The Deceased

Branislav Nušić


Directed by Igor Vuk Torbica

  • RinaAndrijana Oliverić/Maša Dakić
  • Spasoje BlagojevićDejan Dedić
  • MileLazar Đukić
  • AntaStefan Bundalo
  • Ljubomir ProtićŽeljko Maksimović
  • Milan NovakovićBanranislav Zeremski
  • Pavle MarićMarko Janketić
  • Mladen ĐakovićIvan Mihailović
  • AljošaAleksandar Marković
  • Mr. ĐurićBane Jevtić
  • Musicians:Marko Marić
  • -Aleksandar Savić
  • -Nikola Ulemek

Dramaturgs: Tamara Bijelić, Maša Seničić, Production Managers: Pavle Jakičić, Kristijan Šujević, Set Designer: Veljko Stojanović, Costume Designer: Ivana Čemerikić, Composer:Marko Marić, Photographer: Jelena Veljković, Sound Designers: Mlađan Matavulj, Srđan Milovanović,

Faculty of Dramatic Arts production


“The action of The Deceased has been set in the late ‘70s – a period during which the Communist Party, led by Marshal Tito, was on the march, trying to eradicate all liberals and technocrats, after which it was free to replace them with a new generation of trusted party comrades. This production of The Deceased points a finger at this phenomenon, established in Yugoslav times by the Socialist system (and which we’re still grappling with in Serbia), where nepotism is rife and where family or party members receive special treatement or in other words: where everything is possible – provided you know the right people.”

This production was sponsored by the City of Belgrade Secretariat of Culture.


Premiere: Faculty of Dramatic Arts production – 15 May 2012 (FDU), 28 September 2012 (Bojan Stupica Theatre)

Duration: 1hr 20mins, no interval

Last performance:


The Cherry Orchard

Ljuba Tadić Theatre

Anton Pavlovich Chekhov


Directed by Dejan Mijač

Translation: Zorаn Božović, Set Designer: Darko Nedeljković, Costume Designer: Leo Kulaš,Music Advisor: Vladimir Pejković, Speech: Ljiljаnа Mrkić Popović, Lightning Design:Svetislav Calić,

The Cherry Orchard was the last play by the greatest Russian playwright, written while he was at the top of his powers. It not only stands at the crossroads between two centuries – and two different eras – it is also about the painful changes that such times bring. The play also stands at the very end of an era in the history of drama, the 19th century domestic drama, as the pinnacle of this period – and at the beginning of the new era, like a root from which will spring the shoots of modern 20th century drama.

The Cherry Orchard is also the farewell production of a famous Serbian theatre director Dejan Mijač who chose this to be the last play he will direct. The production focuses on the most important qualities of this magnificent piece: an insight into human nature, great ability to discuss the relations between people using the simplest means, powerful scenes written with cool precision and great compassion, tinged with sadness and humour, and all in a pregnant atmosphere of expecting a tragedy that will inevitably come.

“The Cherry Orchard is a fantastic play but Mijač has imbued it with new ideas; his direction, acting and the décor all fit beautifully with the minimalist set (…), and the fact that there are so few stage effects brings to the fore the psychological analysis of the characters and excellent acting from the cast.” (CITY MAGAZINE)

“Great actors and a great production.” (POBJEDA, Montenegro)

“Mijаč’s direction is all about subtle poetic approach with great attention to detail, effective minimalism which is such fertile ground (…) for exciting performances from actors.” (POLITIKA)

The Cherry Orchard premiered on Sveti Stefan on 17th July, 2011 and is a co-production between the Yugoslav Drama Theatre and Theatre City Budva Festival.


Madame Lyubov Andreievna Ranevskaya Jasna Đuričić
Gayev Svetozar Cvetković
Dunyasha Hana Selimović
Yepikhodov Nikola Vujović
Yasha Nebojša Milovanović
Varya Jelena Đokić
Anya Jelena Petrović
Charlotta Nada Šargin
Lopakhin Boris Isaković
Trofimov Bojan Dimitrijević
Pishchik Branko Cvejić
Firs Vlasta Velisavljević
A Stranger Andrej Nosov


Premiere: 4 October 2011

Duration: 2hrs 10mins, no interval

Last performance: 7 June 2015



Ljuba Tadić Theatre

Milena Marković


Directed by Slobodan Unkovski

Set & Costume Designer: Angelina Atlagić, Dramaturg: Marina Milivojević Mađarev, Music Selection Associate: Nebojša Ignjatović, Choreography: Maja Milanović, Lightning Designer: Svetislav Calić,

One of the key works of modern Serbian drama and a theatrical heritage of a lost generation, the one that came to maturity during 1990′s. In this play exciting scenes of courage and passion follow in quick succession, like in a big theatrical kaleidoscope. These scenes are a testimony that – in a vicious circle of violence – the evil that people do is not a product of a tortured childhood but that it has its roots in the deep, primeval forces that shape man and determine his actions and his relationship with others.

