27.03.2018 News / Reports



Simon McBurney, United Kingdom Actor, writer, stage director and co-founder of Théâtre de Complicité

Half a mile from the Cyrenaican coast in Northern Libya is a vast rock shelter. 80 metres wide and 20 high. In the local dialect it is called the Hauh Fteah. In 1951 Carbon dating analysis showed an uninterrupted human occupation of at least 100,000 years. Amongst the artefacts unearthed was a bone flute dated to anywhere between 40 and 70,000 years ago. As a boy when I heard this I asked my father “They had music?” He smiled at me. “As all human communities.” He was an American born prehistorian, the first to dig the Hauh Fteah in Cyrenaica.

I am very honoured and happy to be the European representative at this year’s World Theatre Day.

In 1963, my predecessor, the great Arthur Miller said as the threat of nuclear war lay heavy over the world: ’When asked to write In a time when diplomacy and politics have such terribly short and feeble arms, the delicate but sometimes lengthy reach of art must bear the burden of holding together the human community.’

The meaning of the word Drama derives from the Greek “dran” which means “to do” … and the word theatre originates from the Greek, “Theatron”, literally meaning the “seeing place”. A place not only where we look, but where we see, we get, we understand. 2400 years ago Polykleitos the younger designed the great theatre of Epidaurus. Seating up to 14,000 people the astonishing acoustics of this open-air space are miraculous. A match lit in the centre of the stage, can be heard in all 14,000 seats. As was usual for Greek theatres, when you gazed at the actors, you would also see past to the landscape beyond. This not only assembled several places at once, the community, the theatre and the natural world, but also brought together all times. As the play evoked past myths in present time, you could look over the stage to what would be your ultimate future. Nature.

One of most remarkable revelations of the reconstruction of Shakespeare’s Globe in London is also to do with what you see. This revelation is to do with light. Both stage and auditorium are equally illuminated. Performers and public can see each one another. Always. Everywhere you look are people. And one of the consequences is that we are reminded that the great soliloquies of, say, Hamlet or Macbeth were not merely private meditations, but public debates.

We live in a time when it is hard to see clearly. We are surrounded by more fiction than at any other time in history or prehistory. Any ‘fact’ can be challenged, any anecdote can have claim on our attention as ‘truth’. One fiction in particular surrounds us continually. The one that seeks to divide us. From the truth. And from each one another. That we are separate. Peoples from people. Women from men. Human beings from nature.

But just as we live in a time of division, and fragmentation, we also live in a time of immense movement. More than at any other time in history, people are on the move; frequently fleeing; walking, swimming if need be, migrating; all over the world. And this is only just beginning. The response, as we know, has been to close borders. Build walls. Shut out. Isolate. We live in a world order that is tyrannical, where indifference is the currency and hope a contraband cargo. And part of this tyranny is the controlling not only of space, but also time. The time we live in eschews the present. It concentrates on the recent past and near future. I do not have that. I will buy this.

Now I have bought it, I need to have the next… thing. The deep past is obliterated. The future of no consequence.

There are many who say that theatre will not or cannot change any of this. But theatre will not go away. Because theatre is a site, I am tempted to say a refuge. Where people congregate and instantly form communities. As we have always done. All theatres are the size of the first human communities from 50 souls to 14,000. From a nomadic caravan to a third of ancient Athens.

And because theatre only exists in the present, it also challenges this disastrous view of time. The present moment is always theatre’s subject. Its meanings are constructed in a communal act between performer and public. Not only here, but now. Without the act of the performer the audience could not believe. Without the belief of the audience the performance would not be complete. We laugh at the same moment. We are moved. We gasp or are shocked into silence. And at that moment through drama we discover that most profound truth: that what we thought the most private division between us, the boundary of our own individual consciousness, is also without frontier. It is something we share.

And they cannot stop us. Each night we will reappear. Every night the actors and audience will reassemble. and the same drama will be re-enacted. Because, as the writer John Berger says “Deep within the nature of theatre is a sense of ritual return”, which is why it has always been the art form of the dispossessed, which, because of this dismantling of our world, is what we all are. Wherever there are performers and audiences stories will be enacted which cannot be told anywhere else, whether in the opera houses and theatres of our great cities, or the camps sheltering migrants and refugees in Northern Libya and all over the world. We will always be bound together, communally, in this re-enactment.

And if we were in Epidauros we could look up and see how we share this with a larger landscape. That we are always part of nature and we cannot escape it just as we cannot escape the planet. If we were in the Globe we would see how apparently private questions are posed for us all. And if we were to hold the Cyrenaican flute from 40,000 years ago, we would understand the past and the present here are indivisible, and the chain of human community can never be broken by the tyrants and demagogues.

21.03.2018 News / Reports


Tickets for April performances available from Wednesday, 21st March. Tickets can be purchased at our box office from 10am – 3pm & 5pm – beginning of performance. On Sundays from 5pm to the beginning of performance.

Box office phones: +381 11 30 61 957 & +381 11 26 44 447.


Wednesday, 18th April, THE KRAUT GIRL by Laza Lazarević, directed by Ana Đorđević

Saturday, 28th April, EINSTEIN’S DREAMS by Alan Lightman, directed by Slobodan Unkovski

09.03.2018 News / Reports


The production of The King of Betajnova by Ivan Cankar, directed by Milan Nešković, is scheduled to open on 3rd April to coincide with Yugoslav Drama Theatre’s 70th anniversary.  Once again, the visual identity of one of our production is created by Mirko Ilić, one of the leading graphic designers, illustrators and applied artists of today whose collaboration with YDT started in season 2017/18.  So far, Mirko Ilić has designed posters for Einstein’s Dreams, The Mercy Seat and A Month in the Country.  The poster for The King of Betajnova will be the fourth YDT poster to be designed by Mirko Ilić.

