Issn 1846-0860 1 ITI CROATIAN THEATRE ITI 2 3 ITI CROATIAN THEATRE

issn 1846-0860 1 ITI CROATIAN THEATRE ITI 2 3 ITI CROATIAN THEATRE

MUSES IN CRISIS dear readers, – THE CROATIAN THEATRE TODAY Matko Botić You are holding the latest issue of cultural variety is its theatre house, 6 Croatian Theatre, whose basic inten- with a rich tradition which is explored tion is to present the current events, by theatrologist Hrvoje Ivanković. CONTENTSTHE LATEST trends and protagonists of Croatian GENERATION OF theatre, with an emphasis on every- We also bring you an interesting in- CROATIAN PLAYWRIGHTS thing that strikes us as interesting terview with Croatia’s busiest theat- Tajana Gašparović and transparent to foreign audiences rical director abroad, who comments 18 as well. the state of theatre in Croatia but also analyzes the global theatrical zeitgeist THE PLACE WHERE This time, we have devoted special we live in. CROATIAN THEATRE attention to a cult location and defi- GROW UP nitely one of the most important plac- In the second part of the issue, we Igor Ružić es in the recent history of Croatian present to you two playwrights. The 32 drama and theatre, the Zagreb-based first of them is Tomislav Zajec, an al- Theatre &TD, which became a key lo- ready established dramatic writer THE MARIN DRŽIĆ cation for alternative theatre in the and teacher of dramatic writing at the THEATRE IN DUBROVNIK 1960s, and today provides a space Academy of Dramatic Art; the other Hrvoje Ivanković for young, up-and-coming directors one is Dino Pešut, a young graduate 44 and playwrights. Its original moniker student fresh out of the Academy. We has been expanded to include the give you two complete translations of IN CROATIAN THEATRE, phrase Kultura promjene – A Culture their plays, Someone Should Walk the ALL THE DISCUSSIONS of Change. Theatre critic Igor Ružić Dog and Static, which might be of in- ARE FOUNDED ON covers this topic. terest to foreign theatres. INADEQUATE PRECEPTS A conversation with Like in previous issues, once again Finally, we bring you a report on the director Ivica Buljan we bring you an overview of what has activities of the publishers of this Matko Botić been going on in Croatian theatre magazine, the Croatian ITI Center. As 54 since the last ITI congress in 2011, in ever, we have provided you with the a report by theatrologist Matko Botić. addresses of all major Croatian the- SOMEONE SHOULD atrical institutions, in the hope that WALK THE DOG Theatre critic Tajana Gašparović some of our texts might prompt you Play by Tomislav Zajec covers the youngest generation of to contact them. If, on the other hand, 72 Croatian playwrights whose stylistic you would like to obtain previous is- and thematic variety is an extraordi- sues of our magazine, we would like to STATIC nary asset of Croatian dramatic writ- remind you that they are available on Play by Dino Pešut ing. Even though Dubrovnik is a pow- our website: http://www.hciti.hr. 92 erful tourist brand worldwide, the fas- cination of its cultural heritage is at željka turčinović INFO/IMPRESSUM its strongest when we find ourselves President of 118 within the city itself. A part of this the Croatian Centre of ITI

ITI 4 5 ITI CROATIAN THEATRE GOOD THEATRE, THANKFULLY, GROWS WELL EVEN IN

II Olja Lozica: Recess-I-on, Theatre EXIT, photo by Sanja TIMES OF DROUGHT.Prnjak ITI 6 7 ITI CROATIAN THEATRE

MUSES IN CRISIS – THE CROATIAN THEATRE TODAY MATKO BOTIĆ

If the old Latin saying inter arma mu- financial restructuring, which is the sae tacent were to be adapted to the effect of brave new social circum- current situation in Croatian theatre, it stances: most of the finances from would go something like this: in times the city and state budgets end up in of crisis – the muses are definitive- the hands of slumbering mastodons ly more silent, and more dissatisfied who have made no changes to their than usual. At a time when an alarm- structure since the Austro-Hungarian ing portion of the population is sliding Monarchy, the independent the- towards poverty, caught between the atre scene survives on breadcrumbs, disappearing system of government and private initiatives are struggling funding and the merciless emergent against the competition from faster logic of the marketplace, theatre, like and more modern media. In a coun- other aspects of cultural production, try in which culture has always been is trying to fight for a dignified exis- financed by government sources, the tence and a space of personal artistic awareness of the necessity of a shift in freedom, in spite of the increasingly the organizational paradigm is still in aggressive deterioration of the pub- its infancy, so the theatrical program is lic discourse. However, in this sort of currently on life support: there is less social environment, the true theatrical and less money and time to adapt to muses cannot pretend that they live in a society in which culture is nowhere an ivory tower – indeed, the crisis of near the top of the priority list. the social system is the central motif II Ivor Martinić: of most relevant theatrical produc- The great national theatre compa- My Son Just Walks tions in the past couple of seasons. nies, whose neo-baroque palaces a Little Slower, are homes to three or four distinct Zagreb Youth The Croatian theatre is currently suf- departments (drama, ballet, opera, Theatre, photo fering from an acute lack of will to ini- minority-language drama sections), by Mara Bratoš tiate a thorough organizational and expensive representative festivals ITI 8 9 ITI CROATIAN THEATRE

like the Dubrovnik Summer Festival theatre, which, under the wing of the and several theatres in Zagreb are European Theatre Convention, gath- the only ones who can count on sol- ered theatres from eight European id financial backing, regardless of the countries, and a collaboration on Ivica quality of their repertoire, while the Buljan’s play Garaža with New York’s rest of the theatre production is pro- La MaMa Theater. duced in spite of unfavorable material circumstances. This season, the Zagreb Youth Theatre confirmed its international orientation If we were to shift our perspective by staging guest performances of its from economy to aesthetics, the sit- three most successful plays: writer/ uation does not look any better or director Jan Fabre’s Car neuspjeha more optimistic – almost no theatrical (The King of Failure) was performed institutions give off any hints of a vi- in the Theatre de Gennevilliers, Goran sion which includes uncompromising Ferčec’s Pismo Heineru Mülleru (A aesthetics and organizational know- Letter to Heiner Müller), directed how. By examining the repertoires of by Bojan Đorđev, was performed at the major theatre companies in recent the La MaMa theatre, and Nataša years, one can notice that the Zagreb Rajković and Bobo Jelčić’s S druge Youth Theatre is the only real excep- strane (On the other side) was per- tion in a grey and unexceptional do- formed nightly for a whole week at mestic trend: this theatre was the the Parisian La Colinne theatre. In ad- most successful in determining its dition to these plays, we should men- own trajectory, its task and capabili- tion the premiere of the new play of "" This path, on which II jan Fabre: The ties, so their path, consisting of a ded- the most interesting young Croatian role models and King of Failure, ication to local repertoires and global playwright Ivor Martinić, Moj sin samo competition are Zagreb Youth connections with big global partners, malo sporije hoda (My son just walks not sought among Theatre, can serve as a shining example for a little slower), directed by Januš Kica, the stifling run-of- photo by others. The manager of the theatre, but also several unconventional proj- the-mill domestic Mara Bratoš former theatre critic Dubravka Vrgoč, ects of emerging regional directors productions, but has successfully married a socially – all these successes are the crown- among the peaks of provocative and brave repertoire to ing achievement of the efforts that the global theatrical an expertly formulated strategy of co- the Zagreb Youth Theatre has made repertoire, is one that productions and collaborations, there- to establish itself at the European big Croatian theatres by creating a theatrical oasis of aes- and global level. This path, on which should at least thetics of risk which has been recog- role models and competition are not consider following. nized on an international level. In the sought among the stifling run-of-the- last couple of seasons this theatre has mill domestic productions, but among collaborated on a wide range of inter- the peaks of the global theatrical rep- II Zdenko Mesarić: national co-productions, including col- ertoire, is one that other big theatri- Garage, Zagreb laborations with Jan Fabre’s Troubleyn cal companies should at least consid- Youth Theatre, Theatre from Belgium, with La er following. photo by Comedie de Saint-Etienne in France, Mara Bratoš with the Orient Express travelling ITI 10 11 ITI CROATIAN THEATRE