“Tracks by Milena Marković has been turned into a production that will probably become a cult production for the young generations and which should make the slightly older members of the audience to take stock of their own lives and what it is that they had forgotten to do in order to make the world around us a better place.“ (NIN)

“The latest production by the Yugoslav Drama Theatre – Tracks – seems set to become an important play of its generation as well as its symbol.” (BLIC)

Tracks was performed at the 8th Yugoslav Theatre Festival in Užice (where it won the special Ardalion award, 12th Dani Zorana Radmilovića festival in Zaječar (where actor Boris Milivojević won the Zoranov Brk award), Biennale of New European Drama in Wiesbaden, Germany, Festival of Modern Drama in Budapest, Days of Serbian Culture in Toronto, Tuzla theatre festival, City Theatre Budva festival as well as a part of a Belgrade – Sarajevo / Sarajevo – Belgrade project. In addition, Tracks has toured in Lazarevac, Tivat, Podgorica, Ruma, Smederevo, Sombor, Pančevo, Bratislava, Čačak, Valjevo, Zagreb, Novi Sad.


Moron Boris Milivojević
Hero Sergej Trifunović
Ugly Nebojša Glogovac
Buttonhole Jelena Đokić
Angler, Local, Greasy Marinko Madžgalj
Angler, Local, Greasy Nebojša Milovanović
Joker Nikola Đuričko

Premiere: 25 November 2002

Duration: 1hr 30mins, no interval

Last performance: 29 May 2016



Ljuba Tadić Theatre

Uglješa Šajtinac


Directed by Alex Chisholm

Set Designer: Marija Kalabić, Costume Designer: Jelisaveta Tatić Čuturilo, Dramaturgs:Miloš Krečković, Marija Stojanović, Video: Dušan Udicki, Lightning Designer: Svetislav Calić,

On the surface, this is a story about the return of an old friend after ten years spent abroad and an encounter between best friends after a long absence; this play – one of the most exciting pieces of dramatic writing in Serbia in this century – not only touches upon some of the most difficult and painful issues related to life in this day and age and in this part of the world but also answers some of the eternal and universal questions: honesty and deceit, responsibility towards ourselves and others, about youth, maturity and death.

“It has been a long time since I have felt this happy while watching a play and so sad that it had to end. The actors have what it takes to make us believe that this story written by Uglješa Šajtinac is not only the story of their lives but ours too.” (B92)

“A play by young people for young people.” (POLITIKA)

“The quantity of emotion and excitement that this play has stirred among the spectators, this play can certainly be considered one of the most successful pieces of theatre in the many years of the Budva festival.” (POBJEDA)

“A fantastic cast (…) has managed to achieve what so rarely happens in theatre and is yet the very essence of theatre – absolute attention from the audience, laughter, tears and at the end several minutes of standing ovation from the whole auditorium saluting the artists.” (VIJESTI)

Huddersfield has toured all over Serbia and the region, throughout the Balkans and has been performed at festivals in Novi Sad, Užice, Mladenovac, Zaječar, Brčko, Doboj, Banja Luka and Budva, winning nearly every award there was to win, including three Sterijino Pozorje awards: Uglješa Šajtinac for best new play, Nebojša Glogovac and Goran Šušljik for best actors and four Ardalion awards: best production, best set design (Marija Kalabić), best actor (Nebojša Glogovac) and best supporting role (Josif Tatić).

Premiere: 26 February 2005

Duration: 2 hrs, no interval

Last performance: 28th May 2016


Shopping & Fucking

Mark Ravenhill


Directed by Iva Milošević

Translation: Olivera Milenković, Costume Designer: Jasmina Ignjatović, Set Designer:Gorčin Stojanović, Music: Marko Nastić, Lightning Designer: Svetislav Calić

Shopping & Fucking, first (and probably the best) play written by the legendary Mark Ravenhill, represents one of the supporting pillars in a structure created toward the end of 20th and early years of 21st century by authors of new European drama. They sought their topics and their answers in the borderline areas of human soul and human society, believing that the safe and comfortable existence of the western world and the idea of good life and progressive urban society was nothing but a surface under which festered and boiled a different, less affable, but much truer existence – a life replete with perverted sexuality, the need to abuse others and be abused, disease, violence, weakness, desire and love.

Iva Milošević does not seem phased by the type of rebellion Ravenhill’s characters seem to embark upon, and even less prepared to justify their actions or feel sorry for them. Looking at them from her own point of view, the point of view of someone who belongs to the same generation, the director sees their rebellion as a fall from grace and a posture which is nothing but a failed attempt to hide an appalling feeling of contentment with their own demise.” (GLAS)

Shopping & Fucking was performed at the 3rd Golden Lion international theatre festival at Umag, at 48th Sterijino Pozorje festival in Novi Sad and has toured in Podgorica, Smederevo and Pančevo.

