A STAGE AT THE BELGRADE DRAMA THEATRE NAMED AFTER A THEATRE LEGEND PREDRAG PEPI LAKOVIC (1929–1997) a permanent member of the Belgrade Drama Theatre since 1952, when he performed his graduation play with his acting class (Olivera Markovic, Olga Stanisavljevic, Bosiljka Boci, Marija Maja Belovic, Vera Belogrlic, Vlastimir Djuza Stojiljkovic, Mihajlo Mika Viktorovic ...) under Professor Mata Milosevic, and soon afterward his first professional role until the mutual termination of employment in 1980. He played 62 roles, both as an independent actor and as an alternate. With his creation and sacrifice, he is the best example and the most beautiful symbol of the Crveni Krst Theatre, which experienced extreme highs as well as lows during its existence. With his distinct talent, authenticity, unique expression, significant accomplishments, great perseverance, lasting persistence and immense kindness, Predrag Pepi Lakovic deserves that a Stage at the Belgrade Drama Theatre bears his name. Savo Radovic (at the official promotion of the new name of the stage on October 1, 2019) 49
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51 Ingmar Villqist NIGHT OF THE HELLVER DIRECTOR: Dino Mustafic PREMIERE 24.11.2022. Duration: 90 minutes "Night of the Hellver", a dramatic piece by the most admired contemporary Polish playwright, director and professor Ingmar Villqist (an alias of Jaroslav Świerszcz), from 1999, is a play that delicately deals with the strange relationship between a mother and a stepson (a boy with special needs), and the intertwined relationship of mother-child, protege-tutor, brother-sister, man-woman, executioner-victim. The intimate drama takes place in an environment of highly-structured totalitarianism of the 1930s, the echo of which intensifies the inner tensions of this unusual couple. The play is a cooperation with "Chamber Theater 55" from Sarajevo. TRANSLATION: Faruk Tahirbegovic DRAMATURGE: Ljubica Ostajic STAGE DESIGNER:Kenal Hrustanovic CAST: Mirjana Karanovic and Ermin Bravo STAGE MANAGER: Zoran Milojevic
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53 Slobodan Obradovic YANKEE ROSE DIRECTOR: Milos Lolic PREMIERE 05.11.2022. Duration: 120 minutes Two bolts of lightning flashed. I went out on the terrace. My scarf fluttered in the wind. While the towers collapsed, I looked like some creature from The Lord of the Rings. The State Department, pillar of shame, horror, chaos, of various interpretations - how to get to the bottom of the national consciousness? After the shock, you need to think about the essence. It's hard for me to explain how I feel. Every time I try to feel, my brain wants to explode. Fantastic. Moving. Grand. Historical. Give me two bottles of Chateaux de Pape - it is noble and full of character! Finally, hell - it's the others." An excerpt from Yankee Rose DRAMATURGE: Perisa Perisic and Aleksandar Radivojevic COSTUME DESIGNER: Maria Markovic Milojev COMPOSER: Nevena Glusica SPEECH COACH: Dr Ljiljana Mrkic Popovic LIGHTING DESIGNER:Srdjan Jovanovic DESIGNER OF THE DOLLS: Zorana Milosakovic-Tasic PROSTHETICS: SINERGY FX ( Veroljub Naumovic, Kristina Miljacki, Dijana Miolac) CAST: Danica Maksimovic, Ivana Nikolic, Iva Ilincic, Ivana Vukmirovic, Sara Ristic, Milan Cucilovic, Luka Grbic, Ivan Zablacanski, Amar Corovic, Dimitrije Cincar-Kostic, Jonathan Masttor Lumbila, Mladen Lukic, Milos Jakovljevic ASSISTANT DIRECTOR: Stefan Camdzic, Luka Mijatovic ASSISTANT COSTUME DESIGNER:Katarina Stanivukovic PROMPTER: Jovana Matic ORGANISER:Dr Biljana Ramic STAGE DESIGNER: Milos Lolic STAGE MANAGER: Dejan Popovic
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55 Jean-Baptiste Poquelin Molière THE MISANTHROPE DIRECTOR: Jug Djordjevic PREMIERE 09.09.2022. Duration: 120 minutes “Although in his play "The Misanthrope" Molière describes the hypocrisy of the French bourgeois society of the 17th century, this manuscript remains relevant even centuries later since it deals with universal motifs and themes that we still recognize in different social orders, that is, people as such. In other words,the text deals with the flaws inherentin human nature,thus criticizing the duplicity, insincerity and hypocrisy of the bourgeoisie. Nevertheless, with the desire to go a step