If we divert our attention from the Eurocentric ZKM (Zagreb Youth Theatre) to the rest of the domestic repertoire, it is apparent that the difference is primarily made by young directors, unburdened by the legacy of the past, and focused on tackling contemporary issues. Zagreb’s &TD Theatre, under the leadership of dramaturge Nataša Rajković, has been the most consistent in recognizing this trend, so this atmosphere of an incubator of sorts for up-and-coming stars they have been nurturing has lately been producing a colorful, though not always successful, but definitely exciting and fresh brand of theatre, unfettered by genre restrictions. Their projects, which bring together the dance and drama theatre of dramaturge and director Saša Božić, the unique work of young directors &TD, in addition to the aforemen- II Saša Božić: Deserter, Miran Kurspahić and Dario Harjaček, tioned Kurspahić, Božić and Harjaček, Theatre &TD, photo the stage visions of performance art- was the point of origin for the ma- by Damir Žižić ist Damir Bartol Indoš, playwright and jority of other young directors, who performance artist Ivana Sajko and are gradually starting to get oppor- choreographer Petra Hraščanec, form tunities outside the capital as well. "" Anica Tomić, Olja Lozica, a repertoire which stands out from Anica Tomić, Olja Lozica, and, above and, above all, Oliver the multitude of average performanc- all, Oliver Frljić, are directors who, via Frljić, are directors es on the Zagreb theatre scene by its their beginnings at &TD, reached the- who, via their beginnings uncompromising striving towards eth- atre companies all across the coun- at &TD, reached theatre ical and aesthetical excellence. try, where they are trying to shake companies all across up their conventional repertoires the country, where they In addition to &TD and ZKM, the con- which haven’t changed in decades. are trying to shake up tinuity of responsible theatre experi- Anica Tomić, assisted by dramaturge their conventional mentation in Zagreb is also enriched Jelena Kovačić, has in the past ten repertoires which by Theatre EXIT, under the leadership years become one of the most in- haven’t changed of actor and director Matko Raguž, teresting directors, creating plays in decades. while the rest of the theatrical offer of characterized by an agitated mise- our capital, the theatres in other cit- en-scene, contemporary themes and ies and summer festivals usually only distinctive actor performances, and comes down to intermittent flashes their last hit was a collaboration be- II Miran Kurspahić: The amidst long periods of smooth sailing tween the Zagreb Youth Theatre and Deluge, Theatre &TD, in the mainstream. the Montenegrin Kotor-Art Festival, photo by Damir Žižić ITI 12 13 ITI CROATIAN THEATRE

II ranko Marinković: based on the play Leda by the great- zapravo, sve dobro (Everything’s, actu- In the Sign of the Libra, est Croatian dramatist of the twen- ally, just fine now) at the Zagreb Youth third part, Croatian tieth century – Miroslav Krleža. The Theatre and the third part of the U National Theatre Tomić-Kovačić duo was notable for znaku vage (In the Sign of the Libra) Zagreb, their youthful and energetic original triptych at the Croatian National photo by Damil plays, so this successful transition into Theatre in Zagreb, she demonstrates Kalogjera a contemporary re-interpretation of that the Croatian theatre has received a classic dramatic text represents a a transfusion of fresh blood from her welcome upgrade to their already re- explosive mix of physical theatre and spectable opus. Olja Lozica is a dra- fragmentary dramaturgy. maturge who has recently presented herself as a competent director, cre- The path of Oliver Frljić looks like a ating several altogether unique origi- remarkable success story in the tra- II Olja Lozica: nal projects. Beginning with Reces i ja dition of Hollywood movies – an out- Recess-I-on, (Recess-I-on), moving on to Prasac koji sider who traded his insecure wartime Theatre EXIT, gleda u sunce (The Pig Who Stares at existence in Bosnia for life in Zagreb photo by the Sun) at the Marin Držić Theatre has become the region’s greatest di- Sanja Prnjak in Dubrovnik and the plays Sada je, rector star, and his directorial poetics ITI 14 15 ITI CROATIAN THEATRE

have finally been definitively acknowl- (Danton’s Death) based on Georg "" The political bravery edged in the last several years. A di- Büchner’s play, which was performed present in plays of rector who uncompromisingly erases at the Dubrovnik Summer Festival, Oliver Frljić, which the line between ethics and aesthet- and which demonstrated Frljić’s abil- pick at the pain ful ics, creating shows which draw at- ity to find unmistakably contemporary wounds of collective tention, sharply and sometimes pain- and current reasons to perform clas- responsibility for the fully, to social injustices and the ma- sic dramatic texts. The political brav- crimes of the recent licious nature of contemporary politi- ery present in his plays, which, at their wars, is inseparable cal elites in the region. Frljić’s plays in core, pick at the painful wounds of from the performance Rijeka (Turbo folk, Croatian National collective responsibility for the crimes poetics of these Theatre of Ivan pl. Zajc in Rijeka, of the recent wars, is inseparable from extraordinary 2007) and Split (Bakhe (The Bacchae), the performance poetics of these ex- theatrical works. the Croatian National Theatre in Split, traordinary theatrical works, so we 2007) caused a commotion and elicit- can conclude that Frljić’s opus almost ed political attempts to ban his work, single-handedly bears the burden of while, by expanding his activities to confronting our theatre with the soci- Slovenia, Bosnia and Herzegovina, ety in which it is created. Serbia and Montenegro, he transformed his opus into a controversial The work of directors such as the regional public good, with a success aforementioned Frljić, Božić, Anica rate at festivals which no other di- Tomić and Olja Lozica, alongside old- rector from the region can match. In er, more established artists such as 2001 at the &TD Theatre he direct- Ivica Buljan, Bobo Jelčić and Boris ed the play Mrzim istinu! (I Hate the Bakal, the managerial visions of Truth!), based on his own script, where Dubravka Vrgoč and Nataša Rajković he used his own family history, placing and the refreshing potential of young it into a theatrical context. The show actors, writers and directors emerg- achieved cult status within a couple ing from the many acting academies of months, was considered by many in the country and region, offer some critics to be the most important the- reasons for optimism even in these, atrical event in 2011, and, in the ensu- culturally quite unfavorable times. ing festival circuit, won some 20 the- Good theatre, thankfully, grows well atrical awards and became one of even in times of drought, doesn’t re- the most acclaimed plays in the his- quire much tending, and is already tory of Croatian theatre. In 2012 and used to crises – in fact, these unfa- 2013 Frljić continued his run of in- vorable social circumstances seem to ternational successes, including the give it a raison d’etre. original author project Zoran Đinđić in Belgrade’s Atelje 212, which ques- tioned the collective accountability for the murder of the Serbian prime II Georg Büchner: minister, and attracted an unprece- Danton’s Death, dented interest by the public and po- Dubrovnik litical structures, and Dantonova Smrt Summer Festival DiversityITI 16 is17 a greatITI CROATIAN THEATRE virtue of these young writers

II Vedrana Klepica: The Tragic and we shouldDeath of a Business Analyst, Theatre &TD, photo by Damir encourage itŽižić . ITI 18 19 ITI CROATIAN THEATRE

"" The position of these rebels or losers in Klepica’s texts THE LATEST ranges from a state of utter apathy to radical, extreme GENERATION terrorist action. OF CROATIAN TAJANA GAŠPAROVIĆ