Premiere: 21 February 2002

Duration: 1hr 35mins, no interval

Last performance:



Vuk Bošković


Directed by Andrej Nosov

PRODUCTION: Predrag Madžarević, Janko Dimitrijević, Strahinja Bošković, COSTUME DESIGNER: Darinka Mihajlović, SET DESIGNER: Mia David, COMPOSER: Irena Popović- Dragović, DRAMATURG: Vuk Bošković, LIGHTNING DESIGNER: Gordana Pantelić,MAKEUP ARTIST: Snežana Petković, MUSICIANS: Danilo Tirnanić (drums), Uroš Antić (accordion), Vladimir Grubaj (klarinet), Lena Vasić (violin), 



Elijah’s Chair

Igor Štiks


Directed by Boris Liješević

Dramatisation: Darko Lukić, Dramatisation Adaptation: Boris Liješević, Dramaturg: Branko Dimitrijević, Set Designer: Gorčin Stojanović, Costume Designer: Maja Mirković, Composer:Aleksandar Kostić, Speech: Ljiljana Mrkić Popović, Lightning Designer: Svetislav Calić, 

Europe. Last decade of the 20th century. Well known author Richard Richter with his fiftieth birthday fast approaching, tired of hopeless attempts to take stock of his life so far and make peace with himself, haunted by the demons of a writer’s block and his marital shipwreck, now behind him, leaves Paris and returns to his native city of Vienna, to the house where he grew up. In that house, while attempting to redecorate his old room, in one of the walls he discovers a notebook that belonged to his mother and in it the whole truth about his family that had remained hidden for half a century. Feeling that it is a part of his own destiny, Richter decides to get to the bottom of this mystery and embarks on a dangerous journey to the besieged city of Sarajevo and on an even more dangerous road of personal discovery….

Elijah’s Chair, the play, is based on the novel by the same name written by Igor Štiks, dramatisation by Darko Lukić and was co-produced with MESS Sarajevo International Theatre Festival. It also won the first prize, Grand prix Mira Trailović, at the 45th Bitef Festival.

“The dynamics of this tragic story of one character caught between his personal problems and the cruel vortex of history are also built on the testimony of fairly recent events and the distressing events that took place in Sarajevo in the early 1990s.” (DANAS)

“Where politics fail, theatre succeeds. (…) Using the power of the text, director Liješević makes his contribution towards finding the answers for the intimate questions of the time.” (RTS)

The production has been performed in Sarajevo on a number of occasions but also in Vienna, Zagreb, Ljubljana and Montenegro (Cetinje, Tivat, Podgorica), in Rijeka (where it won five awards: for the best performance, directing, dramaturgy and two acting awards), in Kopar, Cluj, Banja Luka (where it won awards for the best acting and the best performance), in Mladenovac, Vranje, Sombor.


1hr 40mins, no interval

Premiere: 16 October 2010



Georges Feydeau


Directed by Ljubiša Ristić


Monsieur Chandebise is a director of a respectable international insurance society. Madame Chandebise, however, believes that his impotence is a result of infidelity and is setting a trap for him: a bogus love letter from a mysterious woman and an invitation for a rendezvous at the Coq d’Or Hotel where Madame Chandebise intends to go herself with the intention of catching her husband in flagrante delicto. In order for her husband not to recognise her handwriting she asks her best friend – Madam Homenides – to write the letter. However, Monsieur Chandebise decides that the mysterious woman has probably sent the letter to him by mistake and that it was probably meant for his young and handsome associate Tournel and proceeds to send Tournel in his stead to the secret rendezvous. Tournel agrees and leaves for the hotel, quite unaware that the person waiting for him there will be none other than Madame Chandebise whom he loves passionately. Through carelessness, the letter ends up in the hands of the pathologically jealous Señor Homenides who, recognising his wife’s handwriting, rushes off to the same hotel with a gun in his hand. Hearing of this, Chandebise decides he too must go to the hotel in all haste in order to save Tournel….

A Flea in Her Ear is probably the most famous vaudeville in the history of theatre and is certainly the most famous work by Georges Feydeau, the king of the genre. It has been part of the Yugoslav Drama Theatre repertoire for the last forty years and has had nearly two thousand performances. Nikola Simić who leads the cast of actors, who have breathed life into this piece and kept it going all these years, has appeared in every single performance since the beginning in his double, inimitable performance of a lifetime.


First Cast (1971): Victor Emmanuel Chandebise / Poche NIKOLA SIMIĆ; Camille Chandebise MILAN GUTOVIĆ; Romain Tournel VOJISLAV BRAJOVIĆ; Dr. Finache MORIS LEVI; Don Carlos Homenides De Histangua MARKO TODOROVIĆ; Ferallion VLASTA VELISAVLJEVIĆ; Etienne BORO STJEPANOVIĆ; Rugby MORIS LEVI; Baptistin BRANKO MILENKOVIĆ; Raymonde Chandebise RADA ĐURIČIN; Lucienne Homenides De Histangua BRANKA PETRIĆ; Antionette ZORICA ŠUMADINAC; Eugenie VESNA LATINGER.

Premiere: 7 June 1971

Last performance: 19 January 2014

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