further than the simple and expected criticism of the world and society we live in, we decided to sharpen the interpretation of this classic and approach it from another perspective. A more current perspective – the female perspective. In a world of double standards, extreme inequality and disparity, women are finally becoming more vocal in their fight againstthe problems they have always faced just because they are women. Someone once jokingly mentioned how good it is that women are asking only for equality since, bearing in mind what they suffered and are suffering, they could rightly seek revenge. Therefore, it isn’t at all surprising that this time we will deal with misanthropy from the life experience of a woman.” Tijana Grumic TRANSLATION: Radmila Miljanic Nikolic STAGE AND COSTUME DESIGNER: Jug Djordjevic DRAMATURGE: Tijana Grumic COMPOSER: Julija Castellucci STAGE MOVEMENT:Damjan Kecojevic SPEECH COACH: Dijana Marojevic DeMolière song - music, arrangements, drums and bass: Nikola Mijuskovic, Emilija Djordjevic CAST: Ljubinka Klaric, Isidora Simijonovic Marija Pikic, Ljubomir Bulajic, Amar Corovic, Stojan Djordjevic, Milos Lazarov АSSISTANT DRAMATURGE:Anja Bilanovic ASSISTANT DIRECTOR:Nemanja Mijovic ASSISTANT STAGE DESIGNER:Danilo Mladjenovic ASSISTANTCOSTUME DESIGNER:Adrijana Simovic PROMPTER:Jovana Matic ORGANISER:SonjaBlagojevic
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57 Tennessee Williams A STREETCAR NAMED DESIRE DIRECTOR: Lenka Udovicki PREMIERE 24.06.2022. Duration: 150 minutes (the play has a break) „A streetcar named desire“ is a dramatic work that the literary factography classified among the classics almost at the moment of its creation, thus making it likely that its currentness at the time was universally and openly recognized even today and here. Tennessee Williams is a writer who won the Pulitzer Prize for this play in 1948, the first of his three prizes. It was a huge success in the theatre directed by Elia Kazan, and a few years later the same director made a cult film based on that work. While driving our Streetcar, Williams speaks loudly about the topics that troubled him, about the weaknesses that were an integral part of his existence: mental fragility, homosexuality, alcoholism. And it was precisely this perseverance, inherited from Chekhov, that allowed the individual, if selected and descript by the master's pen, to become a general place and our common problem. Therefore, relying on the discovery of the state of the human soul, the intimate drama of its heroes, and their emotional turmoil - make this dramatic work relevant for every time, including our own. In this Streetcar, some very important questions that are relevant even in the present time are being raised; questions concerning the position of women in modern society. If Williams were our real and not just literary contemporary, he would today be a well-known and recognized advocate for female emancipation. With this work, in the mid-twentieth century, he very clearly and unequivocally opened the question: Can a woman survive in the world of extreme materialism, in the almost hysterical circumstances that grind our lives? Blanche says: "Deliberate cruelty cannot be forgiven." And our world, unfortunately, has become crueler. But apart from the courage to speak about the forbidden, apart from the ability to make us recognise the problems of the characters who selflessly share them with us, he talks about the moment when one era passes forever and disappears, and the other, new era, approaches. At that time, Williams wrote about the demise of one class (Blanche) and the creation of a new one (Stanley), about those who manage to transfer and survive (Stela), and about the emergence of a new value system. Nowadays, we are aware of the changing times that caught us by surprise, as history always makes sure of; and in these chaotic situations, our streetcar timetable turns into panic and disorder. The conflict between the old and the new appears, beyond everything, as the conflict between two different views of the world. Do we have the right to believe that illusion can be an integral part of life, that there is still room for love in this world that renounces, and is ashamed of emotion? Illusions are