The playwrights presented in this At the level of plot and content, she is precisely at its intended, deeply PLAYWRIGHTStext were selected based on their tackles, extremely bravely, maturely, thought-out place. This is also the appearances in the last four to five critically and with a welcome dose of key to deciphering the sometimes years. Because of this, we have omit- irreverence, often smattered with foul very explicit sex scenes, which do not ted some very young playwrights and language, the issues of the modern function merely on the mimetic lev- dramaturges who are more widely world, exposing its festering wounds el: within Klepica’s writing, they take recognized and have been publicly with surgical precision, armed with a on much more layered, metaphori- more or less present for longer than dark sense of humor and direct irony cal meanings. If we wanted to classify five years, such as Ivor Martinić, Goran towards social hypocrisy, a fossilized her plays, we could place them within Ferčec, Rona Žulj, Lana Šarić or Jasna system which invokes loyalty but de- the field of political theatre. They also Žmak. Likewise, some very young vours anyone who dares to think dif- contain indirect but obvious essayistic and emerging artists, who have so ferently. The position of these reb- references to authors such as Hannah far been working mostly within the els or losers in Klepica’s texts ranges Arendt or Naomi Klein, for example. framework of the Zagreb Academy from a state of utter apathy to radical, Klepica insists on defining her writ- of Dramatic Art, have been omitted extreme terrorist action. Should we ings not as dramatic, but as perfor- as well. compare her style with recognized mative texts. This distinction in itself playwrights, we would definitely de- hints to the strong influence of post- Vedrana Klepica (21. noć, j.a.t.o., tect hints of the influence of Ivana dramatic theatre, also visible in the To Fuck Because We Want To, The Sajko, Klepica’s former dramaturgy structures of her texts, which lack the Conspirators Project, Tragična teacher. Klepica is, just like Sajko, classical principles of narration, figu- smrt ekonomskog analitičara, very much aware of the power that ration and plot development. Within II Dino Pešut: Nebo je sivo i vidi se ispušni dimnjak words possess, and treats them in these plays, language regains its au- L.O.S.E.R.S., jednog tvorničkog postrojenja) equal measure as a weapon, a means tonomy, concrete informative and International is one of the most radical (and one of of combat, and as a passionate lov- documentary elements are merged Drama Colony the most demanding, both in terms of er. But above all, there is a sense of into a patchwork with essayistic pas- Grožnjan, photo reading and staging her plays) play- great awareness on her part, giving sages and poetic interludes, while the by Matko Botić wrights of the youngest generation. off the impression that every word identities of the various subjects or ITI 20 21 ITI CROATIAN THEATRE

meanings, sometimes merging and Moreover, Sandić, much like Klepica, alcoholic father, the Son’s homosex- "" Sandić playfully forming a polyphony, a polylogue. approaches the act of writing in an al- ual orientation within a conservative, toys with concepts Therefore, we can say that, instead of most erotic manner, and this approach homophobic milieu, and the explora- such as pathos and classical dialogues and monologues, is more than visible in the texts them- tion of the inner spaces of yearning, melodrama, which are Klepica establishes “speech surfaces” selves. However, despite these simi- love, bravery, fear and solitude. In all almost blasphemous (a term coined by Elfriede Jelinek). larities, Sandić’s work is completely of this, the key issue is the relation- in the contemporary Moreover, a common artistic method different from Klepica’s. Her texts’ ship between the identity of the indi- world: his writings of hers, which results in an exception- political character is direct and fierce, vidual and the world that surrounds are steeped in the al power of expression, includes the while the politics of Sandić’s writing him, and the “speech surfaces” of his intimate world of repetition of certain speech sequenc- is introverted and elusive, conspicu- monologues and polylogues provide poetry and emotion; in es, frequent usage of so-called circu- ous through its almost complete ab- Sandić with the platform to playfully dreams, in a powerful lar dramaturgy, and the juxtaposition sence. Sandić playfully toys with con- toy with the sexual and gender iden- yearning for love, of poetry and documentation; the re- cepts such as pathos and melodrama, tities of his dramatic subjects. (I have happiness and beauty. bellious individual and the representa- which are almost blasphemous in the chosen gender indeterminacy as a tives of a rigid system; humorous irony contemporary world: his writings are mode out of respect towards the fun- and direct, fiercely critical, sometimes steeped in the intimate world of po- damental human right to choose what brutal barrages of words. etry and emotion; in dreams, in a pow- one wants to be, as the author himself erful yearning for love, happiness and puts it.) Furthermore, Sandić uses his For many reasons, Srđan Sandić (S(i) beauty. It almost recalls Baudelaire own position of author in a way that is nu bez sinova, t(U)mor, P(r)olu- and his words: peculiar in modern playwriting: he of- panost, (Ne)dostupnost, Zagreb, ten uses techniques which were common amour) is the author stylistically One must be for ever drunken: that monly used among the writers of the closest to Klepica, and represents an- is the sole question of importance. many –isms of the twentieth century, II Diana Meheik: characters remain completely fluid, other unique personality among the If you would not feel the horrible like crossing out sections of text, us- Rose of Jericho, open; within their soft borders the youngest generation of Croatian play- burden of Time that bruises your ing bold or italicized typesets, leaving International external reality (from concrete con- wrights, The common thread shared shoulders and bends you to the lacunas of space between words or Drama Colony temporary political conditioning to by Klepica and Sandić is the approach earth, you must be drunken without sections, playing with unusual usages Motovun historical facts) intertwines with the to their own writing as performative cease. But how? With wine, with characters’ inner worlds. Klepica often text, as well as their postdramatic ap- poetry, with virtue, with what combines monologues and dialogues proach to the written word (in Sandić’s you please. But be drunken. in a very intriguing way, sometimes case, dramatic and lyrical passages even introducing the principle of cho- are freely associatively intertwined, Sandić, in this spirit, relies on camp ral speech. The aforementioned fluid- while the author plays with linguistic aesthetics, on lies that speak the truth, ity of identity sometimes invokes the clichés and banalities, using quotes often better than any other truth. His influence of one of the most contro- taken from pop-culture – Hollywood approach to writing has confessional II Mila Pavićević: versial writers of the late 20th century, movies, pop-hit lyrics, excerpts from overtones, and the core subject mat- My Hiding Place Sarah Kane, while the occasional ve- self-help literature – but also from phi- ter of most of his writing reaches out, or How I Spent hement, intensely rhythmical spouting losophy and literary tradition) and text revealingly and touchingly, to what My Afternoon of words harkens to Allen Ginsberg’s structures (the autonomy of language we can assume to be autobiographi- Waiting for legendary Howl. Internal monologues outside the classical principles of nar- cal realms of the Son’s childhood and Spiderman, often take the form of fragments of ration, figuration and plot develop- his fragments of memories of what International dialogues which, however, never meet ment, a patchwork method of writing, was once called a family, permeated Drama Colony in the sphere of communication or, if the use of polylogues, the fluidity of with common leitmotifs: the relation- Grožnjan, photo they do, they form new, surprising identity of his subjects (characters)…) ship between the Son and his late by Matko Botić ITI 22 23 ITI CROATIAN THEATRE

"" Pešut is interested of punctuation, capitalization, repeat- did not lose any of the freshness or without it they are nothing, kids within the position of ing a certain letter in a word… and us- contemporary insight into dramat- out the innocence of youthful ideal- twenty-somethings in ing introductions to instruct his read- ic writing. On the contrary, while his ism, who grew up in a lawless early a plundered Croatia, a ers how these techniques should be debut was pretty hermetic and diffi- capitalism, in a capitalism without any country headed for a interpreted while reading the texts. cult to negotiate, his newer texts ex- capital. Kids whose existences and bleak, hopeless future, hibit not only a shift towards a more very identities are in question. Kids weighed down by the Dino Pešut (Oproštajno pismo distinctive personal writing style, but who see their only hope in leaving global financial crisis Alexandra McQueena, Dislocirani, an openness to the world surround- their country and heading towards on top of it all. Pritisci moje generacije, l.u.z.e.r.i.), ing him, and a willingness to delve into the West. Pešut, therefore, repre- in my opinion, ranks along Klepica and the issues of the here and now. Pešut sents a reflection of Chekhov and his Sandić as the most interesting play- is interested in the position of twenty- Moscows. In Pritisci moje generaci- wrights of the youngest generation somethings in a plundered Croatia, a je (The Pressures of my Generation) who already have a certain dramat- country headed for a bleak, hopeless Pešut finds interesting ways to play ic body of work behind them. Since future, weighed down by the global with his treatment of time and a dif- his debut play Oproštajno pismo financial crisis on top of it all. Pešut fuse flow of dramatic action: they are Alexandra McQueena, written three accurately scans another lost genera- reduced to the inner labyrinths of the years ago in the post-dramatic tradition, whose representatives are these main character, called simply She, tion, Pešut has greatly changed and new kids, too mature for their age, which spiral out dramatically like con- developed his personal style, turning long since steeped in the competi- centric circles, reflecting not only real in his new plays to a more convention- tive world of capital and profit, made persons relevant to Her life, but also al sort of dramaturgy which acknowl- aware too soon of their competitive some typical representatives of our II Kristina Gavran: edges the existence of concrete dra- value on the market; kids from whom society, and thereby creating unbear- Ready, Zagreb Youth matic characters, relations and situ- everything was taken away before able and counter-productive pressure Theatre, photo ations. With this turnabout, his plays they even started, kids who have to resulting in an overwhelming sense of by Mara Bratoš became easier to read and stage, but have a plan and a strategy because guilt in our anti-heroine, in Her giving up and finally escaping from Her everyday life. In L.U.Z.E.R.I. Pešut questions the unity of space and time – the whole play is set in one apartment in the course of one evening, reflecting once again a lost young generation shaped by this region, whose representatives try, at any cost, to have fun, to impose on themselves the possibility of having fun, which has long been taken away from them due to their deep frustrations with their own hopeless position. The very notion II Dino Pešut: II Dino Pešut: of fun thus becomes endlessly sad The pressures of The pressures of and hollow, just like the banal pop- my generation, my generation, culture references and quotes which Croatian Croatian Pešut (just like Sandić) often uses. National Theatre National Theatre Furthermore, like Sandić himself, Split, photo by Split, photo by Pešut uses this play to question the Matko Biljak Matko Biljak ITI 24 25 ITI CROATIAN THEATRE

