Katalog festivala

11-18.06.2011.
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PRENOŠENJE PLAMENA
Festival posvećujemo glumcu Torgeru Vetalu
We dedicate the Festival to an actor Torgeir Wethal
Juna 2011, DAH Teatar, koga su osnovale Jadranka Anđelić i Dijana Milošević, slavi značajni jubilej - 20 godina
postojanja i rada. DAH Teatar je jedina profesionalna pozorišna trupa kod nas koja traje 20 godina. Glumica
Maja Mitić je deo ove trupe od samog početka, a 1993. godine trupi se priključuje i Sanja Krsmanović Tasić. Iz
potrebe da proširi svoje aktivnosti i deluje i nacionalno i internacionalno Dah Teatar proširuje svoje delovanje
formirajući DAH Teatar Centar za pozorišna istraživanja. Tokom dve decenije svog postojanja unutar Centra je
realizovan veliki broj projekata, predstava, gostovanja, festivala, radionica. DAH Teatar sa svojim predstavama
i aktivnostima gostuje širom sveta i predstavlja najznačajnije umetnike i teoretičare iz oblasti izvođačkih
umetnosti.
U našoj kulturi, ali takođe i u svetskoj, gde najveći problem predstavlja kontinuitet i trajanje, smatramo da
je od izuzetnog značaja pokazati da određeni kulturni koncept, tj. umetnička organizacija mogu da traju i da
svojim radom inspirišu nove generacije.
Festival Prenošenje plamena ima za cilj da potvrdi važnost trajanja jedne umetničke grupe u našoj i svetskoj
kulturi.
Glavne teme Festivala jesu prenošenje znanja i vizije u oblasti pozorišne umetnosti, susret generacija, važnost
trajanja i kontinuiteta u kulturi jedne zemlje kao i kako znanje, u ovoj umetnosti, koja postoji samo u trenutku
dok se izvodi, može da bude zabeleženo, preneto drugome i sačuvano za budućnost.
Pozvani gostujući umetnici predstavljaju najznačajnije umetnike iz generacije velikih pozorišnih „mastera“
našeg vremena: Euđenio Barba i Odin Teatar (Danska), Genadi Bogdanov (Rusija), Džil Grinhalš (Vels), Mirjana
Karanović (Srbija), Rena Mirecka (Poljska), Piter Šuman i Bred end PapetTeatar (SAD).
Druga generacija pozvanih umetnika je generacija kojoj po radu i delovanju pripada i DAH Teatar. To su trupe
i umetnici koji se svojim delovanjem nastavljaju na pozorišne „mastere“ i predstavljaju most između njih
i generacija koje dolaze. Oni takođe predstavljaju značajnu pojavu na današnjoj svetskoj teatarskoj sceni i
svojim inovativnim radom otvaraju nove mogućnosti u ovoj umetničkoj oblasti: DNA Works (SAD), Ister Teatar
(Srbija),Teatar Labor (Nemačka), Violeta Luna (Meksiko), Teatret OM (Danska), Plavo pozorište (Srbija), 7
Stages Theatre (SAD), Tricklock Company (SAD), Voix Polyphoniques (Francuska) i Beton Hala Teatar (Srbija).
Treću generaciju predstavljaju umetnici i trupe koji na direktan ili indirektan način predstavljaju generaciju koja
se nastavlja na našu, a koja je već prisutna na svetskoj teatarskoj sceni, generaciju otvorenoj za eksperiment
i teatarski ekces: ArtSpot Productions (SAD), Fragment teatar (Švajcarska), Ansambl Miraž (Srbija), Prodigal
Theatre (VB) i Act Women (Srbija).
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PASSING THE FLAME
In June 2011 DAH Theater, founded by Jadranka Anđelić and Dijana Milošević, is celebrating a significant
jubilee - 20 years since its founding. DAH Theater is the only professional theater group in Serbia that has been
existing for 20 years. Actress Maja Mitić has been a part of the group from its beginning. Sanja Krsmanović
Tasić joined in 1993.
In 1993 DAH Theater Research Center was formed out of the need to widen the theater’s impact and a desire
to be able to act nationally and internationally. Over the years, the Center has conceived of and carried out
many projects, performances, tours, festivals, workshops, and master classes. With its performances and
different activities, DAH Theater tours around the world and promotes other important artists and theoreticians
from the performing arts field.
In Serbian culture specifically, as well as in contemporary culture, one main struggle is continuity and
endurance. Thus we consider it important that certain artistic concepts or an artistic organization have the
power to last and inspire many new generations through their work and art.
The Passing the Flame Festival confirms the importance of longevity for an artistic group in our culture and
wider. The main themes of the Festival are: the passage of knowledge and vision in the field of theater,
connecting different generations of theatre artists and practitioners, the importance of endurance and
continuity in the culture of one country, and exploring how knowledge - in an art form that exists only in the
moment of a performance - can be documented, passed on and preserved for the future.
The most important artists from the generation of great theater masters of our time are invited: Eugenio Barba
and Odin Teatret (Denmark), Gennady Bogdanov (Russia), Jill Greenghalgh (Wales), Mirjana Karanović (Serbia),
Rena Mirecka (Poland), Peter Schumann and Bread and Puppet Theater (USA).
The second generation of artists who have defined themselves through their work and existence, is the
generation DAH Theater belongs to. These are groups and artists who continue the work and teachings of the
great masters and present a bridge between these masters and the future generations. They also leave an
important impact on the theater scene of today and with their innovative work open new possibilities in this
artistic field: DNA Works (USA), Ister Teatar (Serbia), Theaterlabor (Germany), Violeta Luna (Mexico), Teatret
OM (Denmark), Plavo pozorište (Serbia), Tricklock Company (USA), Voix Polyphoniques (France) and Beton Hala
Teatar (Serbia).
The third generation are artists and groups who continue the legacies of our generation, and are already present on the
world theater scene. This is a generation open for experiment and something new and different: ArtSpot Productions
(USA), Fragment Theater (Switzerland), Ansambl Miraž (Serbia), Prodigal Theatre (UK) and Act Women (Serbia).
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Rediteljske refleksije
Kada smo osnivale DAH Teatar, Jadranka Anđelić i ja smo govorile da želimo da osnujemo trupu, gde ćemo se
zajedno razvijati sa svojim glumcima, sledećih petnaest-dvadeset godina. Tada je to delovalo kao neverovatan
cilj. Dvadeset godina je naravno proletelo i ja osećam da smo prešli tek deo svog puta.
Sa glumicom Majom Mitić radim od početka rada našeg teatra, a Sanja Krsmanović Tasić nam se pridružila
dve godine kasnije. U današnje vreme, kada ljudi ne mogu da izdrže duge veze, bilo da su to ljubavne, bračne
ili profesionalne veze, mislim da mi predstavljamo mali fenomen. Zato što naše odnose ne čuva struktura
institucije, mi nismo obavezne jedne drugima ni na jedan način. Od samog početka bila sam svesna da sam
obavezna samo sebi i svojoj umetnosti. Živeti jednu utopiju sa istim ljudima toliki niz godina nije jednostavno.
U početku, prepreke su bile nedostatak i mentalne i fizičke kondicije, neiskustvo. Kasnije je došao strah,
koji je činio da se pitam da li imam prava da tako ubeđeno ne odustajem od svoje vizije i da li imam prava
da zahtevam od drugih da me prate. A onda su došli umor i dosada. Koje je opet zamenila čista radost pred
izazovom nove predstave, nove turneje, novog projekta.
Danas, kada nam dolaze mladi ljudi iz celog sveta, u kojima prepoznajem istu želju za pronalaženjem svoga
puta, koja je i mene vodila toliki niz godina, radujem se da mogu da im kažem da biraju dubinu umesto
površnosti, konstantnu nesigurnost umesto udobnosti, veliki rizik koji može da ih učini samim i ostavljenim i
očajnim. Da biraju svu teškoću zajedništva i svu teško opisivu strast koja nadrasta fizičko zadovoljstvo. Da će
im put biti bolan i jedinstven i da će vredeti svaki korak, pa čak i onaj koji vodi u ambis.
Prvih deset godina DAH Teatra odvijalo se tokom devedesetih godina prošlog veka, koje su nas sve, koji smo
živeli u „zemlji koja više ne postoji“ obeležile zauvek. Prošli smo godine užasa, strašnih zločina rađenih u naše
ime, i što je možda najstrašnije, ogromnog ćutanja naših sunarodnika. Sada, kada gledam unazad na te godine,
znam da nas je nepotkupiva predanost našoj viziji štitila i kada smo igrali na ulicama, opkoljeni ljudima u
uniformama i kada smo probali dok su bombe padale i dok smo slušali vesti o ubistvu premijera i samim tim
ubistvu jedne vizije.
Drugih deset godina, suprotno svim predviđanjima i svim zakonima verovatnoće nisu nam bili nimalo lakši.
Finansijska neizvesnost smenjivala se sa neizvesnošću da li ćemo ostati u prostoru škole, jedinoj kući Dah
Teatra. A njih su smenile nagrade i brojna svedočenja mladih i ne samo mladih ljudi iz celog sveta o tome kako
smo im promenili život našim predstavama, radionicama, razgovorima. DAH Teatar je upisan u pozorišnu mapu
sveta. Često slušam o tome da smo mi jedna od retkih utopija koja i dalje živi.
Imala sam trideset godina kada sam osnovala DAH Teatar i počela da delim život sa Nešom Paripovićem,
vizuelnim umetnikom, koji je potpisao skoro sve scenografije DAH Teatra tokom poslednjih petnaest godina.
Ove godine, kada moj teatar puni dvadeset godina ja sam napunila pedeset. U pedesete sam uplesala sa
čašom šampanjca u rukama, okružena ljudima koje volim, onima sa kojima sam stvarala DAH ali i nekima koji
su došli kasnije ili sasvim skoro.
Prepustiću se magiji slavlja, obeležavanja jedinstvenog rođendana, da bih već u sledećem trenutku pogledala
dugu listu obaveza koje me čekaju u teatru i pomislila po ko zna koji put u toku ovih dvadeset godina - da li ću
moći sve ovo da završim u toku jednog života?
Dijana Milošević
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Director’s Reflections
When we formed DAH Teatar - Jadranka Anđelić and me - we spoke about forming a group where we could
develop and grow with our actors in the next fifteen or twenty years. It seemed like an impossible goal back
then. Twenty years have passed in a flash, and I feel like we have only begun the journey.
I have been working with actress Maja Mitić since the founding of the theater, and Sanja Krsmanović Tasić
joined us two years later. Nowadays, when people cannot endure long relationships, in love, marriage or their
professions, I think we are seen as a small miracle. Because our relationship is not guarded by an institutional
structure, we have no obligation to each other. From the very beginning I was conscious that I have an
obligation to myself and my art . Striving for Utopia for so many years with the same people is not simple. In
the beginning the obstacles were the lack of mental and physical endurance and inexperience. What followed
was fear that forced me to question myself as to if I had the right to stick to my vision with such conviction,
and if I had the right to ask others to follow me. Then what came was tiredness and boredom. Followed
closely by the excitement of pure joy in a new performance, a new tour, a new project.
Today when young people come to us from all over the world, in whose eyes I recognize the same desire
that lead me for so many years - the desire to find their own way - I rejoice in telling them they are choosing
depth instead of superficiality, constant insecurity instead of comfort, a great risk that will leave them maybe
alone, abandoned or desperate. They are choosing the hardship of togetherness and all the hard described
passion that overcomes even physical pleasure. Their way will be painful and unique and worth it every step
of the way, even if it is leading to an unknown abyss.
The first ten years in DAH Teatar happened during the last decade of the last century, and this forever marked
all of us who lived in a country that no longer exists. We passed years of horror, horrible atrocities that were
committed in our name, and maybe the worst thing: the silence of our compatriots. Now when I look back to
those years, I know that the uncompromising dedication to our vision protected us when we performed on the
streets surrounded by people in uniforms, when we rehearsed while bombs were falling, or when we listened
to the news that our prime minister was assassinated, and with him, a vision also murdered.
The next ten years, despite all odds, were not any easier. The financial uncertainties of the nineties were joined
by uncertainties about our space in the school, the only home DAH Teatar has known. What also followed were
many awards, and testimonies of young people and not-so-young people about how we changed their lives
with our performances, workshops and talks. DAH Teatar is marked in the theater map of the world. I often
hear that it is one of the few living Utopias.
I was thirty years old when I formed DAH Teatar and started to share my life with Neša Paripović, the visual
artist who designed almost all sets of DAH Teatar during the last fifteen years. This year when my theater
turned twenty, I turned fifty. I entered my fifties dancing with a glass of champagne in my hands, surrounded
with people I love, the ones I was forming DAH with and the ones who have come since.
I will allow myself to fall into the magic of celebration, of marking a unique birthday - while in the next
moment observing the long list of tasks that awaits me in the theater - and to think one more time during
these twenty years: “can I finish it all in one lifetime?”
Dijana Milošević
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Glumačke refleksije
Postoji teritorija mog života koju branim UDAHOM, iniciranim rađanjem naše trupe - DAH Teatar - na čijem sam
rođenju, pre 20 godina i sama bila. Na tom prostoru mojih potreba i strasti, strahova i čežnji, uvezana istim
ritmom disanja i kada “letim” i kada “padam”, povezuje me ogromna, duboka i sudbinski važna veza, bez koje
moj život ne bi imao smisao.
O tome ne mislim intelektualno, ali ni emotivno, već ga “uprkos” raznim preprekama i pitanjima koja svakog
umetnika ponekad opsedaju, doživljavam jednostavno SVOJIM.
I baš zbog toga u nekom vremenu i dalje plove moji plavi Šagalovi brodovi, u nekom uglu opstaje kostim u
kome se nalazi fotografija moje ćerke Nine, nečije misli ponavljaju : “O hodi, hodi sa mnom na daleki put…”(1),
vetar pomeri zvono na masci koju sam davno nosila….zamiriše vazduh na Dansku…
Teritorija o kojoj govorim ispisana je mojim sopstvenim životom i znatiželjom da se ponovo i iznova susrećem
sa sobom i sa drugima.. i unatrag… i tako do poslednjeg DAHA.
To je razlog mog trajanja, to je razlog mog davanja, opstanka i smisla.
- insert iz pesme Monija de Bulija iz zbirke ‘KRILATO ZLATO I DRUGE KNJIGE’ Dečije novine Bgd 1989
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Maja Mitić
Retki su projekti i poduhvati u čijem stvaranju, razvijanju i izgradnji u isto vreme činite to isto sami sa sobom.
Isto tako da ono što ste vi sami utiče velikom merom na sam projekat.
Mislim da je to ono što me je duboko vezalo za naš teatar i našu grupu. Vremenom sam postala sastavni deo
srži i suštine DAH Teatra i našeg Centra za pozorišna istraživanja. Davajući se potpuno i posvećeno, i on je
postao deo mene.