abolished, and the need for "running away from reality in which we do not feel comfortable" is thwarted.And as the writer says: "People get over it more easily if you take away their money than their illusions." Zeljka Udovicic Plestina TRANSLATION: Vera Nesic and Dragoslav Andric DRAMATURGE: Zeljka Udovicic Plestina STAGE DESIGNER: Zorana Petrov COSTUME DESIGNER: Bjanka Adzic Ursulov COMPOSER: Nigel Osbourne and Davor Roko CAST: Branka Katic, Vanja Nenadic, Milos Petrovic Trojpec, Marko Todorovic, Nadja Sekulic, Jovo Maksic, Nikola Malbasa, Milos Lazarov, Bojana Stojkovic STAGE MANAGER: Zoran Milojevic ОRGANISER: Dr Biljana Ramic CHOREOGRAPHY AND STAGE MOVEMENT: Stasa Zurovac LIGHTING DESIGNER: Andrej Hajdinjak SOUND DESIGNER: Marko Kekezovic SPEECH COACH: Dr Ljiljana Mrkic Popovic Co-production with BELEF Festival and Ulysses Theatre Brioni
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59 Slobodan Obradovic DEMOCRACY (based on the drama „Democracy“ by J. Brodski) DIRECTOR: Veljko Micunovic PREMIERE 15.05.2021. Duration: 90 minutes "The idea is to stick to the questioning of the phenomenon of democracy as a term and what it can mean today, here or there or everywhere, how much essence is left from its original meaning, how much the word is misused today and whether democracy even brings us it’s basic postulates, did we ever experience them or did everything remain at the level of politics? The adaptation will be radical - it is important to emphasize this. We have various texts by Brodski in mind, his essays and poetry, but we remain open to the use of other people's views on the democratic organization of society - from those that are at the foundations of the word democracy, to those who are utopian, and to those that have led us to ask ourselves what does democracy even means in today's circumstances." Slobodan Obradovic DRAMATURGE: Slobodan Obradovic STAGE DESIGNER: Мarija Kalabic COSTUME DESIGNER: Jelena Stokuca COMPOSER: Irena Popovic Dragovic SPEECH COACH: Dijana Marojevic LIGHTING DESIGNER:Srdjan Jovanovic CAST: Ozren Grabaric, Ivana Nikolic, Arpad Mesaros, Tamara Aleksic, Gabor Pongo/Milos Lazarov МUSICIANS: Nikola Dragovic and Ivan Mirkovic АSSISTANT COSTUME DESIGNERER: Milena Kostic STAGE MANAGER: Zoran Milojevic ОRGANISER:Dr Biljana Ramic Co-production with Újvidéki Színház from Novi Sad
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61 Ivor Martinic THE DAMNED (based on the film by Luchino Visconti) DIRECTOR: Jagos Markovic PREMIERE 01.10.2019. Duration: 90 minutes In his specific dramaturgical stylization of the famous film by Luchino Visconti (1969), Ivon Martinic respects the time sequence of the moral decline and the political rise and enrichment of the von Essenbeck family (an allusion to the famous Krupp family), which begins with the burning of the Reichstag in 1933 and ends in The Night of the Long Knives in 1934. Everything is combined or rather reduced to one spooky, macabre night of celebration of the fall of old Germany and the birth of Nazism. A extravagant birthday celebration turns into a brutal, bloody "game of chairs," in which in every round someone falls out, or rather loses their life, and the masks of the civilisation superstructure (scruple, empathy, self-control) rapidly fall off, revealing the true meaning in the final picture of this bestial game. When asked about the third collaboration with BDT, Jagos Markovic said: "We have to testify, we have to tell each other - so that we don't think that everything is fine, so that we don't become numb." Well, that's why 'The Damned.'" LANGUAGE ADAPTATION: Zivana Raskovic АDAPTATION, STAGE DESIGNER, MUSIC SELECTION: Jagos Markovic COSTUME DESIGNER: Bojana Nikitovic SPEECH COACH: Dr Ljijana Mrkic Popovic EXECUTIVE PRODUCER: Srdjan Obrenovic CAST: Aleksandar Alac, Branka Katic, Isidora Simijonovic, Vladan Milic, Pavle Pekic, Jovo Maksic, Milan Cucilovic, Milica Zaric, Vanja Nenadic ASSISTANT DIRECTOR: Ksenija Cirica ASSISTANT DIRECTOR: Tara Lazarevic АSSISTANT COSTUME DESIGNERER: Petra Fotez STAGE MANAGER: Dejan Popovic