position of homosexuals in Croatian woman –a victim of the world’s patri- society. In the play’s finale, two worlds archal system – into the center of her collide – a representative of the young interest. The focal point of her inter- lost generation and one of the repre- est is questioning the identity of an sentatives of societal order who hap- individual in liminal situations, when pens to find himself in their company, the essential foundations of her iden- and who is one of the many guilty par- tity are taken away (such as her home, ties to blame for their hopeless situa- her mother tongue, or even her own tion. The power of this play also stems name). Considering how she always in from the fierce colloquial slang it is some way deals with the concept of written in, and a barrage of very short speech (in The Rose of Jericho Olena snappy one-two dialogues between is unable to express herself in her the characters, often cruelly sniping own language, while Mania pits Said and picking on one another. Akbari against representatives of the law who, even though they share her Based on just two plays (Jerihonska language, use the relation of signi- ruža, Mania), we can identify cer- fier and signified in a completely dif- tain characteristics of the playwrit- ferent way, whereby the same words ing style of Diana Meheik. She is carry a completely different meaning Klepica’s academy class-mate, and for them than they do for her, making her texts also, although not as overtly any communication between them ab- as Klepica’s, contain hints of the influ- solutely impossible), Meheik’s plays, ence of Ivana Sajko and the post-dra- among other things, open up inter- matic tradition. She is another author esting semiological questions about who very explicitly uses quotes, but, the relationship between speech and unlike Sandić and Pešut who, among identity. The point I am making is al- other things, use this technique to most paradigmatically condensed in highlight the banality of pop-culture the following quote from The Rose of references and quotes, Meheik takes Jericho: her quotes from art movies, literature and poetry, and weaves multi- I do not understand words linguality into her dramatic structure. Even though their Meheik finds her starting point for meanings are familiar writing in specific events from real- I do not ask questions ity (in Jerihonska ruža - The Rose of For I have no eyes of my own Jericho – that point is the now forgot- I forget the sound of my own voice ten case of the Ukrainian Olena Popik For I do not know the who, as a victim of a prostitution and one who speaks… trafficking chain, died in a Mostar hos- pital, while Manija – Mania - also has It is also not unimportant to note that a female protagonist – a Moslem false- Meheik’s plays achieve a strong emo- ly accused of participating in terror- tional, almost cathartic effect which ist attacks). It is not unimportant to stems from the violent clash of the point out that Meheik always places a brutality of the outside world and the ITI 26 27 ITI CROATIAN THEATRE

only in recent years become a sub- woods for mass rape) are character- and a wide array of open possibilities ject of public discourse – mass rapes. ized by a notable dose of detachment are just an illusion. In her textual sec- Antulov’s approach to that issue in- from the reality they are experienc- tions Vizek skillfully plays with refer- vokes the influence of Agota Kristof ing - they are both actors and observ- ences to Kafka’sThe Trial, the Star and her brilliant Twins Trilogy. Much ers. By simultaneously narrating a Trek series, the movie The Truman like Kristof, Antulov never explicitly horrifying story and listing everyday Show, but, above all, it builds on the states which war she is talking about, details which coexist with it, Antulov foundations of dystopian literature, I didnbecause’ tthe issues she deals with are feelmanages to speak out, on the level primarily Huxley’s Brave New World any characteristic of all wars. Therefore, of drama, about the same banality of in which everything is seemingly per- her drama exists completely in an evil explored by Hannah Arendt. Her fectly ordered, but humanity is gone. extra-temporal and universal space, tendency to question the ideas of the But, on the other hand, Vizek herself even though it quite clearly reflects position of power and the responsi- states that her play aims to point out the war we endured during the 1990s. bility of the individual fits neatly into that every individual working in such An extremely pared-down writing this framework. “I didn’t feel any guilt. a corporation is a part of that corpo- style, focused on achieving crys- Nothing could be done,” the Soldier ration and that understanding and ac- tal clarity of expression, on the es- states at the end of the play. cepting who and what we are is most sence of thoughts and emotions of important. the characters, stems from the same The central interest of Una Vizek well of literature that is the origin of (Pomračenje, Posljednji poziv za The plays of Jelena Tondini (Kad writers such as the aforementioned Reykjavik) is problematizing the an- narastem bit ću Almodovar, guilt. Kristof, as well as Thomas Bernhard ti-utopian reality N of neoliberal capitalothing- Telefon, Coito ergo sum) are close II Vedrana Klepica: extremely poetical inner monologues and Samuel Beckett. Antulov bases ism and modern corporations (soft- to the genre of dark comedy: the II Kristina Gavran: The Tragic Death of her unprotected, fragile/strong an- her duo-drama, whose only charac- ware companies in one and airline author uses irony to tackle the is- Ready, Zagreb Youth of a Business ti-heroines who were created to live in ters are the Woman and the Soldier, companies in the other text). In her sue of hypocrisy, which is rampant Theatre, photo Analyst, Theatre love and tenderness. Considering the on the principle of non-linear mono- texts, Vizek skilfully escalates the around us. Tondini creates completely by Mara Bratoš &TD, photo by fact that Meheik’s father is a Lebanese logical accounts which are only rarely factual contemporary state of affairs Damir Žižić national, her plots (or parts of them) and indirectly interwoven. Although - caused by endless and often com- are placed in the familiar region of the they participate in the same dra- pletely unsuccessful reorganizations Middle East, which is very refreshing matic situation, the Woman and the of the various business systems - to for Croatia, whose scene, even when Soldier are doomed to forever re- the point of absurdity, which is in fact it opens towards the world, focuses main in their completely isolated in- an integral aspect of current events mostly either on former Yugoslavian ner worlds, in spite of the fact that in anyway: it merely needs to be recog- countries or on the West. a different situation they might have nized and presented in this way. This could been able to discover a great deal beabsurdity she then paints in a play- done. Even though she has only written one of mutual closeness. Antulov very ful, darkly humorous way. In my opin- complete play to date (Š.Š./ Sjedio maturely uses the very clear state ion, this is more successfully imple- sam i slušao je kako jede – I sat of consciousness observing a liminal mented in her first playPomračenje and listened to her eat), Nataša situation – both the Woman’s and the (Blackout) in which she also plays with Antulov has shown an enviable level Soldier’s inner accounts (a blend of the science fiction genre. A perfect- of playwriting talent in it. She is the memories, thoughts, sensory stimula- ly ordered software company seem- only playwright of the youngest gen- tions and the observation of everyday ingly looks like an open system of eration to tackle the subject of the details which peacefully coexist paral- infinite possibilities, but very soon it Croatian War of Independence, spe- lel to the horrifying fact that a group turns to be a completely closed sys- cifically, the vilest crimes which have of workers is being taken away to the tem in which freedom of movement ITI 28 29 ITI CROATIAN THEATRE