Uzbuđuje me ideja te nestalnosti i tog koncepta da ne postoji kruti “sistem” i tehnika našeg rada, već se ona
ponovo gradi svaki put, na plodnom tlu prethodnih iskustava. Ta otvorenost i promenjivost koja sa sobom nosi
breme znanja, veština, doživljaja, dajući joj oblik i okvir, privlači me, koliko god me ponekad plaši i zbunjuje.
Dinamika grupe, neprestana uloga učitelja i učenika, naizmenično vođenje i sleđenje, nadopunjavanje i
nadogradnja. Spremnost na rizike i mogućnost greške, i uvek ponovnog početka.
Ali ono posebno je duboka veza, koja me sa mojim saborcima u borbi za svetlo i smisao, posebno sa Dijanom i
Majom, povezuje. U suštini nas veže ista umetnička i ljudska etika, slična estetika i poimanje sveta.
I znam da će uvek biti tu za mene, da me podrže, da me ne puste da padnem, da mi kažu iskreno i u lice ono
što treba da znam, ono što se kaže prijatelju, da bi nastavio da raste.
Mi u DAH Teatru češće sebi govorimo primedbe i kritike, a malo se međusobno hvalimo.
Pohvala i hvala su u očima, u duši. Zato ću ih samo pogledati.
Sanja Krsmanović Tasić
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Actors’ Reflections
There is a territory of my life that I defend by taking a BREATH(1), that was initiated with the birth of our
group-DAH Teatar- on whose birth I was present 20 years ago. To that territory of my needs and passions,
fears and longings, I am tied, with the same rhythm of breathing when I ‘m “flying” and when I‘m “falling”, I
am tied with a huge, deep , marked-by-destiny relationship, without which my life would not have meaning.
I do not think of this intellectually, nor emotionally, but despite many obstacles and questions that obsess any
artist, I perceive DAH Teatar as simply MINE.
And just because of that in some reality my blue Chagall’s boats, from the performance Zenith still sail, in
some corner there still exists a costume with the photo of my daughter Nina, someone’s thoughts still repeat
my lines:”O come, come with me to a far away trip…” (2) the wind moves the bell on a mask I wore long
ago…the air smells like Denmark…
The territory I talk about is marked by my own life and curiosity to again and again confront our own selves
and others.. and back… and so like that till the last BREATH.
That is the reason for my lasting, the reason for my giving, for my perseverance and my purpose.
- DAH means breath in Serbian
-Excerpt from a poem by Moni de Buli from the collection ‘KRILATO ZLATO I DRUGE KNJIGE’ Decije novine Bgd 1989
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Maja Mitić
It is rare to find a project or quest in whose creation, development and formation you mirror within your own
self. At the same time, what you are, greatly affects the project itself. I think that this is what deeply connected
me to our theatre and our group. In time I became an indivisible part of the core and essence of DAH Theatre
and our Research Centre. By giving myself completely and devotedly to DAH, it became part of me.
I am excited by the concept that there is no rigid “system” or technique of work, but that it is created each
time on the fertile ground of our previous experiences. The openness and ability to change - to carry with itself
the weight of knowledge, skill, events, giving itself new shape and frame - attracts me, however sometimes
it confuses and frightens me. I am excited by the dynamic of the group, the constant role of master and pupil,
leading and following, filling up and building, by the readiness for risk and possible mistakes, and always for a
new beginning.
But what is special and constant is the deep connection I have with my comrades in the fight for light
and sense, especially with Dijana and Maja. We are bound by the same artistic and humane ethic, similar
aesthetics and perceptions of the world. And I know they will always be there for me, to support me, not to let
me fall, to tell me honestly what I need to know, what you tell to a friend to help her continue to grow.
Here at DAH we provide each other criticism more often than we congratulate each other.
The thanks and praise are in the eyes, the soul. That is why I will just cast them a look.
Sanja Krsmanović Tasić
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Počelo je kao igra. Upoznali smo se 1999. na rođendanskoj proslavi Dah Teatra dok sam još studirao geologiju.
Ubrzo je usledio Sanjin poziv da učestvujem u projektu sa mladima, kao muzičar. Malo po malo probe su
počele da mi izgledaju zanimljivo i veza između muzike i pozorišta je postajala sve jača i jasnija. Onda rad na
velikoj predstavi. Postajalo je intezivnije i ozbiljnije. Treninzi, materijali, maštanja, rasprave, turneje, konstantno
usavršavanje. Neograničena sloboda koju mi daje Dah teatar čini me ispunjenim i omogućava mi da istražujem
vezu između dva načina umetničkog izražavanja na najbolji mogući način - radeći na predstavama, preplićući
muziku i pozorište in situ.
Igra traje i dalje.
Jugoslav Hadžić
Od samog početka rada sa DAH Teatrom, koji je bio potpuno neočekivan i magičan, pa do danas; ono što me
uzbuđuje i motiviše je kreativni proces stvaranja, istrajnost, posvećenost i sloboda izbora. Neprestani izazovi
i povrh svega borba i prevazilaženje sopstvenih granica predstavlja nešto što mi DAH Teatar pruža i time me
iznova osvaja, a ovo je tek početak...
Ivana Milenović Popović
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It started as a game. We met in 1999 at Dah Theater’s birthday party while I was still a geology student. Soon
after, Sanja invited me to participate in the youth program as a musician. Slowly the rehearsals began to seem
interesting and the connection between music and theater was becoming stronger and clearer. And then I
worked on a big performance. It was becoming more intense and serious. Trainings, materials, fantasizing,
debates, tours, constant perfecting. The unlimited freedom that Dah Theater offers gives me fulfillment and
enables me to explore the connection between two types of artistic expression in the best way possible – by
working on performances, intertwining music and theater in situ.
The game is still on.
Jugoslav Hadžić
Since the beginning of my work with DAH Theater – which was unexpected and magical – until today, the
thing that thrills and motivates me the most is the creative process of making performances, persistence,
commitment and the freedom of choice. The constant challenges and above all the struggle to overcome my
personal boundaries represent something that DAH Theater offers me and which conquers and rebuilds me
over and over again, and this is just the beginning.
Ivana Milenović Popović
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PREDSTAVE/PERFORMANCES
DAH Teatar/DAH Theater
Srbija(Serbia)
Živeti u dahu/The Breath of the Lifetime
11.Jun 2001 u 20.00 DAH Teatar
June 11 2011 at 20.00 at DAH Theater
OTVARANJE FESTIVALA/OPENING OF THE FESTIVAL
Posebno kreiran za otvaranje festivala, performans Živeti u dahu, povešće publiku na putovanje kroz predstave
DAH Teatra, koje su nastale tokom proteklih 20 godina. U formi filmskog “trejlera” odvijaće se scene iz
razlićitih predstava, sa željom da se prenese zanos koji je dve decenije činio da plamen ostane i dalje živ a
nemogući san i dalje moguć.
The performance A Breath of a Lifetime is specially created for the opening of this festival. The performance
will take the audience on a journey through the performances of DAH Theatre which have occurred during the
past 20 years. Scenes from various performances will be performed in the form of a movie “trailer”, with the
desire to convey the enthusiasm that has kept the flame alive for two decades and that keeps an impossible
dream still possible.
Koncept/Concept: Dijana Milošević
Režija/Directors: Jadranka Anđelić i Dijana Milošević
Glumci/Actors: Jugoslav Hadžić, Aleksandra Jelić, Sanja Krsmanović Tasić, Ivana Milenović Popović, Tina
Milivojević,Maja Mitić, Alister Oloughlin, Petar Pjer Rajković, Mirela Pavlović, Kathy Randels, Zoran Vasiljević
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ZATVARANJE FESTIVALA/CLOSING OF THE FESTIVAL
PREMIJERA/THE PREMIERE OF THE PERFORMANCE
Nežno, nežno, nežnije/Tender, Tender, Tenderly
Koprodukcija sa Kulturnim Centrom Novi Sad/Co-production Cultural Center Novi Sad
18. jun 22.00 u BITEF Teatru
June 18 at 22.00 at BITEF Theater
Režija i dramaturgija/Direction and dramaturgy: Dijana Milošević
Igraju/Performers:Aleksandra Damnjanović, Jugoslav Hadžić, Nebojša Ignjatović, Sanja Krsmanović Tasić,
Julijana Marković, Ivana Milenović Popović, Gorana Ćurgus i Zoran Vasiljević
Muzika/Music: Secondhanders
Video: Anastasija Tasić
Scenografija/Set design: Neša Paripović
Kostim/Costume: DAH Teatar
Dizajn svetla/Light design: Radomir Stamenković
Koncert - predstava DAH Teatra bavi se temom nostalgije, koristeći muziku legendarnog novog talasa sa
prostora nekadašnje Jugoslavije. Koristeći formu koncerta kao i muzičko nasleđe prostora koji je jednom bio
jedinstveni kulturni prostor, istražuje se mogućnost postojanja jednog kulturnog prostora koji nije ograničen
geografskim i istorijskim odrednicama već ga čine nemerljiva iskustva deljenja jednog zajedničkog fantazma o
najboljoj zemlji na svetu.
Namera ove predstave je da podstakne na preispitivanje koliko su nam određena sećanja “zabranjena”, zašto
nostalgija u našim prostorima nosi nužno negativnu konotaciju i kako i dalje negovati i biti ponosan na jedan
deo naše kulturne tradicije koji nije podlegao destrukciji i nacionalizmu, kao što je muzička tradicija.
DAH Theater’s concert-performance explores the theme of nostalgia, using the music of the “legendary new
wave” from former Yugoslavia. We explore the possible existence of a cultural space in the form of a concert
and the musical heritage of an area that was once a unique cultural space, not limited by geographical or
historical data but composed of immeasurable experiences of the shared common fantasy of living in “the
best country in the world”.
The intention of this performance is to provoke a review of how certain memories are “forbidden” to us, why
nostalgia in our region carries a negative connotation and how to continue cherishing and being proud of our
musical tradition - a rare part of our cultural tradition that did not fall victim to destruction and nationalism.
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Beton Hala Teatar
Srbija/Serbia
Tri sestre/Three Sisters
12. jun 2011. u 18.30 u BITEF Teatru
June 12 2011at 18.30 at BITEFTheatre
Anton Pavlovič Čehov/Anton Pavlovich Chekhov
Tri sestre/Three Sisters
Koprodukcija Bitef teatar, Beton Hala Teatar i Kulturni centar Pančevo/Cooproduction of Bitef Theatre, Beton
Hala Theatre and Cultural Centre Pančevo
Režija/Direction: Ivana Vujić
Adaptacija i dramaturgija/Adaptation and Dramaturgy: Slavenka Milovanović
Scenografija/Scenography: Konstantin Bunuševac
Kostimografija/Costume: Dušica Knežević
Video: Svetlana Volić
Izbor muzike/Music Selection: Ivana Vujić
Glume/Actors: Ružica Sokić, Branka Petrič, Rada Đuričin, Mirko Babić, Konstantin Bunuševac, Dunja Mahorčić i
Gorjana Stoiljković.
“U velikom komadu dramskog klasika, velike uloge igraju tri velike zvezde našeg glumišta, u zrelom dobu. One
igraju komad o smislu života. Igraju smisao svog života. Na pitanje komada Tri sestre, o smislu života, odgovor
tražimo od umetnica koje znaju kako živeti, jer već su puno doživele. “
In this classic dramatic piece, the major roles are performed by three great stars of our theater in their prime.
The play discusses the meaning of life and through this we feel the meaning of the actresses’ lives. Through
the actresses we seek the answer to the question posed by the piece. We look to them because they have
lived such complete lives.“
Ivana Vujić, rediteljka-director
[email protected]
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Tricklock Company/Tricklock Company
SAD/USA
Uspavanke za mog oca/Lullabies for my Father
12 jun 2011. u 20.00 časova u Dah Teatru
June 12 2011 at 20.00 at Dah Theater
Režija/Conceived and Directed: Kevin R. Elder
Kreirali i igraju članovi Triklok Kompanije/Created and performed by Tricklock Company Members: Kevin R.
Elder, Alex Knight, Hannah Kauffmann, Dodie Montgomery, David Rogulich, Nathan Simpson, Summer Olsson,
Matthew Lee
Dizajner svetla/Lighting Design: Billy Tubb
Scenografija/Set design: Marissa Frantz
Kostim/Costume Design: Summer Olsson i Kevin R. Elder
Uspavanke za mog oca je zbirka intervjua i eksperimenata koja istražuje odnos sa ocem, muškarcem
kojeg prvo zavolimo. Uspavanke za mog oca je zbirka intervjua sa različitim grupama ljudi iz Albukerkija
(Novi Meksiko) i okoline. Studenti, advokati, umetnici, preduzetnici, muškarci i žene, govorili su o svojim
uspomenama na oca i međusobnom odnosu. Glumci Tricklock Kompanije proučavali su intervjue i vrlo
precizno preneli reči i radnje, potom su ih “začinili” originalnim tekstovima, improvizacijama, komentarima
sa blogova, onlajn foruma i društvenih mreža. Predstava je delimično urađena u stilu “verbatim teatra”, puna
iznenađenja, urnebesna, ponekad srceparajuća i vrlo zabavna.
Tricklock Company, osnovana 1993, je svestrana i talentovana grupa posvećena kreiranju i prezentovanju
pozorišnih predstava koje su često fizičke i poetične, radeći na osnovu originalnih ili već objavljenih tekstova.
Pored toga Tricklock vodi dva programa koja se svake godine odigravaju u njihovom gradu Alburkerkiju
(Alberquirquie, New Mexico, USA). Jedan je Manoa Projekat, za dramaturge tinejdžere i praksu u ansamblu,
i drugi je Revolutions međunarodni pozorišni festival, koji pokazuje publici Alburkerkija i Santa Fea
najprovokativnije i najbolje umetnike koje je trupa susrela na svojim gostovanjima širom sveta. Umetnici
Tricklock ansambla veruju u moć kontinuiranog intenzivnog umetničkog treninga, internacionalnu saradnju i
kulturnu razmenu kroz teatar i u kapacitet teatra da donese pozitivne lične promene, inspiraciju i mogućnosti
za zajednicu.
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photo: Kevin R. Elder
Lullabies for My Father is a collection of interviews and experiments on the subject of fathers that explores
our relationships to the men we loved first. Hilarious, sometimes heart-breaking and highly entertaining,
Lullabies is full of surprises. Partially created in “Verbatim Theater” style, Lullabies began as a collection of
interviews with a diverse group of community members in and around Albuquerque. Students, lawyers, artists,
small-business owners, government employees, men and women spoke candidly about their memories of and
relationships with their fathers. The interviews were studied and the words and actions are precisely relayed
by Tricklock actors; then shaken up with original text, improvisation, physical articulation, and comments and
perspectives from blogs, online communities and social media sites.
