Duet for One

Guest performance by the National Theatre Sombor.

Stefani Abrahams  Ivana V. Jovanović

Alfred Feldman  Srđan Aleksić


Logic of 29 February

An evening with Herta Müller, a Nobel Prize winner



Guest performance of 51 BITEF 17 in the production of Thalia Theater, Hamburg, Germany.

Ersan Mondtag, a young Berlin director of Turkish origin, is one of the rising stars in the German-speaking theatre. Bitef will show two of his productions, thus offering him what he has not always had before: the broadest possible international visibility, whilst the festival itself will renew and strengthen its original role of bringing together cultures and promoting the most inventive artists in the world. The performance produced by the celebrated Thalia Theater in Hamburg is based on epic material, the novel Snow by the Turkish Nobel Prize winner Orhan Pamuk. His lead character and narrator, called Ka (a clear allusion to the main character in The Trial) sets off on an “epic trip” to his fatherland, from Germany to Turkey, where he becomes a participant and a witness to an oneiric web of dramatic, Kafkian events reflecting, at multiple levels, the conflict between the Islamist and secular Turkey. Mondtag uses this material to create an ironic political theatre with elements of trash poetics, cleverly toying with recognisable elements of the Turkish culture, from Dervish dances to the hammam architecture.


In order to write a report on the suicides of young women wearing headscarfs, the poet Ka travels back to the eastern Anatolian town Kars after twelve years of exile in Germany. For three days, it snows non-stop in the town, cutting it off from the outside world. Municipal elections are in progress, marking the victory of the Islamic doctrine. On a theater stage, a quarrel arises during the performance of a didactic play from the AtaTürk era, which condemns the headscarves. Can a woman be forced to take off the headscarf? What weighs more: the reason of a secular state or the personal freedom to exercise religion? The situation escalates as members of an obscure military organization take up the stage during the performance and, led by the actor Sunay Zaim, pretend to have to save the state from the Islamists. The poet Ka undertakes the attempt to uncover the political conspiracy, but gets entangled in the struggle between Turkish and Kurdish nationalists, the army and Islamic fundamentalists. For director Ersan Mondtag, Orhan Pamuk’s Snow is highly explosive and up-to-date. With his novel, written before September 11, 2001, Pamuk wanted to represent the entire Turkey through the small town of Kars. After the attack on the World Trade Center, Pamuk began to understand that the problems of Turkey were the problems of the world. Today, Pamuk’s appeals: “Please make the difference between Islamic society and political Islam! Please make the difference between political Islam and radical fundamentalists! After the attacks such as the one made against Charlie Hebdo, emotions blur the differences. And that is awful!”

Visit: http://festival.bitef.rs/Program/338/SNOW.shtml


Three winters

Tena Štivičić


Directed by Ivica Buljan

Set designer: Aleksandar Denić, Costume designer: Ana Savić Gecan, Composer: Mitja Vrhovnik Smrekar, Lighting designer: Sonda 4, Video: Toni Soprano, Dramaturge: Mirna Rustemović, 

Guest performance from HNK, Zagreb, Croatia

In the winter of 1945, a mother, a daughter with her husband and new-born baby girl settle in the villa of an emigrant of the Independent State of Croatia, thanks to the privilege of Communist Party membership. The house at first appears empty, but conceals a left-over tenant and an old acquaintance of the mother. In the winter of 1990, the Kos family gathers in the house for a wake. It is the eve of the Homeland War and the new state is still in its infancy. Old divisions and controversies surface again, while the new generation raises new issues. In the winter of 2011, wedding preparations are under way and the Kos family is together once again. At the dawn of entry into the European Union, some family chapters are being closed and the long silences interrupted, while the new tycoons led only by the ideology of capital are determining the destiny of the household in which years and memories are still being constructed…

Tena Štivičić has courageously presented some crucial moments from her personal and Croatia’s history. The play premiered in London to great success, and won the prestigious Susan Smith Blackburn Prize in New York. Its production at the Croatian National Theatre in Zagreb, directed by Ivica Buljan, has been received with universal enthusiasm, becoming a genuine hit.