stereotypical characters to achieve (Telephone) takes the shape of an in- positions, and the recurring motifs Mila Pavičević’s first play Moje "" Their poetics are darkly humorous effect; she plays with teresting dramatic form in which all di- of fear and a need for freedom. In skrovište ili kako sam provela so diverse that any trash poetics, and often uses quotes alogues, mostly focused on Her, Mom, my opinion, Gavran accomplished popodne čekajući Spidermana (My attempt to place pertaining to pop-culture phenome- and Grandma, are performed via the her finest writing yet in the psycho- hiding place or how I spent my af- them in some sort na, which, together with her take on telephone, which in all communicative logically intoned documentary plays ternoon waiting for Spiderman) is of mold would issues of homosexuality, places her senses becomes a completely dead (Gaudeamus igitur, Pred vratima) in another fresh addition to the young- be nothing more close to Sandić and Pešut. Like Pešut’s wire. Coito ergo sum is written in an which she manages to display a subtle est generation of Croatian play- than a forced characters, her protagonists are also entirely different manner: it is a por- and mature insight into the fluidity of wrights. Pavičević tackles one of the theoretical young, educated adults in a fruitless nographic political ode to transition human relationships and build consis- issues that shook up the so-called synthesis. search for jobs. Tondini places the (a very loose adaptation of de Sade’s tent characters as well. On the other dramaturgy of blood and sperm in clash of a conservative, homophobic Philosophy in the Bedroom), although hand, her latest play Spremni is a re- the 1990s – sexual violence in families. culture and young people of differ- Tondini once again tackles the same flection of the paranoia which arose However, the way she approaches it is ent worldviews within the framework issues as in the previous two texts. in the world because of (yet another) vastly different from the brutal direct- of a family: her play Kad narastem bit However, this time she uses the struc- end of the world, in 2102, which gave ness and fierceness which was used ću Almodovar (When I grow up, I’ll ture of a rhymed dramatic form, and birth to many apocalyptic and post- by most European playwrights at that II Diana Meheik: be Almodovar) is based on the often the highlighted pornographic passag- apocalyptic books and movies, from time. The power of her play is in the Rose of Jericho, used literary model of a family gath- es function as references to the social McCarthy’s The Road to Von Trier’s hints of violence, in what is left untold, International ering during which honesty gradually and political situation in Croatia. Melancholia. But Gavran uses this in the silence, and in the fact that Drama Colony comes to the fore and old neglected story about the end of the world as a most of the play is presented through Motovun wounds are opened up, while Telefon The dramatic texts of Kristina platform for criticizing the contempo- the eyes of Lara, a little girl who flees Gavran (Zvonimir, Phanova, Dedal i rary world whose formative unit, the from violence into the imaginary Ikar, Igra, Pred vratima, Gaudeamus family, is a wellspring of utter selfish- world of comic book heroes. On the igitur, Spremni) are the hardest to ness, aiming to exclude everyone who structural level, Pavičević combines file under a common denominator, is not a part of “Us”. realist dialogues, in which a forebod- because she experiments with dif- ing sense of violence slowly builds up, ferent forms from text to text: from Nina Horvat (Dok nas smrt ne ras- with monologues exploring the imagi- a Pirandelloesque questioning of the tavi, Tri treća tromjesečja / Maybe nary world of the play’s protagonist. relationship between author and char- Baby, Do posljednje kapi krvi) is the acter in Zvonimir, to poetic drama in only playwright of the youngest gen- Finally, I want to point out that it was Pfanova, to a play of ideas in Dedal eration completely focused on genre- not my plan to find a common de- i Ikar (Daedalus and Icarus), a docu- specific texts founded on a mixture of nominator for this new generation of mentaristic slice of life writing style in melodrama, comedy, with occasional playwrights, and for a very simple rea- Gaudeamus igitur, psychological real- psychodrama influences(Dok nas smrt son – their poetics are so diverse that ism in the closed-system duo-drama ne rastavi – Till Death do us part) or I believe that any attempt to place in Pred vratima (At the Gates), to her detective movies (Do posljednje kapi them in some sort of mold would be new play Spremni (Ready) which in- krvi – To the last drop of blood). Horvat nothing more than a forced theoreti- corporates influences of anti-drama. has no desire to tackle difficult issues cal synthesis. This diversity is a great Thus, it seems that Gavran is look- or to dissect the painful wounds of virtue of these young writers and we ing for her own mode of expression our times; she lightly and skillfully cre- should encourage it, and not try to in this experimenting and exploration ates romantic intrigues between ste- group it up under the artificial label of of these different styles. But a con- reotypical comedic characters. a “new, younger generation”. stant of sorts in her playwriting is the questioning of the various positions of power and changes within these ITI 30 31 ITI CROATIAN THEATRE RICH HISTORY IS A GREAT LEGACY, BUT ALSO A GREAT BURDEN II Ivo Brešan: Acting Hamlet in the Village of Mrduša Donja, Theatre &TD, photo by Željko Stojanović ITI 32 33 ITI CROATIAN THEATRE

The place where Croatian Igor Ružić

A forgotten theatre at the edge of the After the mammoth Student Centre so-called nice part of town, a univer- was established, geared primarily to- theatresity stage always open to the up-and- wards taking care of food and accom- comers, an oasis for misfits or a green- modation, and only secondarily of the house which exports its blossoming cultural needs of the students, the talents at its own expense, but to the pavilions of the former Zagreb City benefit of the whole Croatian culture Fair were converted in the 1950s and grew upand beyond… all these descriptions 1960s to facilities intended for cultur- have been used in relation to the al activities: the MM Center was re- mythical Theatre &TD in Zagreb, and served for film, the SC Gallery which the Student Centre which incorpo- followed contemporary currents rates it. Undoubtedly one of the most in the visual arts, while the former important locations in the recent his- Italian Pavilion was transformed into the accompanying premieres of their “Acting Hamlet in the village of II Ivo Brešan: Acting Hamlet tory of Croatian drama and theatre, a theatre. Christened the Komorna texts. In addition to following inter- Mrduša Donja” by Vinko Brešan, an in the Village of Mrduša the Theatre &TD in the yard of Savska scena (Chamber Scene) at first, only national currents, the &TD Theatre author whose works were banned Donja, Theatre &TD, photo 25 is still a staple of Croatian theatre, later acquiring the moniker the &TD also followed domestic ones: in the at the time, was a paraphrase of by Željko Stojanović although maybe not as indispensable Theatre, its rich history, which started so-called golden age, under the ar- Shakespeare localized into the lan- or visible as it was in its glory days. in 1962, made it the most visible, most tistic leadership of Vjeran Zuppa, the guage and traditions of Dalmatian "" Undoubtedly one of History has done what it does, and so- exposed setting of theatrical under- stages of the &TD Theatre – the big Zagora at a time when industrializa- the most important cial turmoil has had the harshest im- takings and successes in Croatia, as stage, the semi-circular stage, the tion was going hand in hand with elec- locations in the recent pact on this institution, which in fact well as the only theatre which system- black stage and the basement stage – trification, but the wine was still being history of Croatian isn’t one in a formal or legal sense. atically followed not only the interna- were home to new, provocative plays; drunk from a communal jug, and is drama and theatre, the Because of that, the &TD is something tional trends in the performing arts, if not exactly anti-regime in nature, one of the best and most famous ex- Theatre &TD in the yard of of an invisible, maybe even elusive in- but international dramatic writing as then at least tinged with a deep and amples of this. The play, directed by Savska 25 is still a staple stitution whose model has survived well. Thus, another part of the legend obvious doubt in the socialist impera- Božidar Violić, is still surrounded by a of Croatian theatre, precisely because it couldn’t survive. of this theatre are the visits of leg- tive of this being “the best of all pos- mist of legend and subjective recol- although maybe not as endary playwrights such as Eugene sible worlds”. lections of the attempt to ban it, and indispensable or visible as Ionesco, Dario Fo, Peter Handke, and the ensuing resistance by the actors it was in its glory days. ITI 34 35 ITI CROATIAN THEATRE