Tricklock Company is a prolific and talented ensemble that, since its inception in 1993, has been dedicated
to creating and touring highly theatrical, often physical and poetic theater; working with both original and
published scripts. In addition, Tricklock runs two annual programs: the Manoa Project: Teen Playwriting and
Ensemble Apprenticeship, as well as the Revolutions International Theater Festival, which showcases the most
provocative and powerful artists the company has harvested on their tours around the world to audiences
across Albuquerque and Santa Fe. The artists of the Tricklock ensemble believe in the power of ongoing
intensive artistic training, international collaboration and cultural exchange through theater, and in the capacity
of the theater for bringing about positive personal change, inspiration and possibilities for a community.
www.tricklock.com
[email protected]
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Plavo pozorište
Srbija /Serbia
Paganska fantazma ili Tajna izdaje/Pagan Phantasma or The Secret of Betrayal
12. jun 2011. u 22.00 u Centru za kulturnu dekontaminaciju
June 12 2011at 22.00 at Center for Cultural Decontamination
Scenario i režija/Scenario and directing: Nenad Čolić
Glumci/Actors: Maša Jelić, Jelena Martinović, Marko Potkonjak, Milica Mraović
Dizajn scene i kostima/Set and costume design: Ivana Čolić
Operativni direktor/Producing Director: Dubravka Vujinović
Produkcija/Production: Plavo pozorište
U predstavi se koriste delovi iz ranohrišćanskih tekstova. “Jevanđelje po Judi” i “Jevanđelje po Mariji” i srpske
tradicionalne pesme.
Plavo pozorište je osnovano 1995. godine u Beogradu.
Plavo pozorište je pozorišna laboratorija čija se ideologija bazira na principima koje su ustanovili reformatori
pozorišta XX veka – Konstantin Stanislavski, Antonen Arto, Ježi Grotovski, Euđenio Barba i Odin teatar, kao i
italijanski reditelj Masimo Đaneti.
Pozorište koje postoji da bi se pozorište služilo, a ne da bi mu se služilo, pozorište koje istražuje dublje nivoe
ljudske komunikacije, pozorište koje ima ideju pomeranja granica ljudske percepcije, pozorište koje živi utopiju
pomirenja antropologije i društva i pozorište koje je kritički stav – to su osnovne premise Plavog pozorišta.
“U središtu naše pažnje je čovek kao ljudsko biće. Čak i glumac je čovek, ljudsko biće, pa tek onda glumac.
Pozorište je mesto čovekovog dodira sa životom, a ne sa njegovom imitacijom.
Plavo pozorište je savremeno pozorište, mi smo grupa ljudi koja, negujući zrno anarhizma u sebi, koristi
pozorište kao mesto koje ima kredibilitet i u kome se mogu reći neke ozbiljne stvari o svetu koji nas okružuje.”
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photo: Ivana Čolić
In the performance, parts of the early Christian texts “The Gospel of Judas” and “The Gospel of Mary
Magdalen” and Serbian traditional songs are used.
Plavo Pozorište-Theatre Laboratory was founded in December of 1995 in Belgrade.
Plavo pozorište is a theater laboratory with ideology based on principles established by reformers of the 20th
century theater - Constantin Stanislavsky, Antonin Artaud, Jerzy Grotowski, Eugenio Barba and Odin Teatret, as
well as Italian director Massimo Giannetti.
Theater which exists so that it could serve the people and not to be served to, theater which explores deeper
levels of human communication, theater which moves the boundaries of human perception, theater which
lives the utopia of reconciliation of anthropology and society, and theater which presents a critical attitude –
these are the basic premises of Plavo pozorište.
“In the middle of our attention is man as a human being. Even the actor is a man, human being, and after that,
an actor. Theater is the place for humanity to touch life, not just through imitation.”
Blue theater is not a modern theater. We are contemporary theater, we are the group of people who, cherishing a seed of anarchism in ourselves, use theater as a place which has credibility and where some serious
things about the world that surrounds us could be said.
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Piter Šuman/Peter Schumann
SAD/USA
Univerzitet Majd - Priča o mladima Palestine/The University of Majd - The
Story of a Palestinian Youth
13. jun u 20.00 u DAH Teatru
June 13 at 20.00 at DAH Theater
Univerzitet Majd je priča o mladom Palestincu, u Izraelskom zatvoru, opisanoj u seriji e-mailova američkog
prijatelja porodice Majd, uključujući i sećanje njegove majke o posetama sinu u zatvoru.
Piter Šuman je osnovao pozorište Bread and Puppet Theater u Njujorku 1962. godine, iako je trenutno sedište
pozorišta u mestu Glover u Vermontu, SAD. Šuman, poreklom iz Šlezije, ima iskustvo u plesu i vizuelnoj
umetnosti, što doprinosi jedinstvenosti prikazivanja njegovih lutki i samih predstava u kojima se one pojavljuju.
Šuman je bazirao svoj rad na filozofiji “jeftine umetnosti “(Cheap Art Philosophy) koja oponira narastajući trend
okupiranja umetnosti od strane korporacijskog sektora.
”Jeftina umetnost“ pokušava ponovo da uspostavi prihvatanje umetničke kreacije tako što će je učiniti
dostupnom široj publici i tako što će nadahnuti svakog da uživa u procesu stvaranja umetnosti koja nije
predmet akademskog odobravanja ili kuratorskog prihvatanja
Upravo ova kombinacija veštine pravljenja lutki i maski i politička motivacija je oblikovala profesionalni život
Pitera Šumana.
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The University of Majd is the story of a young Palestinian man in an Israeli prison as related in a series of
emails by an American friend of Majd’s family. It also includes his mother’s recollections of her prison visits.
Peter Schumann founded Bread and Puppet Theater in New York City in 1962, though the theatre new resides
in Glover, Vermont, USA. Schumann, originally from Silesia, has backgrounds in both dance and visual art
which lend a unique display to his puppets and the public performances they are featured in. Schumann has
based his work on the Cheap Art Philosophy that counters the growing take-over of art by the corporate
sector. “Cheap Art hopes to reestablish the appreciation of artistic creation by making it available to a wider
audience and inspire anyone to revel in an art making process that is not subject to academic approval or
curatorial acceptance.” It is this combination of puppet and mask-making mastery and political motivation
that has helped to shape Schumann’s professional life.
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Ister Teatar-Ister Theatre
Srbija/Serbia
Pustinja /Desert
13 jun u 22.00 u Bitef Teatru
June 13 at 22.00 at Bitef Theatre
Koprodukcija Bitef teatar/Co-production Bitef teatar
Koreografija/Choreography: Anđelija Todorović, Danica Arapović, Jelena Jović
Igraju/Cast: Anđelija Todorović, Danica Arapović, Jelena Jović
Dramaturgija/Dramaturgy: Damir Vijuk
Kompozitor/Composer: Nenad Jelić
Dizajn scene/Set Design: Ljubimir Todorović
Dizajn svetla i fotografija/Light Design and Photography: Aleksandar Milosavljević
Kostim/Costumes: Ister Teatar
Video/Video: Andreja Jović
Maska i šminka/Mask and Make-up: Branislava Kuprešanin
Predstava Pustinja bavi se unutrašnjim preispitivanjima ljudi kao duhovnih bića, posle mračnog perioda naše
istorije i surove stvarnosti koja nas je okruživala. Posle svega preživljenog, pitali smo - šta smo, ko smo, gde
smo i kuda idemo? Pustinja 2010. je omaž predstavi Pustinja 2000. koja je idejno uporište i inspiracija za
stvaranje nove predstave.
Pustinja 2010. postavlja ista pitanja i bavi se istim temama, da bi 10 godina kasnije dobila, verovatno, iste
odgovore.Savremeni trenutak u kome živimo je glavna inspiracija naše reakcije na život u ovom vremenu i na
ovim prostorima. Pustinja je mesto susreta sa samim sobom.
Ister je antičko ime reke Dunav, najznačajnije evropske reke koja spaja više od 80 miliona ljudi, koji žive u
deset zemalja, govore desetine jezika, pripadaju različitim religijama, neguju svoje istorijsko pamćenje, svoju
umetnost, običaje, mitove i legende. Ister teatar je osnovan 1. januara 1994. godine kao pozorišna trupa čiji rad
karakteriše istraživanje i povezivanje plesnih tehnika i tehnika dramskog izraza. Nastao je kao potreba grupe
profesionalnih pozorišnih umetnika da svoj rad izraze kroz, do tada, netipičan način rada u klasičnom teatru tj.
kroz svakodnevni laboratorijsko - istraživački proces, preko koga glumci i igrači imaju mogućnost da stvaraju
autentični način izražavanja – fizički teatar. Ister teatar je učestvovao na mnogim domaćim i inostranim
festivalima i gostovao u Bugarskoj, Rumuniji, Velikoj Britaniji, Italiji, Holandiji, Nemačkoj, Egiptu a video radovi
Ister teatra prikazivani su u Nemačkoj, Kanadi, Engleskoj, Italiji, Holandiji i Rumuniji.
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photo: Aleksandar Milosavljević
The play Desert is focused on taking an introspective look at us ourselves as spiritual beings after the dark
period of our history and in the cruel reality surrounding us. After everything we had gone through, we asked –
what are we, who are we, where are we and where are we going?
Desert 2010 is homage to Desert 2000, resting upon it as its stronghold and inspiration for creating the new
show. Desert 2010 poses the same questions and focuses on the same topics ten years later, and is likely
to get the same answers. What are we, who are we and where are we today ten years later? Has anything
changed? Have we changed? Our contemporary moment is the main inspiration for our response to living a life
in these times and in these parts. The desert is the place where one faces himself.
ISTER was the name of the Danube River in classical antiquity, the river that connects two different worlds,
two different civilizations. The Ister Theater was founded on Jan 1st 1994 as a theater company whose work is
characterized by investigation and establishment of links between dance and drama techniques.
It has arisen out of a need of a group of professional theater artists to express themselves through untypical
manners of work in conventional theater, that is, through everyday laboratory-investigative process, which
affords actors and dancers the possibility to create an authentic expression namely through physical theater.
Ister Theater took part in many national and international Festivals in Bulgaria, Romania, the UK,Italy, Holland,
Germany, Egypt and video works of this theater have been presented in Germany, Canada,the UK, Italy, Holland
and Romania.
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Fragment Teatar/Fragment Theater
Švajcarska/ Switzerland
Nokturno. Sportsko igralište/NACHTSTÜCK. EINE SPIELFLÄCHE
14. jun u 20.00 u Dah Teatru
June 14 at 20.00 at Dah Theater
Igraju/Actors: Michael Glatthard i Nina Wägli
Režija/Director: Olivier Bachmann
Muzika/Music: Kim Warsén
Scenografija/Set design: Marius Scherler
Kostim/Costume: Simone Hofmann
Svetlo/Lights: Barbara Keller, Olivier Bachmann
NACHTSTÜCK. EINE SPIELFLÄCHE (Nokturno. Sportsko igralište) je zabavno putovanje kroz novelu “Indijski
nokturno”Antonia Tabukija.
Tekst opisuje zagonetno putovanje naratora. Putujući kroz pejzaže Indije, on je u potrazi za svojim prijateljem
kojeg je, izgleda, tamo izgubio. Na sceni Majkl Glethard (Michael Glatthard) kreće na putovanje kroz priču
i prati tragove protagoniste. Što duže putovanje traje pokušaj za pronalaženjem prijatelja biva konfuzniji i
otvara razna pitanja. Nina Vegli (Nina Wägli) odražava proces traženja prijatelja i istovremeno interveniše u
Glethardovo pripovedanje.
NACHTSTÜCK. EINE SPIELFLÄCHE se igra sa tekstom,pozorišnim prostorom i različitim nivoima fikcije. Ovakav
proces ne daje odgovore već otkriva fragmentarnu pripovedačku liniju romana.
fragment su osnovali 2002.godine Olivier Bachmann, Patric Bachmann i Franziska Weder u Vinterturu.U svetu
prepunom mogućnosti i atrakcija , fragment je postao konstantni model i s vremena na vreme i konkretan
centar, gde učesnici mogu da zadovolje svoju radoznalost i želju za eksperimentom. Projekti teatra fragment
tragaju za izazovima prilikom kombinovanja različitih fizičkih načina ekspresije sa muzikom i tekstom.
Teme kojima se bave izabrane su na osnovu preispitivanja ličnih iskustava, potreba i snova. fragment sledi
rasparčanost i izbegava sve što je zatvoreno i gotovo.
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photo: Marius Scherler
NACHTSTÜCK. EINE SPIELFLÄCHE (Nocturne. The Sport Field) is a playful journey through the novella ‘Indian
Nocturne’ by Antonio Tabucchi.
The texts describes the enigmatic journey undertaken by a first-person narrator. Travelling through the
landscapes of India he looks after a friend that he seems to have lost there. On stage, Michael Glatthard
undertakes a journey into the story and tracks the protagonists traces. The longer this journey lasts the more
the attempt to find the lost person gets confusing and raises questions. Nina Wägli is mirroring the process of
looking after a lost friend and at the same time she intervenes into Glatthards story-telling.
NACHTSTÜCK. EINE SPIELFLÄCHE is playing with a text, with a theatrical space and with different levels of
fiction. This process doesn’t give answers but reveals the fragmentary storyline of the novella.
fragment theater was founded in 2002 by Olivier Bachmann, Patric Bachmann and Franziska Weder in Winterthur, Switzerland. In a world full of possibilities and attractions, fragment became the constant ideal and from
time to time physical center for the participants’ curiosity and wish to experiment. Fragment projects look for
the challenges in combining physical ways of expression like movements, music and text. The themes are
chosen by questioning personal experiences, needs and dreams. Fragment follows the fractional and avoids
what feels closed and finished.
[email protected]
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Prodigal Teatar/Prodigal Theater
Velika Britanija /UK
Sile unutrašnjeg grada / Inner City Workforce
14. jun u 18.30h ispred UK Vuk Karadžić
June 14 at 18.30 in front of the UK Vuk Karadžić
Urbano igralište,tim ovog pozorišta, će raditi sa mladim ljudima iz lokalne sredine u cilju stvaranja performansa
za ovogodišnji festival Dah Teatra.
Sile unutrašnjeg grada je predstava koja se nadograđuje na već nagrađivanu mikro-koreografiju koja je bila
pobednik INFANT festivala 2009. godine i na novu predstavu Unutrašnji grad, koja je proglašena za najbolju
predstavu na festivalu u Napulju, Italija, 2010/11. Cilj je skrenuti pažnju na užurbanost koja se odvija u
prostoru centra grada i na koji način to utiče na prolaznike i njihovo poimanje komfornosti javnih gradskih
prostora…
Jedinstveni stil ovog tima je mešavina principa koji proizilaze iz francuskog parkour-a (l’art du deplacement),
savremenog i urbanog plesa. Radeći sa koosnivačima Parkour-a, Gravity Style UPG (Urban Playground) tim je
proputovao tri kontinenta radeći sa ljudima svih uzrasta na razvijanju ovog plesa “brzine i visine”.
