeri ima dugogo-
dišnju saradnju sa Irinom Kirilom/Irinom Mosku
-scenografija,LučijanomBroskaceanom-kostimi,
Adrianom Pičioreom - dizajn zvuka. Njegov rad je
već uključen u brojne festivale, a predstava Male
dvorske dame je predstavljena tokom Nacionalnog
pozorišnogfestivala2019.godineuBukureštu.Za-
štitni znakovi Mažerijeve režije uključuju različite
vrste prestupa, zanosni stil i glumu divljeg ritma.
Takođe se razvija i kao dramski pisac. Dingo psi je
nedavno prevedena na engleski jezik, a Amplekus
jevećizvođena.AndrejMažerijeosvojiosedamna-
cionalnihnagradazanajboljegreditelja.Predstava
u njegovoj režiji, Medejini dečaci (Apolo111, Buku-
rešt), osvojila je Gran-pri za najbolju predstavu na
Joakim Inter Festu 2019. godine u Kragujevcu.
provocative texts: Agamemnón and Death
and reincarnation as a cowboy. Majority of
Măjeri’s works deal with Greek tragedy, war,
the artist’s condition, migration, sexuality,
strong female characters, etc. He is a very
flexible director, having worked with both
large and smaller casts in a wide variety of
venues. Măjeri has a long-standing collabo-
ration with Irina Chirilă/Irina Moscu – Set
Designer, Lucian Broscățean – Costume De-
signer, Adrian Piciorea – Sound Designer. His
work has already been included in many fes-
tivals and Las Meninas was presented during
the 2019 National Theatre Festival in Bucha-
rest. Măjeri’s directorial trademarks include
different types of transgression, an entranc-
ing style, and a wild rhythm of acting. He is
also an emerging playwright. Dingo Dogs
has recently been translated into English
and Amplexus has already been staged. An-
drei Măjeri has won seven national prizes for
Best Director. A play he directs, Medea’s Boys
(Apollo111, Bucharest), won the Grand Prix
for the best performance at the 2019 Joakim
Inter Fest in Kragujevac.

62
DRIVANKAAPOSTOLOVA
BASKAR (1973, Skoplje) je li-
kovni antropolog, program-
ski producent, vizuelni dra-
maturg i vanredni profesor.
U periodu od 2001. do 2010.
studirala je, radila i živela u
Ljubljani, gde je doktorirala
na ISH – Fakultetu za hu-
manističke studije, na od-
seku za istorijsku antropo-
logiju likovnog, sa izbornim
modulima iz scenografije i
dramaturgije na AGRFT-u.
Kao vizuelni dramaturg i
asistent scenografije sarađivala je sa slovenač-
kim rediteljima i scenografima kao što su: Ma-
tjaž Zupančić i Janja Korun/MGL, Boris Kobal/
LGL, Matjaž Pograjc/SMG, Jernej Lorenci i Bran-
ko Hojnik/SNG drama, Alen Jelen/Škuc-Glej i
Niko Goršič/Nik Aper – Narodno pozorište „An-
ton Panov“ iz Strumice. Od 2010. godine živi i
radi u Skoplju. Koosnivač je, rukovodilac i pro-
ducent Makedonskog centra internacionalnog
pozorišnog instituta/PRODUKCIJA; dizajner i
producent nekoliko edukativnih međunarod-
nih i bilateralnih projekta: Sirota mala bogata
drama (saradnik: Ulrike Zuha), Prevođenje vi
zuelne dramaturgije (saradnik: Jan Papelbaum),
KonFront drama (saradnik: Silvija Hušar), Gos
DR IVANKA APOSTO-
LOVA BASKAR (1973,
Skopje) is an art anthro-
pologist, program pro-
ducer, visual playwright
and Associate Profes-
sor. In the period from
2001 to 2010, she stud-
ied, worked and lived in
Ljubljana, where she re-
ceived her PhD from the
ISH - Graduate School of
the Humanities, Depart-
ment of Historical An-
thropology of Fine Arts,
with elective subjects in scenography and
dramaturgy at ATRFT. As a visual playwright
and assistant set designer, she has collaborat-
ed with Slovenian directors and set designers
such as: Matjaž Zupančić and Janja Korun/
LCT, Boris Kobal/LPT, Matjaž Pograjc/SYT,
JernejLorenciandBrankoHojnik/SNTDrama,
Alen Jelen/Škuc-Glej and Niko Goršič/Nick
Aper – National Theatre Anton Panov from
Strumica. She has lived and worked in Sko-
pje since 2010. She is a co-founder, manager
and producer of the Macedonian Centre of In-
ternational Theatre Institute/PRODUCTION;
she has designed and produced several edu-
cational international and bilateral projects:

pođa sa šeširom (saradnik: Maša Ogrizek), Krat
ka škola nemačkog pozorišnog umeća (saradnik:
Tomas Irmer). Inicijator je, producent i vizuelni
dramaturg projekata: Disperzirana dramatika u
Kratovu (drame u pokretu – 11 video pozorišnih
komada/11 video dramskih čitanja), Disperzira
na dramatika u Skoplju (Pozorište u kreativnim
industrijama – 6 kratkih video pozorišnih ko-
mada/6 video dramskih pičinga). Kao regional-
ni urednik radila je za časopis Mediantrop - Beo-
grad. Trenutno objavljuje intervjue u globalnom
časopisu za pozorište i izvođačke umetnosti The
Theatre Times i uređuje e-knjige iz oblasti savre-
menog pozorišta. Bila je komesar Makedonskog
paviljona za arhitekturu (Ničija zemlja) na Vene-
cijanskom bijenalu 2016. Bila je i mentor radio-
nice Scenofesta/Praškog kvadriejnala u Pragu.
Ivanka je član Udruženja dramskih umetnika
Republike Slovenije, kao i članica mreža AIKA,
IKOMOS, MATA i ITI UNESCO.
Poor Little Rich Drama (associate: Ulrike Syha),
Translation of Visual Dramaturgy (associate:
Jan Pappelbaum), KonFront Drama (associate:
Sylvia Hushar), Lady with a Hat (associate:
Maša Ogrizek), Short School of German Theatre
Skills (associate: Thomas Irmer). She is the ini-
tiator, producer and visual playwright of the
projects: Dispersed Drama in Kratovo (dramas
on the move - 11 video plays/11 video drama
readings), Dispersed Drama in Skopje (Theatre
in Creative Industries - 6 short video plays/6
video drama pitchings). As a regional editor,
she worked for the magazine Mediantrop - Bel-
grade. Currently, she publishes interviews in
the global theatre and performing arts mag-
azine The Theatre Times and edits e-books in
the field of contemporary theatre. She was the
commissioner of the Macedonia’s pavilion for
architecture (No Man’s Land) at the 2016 Ven-
ice Biennale. She was also the mentor of the
Scenofest/Prague Quadrennial workshop in
Prague. Ivanka is a member of The Slovenian
Association of Dramatic Artists, as well as a
member of the AIKA, IKOMOS, MATA and ITI
UNESCO networks.
63