Maša Kos – Ksenija Marinković
Vladimir (Vlado) Kos – Dragan Despot
Alisa Kos – Jadranka Đokić
Lucija Kos – Luca Anić
Dunja Kralj – Barbara Vicković
Marko Horvat – Mislav Čavajda


Maša Kos – Ksenija Marinković
Dunja Kralj – Barbara Vicković
Vladimir Kos – Dragan Despot
Švabo (Karlo Dolinar)  – Bojan Navojec
Karolina Amruš  –  Nina Violić
Igor Marević – Franjo Kuhar
Aleksandar Kralj  – Siniša Popović


Ruža Kralj Mada Peršić
Aleksandar Kralj – Silvio Vovk
Monika Vinter – Alma Prica
Karolina Amruš – Nina Violić
Marinko  – Slavko Juraga


Članovi baleta: Rieka SUZUKI, Simon YOSHIDA


Premiere: 30 April 2016



Johann Wolfgang von Goethe


Directed by Tomaž Pandur

Guest performance from SNG Drama Ljubljana, Slovenia • Subtitles in Serbian

In this adaptation of Faust, a grand coproduction between the Slovenian National Theatre Drama Ljubljana and the 63rd Ljubljana Festival, which unfortunately for the Slovenian, European and Global theatre audiences became the last performance of Tomaž Pandur’s staggering theatrical opus, the renowned and internationally most successful Slovene theatre director tackled, for the third time in his rich career, one of the greatest European myths: Goethe’s Faust. Although the story of Faust is based on the medieval legend of a man, who sold his soul to the devil, it actually represents the alienation of modern man and his need for understanding himself and the world in a broader context of the universe. Pandur has alchemically transformed the legend of Faust into an intellectual and emotional atmosphere of our own time and constructed his own poetry and truth along the way. Amidst the eternal battle against an all-encompassing evil Faust points us toward infinite yearning for everything unreachable or unattainable: family, love, youth, beauty. Entering the field of magic, the landscapes of cosmic spheres, Faust is able to attain experience and completion, love and power, but the contract in blood with Mephistopheles – or himself – forces him back into solitude and the transience of life.

Tomaž Pandur understood Faust as a theatrical equation and the levels of Faust’s life and his confrontation with Mephistopheles as a poem on the phenomenology of the human species. A dream of the hieroglyph of absolute truth – which could make even infinity itself attainable. In September 2015 at the première of Faust in Ljubljana, Tomaž Pandur stated the following: “Goethe’s masterpiece Faust, the dramatic poem of the man, who signed a contract with the devil is also referred to as a ‘divine tragedy’, for it deals with the microcosm and macrocosm, with the public and private, with knowledge and discovery, with the unstoppable need and constant longing of the individual toward something bigger and better, while failing to consider the price of his passions. Throughout the centuries the story of Faust developed into an archetypal myth of human ambitions and dilemmas, which tries to entangle and understand the individual engaged in his constant battle between good and evil. In our adaptation and production of Faust, evil is plural; the devil is not alone, he comes with his entire family and assistants in order to more easily tempt and enact its famous dance of death. We follow a man set between heaven and earth, trying to find the truth and meaning of his existence. And this is precisely the purpose of theatre – to speak and ask questions about the most crucial affairs of human existence. Goethe ventured to state that the battle between good and evil propels humanity and gives it an unshakeable faith in its future”.

Premiere: 21 September 2015, Križanke – 63rd Ljubljana Festival / 30 October 2015, Main Stage of SNG Drama, Ljubljana


OCD Love


Directed by Sharon Eyal, Gai Behar

Music, sound artist: Ori Lichtik, Lighting design: Thierry Dreyfus, Costume: Odelia Arnold in collaboration with Sharon Eyal, Gai Behar, Rebecca Hytting, Gon Biran, 

The obsessive-compulsive disorder (OCD), repeatedly poses challenges for love and for life. A powerful piece, danced to pulsating techno beats created by DJ Ori Lichtik, talks about love that always misses, or lovers who keep missing each other. Out of synchronization! Like one person comes to bed and the other gets up. Like something that is full and intact, but has many holes in it. This work is about the holes.
I see everything in the piece very dark, and in shadows, you and your shadow dancing. A lot of inspiration for the work comes from the text “OCD” by Neil Hilborn. This text is strong for me because I feel it reflects me so much. I couldn’t stop reading it. For me it was already choreography, or a mold you can put your inspiration in, yourself in. It is the first time that the core of the piece is shaped in my head, and so figurative, before we have even begun working. I know the way it feels and smells. Like the end of the world, without mercy. A smell of flowers, but very dark. Like falling into a hole and not coming back. A lot of noise, but desperation for quiet. It’s not coming from a place that I want to make something sad, but something that I need to take out of myself, like a dark stone I have in my chest.

Sharon Eyal


Premiere: 2015, Colours International Dance Festival, Stuttgart




Concert of No Border Orchestra and Dresdner Sinfoniker, Germany on the 5 November 2016.



Kaća Čelan


Directed by Gorčin Stojanović

Kaća Čelan HEIMATBUCH directed by Gorčin Stojanović

Guest performance by National Theatre Sombor on the 2nd November 2016.

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