Prodigal Theater
Prodigal Teatar je pozorište koje prkosi klasičnoj teatarskoj postavci. Filozofija eksperimentisanja i istraživanja
vodila je kompaniju kroz razne stilove, od intimnog pripovedanja, adaptacije jakobinske tragedije za specifični
prostor, sve do uličnih, igračkih i neverbalnih performansa u „brzini i visini“ Urbanog igrališta. Više puta
nagrađivana kompanija je predstavljala svoj rad u Nacionalnom pozorištu u Londonu, u Africi i južnom Pacifiku
za British Council, u Velikoj Britaniji i Irskoj, u Evropi i Australiji.
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photo: Malcolm McGettigan
Prodigal Theatre’s Urban Playground Team will work with locally based young people to create a new
performance for Dah Teatar’s Passing The Flame.
Inner City Workforce will build upon the award winning Micro-Choreographies (INFANT FESTIVAL AWARD WINNER 2009) and their newly award-winning The Inner City show (OVERALL BEST PLAY NAPOLI TEATRO FESTIVAL
ITALIA 2010/11) to create a unique response to a bustling city centre space (Cultural Center Vuk Karadžić)
reflecting the lives of those who move through it and the dreams that belie the conformity of public spaces…
The UPG Team’s unique Performance – Parkour style is a blending of the principles found in authentic French
Parkour – l’art du deplacement – contemporary and urban dance. Working with the co-creators of Parkour
– Gravity Style – The UPG Team have travelled across three continents working with people of all ages to
develop and evolve this “dance at speed and height”.
Prodigal Theater creates defiantly theatrical stagings of work that is epic within a small frame. A philosophy of
experiment and exploration has lead the company from intimate storytelling through site-sensitive adaptations
of Jacobean tragedy and out on to the streets for the wordless drama of dance at speed and height on the Urban
Playground. The multi-award winning company has presented its work at the National Theater in London, in
Africa and the South Pacific for the British Council, across the UK and Ireland, in Europe and Australia.
www.theurbanplayground.co.uk
[email protected]
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Voix Polyphoniques
Francuska/France
Pesme Crnog mora/Songs of the Black Sea
14. jun u 22.00 u Bitef Teatru
June 14 at 22 at Bitef Theater
Izvođači/Performers:
Brigitte Cirla (Francuska/France)
Edisher Garakanidse (Gruzija/Georgia)
Rumen Tsonev (Bugarska/Bulgaria)
Predstava je a cappella koncert za jedan, dva ili tri glasa, koji povezuju dva putovanja: muzičko putovanje po
obalama Crnog mora, koje suočava dve polifone tradicije - Gruziju, čija tradicija datira još iz vremena Aristotela,
i Bugarsku, sa svojom istorijom ženske polifonije, sa jedne strane i Tursku, sa svojom monotičkom tradicijom
sa druge strane i etnomuzikološko putovanje iz 2002. godine. To je kolekcija tradicionalnih pesama koje su
prikupile Brigitte Cirla i još dve profesorke sa Tibilisi konzervatorijuma, prilikom proputovanja kroz Gruziju.
Ovaj koncert je mešavina Orijenta i Zapada. Putovanje koje suočava tradiocionalnu i „klasičnu“ muziku savremenih kompozitora, učene melodije jednoglasja (tradicija južnog Mediterana) i polifonog a cappella pevanja
(tradicija mediteranskih ostrva ili planina). Ovaj koncert je vokalni san,nastao od različitih uticaja muzičkih
kultura zapadnog Mediterana.
Voix Polyphoniques, asocijaciju koja se bavi polifonim i a capella pevanjem, kreirala je Brižit Sirl, pevačica i
glumica, 1991. godine, u Parizu. 1993. godine je preseljena u Marsej i kasnije 1996. godine u La Friš.
Tri glavne grane ove asocijacije su:
- kreacija i produkcija muzičkih pozorišnih predstava koje koriste vokalnu tradiciju i savremeno izvođenje
tradicionalnog pevanja
- prenošenje vokalne tradicije kroz umetničke radionice sa amaterima, profesionalcima, teoretičarima i
specifičnim učesnicima kao što su pacijenti u bolnicama ili zatvorenici
- interkulturnu razmenu kroz različite evropske i internacionalne mreže.
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Songs of the Black Sea is an a capella concert, with 1, 2 or 3 voices, which superimpose two journeys:
a musical journey that traverses the shores of the Black Sea and confronts two polyphonic traditions which
faces each other - Georgia with it’s tradition that dates back to Aristotle and Bulgaria with its history of
female Polyphonic music along with Turkey crossing in the middle, a country of monaural tradition and an
ethnomusicological journey: a collection of traditional songs which took place in 2002: Brigitte Cirla, and two other
professors from Tbilisi Conservatory covered several different regions of Georgia. The “field trip” was part of the
Conservatory program which allowed recordings of songs and rewriting to preserve traces of this heritage.
This concert is a blend of the Orient and the Occident, a journey that confronts traditional music and “classical”
writing with contemporary composers and scholarly melodies in one voice (tradition of the Southern
Mediterranean) and polyphony a cappella (traditions of the Mediterranean Islands and mountains), this concert
is a vocal dream of the different musical cultural influences from the northern Mediterranean.
Voix Polyphoniques, an association supporting polyphony and a capella signing, was created by Brigitte Cirla ,
singer and actress, in 1991 in Paris and was moved to Marseille in 1993 and later La Friche in 1996.
The three mains axes of the association are:
- the creation and production of musical theater performances using vocal traditions and contemporary
rewriting of traditional singing.
- vocal transmission through artistic workshops with amateurs, professionals, scholars, students and specific
participants such as hospital patients or incarcerated individuals.
- inter-cultural exchanges through various European and international networks.
www.voixpolyphoniques.org
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Act Women
Srbija/ Serbia
Moje telo, moja teritorija/ My Body, My Territory
Društveno angažovani performans o seksualnom zlostavljanju žena/Socially engaged performance on sexual
abuse of women
15. jun u 13.00 u Dah Teatru
June 15 at 13.00 at Dah Theatre
Režija/ Director: Dijana Milošević
Glumice/Actresses: Vesna Bujošević, Zorica Nikolić, Ana Imširović-Đorđević, Slađana Rackov
Tekst/ Script: Jelena Anđelovski
Scenografija/ Scenography: Marija Vidić
Tehnika/ Technician: Nikola Cakić
Fotografija/ Photo: Biljana Rakočević
Video: Aleksandra Nestorov
Organizacija i produkcija/ Organisation and production: Zoe Gudović
Ulični performans Moje telo, moja teritorija posvećen je ženama koje su preživele seksualno zlostavljanje. Govori o složenom procesu kroz koji prolazi žena sa iskustvom seksualnog nasilja. Performans prati ovaj proces,
od momenta nasilja do trenutka kada žena prijavi silovanje policiji i ohrabri se da kaže: žena nikada nije kriva
za silovanje, sramota je nasilnikova.
ACT Women koristi umetnička sredstva kao univerzalni metod komunikacije na javnom mestu (trgovi, pijace,
romska naselja, itd.) radi osvešćivanja društvenih nejednakosti i marginalizacije žena. ”Već 8 godina kroz projekat Putujućeg feminističkog karavana otvaramo prostor za dekonstrukciju društvenih predrasuda i stereotipa
u odnosu na različite oblike nasilja nad ženama. Performans teži senzibilizaciji žena da prepoznaju i prijave
nasilje; institucija da razumeju fenomen nasilja nad ženama i reaguju u skladu sa zakonom i nadležnostima;
društva da osudi svaki oblik nasilja nad ženama.”
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photo: Biljana Rakočević
Street performance of My Body, My Territory are dedicated to women sexual abuse survivors. The performance
tells about the complex process a woman with sexual abuse experience goes through. The performance
follows the process from the moment of violence to the point when the woman reports the rape to the police
and dares to say: a woman is never guilty for being raped, the shame is on the perpetrator.
ACT Women is an artistic-activist group that uses means of art, as universal method of communication, in
public spaces, whether green markets, squares or Roma settlements... for the purpose of raising awareness of
social inequalities and marginalization of women.
ACT Women has the power to transform its’ artistic capacities into processing the social phenomena such as
violence against women. “ACT Women is a group of women, seven of us, using our bodies, our voices, going
out to the streets and saying: stop violence against women. That’s how we express ourselves as artistsactivists, and I believe the political message we are sending is also very important: that we are not living art
for the sake of art, but are transforming the art for the sake of a better life.”
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Violeta Luna
Meksiko-SAD/Mexico-USA
Rekvijem za izgubljenu zemlju/ Requiem for a Lost Land/Requiem para una
tierra perdida
15. jun u 15.00 u Dah Teatru
June15 at 15.00 at Dah Theater
Igra/Performer:
Violeta Luna
Ovaj bilingvalni naslov je referenca na bi/nacionalnu stvarnost “rata protiv droge”. Rekvijem je pokušaj da se
kroz jezik predstave, otvori, kao nožem sudskog lekara, isti diskurs smrti, objavljen od strane onih na vlasti,
pod maskom “narodne bezbednosti”. Unutar ovog trulog sistema, ponovo pronalazimo svakodnevnu patnju
običnog građanina-građanke, koje najviše pogađa zla i patološka odluka države koja ne dela za dobrobit ovog
istog građanina ili građanke, već je interesuju mračne šeme moći, koje su se vec pojavljivale u istoriji Meksika.
NK 603 - Akcija za performera i e-kukuruz/NK 603: Action for Performer and e-Maíz
15. jun u 20.00 u Dah Teatru
June 15 20.00 at DAH Theater
Igra/Koncept/Kostim/Concept/Performance/Costumes: Violeta Luna
Video koncept i kolaž/Video Concept and Collage: Roberto Gutierrez Varea i Mickey Tachibana
Orginalna muzika/Original Music: David Molina
NK 603 - Akcija za performera i e-kukuruz je interaktivni komad sa videom, elektronskom muzikom u trajanju
od 45 minuta. Ovaj performans je stvoren kao odraz stvarnosti genetski modifikovanog kukuruza, i njegovog
uništavajućeg uticaja na život. Za Meksikance i mnoge druge Latinoamerikance, kukuruz – maíz, hrani telo, ali
i dušu, jer sveti spisi ovog naroda navode legendu o postajanju prvih ljudi iz kukuruza. Kao takav, kukruz igra
značajnu ulogu u ritualima, i jedan je od ključnih, tradicionalnih izvora hrane, od američkog juga, do Patagonije.
NK 603 je ime jednog od mnogih genetski modifikovanih semena kukuruza koji se mogu naći na tržištu.
Violeta Luna je glumica, performerka i aktivistkinja. Bavi se istraživanjem odnosa između teatra, performansa
i društvenog angažmana. Radeći u multidimenzionalnom prostoru koji omogućava ukrštanje estetskih i
konceptualnih granica, Luna koristi svoje telo kao prostor za postavljanje pitanja i komentarisanje socijalnih i
političkih fenomena. Rođena u Novom Meksiku, diplomirala je glumu na Nacionalnom pozorišnom univerzitetu (UNAM) i La Casa del Teatro. Igrala je i držala radionice širom Latinske Amerike, Evrope, Afrike i SAD-a.
Dobitnica je stipendije “Creative Capital Fellow”, član Magdalena Projekta - internacionalne mreže pozorišnih
umetnica, i saradnica kolektiva La Pocha Nostra, baziranog u San Francisku i kolektiva Secos y Mojados.
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photo: Erika Hannes
Requiem for a Lost Land/Requiem para una tierra perdida
The bilingual title makes reference to the bi-national reality of the “war against drugs.” Requiem is an
attempt, through performance art, to open with the coroner’s knife the very same discourse of death broadcast
by those in power under the guise of “national security.” Inside its rotten entrails, we re-discover the daily
suffering of the common citizen, the most affected by a vicious and pathological decision of the state that has
nothing to do with his or her wellbeing, and much to do with some of the darker designs of power that the
country has seen in its history.
NK 603: Action for Performer and e-Maíz
NK 603: Action for Performer and e-Maíz is an interactive performance with video projections and electronic
music throughout its 45 minutes of duration.
This performance work has been conceived as a reflection on the reality of genetically engineered corn, and
its devastating consequences for life. For Mexicans and many other Latin Americans, maíz nurtures the body,
and also the soul, as native sacred texts tell the story of how our first people were made out of maize. It plays
a symbolic role in rituals, and is a key traditional food sources from the American Southwest, to Patagonia. NK
603 is the name of one of the many genetically modified corn seeds available in the market.
Violeta Luna’s (Actress / Performance Artist / Activist) work explores the relationship between theater, performance art
and community engagement. Working within a multidimensional space that allows for the crossing of aesthetic and
conceptual borders, Luna uses her body as a territory to question and comment on social and political phenomena. Born
in Mexico City, Luna obtained her graduate degree in Acting from the Centro Universitario de Teatro, UNAM and La Casa
del Teatro. She has performed and taught workshops extensively throughout Latin America, Europe, Africa, and the US.
She is currently a Creative Capital Fellow, a member of the The Magdalena Project - international network of women in
contemporary theatre of International Women Performance Artist, and an associate artist of the San Francisco-based
performance collectives La Pocha Nostra and Secos & Mojados.
www.secosymojados.net
[email protected]
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Theatrelabor
Nemačka/Germany
Lecture/Performance
15. jun u 22.00 u DAH Teatru
June 15 at 22.00 at DAH Theater
Predavanje/performans osnivača i umetničkog direktora Theatrelabor-a Zigmara Šrodera (Siegmar Schröder)
je o shvatanju života umetnika, o životu grupe i o različitim eksperimentalnim pristupima u njihovom radu.
Zigmar će objasniti kako je grupa radila na razvijanju predstava i posebnih projekata, putujući kao istraživači
kroz svet izvođačkih umetnosti. Biće prikazani video odlomci koji će dati vizuelni utisak predstava koje su
režirali umetnici otkrivajući tajne procesa stvaranja.
Zigmar će izvesti dve scene iz predstave “Bios” koja je bazirana na autentičnim autobiografskim materijalima.
THEATERLABOR je osnovao 1983. god. reditelj Zigmar Šroder u Bilefeldu, Nemačka. Pored posvećenog i
eksperimentalnog rada na produkciji pozorišnih predstava, grupa organizuje i Festival 360°, predstavljajući
najznačajnija imena na savremenoj teatarskoj svetskoj sceni.