that limited it to remaining just an un- roles, refine themselves and the audi- pavilions of the SC were a creative successful attempt; but all of this does ence in more intimate surroundings. environment and a safe haven to the not diminish its value, immortalized Pero Kvrgić, Rade Šerbedžija, Ivica best scions of the so-called Zagreb al- in, among other things, Krsto Papić’s Vidović and many others were given ternative theatre scene, groups like movie. The proof that the Theatre is that chance in the hands of direc- Kugla Glumišta and Coccolemocco, still big and important can be found tors such as Božidar Violić, Tomislav and their numerous theatrical, per- in the names written over the faded, Burbešić, Tomislav Radić or even forming and musical fractions. but still intriguing posters by designer Zlatko Bourek, whose puppetry in- Mihajlo Arsovski, covering the walls of carnation of “Hamlet” was a one-of- Although limited by finances and the the hall and the coatroom of the the- a-kind experiment, achieving interna- size of the stages, this wide array of atre; from the names of actors and tional success. These artists felt more options has resulted in a wide array directors, set designers and drama- free in the &TD so they were able to of poetics which, due to, among other turges, to, finally, the names of play- enrich their tried and tested creative things, the spread-out spacing of the wrights whose dramatic texts were methods with steps out into the new pavilions and the spaciousness of the the bread and butter of the theatre and unknown, while the audience, as cultural triangle at Savska 25, always and the audience, which was hungry a result of these synergies, was treat- managed to not only tolerate and re- for theatre and a form of opposition ed with vastly different shows, regu- spect each other, but even to work to- to the mainstream and the cast-iron larly more fresh and often more free gether. Logically, this impulse towards repertoires of large theatres such as from the invisible pressures of pro- cohesion was transferred to the audi- the Croatian National Theatre or the grammed ideology on the one hand ence as well, so, in its best and most Zagreb Drama Theatre of the time, and urban prudery on the other. diverse days, the audience of the SC now known as the Gavella Drama included both the so-called urban Theatre. All of what was said, however, is mere- theatre audience and various creative ly the more official, mainstream part types in search of something differ- The &TD Theatre, both now and half of the contribution that the facilities in ent, as well as students hungering for a century ago, is not separated from Savska 25 made not only to the histo- entertainment after their dinners. the symbolic and physical centers of ry of Croatian performing arts in the Croatian theatre just by its program second part of the 20th century. The This rich history is a great legacy, but and location; its inner structure has musical salon of the Theatre &TD was also a great burden for the Theatre always been different. Instead of pro- a crossroads of contemporary music &TD. This was felt by all those who, viding its employees with the stan- tendencies, which were later institu- with greater or lesser success, were dard obligations and rights, the &TD tionalized through the Music Biennale in charge of it after its so-called gives the members of the ensemble Zagreb, but also of modern dance golden age of the 1960s and 1970s . greater freedom, with a correspond- tendencies, represented in Milana Undoubtedly, there were some suc- ing reduction in compensation, which Broš’s Chamber ensemble of contem- cesses, especially in the 1990s, when proved a long time ago that an open- porary dance, which also achieved its Mani Gotovac, through her intense ended and fluid group of artists and first successes due to the support of advocacy of her vision of living theatre performers is and has to be the key the SC. Music and dance were a fun- and discovering new collaborators to a vibrant and diverse stage-life. damental part of the cultural scene on Exactly because of that, the &TD’s offer in the yard of Savska 25, which stage has been home to our most relied not only on the student popu- II Slobodan Novak: Gold, famous actors, wholeheartedly ac- lation but also on a general audience Frankincense and cepting the opportunity to, in be- open to new aesthetic pleasures and Myrrh, Theatre &TD, tween larger obligations and movie challenges, so it is no surprise that the photo by Marija Braut ITI 36 37 ITI CROATIAN THEATRE

once again. These successful plays the cultural resources of the SC, from Speaking more narrowly, in the ar- toured the global theatrical festival the facilities and equipment to em- tistic field, the ten years ofKultura circuit to a degree incomparable to ployees and finances, into a single or- promjene have resulted in a signifi- all other Croatian theatres combined. ganizational whole, seeking to revive cant number of important works and the dormant SC Cinema, MM Center authors, launched into the orbit of An even more interesting case is that and SC Gallery, and to rejuvenate successful professional careers: the of Ivica Buljan and his specific cre- and revive, in an aesthetic and struc- dramaturge-director duo Anica Tomić transitionative poetics, fermented at the &TD, tural way, the &TD Theatre.of In short, – Jelena Kovačić staged their first suc- the which include collaborations with es- Kultura promjene tried to establish in cessful plays at the &TD, as did the tablished rock musicians such as the the SC a different sort of something incumbent director of the Croatian band Let 3 while working on texts that could, in safer financial and politi- National Theatre of Ivan pl. Zajc in which usually do not receive the cal condition, be called an alternative Rijeka and one of the most famous nod of approval in institutionalized cultural institution, without any pejo- directors in the ex-Yugoslavian coun- theatre, such as those by Pier Paolo rative connotations. tries, Oliver Frljić. Pasolini, Marina Tzvetaeva and Heiner Muller. The academic and pedagogic Multi-disciplinary and polyvalent or- Another staple amongst them is Saša institutionalization of the former, and ganizations of that type are neither Božić, who is nowadays invited both the systematic development of the new nor rare in the rest of the world, by national theatres and by festivals European career of the latter, are in- and the Kulture promjene program such as, for example, the Theatre of dications of the success of the &TD has had a great advantage in its sta- the Blind and Visually Impaired, be- traditionalII Bobo Jelčić/ managed to bring back fame to Theatre as a place of meeting and ble and dependable funding, since it cause he is able to treatways even clas- Nataša Rajković: Savska 25. By opening the door to genesis, and an answer to the ques- is a part of the SC which is, in turn, di- sics such as Ranko Marinković’s An Uncertain Story, the new poetics of young playwrights tion of “Where did we grow (up)?” rectly connected to the University of “Gloria” as a personal artistic proj- Theatre &TD, photo and directors, she tried to oppose the posed to the audience, the theatre Zagreb and the Ministry of Science, ect; finally, we have Miran Kurspahić, by Demirel Pašalić value judgment of the narrow nation- workers, and to the Croatian theatre Education and Sport. The transition a director who promotes the theat- alist-restorationist vision of Croatian in general, no matter how unstable a from a socialist project based on scat- ric arts just as much as he uses the culture of the time. Even though, from notion that is anyway. tered and inert practices into a net- arts to promote himself, even offer- today’s perspective, those times may work supplying these facilities from ing to sell the SC itself in his project not seem so bright, in a historical and The function of a safe haven for mis- the same pool of resources, where Rasprodaja (“On Sale”). Thanks to spatial context the &TD Theatre was fits and a training ground for the de- the usage of theatre halls is not re- Frljić and his play Mrzim istinu (“I hate a space of difference under her guid- velopment of young artists - naturally stricted to theatrical plays and the the truth”), Kultura promjene has won ance; and this difference has benefit- integrated with the function of an in- usage of galleries or projection halls the Croatian Theatre Award, which is ed some directors who are today es- stitution bearing the name “Student to visual arts, did not happen quickly a rare and thus even more significant of tablished not only within the bounds Centre”, which greatly defines it andproducing or smoothly, but it was still complet- example of institutional recognition of Croatia, such as Bobo Jelčić or, positions it – has been the backbone ed. Through several seasons of activ- being given to a program and organi- maybe even more, Ivica Buljan. It was of the program which has been im- ity, which continues to this day albeit zation that, at least nominally, opposes exactly the plays “Usporavanja” and plemented by what started out as a at a lower intensity, Kultura promjene institutionalization by the cultural es- “Nesigurna priča” - which Bobo Jelčić young and ambitious team gathered hit the mark it was aiming for: the SC tablishment and mainstream Croatian directed in collaboration with Nataša under the moniker Kultura promjene is once again home to music, theatre theatre. Rajković, defining a completely new (“The Culture of Change”). Led by and visual arts audiences composed paradigm of a functional and success- the primarily theatre-oriented Nataša of both experts and professionals with Adding to this the systematic collabo- ful cohabitation between the director Rajković, this group of musicologists, polished tastes and “regular”, every- ration with festivals, from the recently and the dramaturge – that spread the art historians and other general cul- day consumers of culture and art. self-terminated Eurokaz and Queer performingword about the &TD around the world tural enthusiasts wanted to unite all Zagreb to the unstoppablyarts vital ITI 38 39 ITI CROATIAN THEATRE

Perforations Festival, as well as the founding of its own specific manifesta- tions such as the Zagreb Culture Fair, the Ganz Novi Festival and the musical Showroom of Contemporary Sound, the influence ofKultura promjene – The Culture of Change – on the changes in our culture is evident. But Kultura promjene’s most important, and still largely pioneer, role in the transition of the traditional ways of producing and presenting Croatian performing arts was on the dance scene, which had constantly been homeless for years, ever since the days of Milana Broš and the KASP, in spite of the Zagreb Dance Centre or the Gorgona hall at the Zagreb Museum of Contemporary Art, which were constructed in the meantime. Dance productions were largely kept out of institutional theatres, while other theatres always treat it as a temporary lodger, with all the connotations of that concept. For several years, the &TD Theatre func- tioned as a center for dance and re- lated performing practices, a place where productions were born and performed; among those gathered, a sizable dance audience was found.