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63 Ana Djordjevic THE BLACK BOX (Inspired by movie “Perfect strangers” P. Genovese) DIRECTOR: Andrej Nosov PREMIERE 03.11.2017. Duration: 80 minutes We all live three lives: public, private, and secret. We used to keep our secrets in our heads, but today we keep them in our SIM cards. What if they could talk? Seven friends gathered to watch the lunar eclipse reveal their most intimate secrets and desires during dinner, looking for a way out of the game of truth with mobile phones. What is the truth and what is a secret? How well do we know those closest to us and those we live next to? Note: Do not try this at home MANUSCRIPT COLLABORATOR: Andrej Sepetkovski STAGE DESIGNER: Tamara Brankovic COSTUME DESIGNER: Selena Orb COMPOSER: Drasko Adzic SOUND DESIGNER: Matija Lekovic CAST: Ivan Zaric, Ljubinka Klaric, Ljubomir Bulajic, Natasa Markovic, Stefan Radonjic, Ivana Nikolic, Ivan Zablacanski VOICES: Vesna Cipcic, Pavle Pekic, Jovana Gavrilovic, Milan Maric, Slaven Doslo, Ivana Jovovic ASSISTANT DIRECTOR: Kristina Krspogacin Stajic STAGE MANAGER: Zoran Milojevic ОRGANISER: Ivana Jovovic Co-production with „Beo art“ Production from Belgrade
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65 Milena Depolo and Boban Skerlic TRPELE DIRECTOR: Boban Skerlic PREMIERE 13.10.2013. Duration: 95 minutes The piece "Trpele" was created based on documentary material; authentic confessions of women - victims of violence. Transcripts of interviews conducted by the Helsinki Committee for Human Rights in Serbia with women who killed their abusers provided the core material. COSTUME DESIGNER: Tatjana Radisic COMPOSER: Anja Djordjevic SPEECH COACH: Dr Ljiljana Mrkic Popovic STAGE MOVEMENT AND CHOREOGRAPHY:Marija Milenkovic CAST: Jadranka Selec, Danica Ristovski, Natasa Markovic, Milena Pavlovic, Milica Zaric, Ivana Nikolic, Sladjana Vlajovic STAGE MANAGER: Zoran Milojevic ОRGANISER: Marija Batinica
66 NEW VOICES shutterstock.com
NEW VOICES The Belgrade Drama Theatre continues to promote young authors in cooperation with the Faculty of Dramatic Arts. The "New Voices" project brings together the most promising young authors - writers and directors - who will have the opportunity to work at the Belgrade Drama Theatre. In the course of the year, five plays by young writers will be performed under the direction of five young directors, who will present their stage poetics to the Belgrade audience for the first time. These projects will bring together a large number of young actors and associates: stage designers, costume designers, composers and organisers who will get the opportunity to take their first professional steps. This plays will be included in the regular repertoire of BDT in 2023. 67
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69 Goran Starcevic A BITE, A BANG AND THE SHIRT OFF YOUR BACK DIRECTOR: Stefan Gajic PREMIERE 05.08.2023. COSTUME DESIGNER: Marina Maricic STAGE DESIGNER: Marta Dogan STAGE MOVEMENT: Marija Milenkovic SPEECH COACH: Djordje Markovic ORGANISER: Sara Kamarit CAST: Marko Pavlovic, Vukasin Jovanovic, Mina Obradovic, Ognjen Malusic, Lenka Petrovic, Ognjen Nikola Radulovic, Dragan Petrovic, Petar Petrovic, Ksenija Repic, Radosav Janjic MomirKarapandzic, a fake military invalid and a veteran oftheKosovo and Metohija War, following an unsuccessful celebration for the veterans from the wars of the nineties, is being blackmailed by an anonymous fellow soldier and must bribe him in order to keep his pension. Momir will do whatever it takes; he will sacrifice everything to achieve his goal.
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71 Milica Radojcic QUIET, QUIETER DIRECTOR: Ana Jankovic PREMIERE 12.08.2023. DRAMATURGE: Milica Radojcic STAGE DESIGNER: Bojan Kaurin COSTUME DESIGNER: Jovan Cvetkovic COMPOSER AND SONGS: Duda Burzujka PRODUCERS: Jelena Ceivanovic and Nadja Marjanovic CAST: Alisa Radakovic, Jana Milosavljevic, Anja Curcic, Veljko Stevanovic, Cubrilo Cupic, Stojsa Oljacic After someone reports a rape, a group of high-school students who are both witnesses and accomplices to the crime try to piece together the story of what happened the night before, but they can't agree on one thing - was it rape or sex? The aim of the play is to call for a reassessment of myths about rape, patriarchy and the position of women in general, in a society where sex and rape are used as synonyms and where "no" still means "yes".