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The Lecture/Performance by the founder and artistic director of Theaterlabor, Siegmar Schröder is an insight
into the artists life, the group’s life and various experimental approaches in their work. Siegmar will explain
how the group worked in the development of performances and in special projects, traveling like discoverers
in the world of performing arts. Fragments of videos will be shown, which will give a visual impression on
performances directed by the artist discovering secrets of the processes. Siegmar Schröder will also show
two scenes from the theater performance “Bios”, a performance on the base of authentic autobiographical
material.
THEATERLABOR was founded in 1983 by theater director Siegmar Schröder in Bielefeld, Germany. Beside
working on a profound and experimental way of producing theater performances, the group has been the
organizer of the theater Festival 360°, introducing and featuring the most significant names in the world
contemporary theater scene.
www.theaterlabor.de
[email protected]
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DNA WORKS
SAD/ USA
Mapa /HaMapah/The Map
16. jun u 22.00 časova u Dah Teatru
June 16 at 22.00 at Dah Theater
Koncept, koreografija i izvođenje/Concept, Choreography, and Performance by: Adam McKinney
Režija/Directed by: Daniel Banks
„Ja sam mapa, prekrivač i stolnjak svih koji su bili pre mene.” - Adam McKinney
Na hebrejskom “hamapah” znači mapa. Predstava je multimedijalno plesno putovanje koje prati ukrštanje
afro-američkog, indijanskog i jevrejskog porekla plesača Adama Mckinney-a. U Mapi se prepliću savremeni
ples sa arhivskim materijalima, ličnim intervjuima, jevrejskim i američkim pesmama, i video snimcima tradicionalne, savremene i klasične muzike. U predstavi, McKinney istražuje pitanja identiteta, porekla i porodice.
DNA WORKS je kompanija posvećena razvijanju umetničkog izraza i dijaloga, fokusirajući se na pitanja
identiteta, kulture, klase i nasleđa. “Mi se služimo umetnošću i predstavama kao katalizatorima u mešovitim
zajednicama u kojima živimo i radimo. U našem radu, umetnost = ritual=isceljenje=zajednica. Verujemo da ova
foliozofija i praksa vode ka mirnijem svetu.”
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photo: Laphotographeuse
“I am the map, the quilt, and the tablecloth of those who have come before me.” - Adam McKinney
HaMapah/The Map is a multimedia dance journey that traces the intersections of dancer Adam McKinney’s
African American, Native American, and Jewish heritages. HaMapah/The Map weaves contemporary dance
with archival material, personal interviews, Yiddish and American songs, and video set to traditional,
contemporary, and classical music. In the piece, McKinney explores issues of identity, ancestry, and family.
DNA WORKS is dedicated to furthering artistic expression and dialog, focusing on issues of identity, culture,
class, and heritage. “We catalyze performance and action through arts in the intersecting communities in
which we live and work. In our work,art=ritual=healing=community. We believe that this philosophy and
practice lead to a more peaceful world.”
www.dnaworks.org
[email protected]
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Teatret OM
Danska/ Denmark
Fjord 79’
16. jun u 17.00 i 20.00 u Centru za kulturnu dekontaminaciju
June 16 at 17.00 and at 20.00 at Centar za kulturnu dekontaminaciju
Glumci/Actors
Hisako Miura, Sandra Pasini, Annemarie Waagepetersen
Tekst/Text: Jørgen Brønlund,Achton Friis, Ludvig Mylius-Erichsen, Leo Sykes
Dramaturgija i režija/Dramaturgy and Direction:Leo Sykes
Razvoj likova i scenskih materijala/Development of characters and scenic material: Sandra Pasini
Scenografija, kostimi i objekti/Set design, costumes and objects: Antonella Diana
Maske/Masks: Antonella Diana and Deborah Hunt
Dizajn svetla/Light Design: Kim Rostgaard and the ensemble
Muzika/Music: F. Schubert, H.C. Lumbye, A. Vivaldi, C.K. Lee, Annemarie Waagepetersen i tradicionalna muzika
sa Grenlanda, Gruzije, Švedske i Danske/and traditional songs from Greenland, Georgia, Sweden and Denmark
Musical arrangements: Annemarie Waagepetersen i ansambl/and the ensemble
Senke-lutke/Shadow puppets: Hisako Miura
Animacija senki/Shadow animation: Mette Skov
Wind instrument: Márcio Vieira
Izrada kostima/Sewing: Lisbet Forbæk and Antonella Diana
Radionica/Workshop: Antonella Diana, Frederik Gravgaard, Jan Andersen and Marcel Thut
Predstava je inspirisana pričom danske ekspedicije na severoistočnom Grenlandu. “Iglu je dobro mesto da se
ljudi okupe i slušaju priče, avanture i tragedije heroja i misterioznih bića nevidljivog sveta. U našem iglu mi
pričamo priče o Ludvigu Mylius-Erichsenu, Nielsu Peteru Hoeg-Hagenu i Jorgenu Bronlundu. Tri mlada čoveka
koji su se usudili da istražuju obalu Grenlanda 1907. godine, kako bi ucrtali mapu ove ogromne zemlje od leda.
Njih trojica, naoružani hrabrošću koja se graničila sa ludošću, krenuli su u magičan i prelep, ali podmukao
i okrutan svet od leda. Uspeli su da završe mapu, ali nisu uspeli da se vrate na brod. Tela Mylius-Erichsena
i Hoeg-Hagena nisu nikada pronađena, ali je telo Bronludna pronađeno zamrznuto sa dnevnikom koji je
dokumentovao njihov put, i smrt njegovih prijatelja. Našli su i mapu sa ucrtanom nepoznatom tačkom koju su
oni nazvali: Fjord Jorgena Bronlundsa, Fjord Ha-gensa, Zemlja Mylius-Erichsensa i Fjord 79’.” Leo Sykes
Teatret OM su osnovale Sandra Pasini i Antonela Diana u Rimu 1989.godine. 1996. godine postaje zvanična
teatarska kompanija, a od 2006.g. regionalno pozorište podržano od strane države sa sedištem u Rinkebingu
(Ringkøbing) u Danskoj.
„Naše aktivnosti su upućene široj publici: pravimo predstave za decu i odrasle, ulične performanse i instalacije.
Mi nismo zainteresovani za predstave samo za pozorišne prostore, već želimo da „donesemo“ pozorište na
mesta gde ono nije uobičajeno: zatvori, bolnice, sirotišta, staračke domove i sirotinjske četvrti. Za mene reč
„graditi“ znači i značila je naći mesto i grupu ljudi sa kojima možete podeliti san, utopiju i potrebe“ Sandra Pasini
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Photo: Alf Trolles Legat/Arktisk Institut
A performance inspired by the Denmark Expedition to north east Greenland.
“An igloo is a good place to gather to hear stories of heroes, adventures, tragedies and the mysterious beings
of the invisible world. In our igloo we tell the story of Ludvig Mylius-Erichsen, Niels Peter Høeg-Hagen and
Jørgen Brønlund, three young men who ventured up the unknown coastline of Greenland in 1907 in order
to complete the map of this giant nation of ice. They were to make the ‘unknown point’ known. In a form
of heroic bravery akin to madness, the three of them set off into the magical, beautiful, treacherous and
cruel world of ice. They managed to make the maps, but they did not make it back to the ship and the other
members of the Denmark Expedition. The bodies of Mylius-Erichsen and Høeg- Hagen were never found, but
Brønlund, frozen to death, was found with his diary that documented their journey, including the death of his
comrades. Also found were the maps charting the ‘unknown point’, which they had named: Jørgen Brønlunds
Fjord, Hagens Fjord, Mylius-Erichsens Land and Fjord 79.“ Leo Sykes
Founded in Rome in 1989 by Sandra Pasini and Antonella Diana, Teatret OM became an official Danish theater company
in 1996 and since 2006 it is a regional theater supported by the state with its base in Ringkøbing, Denmark.
“Our activities are directed to a broad audience: we produce performances for adults and children, street
performances and installations. We are interested not only in performing in theater buildings but also bringing
theater to places where theater normally does not come: prisons, hospitals, orphan’s homes, old people’s
homes and slum quarters. Today I think that “to build” meant and still means to find a place and a group of
people with whom you can share a dream, an utopia or a necessity.” Sandra Pasini
www.teatretom.dk
[email protected]
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ODIN Teatret
Danska/Denmark
Metropole pod mesecom/The Great Cities Under the Moon
17. i 18. jun u 20.00 u Ustanovi Kulture “Vuk Karadžić”
June 17 and 18 at 20.00 at Ustanova Kulture “Vuk Karadžić”
Glumci/Actors: Kai Bredholt, Roberta Carreri, Jan Ferslev, Donald Kitt, Tage Larsen, Augusto
Omolú, Iben Nagel Rasmussen, Julia Varley and Frans Winther
Režija/Directed by: Eugenio Barba
Muzička predstava Odin Teatra u duhu Bertolda Brehta.
Mesec posmatra i klizi iznad gradova koji gore. Od evropskih metropola sve do metropola Male Azije, od
Hirošime do Halea, od metropola imperijalističke Kine do Alabame.
Njegov glas je ili podrugljiv ili začuđen, ravnodušan ili bolan, hladan ili usplamteo.
Njegova samilost ne poznaje melanholiju, ne poznaje utehu.
Odin Teatar je osnovao Euđenio Barba 1964.g. u Oslu, Norveška. 1966. preselili su se u Holstebro, Danska,
promenivši ime u Nordijska teatarska laboratorija/Odin Teatret. Danas, članovi ovog teatra potiču iz dvanaest
zemalja i tri kontinenta.
Aktivnosti laboratorije su: produkcije Odin Teatra koje se igraju u gradu i na turnejama u Danskoj i inostranstvu;
barteri – na raznim mestima u Holstebru; organizacija gostovanja teatarskih grupa i ansambla; podučavanje
u Danskoj i u inostranstvu; nedelja Odin Teatra koja se odžava na godišnjem nivou; izdavanje magazina i
knjiga: produkcija didaktičkih filmova i videa; pozorišno istraživanje teatarske antropologije za vreme ISTA
sesije(Internacionalna škola teatarske antropologije); povremene predstave Teatra Mundi; saradnja sa CTLSom (Centar za studije teatarske laboratorije na univerzitetu Orhus); Festuge (praznična nedelja) u Holstebru,
trogodišnji festival Tranzit posvećen ženama u teatru, dečije predstave; izložbe; koncerti; kulturne inicijative i
društveno delovanje u Holstebru i okolnim regijama.
Odin Teatar je realizovao 81 predstavu u 63 države u različitim društvenim kontekstima. Tokom ovih godina
iskustva, specifični izraz Odin Teatra je rastao na temeljima kulturne raznolikosti i primenom ‘bartera’: glumci
Odin Teatra prezentuju svoj rad određenoj grupi ljudi koja, za uzvrat, odgovara pesmama, muzikom i igrom iz
svoje kulture.
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photo: Tony D’Urso
A performance with the Odin Teatret ensemble. A musical performance by Odin Teatret in the spirit of Bertolt
Brecht. The moon observes and glides over the burning cities below, from the metropolises of Europe to those of
Asia Minor, from Hiroshima to Halle, from Imperial China to Alabama. Her voice is mocking or amazed, indifferent
or painful, cold or incandescent. Her compassion knows no melancholy, no solace.
Odin Teatret was founded by Eugenio Barba in Oslo, Norway, in 1964, and moved to Holstebro (Denmark) in
1966, changing its name to Nordic Theater Laboratory/Odin Teatret. Today, its members come from a dozen
countries and three continents.
The Laboratory’s activities include: Odin’s own productions presented on site and on tour in Denmark and
abroad; ‘barters’ with various milieus in Holstebro and elsewhere; organization of encounters for theater
groups; hosting other theater groups and ensembles; teaching activity in Denmark and abroad; the annual
Odin Week; publication of magazines and books; production of didactic films and videos; research into theater
anthropology during the sessions of ISTA (the International School of Theater Anthropology); periodic performances with the multicultural Theatrum Mundi Ensemble; collaboration with the CTLS, Center for Theater
Laboratory Studies of the University of Århus; the Festuge (Festive Week) in Holstebro; the triennial festival
Transit devoted to women in theater; children’s performances, exhibitions, concerts, round tables, cultural
initiatives and community work in Holstebro and the surrounding region.
Odin Teatret has so far created 81 performances and performed in 63 countries and different social contexts.
In the course of these experiences, a specific Odin culture has grown, founded on cultural diversity and the
practice of ‘barter’: Odin actors present themselves through their work to a particular milieu which, in return,
replies with songs, music and dances from its own local culture.
www.odinteatret.dk
[email protected]
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DAH Teatar/DAH Theater
Srbija/Serbia
Nevidljivi grad/Invisible City
17. jun u 11.00 u autobusu 26 (početna stanica)
17 June at 11.00 on Public Bus 26 (from the first stop on the line)
Saradnja između Dah Teatra(Srbija), OM Teatra (Danska), organizacije ArtMedia (Republika Makedonija), Prodigal Teatra (Velika Britanija) i asocijacije Voix Polyphoniques (Francuska)/Collaboration between Dah Theatre
(Serbia), Teatret OM (Denmark), ArtMedia (The Republic of Macedonia), Prodigal Theater (United Kingdom) and
Voix Polyphoniques (France).
Učestvuju/Performers:
Dah Teatar (Srbija/Serbia): Jugoslav Hadžić, Aleksandra Jelić, Sanja Krsmanović Tasić, Ivana Milenović Popović,
Maja Mitić, Dragan Simeunović, Donka Torov
ArtMedia (Republika Makedonija/The Republic of Macedonia): Olga Pango, Lile Milenkovska
Prodigal Theatre(Velika Britanija/United Kingdom): Kurt Thomas Jobling
Teatret OM (Danska/Denmark): Sandra Pasini, Hisako Miura
Režija/Theater Director: Dijana Milošević - Dah Teatar (Srbija/Serbia)
Direktorka postprodukcije/Postproduction Director: Nataša Poplavska - ArtMedia (Republika Makedonija/The
Republic of Macedonia)
Scenario/Scenario: Alister O’Lauglin - Prodigal Theatre (Velika Britanija/United Kingdom)
Pokret/Movement Director: Miranda Jane Hendrixon - Prodigal Theatre (Velika Britanija/United Kingdom)
Video: Emil Petrov - ArtMedia (Republika Makedonija/The Republic of Macedonia) i Božidar Jovanović – ArtMedia (Republika Makedonija/The Republic of Macedonia)
Kostim/Visual Director: Antonella Diana (Danska/Denmark) and Dah Theatre (Srbija/Serbia)
Muzička direktorka/Voice and Musical Director: Brigitte Cirla Voix Polyphoniques (Francuska/France)
Muzički saradnik/musical collaborator: Cengiz Ibrahim ArtMedia (Republika Makedonija/The Republic of Macedonia)
Ne/vidljivi grad je projekat Dah Teatra koji je počeo 2005. godine u Beogradu sa ciljem da multietničku strukturu gradova
u Srbiji i bogatstvo različitih etničkih kultura učini vidljivijom. Širenjem demokratizacije raste i potreba za tolerancijom.
