Why Does Herr R. Run Amok?



King of Betajnova

Milan Nešković: I believe that every society has the government it deserves. The government is nothing but a mirror image of that society. Secondly, everything people do, they do to self-promote. Marketing is everything.Max Krnec is not guided by his convictions. The idea of being a dissident – a rebel against authority – has been destroyed. All of them are verbal opponents. Usually for their own benefit. Max Krnec tries to convince himself that everything he does he does for the greater good and because it is important. Injustice offends him, but it offends him for his own personal reasons. Kantor destroyed his father. He destroyed his life, any possibility of ever becoming a man, of studying, of ever having money. Personal reasons lurk behind the ideas of greater good.

There is an absence of empathy in modern world, and the individual looks to himself alone. We live in an age of hypocrisy, we seek revenge but we put a different face on it because it would be too awful to admit it was ours and it was personal; so we hide it behind the mask of greater good, or indeed behind the mask of general censorship.

(taken from the interview for the theatre programme)


A Month In The Country

What does being in love mean?

An adventure, desire, thrill, marvel. 

When we are in love, we feel as if our souls are waking up from a deep sleep into a spring of their own making. It is a sort of rebirth that makes us believe we were never truly born until now. Our reason slips out of control. Something grand, unheard of is happening to us.

Even when our existence wears the sheen of refinement and we take comfort in our daily routines, habits and our social standing, life can still feel grey and dull. A rut. Repetition. Everything seems familiar and is, therefore, boring.

We long for something or someone who will take us away from here, somewhere entirely new. Does this mean that at that moment we are open to love? Or at least to love as an ideal? As a decision? Can love be a decision? If it is a decision, is it love? Does it follow that if a decision is a consequence of will, the will to love is, at the same time, a possible reason for unrequited love?

Is boredom fertile ground for falling in love?

Has life become too easy for well-off people? Does this easy living lead to boredom and loneliness? Are we desperate for new adventures?

Love is a mystery. A man in love appears magnificent in his madness but can also appear very funny. Does love exalt a person in their beauty and at the same time lays bare the misery of their existence?

For some it provides hope for a better future and for some it is a fever that causes people to lose themselves temporarily only to find themselves again later on. Some people feel let down, some will embrace the illusion and some will be grateful because being in love makes them feel alive again.

Iva Milošević


The Mercy Seat

There is something archetypal in LaBute’s characters – Ben is a man, a conservative one: he is somewhat right-wing, married with children, he has achieved everything at the right age, he has a job any white American male of his age could desire. On the other hand, Abby is a woman, and a liberal one: she is emancipated and far more dominant and eloquent than him. While she represents a destruction of one kind of stereotype, she reinforces another – ambitious, superior, lonely woman, with all the demands an emancipated woman has to fulfill, while not being fulfilled as a mother. The collision of these two worlds, however, is not a collision of different entities, but a story of two sides in every person, the story of two polarities, the story of how the dualism shapes up and pulses inside all of us.

If there had been rainstorm or a minor earthquake at the time, self-questioning wouldn’t have taken place, those fundamental questions between the two of them wouldn’t have been raised. But no, what is taking place outside is the end of the world [the catastrophe in New York on 11th September, 2001] and that kind of pressure makes Ben and Abbey start opening big questions. Naturally, that isn’t enough to make them heroes. But it is enough to make them people. This plays is about the fact that their dilemma and their problem could happen to anyone. Jana Maričić, director

The opening evening on Saturday, 18th November 2017 at 8.30 PM.


Einstein’s Dreams

The novel by the American author and physicist Alan Lightman was first published in 1993 and since then has been translated into more than 40 languages. The language used in the text is rather exceptional with clear structure and rich imagination where the author reveals what Einstein was dreaming of at the time he was cobbling together his famous theory of relativity.

Slobodan Unkovski has directed a number of productions at Yugoslav Drama Theatre such as Death Is Not a Bicycle (to be stolen from you) by Biljana Srbljanović (2011), As You Like It by William Shakespeare (2009), Boat of Dolls by Milena Marković (2006), The Seagull by Anton Pavlovich Chekhov (2003), Tracks by Milena Marković (2002), The Powder Keg by Dejan Dukovski (1995),  L’Illusion Comique by Pierre Corneille (1991) and Croatian Faust by Slobodan Šnajder (1982).