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73 Katarina Nikolic THE WINDOW DIRECTOR: Nikola Bundalo PREMIERE 19.08.2023. STAGE DESIGNER: Jelena Ivancevic COSTUME DESIGNER: Milos Janjic COMPOSER: Јana Baljak STAGE MOVEMENT: Andreja Kargacin ORGANISER: Nikola Markovic CAST: Aleksandar Jovanovic, Nevena Kocovic, Stefan Starcevic, Marta Bogosavljevic, Dragan Petrovic The drama "Window" by Katarina Nikolic is a socially-engaged play that reconstructs the problem of violence in schools through different types of violence: from sexual and family violence to LGBT discrimination. The main characters are young people, seemingly cruel and self-confident, ready to step forward in life, but in reality extremely vulnerable and insecure regarding what awaits them. In that fight against the world, the school, the system, their parents, against each other, they encounter new problems, and it becomes clear that violence always begets new violence, and that in this game there are no antagonists – everybody is a victim. The drama "Window" won the 2021 Heartefact Competition for the best contemporary socially-engaged dramatic text.
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75 Mina Petric CREVICES DIRECTOR: Iva Olujic PREMIERE 26.08.2023. DRAMATURGE: Mina Petric STAGE DESIGNER: Luna Salamon COSTUME DESIGNER: Lara Buncic STAGE MOVEMENT: Anisja Gavrilovic COMPOSER: Ilija Djordjevic LIGHTING DESIGNER: Nikola Bogdanovic SPEECH COACH: Djordje Markovic SOUND DESIGNER ASISSTANT: Nikola Eric ORGANISER: Lenka Miloradovic CAST: Ema Muratovic, Aleksandra Arizanovic, Nevena Mihailovic, Stefan Beronja, Sanja Petrovic, Sladjana Vlajovic A few words about the play: ...if anything, at least I'm using words here. Someone asks me something and I answer him. Words exist only in this building and in books. -Here, words are, like everything else, carried by the wind. What constitutes the invisible burden of time that is specific to each generation, yet has a common weight and burden? What is it that we feel in the air, the buildings, under the skin, in the stomach? What is said and immediately forgotten? Cycles of questioning every decision made and their consequences lead to a vicious circle of uncertainty. Whatlies ahead creates anxiety that creeps and lurks fromthe edges.Ina specific period, at a specific age and with specific challenges, this generation of ˝characters˝ is in the process of searching for their answers.
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77 Vida Davidovic LITTLE WARS AND ZARA CHANGING ROOMS DIRECTOR: Simo Djukic PREMIERE 02.09.2023. DRAMATURGE: Vanja Sevic STAGE DESIGNER: Marija Timotijevic COSTUME DESIGNER: Marija Milekic COMPOSER: Boris Mijatovic STAGE MOVEMENT: Milica Smiljkovic CHOREOGRAPHY: Igor Greksa SPEECH COACH: Dejan Sredojevic DESIGNERER: Marina Markovic ORGANISER: Sofija Gavrilovic CAST: Sladjana Vlajovic, Anita Ognjanovic, Veljko Stevanovic, Ema Muratovic "Little Wars and Zara Changing Rooms" is a drama about trauma, which inevitably reflects, prolongs, destroys and imposes itself. It has a mirror concept, in the form of a story from the past and from the present, where the plot lines overlap in a certain sense, which is common when we are talking about a drama concerning transgenerational trauma. At first glance, one would say that "Little Wars and Zara Changing Rooms" is a modern fable about the body (anorexia) and war. But those two terms mean a lot more. At the center of the first story is Mala (from war times) who fights her battles with the harsh environment in a semi-fairytale space, juxtaposed between her own daydreams and the cruel world that kills, between the idea of herself and relationships with others and the cruel world that observes her exterior, cruelly appropriating her. Between the idea of family and closeness and the cruel world that separates those connected by blood. At the center of the second story is her daughter, Mala (from peace), who fights her battles with herself in a very realistic space, juxtaposed between the need to separate herself from her overprotective mother, the idea of how to exercise control and her mother's need for control, between her own sexuality and her mother's instinctive fear of her growing up and leaving.
78 A STAGE FOR METROPOLIS BDT MILLENNIUM TEAM ARENA
79 A STAGE FOR METROPOLIS BDT MILLENNIUM TEAM ARENA Tucked away in the courtyard behind the Theatre, in Danicareva Street, with an open-air stage and a capacity of 160 seats, the BDT Millennium Team Arena opened its doors on September 4, 2020, amid the coronavirus pandemic. "This is a historical moment. Fifty years from now, photos from the opening night will stand somewhere and bear witness to an important moment for the Belgrade Drama Theatre, Belgrade and the theatrical life of Serbia, which came after a period that many considered hopeless. Had the pandemic not happened, we would probably not have opened this stage. This is perhaps a good message that we should not despair when it seems that there is no way out", said the General Manager of the Belgrade Drama Theatre Jug Radivojevic at the time. The Belgrade Drama Theatre will continue to fulfill the decades-long dream of its fellow citizens and theater lovers by opening the doors of the BDT Millennium Team Arena during the summer months with proven hit productions from our repertoire, new titles and exclusive programs.