Dah Teatar u saradnji sa Om Teatrom (Danska), organizacijom ArtMedia (Makedonija), Prodigal Teatrom (Velika Britanija),
i asocijacijom Voix Polyphoniques (Francuska) želi da doprinese normalizaciji odnosa različitih etničkih zajednica širom
Evrope i da doprinese razvoju jednog civilnog društva koje se zasniva na toleranciji.
Projekat Ne/vidiljvi Grad sastoji se od predstava u autobusima gradskog prevoza, koje “pričaju” multietničku
istoriju gradova, kulturnih razmena i debata o međuetničkoj toleranciji, koje će se odigrati u četiri zemlje – u
Srbiji, Danskoj, Velikoj Britanjiji i Makedoniji. Kroz ove aktivnosti podsećamo da su kultura, istorija, država i
svakodnevni život protkani uticajima različitih kultura i da su gradovi u kojima danas živimo nastali radom i
kreativnošću građana koji su tu živeli, bez obzira na etničku pripadnost.
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photo: Đorđe Tomić
Dah Theatre’s project In/Visible City began in Belgrade in 2005 with an aim to make the multi-ethnic structure
of the cities in Serbia and the richness of different ethnic cultures more visible. As democratization has
expanded, the need for multiethnic tolerance has also expanded. Dah Theatre in collaboration with Teatret Om
(Denmark), ArtMedia (The Republic of Macedonia), Prodigal Theatre (United Kingdom) and Voix Polyphoniques
(France) wanted to contribute to the normalization of relationships between different ethnic communities all
over the Europe, to contribute toward the development of a civil society that is based on tolerance.
The project In/Visible City includes performances on public transportation concerning the multiethnic histories
of our cities as well as cultural exchanges through round-table discussions about inter-cultural tolerance in
four countries: Serbia, Denmark, The Untied Kingdom, and The Republic of Macedonia. Through these activities
we are reminded that culture, history, country and everyday life has been inter-woven with diverse influences
to create a shared history, and that the cities in which we live today have been created by the work and
creativity of former residents, regardless of their ethnic origins.
Projekat je podržan od/With the support of:
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Miraž
Ostrvlje od sna zelenije/Islands Greener than a Dream
17. jun u 22.00 u DAH Teatru
June 17 at 22.00 at DAH Theatre
Učestvuju/Performers: Vera Jovanović, Tanja Stikić, Anđelka Vujinović
Dramaturgija i režija/Direction and Dramaturgy: Anđelka Vujinović
Dizajn svetla i zvuka/Light and sound design: Dobroslav Predić
Scenografija, kostim/Scenografy, costume: Ansambl Miraž
Inspirisano/Inspired by: Edit Štajn, Marija Zambrano, Ketrin Mensfild, Kaspar David Fridrih Andrej Tarkovski –
“Stalker”, “Nostalgija” , Ingmar Bergman - “Krici i šaputanja”
Tekst/Text: Edit Štajn, Marija Zambrano, Ketrin Mensfild, Džim Morison i lični tekstovi glumica.
Produkcija/Production: Ansambl Miraž
Ostrvlje od sna zelenije. Tlo konačnog, izvesnog i lako prepoznatljivog, tlo zarobljenosti u ovom svetu. Tlo
opkoljeno beskonačnim, nevidljivim, tajnom, ali isto tako postojećim. Tlo na kome se sreću tri žene. Očajne,
vođene potrebom da pronađu ono što nedostaje. Ova predstava je pokušaj putovanja unutar prostora čije
granice predstavljaju sa jedne strane ono što osoba jeste i sa druge ono što je njen ideal. Nedostižno i jedno
i drugo. Prostor ispunjen kontradiktornostima, sumnjom, strastima, prazninom, snovima, nedorečenostima,
pitanjima. Ispunjen glađu i strahom. Gnušanjem i zvezdama. Tajnama i ogledalima. Putovanje koje ne vodi
nikud, a mora se preduzeti.
Predstava Ostrvlje od sna zelenije nastala je kao meditacija nad životima tri ženska lika: nemačko-jevrejske
filozofkinje i spisateljice Edit Štajn ili Svete Tereze Benedikte od Krsta, španske filozofkinje i esejistkinje Marije
Zambrano, i novozelandske spisateljice Ketrin Mensfild.
Predstava nastala iz saradnje sa pozorišnom asocijacijom Specchi e Memorie.
Ansambl Miraž je nezavisna umetnička grupa oformljena 2007. godine. Glavna ideja je pozorišni rad kroz
istraživanje teme komunikacije i mogućnosti emancipacije ljudskog bića, kao i antropoloških i socijalnih
ograničenja koja ometaju taj proces. Cilj je korišćenje pozorišta kao prostora za posmatranje i istraživanje
realnosti, našeg odnosa spram nje i razmene stečenih iskustava.
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photo: Tom Dombrowski, Danica Kovačević
Islands Greener than a Dream is the land of finite, certain and easily recognized things, the land of imprisonment in this world. The land is surrounded with the infinite, with the invisible, with secrets, but also with the
world that really exists. It is the land where three women meet. Pushed with despair, led by the need to find
what has been missing. This performance is a journey within the space between what a person is, and what
his/her ideal is. Both sides are unreachable. This space is filled with contradictions, doubts, passions, emptiness, dreams, pangs and questions. It is filled with hunger and fear, with disgust but also stars, secrets and
mirrors. This is a journey which leads nowhere, but needs to be taken.
The performance Islands Greener than a Dream arose from meditation on three female characters: GermanJewish philosopher and writer Edith Stein or Saint Teresa Benedicta of the Cross, Spanish essayist and
philosopher Maria Zambrano, and New Zealand writer Katherine Mansfield. The performance was created from
a collaboration with theater Specchi e Memorie.
Ansambl Miraž (Ensemble Mirage) is an independent artistic group formed in 2007. The main idea is to work
on theater, mostly through the topic of communication and possibility of emancipation of the human being, as
well as on the anthropological and social limitations that impede this process. The goal is to use theater as a
space for observing and researching reality, our relation towards it, and sharing those experiences.
[email protected]
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RAZGOVORI SA MASTERIMA/CONVERSATIONS WITH MASTERS
Piter Šuman/Peter Schumann
Piter Šuman je osnovao pozorište Bread and Puppet Theatre u Njujorku 1962. Njegovo iskustvo iz oblasti plesa i vizuelne
umetnosti doprinosi jedinstvenosti prikazivanja njegovih lutki i samih predstava u kojima se one pojavljuju. Šuman je
bazirao svoj rad na filozofiji “jeftine umetnosti “(Cheap Art Philosophy) koja oponira narastajući trend okupiranja umetnosti
od strane korporacijskog sektora.
Peter Schumann founded Bread and Puppet Theatre in New York City in 1962. His backgrounds in both dance and visual art
lend an unique display to his puppets and the public performances they are featured in. Schumann has based his work on
the Cheap Art Philosophy that counters the growing take-over of art by the corporate sector.
Džil Grinhalš/Jill Greenhalgh
Džil Grinhalš bavi se pozorišnom umetnošću već 33 godine. Svoj rad kao producentkinja, rediteljka, performerka i
profesorka predstavlja širom Evrope, Australije i Amerike. 1986. godine osnovala je Magdalena Projekat – Internacionalnu
mrežu žena u savremenom teatru, čija je umetnička direktorka i danas. Cilj Magdalena Projekta je da istakne položaj žena
u teatru, koji je često potcenjen. Poslednjih godina predaje na velškom univerzitetu u Aberisvitu (Aberystwyth), ali sarađuje
i sa velikim brojem umetnika širom sveta.
Jill Greenhalgh has been a professional theatre maker for 33 years. She has traveled and worked extensively within
Europe, Australia and the Americas in career as a producer, director, performer, and teacher. In 1986 she founded the
Magdalena Project -the International Network of Women in Contemporary Theater and has held the position of artistic
director since. The goal of the Magdalena Project is to lend focus to women theatre artists who are often underrepresented
in theater communities. In recent years, Greenhalgh has devoted time to teaching, holding a position at the University of
Wales, Aberystwyth, as well as collaborating with other theater artists across the globe.
Mirjana Karanović
Mirjana Karanović rođena u Beogradu gde je i završila Fakultet dramskih umetnosti. Debitovala je 1980. u filmu Srđana
Karanovića “Petrijin venac”, da bi veliku popularnost stekla nakon uloge u filmu “Otac na službenom putu” Emira Kusturice.
Takođe je bila i prva Srpkinja koja se pojavila u jednom hrvatskom filmu posle raspada Jugoslavije. Mirjana Karanović je
redovna profesorka glume na Akademiji umetnosti, kao i dekanka Akademije umetnosti u Beogradu.
Mirjana Karanović a native of Belgrade. Karanović graduated from the Faculty of Dramatic Arts and began acting on screen
in the 1980s. Her most internationally-known films include the 1985 film “When Father Was Away on Business“ and the
1995 film Underground directed by Emir Kusturica. She was the first Serbian actress to appear in a Croatian film since the
dissolution of Yugoslavia. Mirjana Karanović is a professor of acting and the Dean at the Academy of Art in Belgrade.
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Rena Mirecka
Rena Mirecka je bila ključna ličnost u teatarskim i parateatarskim eksperimentima Ježi Grotovskog od 1959. do 1982.
godine. Od 1982. radi na ličnom psihološkom i spiritualnom teatarskom izrazu. Od 1993. vodi sopstveni Pozorišni centar na
Sardiniji, Italija. U Beogradu će držati radionicu pod nazivom Karavan Sunca.
Rena Mirecka was one of the key figures in Jerzy Grotowski’s theatrical and paratheatrical experiments from 1959 to
1982. Since 1982, she has pursued her own personal research in physical and spiritual theatrical expression.
Since 1993, she has directed her own theater center in Sardinia, Italy. Her current work is called The Way. Rena Mirecka
will lead a Master workshop in Belgrade with the title Sun Karawana.
Euđenio Barba/Eugenio Barba
Euđenio Barba, poreklom iz Italije, u Oslu 1964, okuplja grupu studenata i formira Odin Teatar. Odmah posle njihove prve
produkcije ponuđen im je prostor u Holstebru (Danska) kako bi napravili pozorišnu laboratoriju. Za poslednjih 46 godina,
Euđenio Barba režirao je 72 predstave sa Odin Teatrom i sa Teatrom Mundi. 1979. godine Barba osniva Internacionalnu
školu pozorišne antropologije (ISTA). Barba je dobio brojne nagrade, odlikovanja i počasna priznanja za svoj rad i
posvećenost teatru. 1997. godine Euđenio Barba dobio je “Luigi Pirandello International Prize” nagradu, koju je podelio sa
nekoliko teatara među kojima je i DAH Teatar.
Eugenio Barba, originally from Italy, gathered a group of students and formed Odin Teatret in Oslo, Norway in 1964. After
their first production, they were offered a space in Holstebro, Denmark to create a theater laboratory. During the past
forty-six years Eugenio Barba has directed 72 productions with Odin Teatret and with the inter-cultural Theatrum Mundi
Ensemble. In 1979 Eugenio Barba founded ISTA (International School of Theater Anthropology), creating a new field of
study. Barba has received numerous awards, distinctions and honorary degrees for his work and dedication to theater.
In 1997 Eugenio Barba received the Luigi Pirandello International Prize that he shared with a number of theatre groups
including DAH Teatar.
Genadi Bogdanov/Gennady Bogdanov
Genadi Bogdanov je učenik Nikolaja Kustova, glumca teatra Mejerholjda, koji je postao jedan od instruktora biomehanike
1930. godine i predavao “scensko kretanje” na GITIS-u (Ruska pozorišna akademija). Na principima GITIS-a, Bogdanov je
organizovao Moskovsku školu pozorišne biomehanike. Zanat Bogdanova je baziran na originalnim ili “klasičnim” etidama
Mejerholjda u cilju razvitka psiho-fizičkog aparata glumca. Kao glumac, Bogdanov je učestvovao u video projektu “Teatar
Mejerholjda i biomehanika”, 1995 - 1997. Kao režiser, Bogdanov je postavio brojne predstave na principima biomehanike.
Njegov rad je takođe prezentovan 1997. godine na pozorišnoj konferenciji ISTA u Danskoj.
Gennady Bogdanov is the pupil of Nikolai Kustov, one of the principal actors in Meyerhold’s theatre. He became one of
the instructors of Biomechanics in 1930 and taught “scenic movement” at the GITIS (Russian Theatre Academy). Based
on these principles, Bogdanov organized the Moscow School of Theatre Biomechanics. Bogdanov’s craft is based on
the original “classical” études of Meyerhold, with the aim of developing the psycho-physical apparatus of the actor. As
an actor, Bogdanov participated in the video project “The theater of Meyerhold and Biomechanics”. His work was also
represented 1997 at the ISTA theater conference in Denmark.
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RADIONICE/ WORKSHOPS
Pretnja tišine/ The Threat of Silence
vodi/lead by
DŽIL GRINHALŠ/ JILL GREENHALGH
12, 13. i 14. jun / June 12, 13 and 14
od 9.00 do 12.00 /from 9.00 until 12.00
u Dah Teatru/at Dah Theater
“U nekim momentima naših „oštećenih života“, posebno u momentima istinskih estetskih susreta, autenitični
doživljaji se još uvek dešavaju, a kada se dese, čine to uz drhtaj.” Ester Leslie
Radionica Pretnja tišine istražuje jezike mira, nepomičnosti i tišine.
“Pokušaćemo da usporimo i oblikujemo osnove teatar-prostor, sliku, tekst, akciju i zvuk - da ponovo
pronađemo odjeke tišine - samim tim i da povratimo predstavu kao mesto refleksije. Samo istraživanje na
ovu temu poslednje tri godine primoralo me je da shvatim opasnost i gubitak u zaboravljanju slušanja u
savremenom životu.” Džil Grinhalš
“At moments in our ‘damaged lives’, particularly moments of true aesthetic encounter, genuine experience
still occurs, and when it does, it does so with a shudder.“-Ester Leslie. The Threat of Silence workshop
explores the languages of quietude, stillness and silence. “We will attempt to slow down and shape the
essentials of theatre - space, image, text, action, and sound - to recover the resonances of silence and to
engage performance as a place of reflection. Working over the past three years on this thematic has impelled
me to acknowledge peril and loss in the forgetting of listening in contemporary living.” Jill Greenhalgh
HIP HOP Teatar/ HIP HOP Theater
Mi kao griot*/ We the Griot*
vode/lead by
DANIEL BENKS i ADAM MEKKINI/ DANIEL BENKS AND ADAM MC KINNEY
15, 17. i 18. jun/ June 15, 17 and 18
od 9.00 do 12.00/ from 9.00 until 12.00
u Dah Teatru/at Dah Theater
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Mi kao griot: pripovedanje i performans u eri hip hopa.
