05.04.2018 News / Reports

BOX OFFICE OPENING HOURS DURING EASTER HOLIDAYS

Friday, 6th April – Closed

Saturday, 7th April – Closed

Sunday, 8th April – Closed

Monday, 9th April – open 5pm – 8pm

Box Office will resume its normal opening hours on Tuesday, 10th April.  Normal opening hours of Box Office are 10am – 3pm and 5pm – 8pm Mondays to Saturdays and 5pm – 8pm on Sundays.

Box Office contacts: +381 11 30 61 957  and +381 11 26 44 447.

04.04.2018 News / Reports

YUGOSLAV DRAMA THEATRE TURNS 70

Today marked 70 years since the first opening night at Yugoslav Drama Theatre. The event to mark the anniversary was attended by YDT members, associates and friends. Tamara Vučković Manojlović, CEO of Yugoslav Drama Theatre, gave a brief overview of the events of last year which was followed by YDT annual awards ceremony.

Besides the award recipients, the 70th anniversary celebration was attended by Branka Veselinović, Vlasta Velisavljević, Predrag Ejdus, Branka Petrić, Branko Cvejić, Dragan Bujošević among others.

Vojislav Brajović, President of the Association of Dramatic Artists of Serbia, made the announcement that the Dobričin Prsten lifetime achievement award will be awarded posthumously to Nebojša Glogovac, member of YDT ensemble.

ANNUAL AWARD LAUREATES FOR 2018

Annual Award for theatre direction for Right You Are, If You Think So by Luigi Pirandello – Jagoš Marković

Annual Award for the role of Lady Frola in Right You Are, If You Think So by Luigi Pirandello, directed by Jagoš Marković – Jelisaveta Seka Sablić

Annual Award for the roles of Albert, Mr J, Mechanic, Doctor A and  Tonino in Einstein’s Dreams by Alan Lightman, directed by Slobodan Unkovski – Dragan Mićanović

Annual Award for the role of Natalya Petrovna in A Month in the Country by Ivan Sergeyevich Turgenev, directed by Iva Milošević – Mirjana Karanović

Annual Award for the role of Mihail Alexandrovich Rakitin in A Month in the Country by Ivan Sergeyevich Turgenev, directed by Iva Milošević – Svetozar Cvetković

Dr Branivoj Đorđević Award for Diction for the roles of  Peppino, Johann, Doctor A and Tonino in Einstein’s Dreams by Alan Lightman, directed by Slobodan Unkovski – Radovan Vujović

Annual Award for exceptional contribution to maintaining high standard of operation – Dragana Pantelić, legal department

Annual Award for exceptional contribution to maintaining high standard of operation – Rade Stojiljković, stage manager

Annual Award for exceptional contribution to maintaining high standard of operation – Dejan Draganov, head of lighting department

Annual Award for exceptional contribution to maintaining high standard of operation – Jova Mihajlović, head of costume department

Yugoslav Drama Theatre Letter of Commendation for many years of cooperation and support – Raiffeisen bank

Yugoslav Drama Theatre Letter of Commendation for half a century of working together – Radio Televison of Serbia

The jury comprised of Miloš Krečković, Goran Šušljik and Nikola Rakočević gave the  Annual Branka and Mlađa Veselinović YDT Foundation award for best actor in a YDT production in 2017 to Jelisaveta Seka Sablić for the role of Lady Frola in Right You Are, If You Think So by Luigi Pirandello, directed by Jagoš Marković

03.04.2018 News / Reports

THE KING OF BETAJNOVA OPENS

The opening night of The King of Betajnova by Ivan Cankar, directed by Milan Nešković, is scheduled for Tuesday, 3rd April at 8pm on our Ljuba Tadic stage.

Maja Todorović was in charge of dramaturgy, Vesna Popović designed the set, Biljana Grgur designed the costumes and music was composed by Anja Đorđević.

This production marks 70th anniversary of the first opening night at YDT and the cast includes Nenad Jezdić, Vojin Ćetković, Milena Živanović, Anđelika Simić, Nebojša Milovanović, Nikola Rakočević, Mihailo Janketić, Jasmina Avramović, Mina Obradović, Vučić Perović, Stefan Timotej Kalezić and Đorđe Teodosić

More performances of The King of Betajnova scheduled for 4th, 11th and 23rd April.

27.03.2018 News / Reports

WORLD THEATRE DAY MESSAGE 2018

WORLD THEATRE DAY MESSAGE 2018 – EUROPE

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

TICKET SALES FOR APRIL HAS STARTED

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.

PERFORMANCES WITH ENGLISH SUBTITLES:

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

MIRKO ILIĆ DESIGNS FOURTH POSTER FOR YDT

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

TICKET SALES FOR FEBRUARY HAS STARTED

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.

PERFORMANCES WITH ENGLISH SUBTITLES:

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

COMMEMORATION AND FUNERAL OF NEBOJŠA GLOGOVAC

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.

Страница 1 од 2112345...1020...Последња »