26.02.2018 News / Reports


Tickets for March performances available from Friday, 23rd February. Tickets can be purchased at our box office from 10am – 3pm & 5pm – beginning of performance. On Sundays from 5pm to the beginning of performance.

Box office phones: +381 11 30 61 957 & +381 11 26 44 447.


Saturday, 17th March, A WOMAN FROM SARAJEVO by Ivo Andrić, directed by Gorčin Stojanović

Saturday, 24th March, A PROFITABLE POSITION by A. N. Ostrovsky, directed by Egon Savin

14.02.2018 News / Reports


A commemoration dedicated to Nebojša Glogovac will be held on Monday, 12th February at 11am at Yugoslav Drama Theatre.
The funeral will begin at St Nicholas’ Church and the New Cemetery in Belgrade at 2pm.  Nebojša Glogovac will be buried in the Alley of deserving citizens.

14.02.2018 News / Reports


The great Serbian actor Nebojša Glogovac died today in Belgrade, after a short but severe illness, aged forty-nine.

The first play he ever appeared in was Joe Orton’s Loot, directed by Dejan Mijač. Soon after he began to appear in a growing number of Yugoslav Drama Theatre productions and became a permanent member of the YDT ensemble.  After portraying Niko Đurov in Fake Emperor Šćepan Mali, a text based on writings by Njegoš and directed yet again by Dejan Mijač, Glogovac started appearing in big and important roles in some of the hallmark YDT productions such as Vladimir in In the Hold by Vladimir Arsenijević, Dima in The Oginski Polonaise by Koliada, Troilus in Troilus and Cressida by William Shakespeare, Andrey in The Power Keg, Dan in Closer by Patrick Marber, Charles Varlet de la Grange in Molière – Another Life, based on writings by Bulgakov.  The versatility of his acting shone in productions such as Tracks by Milena Marković and Huddersfield by Uglješa Šajtinac and they remained on the repertoire for over a decade. There was also his portrayal of captain Jerotije in A Suspicious Person by Nušić and his brilliant creations in Ovid’s Metamorphoses or in The Broken Jug by Kleist.  The last production he appeared in and his last performance was that of Hamlet, on 13th December, 2017.  He has worked with some of the most important theatre directors in this part of the world such as Dejan Mijač, Slobodan Unkovski, Egon Savin, Dušan Jovanović, Aleksandar Popovski.

Nebojša Glogovac first appeared on film in Vukovar Poste Restante, directed by Boro Drašković and he played his first lead in Premeditated Murder, directed by Gorčin Stojanović.  Since then he has appeared in many feature films such as Rage, Thunderbirds, Sky Hook, The Powder Keg, When I Grow up, I’ll be a Kangaroo, Tomorrow Morning,  Circles, Donkey, The Constitution as well as dozens of others where he had the opportunity to be directed by Goran Paskaljević, Rajko Grlić, Ljubiša Samardžić, Radivoje Andrić, Oleg Novković and Srdan Golubović among others.

Not only was Nebojša Glogovac a leading actor of his generation but also one of the greatest actors in the history of theatre in Serbia. He will be remembered for his great performances both in classical and modern repertoire but also in films and plays that have become milestones for the times in which they were created and an indelible part of a heritage that will be passed down to future generations.

Glogovac has received a plethora of awards including the most prestigious ones such as the Sterija award, Golden Arena award in Pula, Emperor Constantine and Grand Prix awards in Niš, City of Belgrade awards and many, many others.

His death is a tragic and irreparable loss not only to Serbian theatre, film and television but also to the cultural and public life of the entire region.

The times of commemoration and funeral will be announced in due course.


01.02.2018 News / Reports


A Month in the Country by Ivan Sergeyevich Turgenev, directed by Iva Milošević is scheduled to open on Friday, 2nd February at 8pm on our Ljuba Tadić stage.

Costume design by Boris Čakširan, set design by Gorčin Stojanović with original score composed by Vlada Pejković. The cast includes Mirjana Karanović, Svetozar Cvetković, Marko Janketić, Milica Gojković, Branka Petrić, Marko Baćović, Srđan Timarov, Milena Vasić, Dubravko Jovanović, Irfan Mensur, Bojan Lazarov, Marija Klanac, Relja Vasić / Pavle Orlić.

Additonal performances on 3rd, 10th and 17th February.

26.01.2018 News / Reports


The first rehearsal in the new production of The King of Betajnova by Ivan Cankar was held today at Yugoslav Drama Theatre. Production director is Milan Nešković and the cast includes Nenad Jezdić, Vojin Ćetković, Nikola Rakočević, Jasmina Avramović, Milena Živanović, Nebojša Milovanović, Vučić Perović, Mina Obradović…

This year, Yugoslav Drama Theatre celebrates 70th anniversary of its first opening night on 3rd April, 1948. The first production of this play by Ivan Cankar was directed by Bojan Stupica and the cast included many members of the then renowned YDT ensemble such as Milivoje Živanović, Marija Crnobori, Branko Pleša, Nada Riznić, Dubravka Perić, Strahinja Petrović, Kapitalina Erić, Karlo Bulić, Zoran Ristanović, Milan Ajvaz

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