Dr Banks pokušaće da objasni učesnicima dinamiku afričkog griota - pripovedača, istoričara i arhivara
kolektivnog znanja. Šta znači biti moderni griot? Radionica će se sastojati od: fizičkog dela; razvijanja veština;
radiće se vežbe kojima će učesnici razviti svoje lične priče, kreirane iz „koda“ - sfere koju hip hop umetnici
koriste za improvizaciju i rimu; i malih grupnih kompozicija. Potom će učesnici istraživati kako se ove priče
međusobno povezuju i kako da artikulišu svoj „glas“ u društvu. „Griot - je zapadnoafrički istoričar, pripovedač,
poeta, lutajući muzičar - čuvar usmene tradicije”. (Vikipedija)
“We the “Griot”: Storytelling and Performance in the Age of Hip Hop
Participants will go through a progression to understand the dynamics of the African griot, the community
storyteller, historian, and archive of communal knowledge. What does it mean to be a modern-day griot? The
workshop will consist of physical work, skill building, exercises where participants develop their own stories
created out of the “cipher”- the circle that Hip Hop artists use for improvisation and rhyming, and small group
compositions. They will then explore how these stories interrelate and begin to think about staging their
communities’ voices. A Griot is a West African historian who “delivers history as a poet, praise singer, and
wandering musician. The griot is a repository of oral tradition.” (Wikipedia)
Otelotvorena mašta i empatija/ Embodied Imagination and Empathy
vodi/lead by
ELIZABET KARLIN MEC/ ELIZABETH KARLIN METZ
15. jun / June 15
od 9.00 do 11.00 u Dah Teatru/ from 9.00 until 11.00 at Dah Theatre
“Jedan od elemenata mog trenutnog istraživanja je uloga mozga u iskustvu empatije. Empatija je složena
funkcija mozga koja se oseća kao emocija i doživljava na fizičkom nivou. Empatija čini da ljudska bića budu
jedinstveno čovečna. Ova složena moždana funkcija je ključ glume - i čini se da je ona ključ onoga što nas
umetnike pokreće u žudnji da stvaramo umetnost iz nemira i haosa.“ Elizabet Karlin Mec
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PANEL DISKUSIJE I PREZENTACIJE
PANEL DISCUSSIONS AND PRESENTATIONS
Publikacije i filmovi o DAH Teatru/Publications and Films about DAH Theatre –
12. jun u 13 časova/June 12 at 13.00 at Dah Theatre
Tokom 20 godina delovanja, veliki broj autora pisao je o radu, etici i estetici DAH Teatra. Dugogodišnji rad Dah Teatra je,
takođe, i filmski dokumentovan. Fenomen postojanja DAH Teatra, kao nezavisne profesionalne pozorišne trupe u našoj
zemlji, bilo je važno zabeležiti kroz pisanu reč i film, kako bi se održala tradicija moderne pozorišne umetnosti kod nas i
ponudio konkretan profesionalni materijal, ali i inspiracija generacijama koje dolaze.
During the 20 years since its founding, many authors have written about the work, ethics and aesthetics of
DAH Theatre. The many years of DAH Theatre’s work has also been documented on film. The unique situation
of DAH Theatre as an independent professional theatre group in our country was important to document
through written word and film in order to preserve the tradition of contemporary theatre art in our country and
to offer concrete professional materials and inspiration to future generations.
Učestvuju/Participants:
Denis Barnet (Dennis Barnett), SAD/USA - profesor na Coe koledžu (SAD), reditelj i teoretičar,
govoriće o radu na svojoj knjizi Teatar i performans u istočnoj Evropi - scena koja se menja, kao i o svom
istraživanju rada DAH Teatra.
Associate professor of theatre arts at Coe College (Cedar Rapids, Iowa, USA), director and theoretician. He will
talk about his work on the book Theatre and Performance in Eastern Europe – The Changing Scene, and about
his research on Dah Theatre’s working process.
Li Klemons (Leigh Clemons), SAD/USA - profesorka glume i režije na državnom univerzitetu u
Luizijani (SAD) i pozorišna teoretičarka, priprema knjigu o DAH Teatru u izdanju izdavačke kuće Scarecrow Press.
Theatre theoretician, professor of acting and directing at Department of Theatre at Louisiana State University.
She will discuss her new book about Dah Theatre published by Scarecrow Press.
Aleksandar Milosavljević, Srbija/Sebia - teatrolog i sadašnji upravnik i direktor drame Srpskog
narodnog pozorišta u Novom Sadu, autor brojnih tekstova i publikacija. Pratio je rad i pisao o DAH Teatru od
1991. godine, od početka rada DAH Teatra.
Theatre theoretician and current manager and Director of the Serbian National Theatre in Novi Sad. He is the
author of numerous texts and publications about theatre. He has followed and written about Dah Theatre’s
work since its founding.
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Teatar i izgradnja mira/Theatre and Peacebuilding -13. jun u 13.00 časova u
Dah Teatru – June 13 at 13.00 at Dah Theatre
Panel-diskusija i prezentacija baviće se radom izuzetnih umetnika i svih onih koji deluju kroz kulturu, širom
sveta, u zemljama u konfliktu ili zemljama posle neposrednog konflikta.
A presentation and discussion that will present the work of distinguished artists and cultural workers who
deal with the issues of countries in conflict or post-conflict.
Učestvuju/Particpants:
Daniel Benks (Daniel Banks), SAD/USA - pozorišni reditelj, koreograf i edukator, govoriće o svom
iskustvu u radu na osnaživanju mladih kroz teatar i specifičan hip hop izraz.
Theatre director, choreographer, educator, and dialogue facilitator. He will talk about his experience
empowering young people through theatre and Hip-Hop dance.
Roberto Gutires Varea (Roberto Gutierrez Varea), SAD-Argentina/USA-Argentina -
pozorišni reditelj, koosnivač teatarskog kolektiva Secos y Mojados i profesor na Univerzitetu San Francisko,
jedan od osnivača i šef odseka za pozorišnu umetnost i socijalnu pravdu. On će govoriti o svom teatarskom
radu sa zatvorenicima, kao i o transformativnoj moći teatra u Argentini tokom diktature.
Theatre director, founding member of the performance collective Secos & Mojados, and associate professor
and chair of the University of San Francisco’s Performing Arts and Social Justice program. He will talk about
his theatrical work with prisoners and about the power of transformative theatre during dictatorial rule in
Argentina.
Sead Đulić (Sead Đulić), Bosna i Hercegovina/Bosnia and Herzegovina - pozorišni
reditelj, umetnički direktor Mostarskog teatra mladih(MTM) od 1974. godine, pedagog i osnivač Centra za
dramsko obrazovanje Bosna i Hercegovina.
Theatre director, Artistic director of Mostar Youth Theatre (MTM) since 1974, pedagogue, founder and President
of the Centre for Drama Education of Bosina and Herzegovina.
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Keti Rendels (Kathy Randels) se prvi put
susrela sa radom Dah Teatra na RAT konferenciji u
Ostinu (Teksas) 1996. Posle tog susreta, dobila je
stipendiju od univerziteta Luzijana odseka za umetnost
da proučava rad Dah Teatra u Beogradu. Za vreme njenog boravka Dah Teatar je radio na predstavi Slučaj Helen
Keler i Rendelsova je prosmatrala taj proces. Potom je dobila ulogu Crne dame u predstavi Slučaj Helen Keler za
vreme turneje Dah Teatra 1998/99. Radila je muziku i glumila u predstavi Putnici, i u predstavi Mape zabranjenog
pamćenja.
photo: Libby Nevinger
Prezentacija: Primanje plamena/
Receiving the Flame – 13. jun u 15.00
časova / June 13 at 15.00 at Dah
Theatre
Trenutno njena kompanija, ArtSpot Productions, radi na solo predstavi baziranoj na ulozi Crne dame pod
nazivom Small Acts of Apocalypse u režiji Dijane Milošević.
Keti Rendels ovom predstavom – predavanjem otkriva svoje iskustvo u radu sa Dah Teatrom i u radu na
predstavama ArtSpot Production-a poslednjih 15 godina. “To je refleksija o tome šta je značilo primiti “plamen“
od neverovatnih žena iz Dah Teatra.” Keti Rendels
Kathy Randels first observed the work of Dah Teatar at a RAT conference in Austin, Texas in 1996. After that
meeting, she received a fellowship from the Louisiana Division of the Arts to observe the work of Dah Teatar in
Belgrade. During her first trip to Belgrade, Dah was developing The Helen Keller Case, and Randels observed
that process. Since that time, Randels assumed the role of The Black Lady for a ’98/99 tour of The Helen Keller
Case, and musically directed and performed in Travelers and Maps of Forbidden Remembrance. Currently her
company, ArtSpot Productions is developing a solo performance directed by Dah’s Dijana Milosevic based on
the Black Lady entitled Small Acts of Apocalypse. This performance/lecture shares moments from Randels’
work in Dah Teatar and ArtSpot Productions’ performances throughout the last 15 years. “It is a reflection on
what is has meant to “receive the flame” from the amazing women of Dah Teatar.” Kathy Randels
Poezija u akciji/Poetry in Action - 13. juni u 18.00 u DAH Teatru/ June 18 at
18.00 at DAH Theater
“Pokušavajući da načinima prezentovanja savremene poezije dam adekvatan i malo drugačiji pristup u odnosu
na klasične obrasce i načine tretmana, došao sam na ideju da bi se njenom interpretacijom kroz razne oblike
pozorišnog jezika mogla zainteresovati šira publika, a i da bi tako bila omogućena drugačija tumačenja od
onih na koja smo navikli na standardnim književnim večerima. Samim tim njena prijemčivost za publiku bila bi
višestruko uvećana.” Simon Grabovac
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photo: Libby Nevinger
Učestvuju/Participants:
Plavo pozorište, Dah teatar,Pozorište objektivna drama, Ister teatar,izvođači Dragan Simeunović i Kristijan Al
Droubi i rediteljka Ivana Vujić sa Jelenom Bogavac, Minjom Bogavac I Bogdanom Bogdanovićem.
“Trying, through different ways of presenting contemporary poetry, to give an adequate and slightly different
approach to traditional forms and methods, I came up with the idea to its interpretation through various forms
of theatrical language which might interest a wider audience, and that would also make possible different
interpretations of which we are accustomed to standard readings. Hence its responsiveness to the public
would be multiplied.” Simon Grabovac
O prenošenju znanja u pozorišnoj umetnosti/Passing the Knowledge about
Theatre Art – 14. jun u 13.00 časova u Dah Teatru/June 14 at 13.oo at Dah
Theatre
Tema ove panel-diskusije jeste tema celog festivala Prenošenje plamena, odnosno prenošenje znanja u
pozorišnoj umetnosti - kako preneti veštinu i tehniku, ali i ono što je neuhvatljivo: viziju i strast.
The theme of this presentation is the theme of the entire Festival Passing the Flame: passing knowledge in
the art of theatre, how to pass on technique and skill, but also passing the intangible: vision and passion.
Učestvuju/Participants:
Olivije Bahman (Olivier Bachmann), Švajcarska/Switzerland - reditelj i osnivač Fragment
Teatra iz Berna (Švajcarska). Višegodišnji polaznik Internacionalne škole DAH Teatra za reditelje i glumce,
govoriće o svom iskustvu u DAH Teatru.
Director and founder of Fragment Theatre from Bern, Switzerland. A returning participant of the International
Dah Theatre School for Actors and Directors, he will talk about his experience with Dah Theatre.
Ljubica Beljanski Ristić, Srbija/Serbia - predsednica CEDEUM-a, bivša direktorka Centra za
kulturu “Stari grad”, kreatorka Škozorišta i čuvene Školigrice, kao i niza projekata kreativne drame i pozorišta
participacije, urednica BITEF Polifonije. Predstaviće svoj rad koji spaja pozorišnu umetnost i edukaciju.
Director of CEDEUM (Center for Drama in Education and Art), former director of Culture Centre Stari Grad and
the famous youth program Školigrica, creator of the Children’s Art and Theatre Studio Škozorište, creator of
a series of projects for educating young and children through art, and editor of BITEF Polyphony (Belgrade
International Theatre Festival Polyphony). She will present her work that connects theatre art with education.
Nenad Čolić, Srbija/Serbia - glumac, reditelj i osnivač Plavog pozorišta iz Beograda, govoriće o svom
iskustvu pedagoga u Plavom pozorištu kao i o iskustvu učenja od drugih teatarskih umetnika/umetnica i trupa.
Founder, actor and director of Plavo Pozorište from Belgrade, Serbia. He will talk about his experiences as a
pedagogue in Plavo Pozorište, and about experiences learning from other theatre artists and troupes.
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Milena Dragićević Šešić, Srbija/Serbia - profesorka Kulturne politike i menadžmenta na Fakultetu
dramskih umetnosti i UNESKO katedri Univerziteta umetnosti u Beogradu, autorka brojnih tekstova i knjiga iz
ove oblasti. Njeno iskustvo u domenu socio-kulturne animacije i artivizma i alternativnih pedagoških praksi
biće inicijalni momenat njene prezentacije.
Professor of Cultural Policy &Cultural Management at the Faculty of Dramatic Arts and head of the UNESCO
Chair of Cultural Policy and Cultural Management. She is a respected author of numerous articles and books in
this domain. She will talk about her great experiences in art and also her pedagogical experiences.
Elizabet Karlin Mec (Elizabeth Karlin Metz), SAD/USA - Profesorka glume i šef dramskog
odseka na Nox koledžu (Knox Collegue), Gejlsburg, Ilinois, SAD. “Kao pozorišna rediteljka koja se ovim
pozivom bavi kroz umetnosti i pedagogiju, uzbuđena sam i očarana pozorištem kao nečim što je visceralno,
provokativno i izazovno. Iako me zanimaju svi oblici teatra, najviše me privlači savremene-tradicionalno
pozorište koje proučava ljudsku prirodu. Pokušavam da inkorporiram tehnike fizičkog teatra ut radicionalne
forme pozorišnih praksi poteklih sa Zapada u potrazi za novim stepenima izražajnosti i značenja u pozorištu
svih stilova i žanrova, celoga sveta.
Professor and Chair of Theatre at Knox College in Galesburg, Illinois, USA. “As a stage director in both the
profession and academia, I am most stimulated and delighted by theatre that is visceral, provocative,and
challenging. While I am interested in all forms of theatre, I am most drawn to contemporary non-traditional
theatre that explores the human condition. I seek to integrate physical theatre techniques with more
traditional Western theatre practices so as to discover new levels of expressiveness and meaning in theatre of
all styles and genres and, thus, in the world.”