Right You Are, If You Think So

In this year which marks 150th anniversary of the birth of Luigi Pirandello, a Nobel laureate, Yugoslav Drama Theatre  joins the celebration of this anniversary taking place around the world, with the production of his play Right You Are, If You Think So

Born in Girgenti, Sicily. He studied philology at Rome and at Bonn and wrote a dissertation on the dialect of his native town (1891). From 1897 to 1922 he was professor of aesthetics and stylistics at the Real Istituto di Magistere Femminile at Rome. Pirandello’s work is impressive by its sheer volume. He wrote a great number of novellas which were collected under the title Novelle per un anno (1922-37). Of his six novels the best known are Il fu Mattia Pascal (1904) [The Late Mattia Pascal], I vecchi e i giovani (1913) [The Old and the Young], Si gira (1916) | [Shoot!], and Uno, nessuno e centomila (1926) [One, None, and a Hundred thousand].
But Pirandello’s greatest achievement is in his plays. He wrote a large number of dramas which were published, between 1918 and 1935, under the collective title of Maschere nude [Naked Masks]. The title is programmatic. Pirandello is always preoccupied with the problem of identity. The self exists to him only in relation to others; it consists of changing facets that hide an inscrutable abyss. Also, typical for Pirandello is to show how art or illusion mixes with reality and how people see things in very different way – reality is at the same time is true and false. His master plays are: Right You Are, If You Think So
(1917), Six Characters in Search of an Author (1921), Henry IV (1922), Tonight We Improvise (1930)… Pirandello’s tragic farces are often seen as forerunners for theatre of the absurd.
He was awarded the Nobel Prize for Literature in 1934 for his “bold and brilliant renovation of the drama and the stage.”

Luiggi Pirandello in YDT

Sei personaggi in cerca d’autore
Directed by Mata Milošević
Premiere on 29th April 1955
Enrico IV
Directed by Boro Drašković
Premiere on 12th April 1967



Don Juan

This is the first ever Yugoslav Drama Theatre production of Dom Juan – one of Molière’s most famous tragicomedies, written during the golden age of European theatre. This baroque story, directed by Gorčin Stojanović, is based on the character of Don Juan, a libertine and a womanizer who challenges this entire world and the one beyond. It is a resplendent story about the adventures of a great lord a wicked man and his faithful valet Sganarelle (an interesting and c0lourful character that Molière wrote for himself and that he very much enjoyed playing). These two roles were entrusted to Vojin Ćetković (Don Juan), Sergej Trifunović (Sganarelle) accompanied by a fantastic cast of actors including: Anđelika Simić, Vojislav Brajović, Marko Baćović, Dubravko Jovanović, Milica Janevski, Goran Daničić, Jovana Gavrilović, Slobodan Tešić as well as two additional artists, both of them unique in their artistic expressions – Sonja Vukićević, ballet dancer and choreographer (playing Time) and Katarina Jovanović, soprano and one of the most beautiful and expressive voices on the European stage (playing Hell).

This will be the third producti0n of a play by Molière to be included in the current YDT repertoire (together with Tartuffe, directed by Egon Savin and The Imaginary Invalid, directed by Jagoš Marković). The first ever play by Molière to be produced by YDT was The Bourgeois Gentleman in 1953, directed by Bojan Stupica.

The opening night on the 26th February 2017


Free Exchange Hotel

Boris Liješević: Why Feydeau? Because he represents the pinnacle of the theatre, of the essential, raw, playful theatre; of the theatre which does not stem from literature but from some sort of spirituality. He belongs to the „Golden Age“ of French drama, like Sophocles and Euripides belong to the Golden Age of ancient literature. No one represents those times better that he does. His plays epitomize theatre in the same way Chaplin’s films epitomize the real, true film. There is action, there is a plot, there is a protagonist who first gets into trouble and then tries to get out of them, all of which leads to a perfect chase which inevitably leads to laughter. Staging Feydeau today could be equalled to a theatre revolution.

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