Opus – Christos Papadopoulos Company (16. BDF)

“Opus” by Athens’  Christos Papadopoulos Company will be performed as the Introduction to the 16th Belgrade Dance Festival, on 17th December at 9 p. m. on the Ljuba Tadić stage of YDT.

A performance based on classical music. The word “classical” derives from the Latin word “classicus” and the Greek word “κλασικός”, and describes a composition that is produced according to the principles and ideals of the ancient Greek and Roman cultures. Classical music often describes a “superior” form of musical composition (opus) characterized by a strict structure and an artistic complexity. The thematic focus of this dance performance is to study this very structure and to present it visually on stage. The main intention is to investigate the central norms of instrumental music and how they apply in an utterly different form of art that is dance. The body becomes a visual version of the musical instrument, and the musical score becomes the physical score that dictates the choreography. Sometimes the body follows the rhythms and sometimes the melodic lines, sometimes it focuses on only one musical instrument and sometimes on two or more, in a way that offers a new code for deciphering the musical composition. One of the major characteristics of classical music is that it consists of highly complex melodies, lines and rhythms that create a sense of narration and result in our sentimental reaction. This performance does not care to elucidate the sentimental aspect of the art music and its psychological impact on the audience. On the contrary, the main endeavor is the performers to detach from the sentimental impact of a musical composition, to resist the tendency for interpretation of the music, and to consider the musical piece as sophisticated series of sounds that create a harmonic logic. It is really an attempt to investigate our automatic response to hearing music.

dancers: Georgios Kotsifakis, Ioanna Paraskevopoulou, Maria Bregianni, Amalia Kosma


Uncle Vanya

In the year when YDT celebrates its 70th birthday and exactly seventy years after the first production of what is believed to be one of Chekhov’s masterpieces, we have a chance to see it once again.  Back in 1948, Uncle Vanya was directed by Bojan Stupica.  The cast back then included Rahela Ferari, Marija Crnobori, Tomislav Tanhofer, Sava Severova, Milivoje Živanović, Mlađa Veselinović and Karlo Bulić, among others.

Besides the above mentioned production of Uncle Vanya from 1948, other productions of plays by Anton Pavlovich Chekhov at Yugoslav Drama Theatre include: The Cherry Orchard, 3 productions (Miroslav Belović, 1954, Dimitrije Jovanović, 2000, Dejan Mijač, 2011), Ivanov (Y. A. Zavadsky, 1966), Three Sisters (Georgy Aleksandrovich Tovstonogov, 1981) and The Seagull (Slobodan Unkovski, 2003).


The Glass Neck

Plays by Biljana Srbljanović have been performed at more than 200 theatres, both in Serbia and abroad, and they have been translated into 27 languages.  Plays by Biljana Srbljanović at Yugoslav Drama Theatre  Belgrade Trilogy – dir. Goran Marković, 1997, Supermarket – dir.  Alisa Stojanović, 2001, Locusts – dir. Dejan Mijač, 2005, Barbelo, on Dogs and Children – dir. Dejan Mijač, 2007, and Death Is Not a Bicycle (to be stolen from you) – dir. Slobodan Unkovski, 2011.

Besides winning six Sterijino Pozorje awards for best play, Srbljanović is also the recipient of Slobodan Selenić award, Ernst Troller prize, Joakim Vujić and Freedom awards, but also of  important European awards such as Premio Europa -  New Theatre Realities for 2007, two annual awards for the Best foreign playwright awarded by the well known German magazine Theater Heute and she was also made Chevalier of the Order of Arts and Letters in France.

Jagoš Marković has directed a number of productions at Yugoslav Drama Theatre – Right You Are, If  You Think So by Luigi Pirandello, The Imaginary Invalid by Jean-Baptiste Poquelin Molière, A Suspicious Person by Branislav Nušić, Telephone Booth (based on his own writings), The Miser by Marin Držić, Twelfth Night by William Shakespeare.


Why Does Herr R. Run Amok?

Bobo Jelčić: The euphoria machine grinds the individual. Fassbinder stands against the inhumane progress. This film seems too close to home, at the time when we, in our respective countries which sprung up during or just after the war, are doing all we can (though I personally am not a fan of such analogies) to latch on to the better life promised by the EU, or some other entity, and when our politicians constantly drone on about a 4.0% improvement, GDP growth. If you start paying attention to the news, you will notice that the sentences that appear with the greatest frequency are the ones about a fictitious rise in GDP which then spills over into better salaries, pensions, promises of an economic stability, of progress, of a surplus of things we already have and, in general, of a brighter future. At the same time, some people are still suffering from post-war traumas and more, and those have not gone away. They are not a part of the euphoria which is fictitiously drummed into our media outpourings. This is why I am interested in examining intimacy within a specific political situation which does not allow intimacy to become intimate, which is infected by everything that’s mentioned and is, by extension, perceived as some socio-psychological stability of an individual. And
that individual is, if not already then definitely on his way to becoming frustrated, dissatisfied, even amok. And this is what this is all about. 

Bobo Jelčić was born in Mostar. Graduated in theatre direction from the Academy of Dramatic Art in Zagreb. Teaches theatre  direction at the Academy of Dramatic Art.
Productions: The Other Side, The Seagull, The Store Window (Zagreb Youth Theatre); Allons Enfants (Dubrovnik Summer Festival); Tihi Obrt (ADU), Ko rukom odneseno (Culture of Change), At the End of the Week (CNT, Zagreb), Speak Louder  (Kerempuh Theatre). Jelčić has often worked together with Nataša Rajković and The Store Window was performed at Bitef 2011.
This is the first time he is directing a production at the Yugoslav Drama Theatre as well as in Serbia.
He is also a film director and his filmography includes All That You Know About Me, A Stranger and Transmania.
He has received a number of awards for his work.


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).

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