64
NIKOLAMILOJEVIĆjerođen
u Kragujevcu 1976. godine.
Glumu je završio na Akade-
miji lepih umetnosti u Beo-
gradu 2005. godine, u klasi
profesora Petra Zeca. Stalni
je član ansambla Knjažev-
sko-srpskog teatra u Kragu-
jevcu od 2003. godine. Pored
glumebavisepisanjemipre-
vođenjem s poljskog jezika.
ZapozorišnikomadNa tragu
(Beogradsko dramsko pozo-
rište, 2018) dobio je nagradu
„Branislav Nušić” za 2016.
godinu. Godišnju nagradu Knjaževsko-srpskog
teatra dobio je 2007. godine.
Značajnije predstave u matičnom pozorištu su:
V. Šekspir: Romeo i Julija (Romeo), L. Vilson: Za
pali me (Lari), V. Havel: Audijencija (Vanjek), M.
Kameloti:Pidžama za šestoro(Rober),J.Vujić:Ne
gri (Lord Štuford), V. Stojanović: Voćni dan (Pile),
J. S. Popović: Ženidba i udadba (Provodadžija), R.
Kuni: Briši od svoje žene (Džon).
NIKOLA MILOJEVIĆ
was born in Kraguje-
vac in 1976. He gradu-
ated from acting at the
Academy of Fine Arts in
Belgrade in 2005 in the
class of Professor Petar
Zec. Since 2003 he has
beenapermanentmem-
ber of the ensemble of
the Knjaževsko-srpski
teatar in Kragujevac. In
addition to acting, he
writes and translates
from Polish. He received
the “Branislav Nušić” Award for the play On
the Trail (Belgrade Drama Theatre, 2018) for
the year 2016. In 2007 he received the annual
award of the Knjaževsko-srpski teatar.
Notable performances at the home theatre:
W. Shakespeare: Romeo and Juliet (Romeo), L.
Wilson: Burn This (Larry), V. Havel: Audience
(Vanek), M. Camelotti: Don’t Dress for Din
ner (Robert), J. Vujić: Negri (Lord Stafford), V.
Stojanović: Fruit Day (Chicken), J. S. Popović:
Marriages and Weddings (Matchmaker), R.
Cooney: Run for Your Wife (John).

66
UMETNIČKI DIREKTOR
I SELEKTOR
ARTISTIC DIRECTOR
AND CURAТOR

67
SLOBODAN SAVIĆ (1964, Požarevac) autor,
pozorišni kritičar, pisac i novinar. Diplomirao
opštu književnost i teoriju književnosti na Fi-
lološkom fakultetu Univerziteta u Beogradu.
Dva puta je biran za umetničkog direktora i
selektora Međunarodnog pozorišnog festiva-
la Joakimfest (Joakim Inter Fest) i dva puta za
selektora Festivala profesionalnih pozorišta
Vojvodine. Moderator okruglih stolova, pred-
sednik i član žirija na domaćim i međunarod-
nim pozorišnim festivalima (Sterijino pozorje,
INFANT, Joakim Inter Fest, Festival „Joakim
Vujić”, Festival profesionalnih pozorišta Voj-
vodine, Festival klasike, Festival praizvedbi...).
Član Udruženja novinara Srbije i Udruženja
pozorišnih kritičara i teatrologa Srbije. Dobit-
nik Godišnje nagrade Radio-televizije Srbije,
gde od 1989. godine do danas obavlja niz od-
govornih dužnosti.
Od 2002. godine do danas, autor i urednik u Kul-
turno-umetničkom programu Televizije Srbije,
pokretač i autor kultnog serijala Čitanje pozori
šta. Autor i urednik hronika najznačajnijih do-
maćih pozorišnih festivala i brojnih dokumen-
tarnih TV emisija i TV feljtona.
Od 1989. do 2002. godine novinar, urednik i odgo-
vorniurednikRedakcijezakulturuRadioBeograda
2. Pokretač i autor kultnog tok-šou programa Ra
SLOBODAN SAVIĆ (1964, Požarevac) is an au-
thor, theatre critic, writer and journalist. He
has a degree in General Literary Studies and
Literary Theory at the University of Belgrade,
Faculty of Philology. He has twice been elected
the artistic director and curator of the Inter-
national Theatre Festival Joakimfest (Joakim
Inter Fest) and twice the curator of the Festi-
val of Professional Theatres of Vojvodina. He
is a moderator of round tables, president and
jury member at domestic and international
theatre festivals (The Sterija’s Theatre Festival,
INFANT, Joakim Inter Fest, The Joakim Vujić
Festival, Festival of Professional Theatres of
Vojvodina, Festival of the Classics, Festival of
Premieres,etc.).HeisamemberofTheJournal-
ists’ Association of Serbia and the Association
of Theatre Critics and Theatrologists of Serbia
(ITCA). He has won the Annual Award of Radio
Television of Serbia, where he has been per-
forming a number of important assignments
since 1989.
Since 2002 he has been an author and editor
on National TV of Serbia (Serbian Broadcast-
ing Corporation), at the Department of Cul-
ture and Artistic programme, founder and
author of the cult TV series Reading of the
Theatre. He is the author and editor of the
chronicles of the most significant theatre

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