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In the early summer of 2019, The Belgrade Drama Theatre started an initiative to establish the Regional Union of Theatres (RUTA), which consists of six representative theatre companies from the region - Croatia (Ulysses Theatre), Slovenia (‘’City theatre Ljubljana”), BiH (''Chamber theatre 55’’, Sarajevo), Montenegro (City Theatre, Podgorica), North Macedonia (Drama Theatre, Skopje) and Serbia (Belgrade Drama Theatre) - united in an aesthetic, repertoire and organisational model. FOR REGIONAL NETWORKING 83
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85 The protocol for the formation of the Union was signed on October 18, 2019, at the City Assembly of Belgrade. "Representatives of the signatories Sofija Kunovska (Drama Theatre, Skopje), Vedran Fajkovic (‘Chamber theatre 55,’’ Sarajevo), Dusan Kovacevic (City Theatre, Podgorica), Barbara Hieng Samobor (‘’City Theatre Ljubljana”), Dusko Ljustina (Ulysses Theatre) and Jug Radivojevic (Belgrade Drama Theatre) met to institutionalise the idea of cooperation between related theatres from the region. The aim is to present mutual achievements and current topics and ideas in the field of art in the region through various forms of cooperation, and to implement different knowledge and achievements by working together," it is said in the preamble of the Protocol.
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Apart from the festivals that will be organised in all the capitals of the states of the former federal republic, RUTA will also launch numerous co-productions and thus the exchange of creators. RUTA is unique in its model, which implies that the festival will periodically move to other member cities of the Union during one calendar year. Each theatre performs a production of its own choice. The festival has a revue character, and one of the goals is the yearly continuous presence of all theatres in front of the audience in the entire region. 87
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The first festival was held at the Belgrade Drama Theatre from December 1-6, 2019. It opened with the premiere of the play "Liliom" by Ferenc Molnár, directed by Ana Tomovic. 89
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The festival gathers a large number of guests, who actively participate in encounters with the creators of the plays and exchange experiences not only regarding production but also the creative aspect, opinions on similarities and differences, and tendencies in the two most represented trends - on the one hand, the "director's theatre", and on the other, the support and promotion of the new drama theatre with an emphasis on young writers and directors. 91
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93 RUTA FESTIVAL SCHEDULE FOR 2023. Ljubljana - February Podgorica - April Sarajevo - June Brioni - August Skopje - October Belgrade - December
23 20 OUR DAYS NAPJAINK 94
95 The "Our Days" Festival was created following an initiative from the Belgrade Drama Theatre, the Serbian National Theatre from Novi Sad, and Ujvideki Színhaz from Novi Sad to present mutual achievements and current topics and ideas of different theatre companies in the field of art through various forms of co-operation, as well as implementing knowledge through joint work, with an emphasis on collaboration that will take place every year and become traditional. The festival is conceived according to the principle of hosting several performances in a row, where each theatre presents its best performances during one week as a guest in another theatre. The first festival was held from May 7-11, 2021. In 2022, the Zagreb Youth Theatre, the National Theatre of the Republic of Srpska and the “Jazavac Theatre” from Banja Luka became a part of the festival, as well as: Montenegrin National Theatre form Podgorica, „Zetski Dom“ from Cetinje and Cultural centar „Jordan HK-Dzinot“ from Veles. OUR DAYS
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97 Slovenian director Sebastijan Horvat directed the play "Cement" in three regional theatres: the Zagreb Youth Theatre (ZYT), the Slovenian National Theatre in Ljubljana and the Belgrade Drama Theatre. These three plays were inspired by Heiner Müller's work of the same name, except for the one in ZYT, for which the text was written by Milan Ramsak Marković. They represent a tribute to life from youth to death, through the revolution and evolution of society and the opportunities that surround us. Based on this, the idea arose to perform all three plays in three days as a trilogy in each of these theatres during 2022, where the audience will have a unique opportunity to see the complete director's idea in a new, unique concept. At the BITEF Festival held in 2021, the play "Cement Belgrade" by the Belgrade Drama Theatre won the "Mira Trailovic" Grand Prix for the best performance, while Miodrag Krstovic won the "Rasa Plaovic" Award for the best role, and Milena Zupancic the "Tatiana Lukyanova" Grand Prix. CEMENT FEST
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