Natalija Manojlović, Selma Banich, As the oscillations in the life of spaces Croatia, these processes can hard- II Miran Kurspahić: Irma Omerzo and BAD co., along with intended for culture and art are not ly promise anything more than bare On Sale, Theatre Montažstroj and Damir Bartol Indoš’s straightforward like a set of mathe- survival; but the fact remains that the &TD, photo by House of Extreme Music Theatre, are matical equations, Kultura promjene program itself has lost some of its at- Damir Žižić just some of the authors whose art is currently in a state of stasis, in cre- traction. The reasons for the former does not recognize the boundaries ative and productive terms, but also can be found primarily outside the between dance/nonverbal and dra- financially. There are several key fac- sphere of culture; but the latter de- matic or post-dramatic theatre, and tors limiting and defining the formu- pends on it: Kultura promjene was an who found their artistic home in the la of Savska 25 these days: the fact innovative and open-ended project II Bobo Jelčić: modified Italian pavilion of the former that the entire SC is undergoing the when it began; but, in the meantime, Whisked Away, Zagreb Fair; some just for a while, for process of financial recovery is cer- and not necessarily through any fault Theatre &TD, a couple of projects; some for most of tainly not negligible, and, taking into of its own, it has become somewhat photo by their lives. account the present recession in calcified. In addition to the financial Damir Žižić ITI 40 41 ITI CROATIAN THEATRE

and management difficulties, the -of line, in what isn’t, but will in spite of ev- fer itself is a problem: the green- erything soon become, the strict city house needs sprouts to nurture, and center of Zagreb. The unfinished tran- it seems that a new wave, heralded by sition, on the other hand, is merely a authors and directors such as Vedrana form of symbolic capital carried by Klepica and Vedran Hleb alongside Kultura promjene together with much several new names, is yet to come into larger and all-encompassing entities full force. of Croatian society, from national cultural institutions to key infrastruc- The desire for innovation and the pro- tural centers like Croatian Railways. grammatic but controlled open nature In this light, the &TD Theatre and is still a characteristic of the facilities Kultura promjene can no longer be in Savska 25, which is evident in the what they used to be, but they can be fact that at least one new produc- something else. This fenced-in space tion opens each month, regardless in the center of the city, the property of whether it is staged by young au- of the University of Zagreb, is a lov- thors, returning artists or theatre vet- ingly preserved space; there seem to erans. International ties and the EU’s be attempts to portray it as unimport- cultural funds keep Kultura promjene, ant, but the truth is completely op- and with it the &TD Theatre, high on posite. Even though its management the list of the most desirable facilities and business dealings are problem- for unrestricted and intensive work atic, because it is a relic of a system on modern performing practices, not of meeting and creating the needs of only in Zagreb, but in the whole of a specifically inarticulate and disor- Croatia. ganized student population, the SC cannot avoid being a site of perpetual The issues of the &TD Theatre, or conflict, whether it is fully articulat- more accurately the entire cultural ed or bubbling beneath the surface. segment of the Student Center, can- Thus, the history of the cultural sec- not be easily solved, but are still un- tor of the SC progresses in leaps and doubtedly an intriguing challenge, bounds, with highs that define the lo- foremost because of its significant cal theatrical and, generally speaking, potential and strategic importance as performing arts, and lows which fortu- a mediator between the independent nately cannot cancel out the effects of cultural scene and the supposedly those highs. In other words, the &TD highly professional world of culture Theatre is a place to grow up in, but industries. Several simultaneous pro- the theatre itself will never grow up; cesses and their sometimes contra- for the sake of itself and all those that dictory power lines bind these facili- will pass through it, and those who will II Ranko ties together with the other resources profit from it, it never should. Marinković: united by town planning and the ar- Gloria, Theatre chitectural, managerial and above all &TD, photo by poetic structures of the SC, that trian- Damir Žižić gle between two railroads and a tram ITI 42 43 ITI CROATIAN THEATRE DUBROVNIK ALWAYS HAD A VERY STRONG GENIUS LOCI

II The façade of the Dubrovnik theatre on a postcard from 1901 ITI 44 45 ITI CROATIAN THEATRE

THE MARIN DRŽIĆ THEATRE IN DUBROVNIK hrvoje ivanković

The city of Dubrovnik is celebrating The spirit of Dubrovnik particularly a theatrical double anniversary: emanated from old Dubrovnik litera- 150 years since the construction ture and theatre; their connection to of the theatre building and the Croatian matrix was established 70 years since the founding through repeated contact with the of a professional theatre cultural life of other urban centers on the East coast of the Adriatic, such as Split, Zadar, Hvar or Korčula. The For four and a half centuries, the city local writers from those towns often of Dubrovnik was the center of a rich considered Dubrovnik to be the ideal; nautical, mercantile and aristocrat- in fact, Hvar’s famous poet and play- ic Republic whose independence, in wright Hanibal Lucić wrote in the 16th spite of its tricky position at the bor- century: Dubrovnik, o honor of our der of the Ottoman Empire and the tongue/ you bloom and bloom you will Christian West, was successfully main- forever more. tained through masterful Dubrovnik diplomacy. Although heavily influ- The continuity of theatre life in enced by Italy overseas, which was Dubrovnik can be traced back to evident in all aspects of life, includ- the late Medieval period, while during architecture, education and art, ing the Renaissance and Baroque Dubrovnik always had a very strong periods this city undoubtedly be- genius loci which was formed through came the center of Croatian drama the creative intertwining of the men- and theatre. Numerous playwrights, talities of its Romanic and Slavonic in- prominent among whom were Mavro habitants; a genius which emanates Vetranović, Nikola Nalješković, Ivan II Ivo Vojnović: from the city to this very day, in spite Gundulić, Junije Palmotić, and one of Sunset, Marin of its uncontrolled tourist expansion Europe’s greatest Renaissance come- Držić Theatre and widespread commercialization. diographers, Marin Držić, wrote their ITI 46 47 ITI CROATIAN THEATRE