Aktivizam i teatar/Activism and Theatre – 15. jun u 13 časova u Dah Teatru/
June 15 at 13.00 at Dah Theatre u saradnji sa Ženama u crnom, Srbija/In
collaboration with Women in Black Serbia
Tokom poslednjih godina sve više se širom sveta pojavljuju umetnički projekti koji se bave transformacijom
društva kao i aktivističke grupe koje sarađuju sa umetnicima i ljudima iz kulture. Tokom ove panel-diskusije,
umetnici, umetnice, aktivisti i aktivistkinje predstaviće svoj rad, fokusirajući se na ovaj fenomen.
In recent years, more and more artistic projects are appearing with the goal of transforming society. At the
same time, we have more activist groups collaborating with artists and cultural ambassadors than ever
before. During this presentation, artists and activists will present their work focusing on this growing field.
Učestvuju/Participants:
Zoe Gudović, Srbija/Serbia - feminiskinja, art/aktivistkinja, PR menadžerka u fondaciji Rekonstrukcija Ženski
fond, performerka, jedna od osnivačica ženskog teatarskog kolektiva Act Women. Predstaviće svoj rad u kome spaja
umetnost i aktivizam. U okviru prezentacije Act Women izvešće petnaestominutni performans Moje telo, moja teritorija.
Activist, PR manager of the Foundation Reconstruction Women’s Fund, and creator of Woman Act Theatre
collective. She will present her work combining art and activism. As part of the presentation, Women Act will
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perform a 15 minute performance My Body, My Territory.
DAH Teatar (DAH Theatre), Srbija /Serbia – umetnici i umetnice DAH Teatra govoriće o svojoj
saradnji sa aktivističkim grupama i svojim shvatanjem angažovane umetnosti.
Dah Theatre’s artists will talk about their collaboration with activist groups and their personal comprehension
of art as a social catalyst.
Staša Zajović, Srbija /Serbia – aktivistkinja i jedna od osnivačica ženske aktivističke grupe Žene u
crnom, pokretačica brojnih inicijativa iz oblasti izgradnje mira i dobitnica uglednih nagrada. Predstaviće svoj
rad i saradnju između Žena u crnom i umetničkih grupa.
Activist, co-founder and coordinator of the Women in Black organization in Belgrade. She initiated several
women’s networks for the quest of peace building, and she has been nominated for and received a range of
prizes and awards for this work. She will present her work and the collaboration between the Woman in Black
organization and other artistic groups.
Teatar i ritual /Theater and Ritual-16. jun u 12 časova u Dah Teatru/June 16 at
13.00 at Dah Theater
Pozorišna umetnost je nastala iz rituala, čije elemente zadržava do modernih vremena. Takođe, polje teatarske umetnosti
se dodiruje i prožima sa mnogim oblastima kao što su druge grane umetnosti, mediji, psihoterapija, nauka.
Theatre has developed from ritual, preserving its elements through modern times. The field of theatre connects
and overlaps with different fields including other art forms, media, psychotherapy, science and others.
Učestvuju/Participants:
Vlado Ilić, Srbija/Serbia - pedagog, profesor i psihoterapeut. Učenik čuvenog psihoterapeuta Berta
Helingera koji je razvio sopstveni način sistemske i porodične terapije Poredak ljubavi. Terapija je priznata
i cenjena u celom svetu i primenu nalazi i u drugim oblastima kao na primer u psihoterapiji, društvenom i
kompanijskom konsaltingu i mnogim drugim sferama života.
Pedagogue, professor and psychotherapist, he is the student of famous psychotherapist Bert Hellinger who
developed his own method of systemic and family therapy called Order of Love. This method is appreciated
and acknowledged throughout the world and is applied in psychotherapy, company consulting, psychosomatic
medicine, counseling and many other aspects of life.
Božidar Mandić, Srbija/Serbia - književnik i osnivač komune Porodica bistrih potoka, čija su dejstva
okrenuta filozofiji zemlje, otvorenog doma i skromnoj ekonomiji. Načelo komune je borba za pojedinca i planetu.
Prezentovaće film Lestvica reditelja Gregora Županca, ritual Kamen i drvo i predavanje Estetika divljizma.
Writer and founder of the Clear Streams Family commune, whose actions are devoted toward the philosophy of
protecting the earth, creating an open community and living modestly. The principles of the commune are the
struggles for the individual and for the planet. The group will present a film by director Gregor Zupanac called Scale
(Lestvica) which will be accompanied by a ritual, Stone and Wood and a lecture The Aesthetics of Wilderness.
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Tradicija internacionalnih pozorišnih festival u Srbiji/The Tradition of
International Theater Festivals in Serbia - 17. jun u 14 časova u Dah Teatru/
June 17 at 13.00 at Dah Theater
BITEF (Beogradski Internacionalni Teatarski Festival, osnovan 1967. godine u Beogradu) je najstariji pozorišni
festival u Srbiji i jedan od najstarijih i najuglednijih u svetu. Zahvaljujući BITEF-u, beogradska publika je imala
priliku da vidi najpoznatije i najinovativnije predstave kao i da se sretne sa njihovim kreatorima. Generacije
pozorišnih umetnika su se inspirisale predstavama koje su bile prikazane na ovom festivalu.
BITEF (Belgrade International Theatre Festival, founded in 1967) is the oldest and most respectable festival in
Serbia and one of the oldest and most renowed in the world. Thanks to BITEF, Belgrade audiences have had
the chance to see the best-known and most-inventive performances and to meet their creators. Generations
of theatre artists have been inspired by performances presented at this Festival.
INFANT - Internacionalni Festival Alternativnog i Novog Teatra (osnovan 1995. godine u Novom Sadu) iako
mnogo mlađi festival, igra važnu ulogu u uspostavljanju tradicije modernog teatra kod nas i otvara prostor
savremenom, živom teatru i trupama sa originalnim, samosvojnim teatarskim jezicima.
INFANT – The International Festival of Alternative and New Theatre founded in 1995 in Novi Sad, is a much
younger Festival, yet it still plays and important role in establishing the tradition of contemporary theatre in
our country, opening a space for a new, vital theatre and groups with original and authentic theatre lexicons.
Učestvuju/Participants:
Simon Grabovac,Srbija/ Serbia - književnik i umetnički direktor INFANT festivala (Internacionalni
festival alternativnog i novog teatra).
Writer and Director of INFANT (International Festival of Alternative and New Theatre)
Jovan Ćirilov, Srbija/ Serbia - teatrolog, književnik, umetnički direktor i selektor BITEF festivala.
Theater theoretician, philosopher, writer and Artistic Director of BITEF (Belgrade International Theatre Festival).
Anja Suša, Srbija/ Serbia- rediteljka, upravnica pozorišta Duško Radović iz Beograda, selektorka BITEF
festivala. / Director, Artistic Director of Duško Radović Theatre and selector for BITEF Festival.
Internacionalna pozorišna mreža - Priča o Nataša grupi/International Theater
Network The Story of the Natasha Group- - 18. Jun u 13 časova u Dah Teatru/
June 18 at 13.00 at Dah Theater
Nataša grupa je internacionalna pozorišna mreža nastala kao proizvod susreta pozorišnih umetnika i umetnica
na seminaru koji je nekoliko godina za redom držao glumac Torger Vetal u Odin Teatru, u Holstebru (Danska).
Intenzivno prenošenje i razmena znanja kao i upoznavanje sa međusobnim radom koji su se dešavali tokom
seminara, doveo je do formiranja Nataša grupe, kao pozorišne mreže koja je niz godina organizovala festival
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Umetnost spasava život širom Evrope, kao i različite radionice i susrete. “Spiritus movens” ove mreže bio je
glumac Torger Vetal, koji je tokom godina pedagoškog rada prenosio ne samo tehniku i veštine praktikovane
u čuvenom Odin Teatru, već i viziju i “virus” koji je učinio da učesnici ove mreže i danas stvaraju teatar širom
sveta. Priča o Nataša grupi je takođe i priča o velikoj ljubavi i zahvalnosti u odnosu na velikog glumca i učitelja
Torgera Vetala, zahvaljujući kome je “plamen” u mnogim pozorištima širom sveta i dalje živ.
The Natasha Group is an International Theatre Network created from the meeting of theatre artists at an
annual workshop-seminar held by actor Torgeir Wethal from Odin Teatret, in Holstebro, Denmark. The
intensive exchange of knowledge and the experience of seeing each others’ work during the workshops led
to forming the Natasha Group as a theatre network that organized festivals, workshops and meetings around
Europe under the title Art Saves Life. The “spiritus movens” of this group was actor Torgeir Wethal whom,
during the years of this pedagogical work, shared not only techniques and skills practiced in the famous Odin
Teatret, but also the vision and ‘virus’ that made the participants of the network continue to create theatre
around the world. The story of the Natasha group is also the story of great love and gratitude for master
Torgeir Wethal, thanks to whom the ‘flame’ in many theaters all over the world stays alive.
Učestvuju/Participants:
Jadranka Anđelić, Srbija/Serbia - rediteljka i koosnivačica DAH Teatra, stalna saradnica Sequencia
Production organizacije iz Brazila / Director and co-founder of Dah Theater, permanent collaborator of
Sequencia Productions, Brazil.
Slobodan Beštić, Srbija/Serbia - glumac/ Actor
Petra Lindblom, Švedska/Sweden - glumica/ Actress
Huan Loriente,Španija/Spain- glumac/Actor
Sanja Krsmanović Tasić, Srbija/Serbia - glumica/ Actress
Dijana Milošević, Srbija/Serbia - rediteljka i koosnivačica DAH Teatra / Director and co-founder of
Dah Theater
Maja Mitić,Srbija/Serbia - glumica/ Actress
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Razaranju i nasilju u savremenom svetu se jedino možemo suprotstaviti stvaranjem
smisla - je moto DAH Teatra
In the contemporary world, destruction and violence can only be opposed by the
creation of sense - the founding and continuing motto of DAH Theatre.
DAH Teatar Centar za pozorišna istraživanja su/DAH Theatre Research Center are (in
alphabetical order):
Jugoslav Hadžić- glumac i muzičar/actor and musician, Aleksandra Jelić-glumica/actress, Sanja Krsmanović
Tasić-glumica/actress, Dijana Milošević-rediteljka/director, Maja Mitić-glumica/actress, Ivana Milenovićglumica/actress.
Stalni saradnici DAH Teatra (po abecednom redu)/Permanent collaborators (in
alphabetical order):
Jadranka Anđelić-rediteljka/director, Aleksandra Damnjanović-muzičarka/musician, Nebojša Ignjatovićmuzičar/musician, Neša Paripović-vizuelni umetnik/visual artist, Nikola Tasić-izrada scenografije i objekata/
set and objects realization, Radomir Stamenković-dizajner svetla/light design, Zoran Vasiljević-glumac/actor.
Glumci i igrači koji su učestvovali u radu Dah Teatra/ Actors and dancers who have
participated in Dah Theatre performances:
Faye Allen, Vladan Avramović, Slobodan Beštić, Nenad Čolić, Varja Đukić, Del Hamilton, Lidija Milić, Valentina
Milivojević, Alister Oloughlin, Tatjana Pajović, Mirela Pavlović, Petar Pjer Rajković, Kathy Randels, Dragan
Simeunović, Donka Torov, Zoran Vasiljević.
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PRODUKCIJE/PRODUCTIONS:
Nežno, nežno, nežnije/Tender, Tender, Tenderly (2011)
KOD Nastasijevića/The Nastasijević Code (2010)
Prelazeći liniju/Crossing the Line (2009)
Traženje grada/In Search of the City (2007)
Priča o čaju/The Story of Tea (2006)
Vodič kroz alternativnu istoriju Beograda/Guide Through an Alternative History of Belgrade (2006)
Ne/Vidljivi grad/In/Visible City (2005)
Alisa i Kafka su mrtvi/Živeli Rozenbergovi/Alice and Kafka are Dead/Long Live the Rosenbergs, koprodukcija sa
teatrom 7 Stages/co-production with 7 Stages Theater (2005)
Cirque Macabre (2002)
Ples sa tamom/Dancing With Darkness (2002)
Unutrašnja mandala/Inner Mandala (2002)
Mape zabranjenog pamćenja/Maps Of Forbidden Remembrance (2000), koprodukcija sa teatrom 7 Stages/coproduction with 7 Stages Theater (2001)
Dokumenti vremena/Documents Of Times (1999)
Putnici/Travelers (1999)
Anđeli u gradovima/Angels In The Cities (1998)
Slučaj Helen Keller/The Helen Keller Case (1998)
Sećanje anđela/Angel’s Memories (1996)
Legenda o kraju sveta/The Legend About The End Of The World (1995)
Zenit/Zenith (1994)
Ova Vavilonska pometnja/This Babylonian Confusion (1992)
Darovi naših predaka/The Gifts From Our Ancestors (1992)
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Aktivnosti/Activities:
Predstave/Performances
Demonstracije rada/Work Demonstrations
Radionice/Workshops
Predavanja/Lectures
Programi za mlade/Programs for Youth Mreža i saradnja/Networks
Internacionalna škola/International School
Gostovanja/Tours
Festivali i susreti/Festival and Meetings
DAH Teatar centar za pozorišna istraživanja
Marulićeva 8, 11 000 Beograd
tel/fax /+381112441680
www.dahteatarcentar.com
[email protected]
[email protected]
Produkcija festivala/Festival Production:
Umetnički tim Dah Teatra/Dah Theatre Artistic Team: Jugoslav Hadžić, Sanja Krsmanović Tasić, Ivana
Milenović Popović, Dijana Milošević, Maja Mitić
Tehnički direktor festivala/Festival Technical Director: Radomir Stamenković
Koordinator produkcije/Production Coordinator: Jelena Cvetković
PR menadžer/PR Manager: Tatjana Rapp
Dah Teatar se posebno zahvaljuje/Special thanks to: Milorad Anđelić, Gordana Milošević i
poslastičarnica “Mali princ”
Dah Teatar se zahvaljuje/Dah Theatre thanks to: Katherine Blanchard, Sandra Tomić, Bojana
Milašinović
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Festival je podržan /Festival supported by:
WiTh The SuPPOrT OF:
ond
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Odin Teatret, Peter Schumann i
Bread and Puppet Theater, Rena
Mirecka,Gennady Bogdanov, Jill
Greenhalgh, Voix Polyphoniques,Teatret
OM, Violeta Luna,Tricklock Company,
Prodigal Theatre, Theatre Labor, DNA
Works, Plavo pozorište, Ister Teatar,
Ansambl Miraž, Fragment Theater, ACT
WOMEN, BETON HALA TEATAR, DAH Teatar
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