pastorals, comedies and tragedies the works of foreign authors. Chief were located as well, along with the building. So, as soon as 1841, the proj- "" The continuity which were staged on Dubrovnik’s among them was the great Molière, traders’ market and the granary. Until ect for the construction of the new of theatre life in squares, palaces and public build- so as many as 23 of his comedies 1806, when the forces of the French theatre was prepared, but the dream Dubrovnik can be ings, and performed by local theatre were staged by the mid 1760’s. They army invaded Dubrovnik, the theatre started taking shape only twenty traced back to the companies comprising of young mem- didn’t merely translate them, but was used to stage the plays of the lo- years later, thanks to Luko Bonda, late Medieval period, bers of noble and gentry families. The adapted them completely, transpos- cal dilettantes and traveling theatre a descendant of an old noble family while during the best evidence of how infected the ing them into the Dubrovnik milieu. and opera companies from Italy. The from Dubrovnik. Having finalized all Renaissance and people of Dubrovnik were with the- At that time, Dubrovnik already had French authorities then turned the the preparations for erecting the the- Baroque periods this atre is what happened at the begin- its first permanent theatre, adapted old Orsan into an army bakery and atre building, in 1862 he composed city undoubtedly ning of the 18th century, when there in 1682 from a part of the Orsan – the storehouse, but soon orders came and printed a program for the con- became the center were no longer any domestic play- local arsenal where ships were stored from Napoleon’s general Marmont struction, appealing to his fellow citi- of Croatian drama wrights whose talents could sate the and repaired, in a building complex to set up a new theatre in the same zens for financial help. Their response and theatre. needs of their fellow citizens. The lo- in the center of the city, where the building complex; a much more flashy was pretty modest, but Bonda didn’t cal theatrical companies then turned halls of the Grand Council and the and functional one. It was located in give up on his intentions. Investing to translations and performances of Senate of the Republic of Dubrovnik the facilities of the former City Hall heavily on his own, he started the which had lost its original function construction of the theatre in 1863, when the Republic of Dubrovnik was according to plans by Split architect dissolved in 1808, and it was named Emil Vecchietti. Less than two years II Đono PALmotić: the Duke’s Theatre (Teatro ducale), in later, the people of Dubrovnik had a Atalanta, Marin honor of Auguste Marmont, who had theatre building with a neo-Baroque Držić Theatre recently been granted the title of the interior and a typical hall alla italiana, Duke of Dubrovnik (Duc de Raguse). which included, in addition to a small In 1817, the Duke’s Theatre burned framed stage, three stories of lodges down in a fire, and the theatre life of and an orchestra for more than 400 Dubrovnik moved some hundred me- viewers. ters down the road, into the palace of the Gozze noble family. The theatre, The new theatre was opened on however, was too cramped and tech- January the 1st, 1865, with a pro- nically ill-equipped, and soon after duction of Giuseppe Verdi’s op- it opened plans were already being era Ernani, staged by an Italian the- made for building a new theatre, wor- atre troupe under the leadership of thy of the rich Dubrovnik theatre tra- Giullio Sanguinazzi, but the orches- dition. Paradoxically, one decision that tra was composed of local musicians. was working in favor of these plans Josip Berza, a chronicler of 19th cen- was the Austro-Hungarian govern- tury Dubrovnik, described the atmo- ment’s (as Dubrovnik became a part sphere of the occasion: “Bonda was of the Austro-Hungarian Monarchy in accompanied by a cavalcade of torch- 1818) decision to tear down the build- es into the theatre, sonnets dedicat- ing complex in which the arsenal and ed to the occasion were proclaimed the City Hall were located and which from the upper lodges, and young la- had been damaged in a fire. They in- dies showered him with flowers; he tended to build a new City Hall in one called out to the audience to hail the part the complex, and provide the Emperor: “Long live!” Although he ac- rest of the complex for a new theatre complished his lifelong dream, Luko ITI 48 49 ITI CROATIAN THEATRE

Bonda (1815-1878) ended up in seri- It’s a veristic, symbolist melodrama ous debt because of the construction, from everyday life in Dubrovnik, writ- and he never managed to repay it. ten in 1895 by Ivo Vojnović (1857-1929), However, the building he erected be- one of the most reputable Croatian came the center of seasonal theatre playwrights of the modern era, and life in Dubrovnik. In the meantime, it by far the most important writer from has been reconstructed and techno- Dubrovnik at the turn of the 19th cen- The logicallyrepertoire modernized several times, tury. Between the two World Wars, was and after a thorough renewal in 1988 Bonda’s theatre no longer hosted it was connected to a neighboring Italian travelling troupes, but there building, where a small stage called was an increase in the number of per- “The Bursa Theatre” was built. formances of institutional theatres from the Slavonic south (Zagreb, Split, Until the end of World War One, the Osijek, Sarajevu, Ljubljana, Cetinje), first dedicated theatre in Dubrovnik with occasional guest appearances by usually hosted Italian travelling theatrical troupes from distant lands, troupes who performed various such as the dissident theatrical troupe dramatic, operatic and light oper- of the Moscow Art Theatre (1924), the atic repertoires, but performances English Players ensemble (1932) or the by theatrical troupes consisting of Bluebird Theatre (1934). basedCroatian and Serbian actors, tour- on local ing the Yugoslavian regions of the In addition to theatrical performanc- Austro-Hungarian Monarchy, were es, Bonda’s theatre was used to host not uncommon either. However, many other events, from concerts, performances by Croatian theatre illusionist performances and pub- troupes were the ones that drew the lic balls to carnival ceremonies, aca- most attention: the first one was or- demic celebrations and other gath- that his theatre would end up in the has, since 1967, been named after ganized in 1875 when the Croatian erings, the most important of which hands of a cinema for a whole season, Marin Držić (1508-1567). At first made Dramatic Society from Zagreb came was the 11th International Congress of they wouldn’t have hesitated for a mo- up of the best local amateur perform- to Dubrovnik, but the guest perfor- PEN Clubs in 1933, which saw Bonda’s ment to rig it up with dynamite and ers, actors recruited from various trav- mances grew more common between theatre hosting famous writers such blow it sky high!” elling companies and several profes- 1909 and 1914 when the Drama and as Herbert George Wells, Ernst sional actors, in the late 1950s the the- Opera sections of the National the- Toller, Filippo Tommaso Marinetti, The first professional drama ensemble atre started profiling and thoughtfully literaryatres from Zagreb and Osijek per- Felix Salten, Jules Romains, Benjamin traditionat Bonda’s theatre was formed dur- completing its ensemble with young formed several times. Bonda’s theatre Crémieux and Shalom Asch. However, ing World War Two (1943-1944), when trained actors, many of who went on also hosted plays by amateur troupes since 1906, when the first movie was the Croatian National Theatre in Split to achieve greatness in Zagreb and from Dubrovnik, whose activities in- screened, until the end of World War temporarily moved to Dubrovnik, af- other cities. The repertoire of the tensified after World War One (they Two, the theatre was often rented out ter the Italian occupying forces at the Dubrovnik Theatre was special from stages some 200 plays between 1932 to cinemas, which cause some pro- time banned them from performing. the very beginning, because it was and 1940), with the high point being tests from the public, and even open based on regular performances of the authenticity and artistic merits complaints such as this one by an A new period in the history of the plays from the local literary tradition II Miroslav Krleža: of their staging of Equinox in 1936, anonymous author in the local news- building began in December 1944, and the works of writers of the wider Leda, Marin Držić which went on to be very successfully paper: “If one of the founders of our when it became the home of the new- Mediterranean cultural circle, a fact Theatre, photo by staged in Zagreb and Sarajevo as well. theatre had been told, even jokingly, ly-founded National Theatre which that became especially prominent Željko Šoletić ITI 50 51 ITI CROATIAN THEATRE

after 1951, when the National Theatre Summer Festival and the Dubrovnik temporarily became the foundation Symphony Orchestra to form a uni- of the Dubrovnik Summer Festival, fied institution, and the existing, very a world-renowned event dedicated vital core of the artistic ensemble to ambient theatre. Since the early was joined by many excellent young 1960s, the ensemble of the Dubrovnik actors, but their ambitious plans Theatre has collaborated with the were interrupted when war erupted best Croatian directors of all gener- in Croatia in 1991 and the Serbian- ations, which influenced the rework- Montenegrin siege of Dubrovnik being of the repertoire, which increas- gan. Despite a series of stimulating ingly includes contemporary au- successes in the first post-war years, thors (Anouilh, Osborne, Figueiredo, the Dubrovnik Theatre (independent Dürenmatt, Mrożek, Ustinov, Ionesco, once again since 1992) entered a long Albee, Beckett etc.), but also innova- crisis, caused, among other reasons, tive interpretations of the works of by a drop in quality of the ensemble, Croatian and foreign classics. One frequent changes of directors and an particular phase stands out in the his- unsystematic choice of repertoire and tory of the Marin Držić Theatre; the collaborators. period between 1969 and 1976 when a group of young actors educated With a total budget of around a mil- at the Zagreb Academy of Dramatic lion Euros and fifty-odd permanent Arts joined the theatre, under the employees (fifteen of which are ac- leadership of the Dubrovnik-born tors), the Marin Držić Theatre is the director Ivica Kunčević. In that pe- only communal theatre in the far riod, the Marin Držić Theatre staged south of Croatia, but in spite of a rela- a series of well-received plays which tively high number of premieres and a were performed all over Yugoslavia, wide repertoire, the theatre is strug- receiving awards at prestigious fes- gling to meet the challenges of its en- tivals. This period is rightfully con- vironment. The riches of Dubrovnik’s sidered to be the golden age of the- tradition and contemporary culture atre in Dubrovnik. The Dubrovnik provide a much greater legacy to the Theatre kept its recognizable identity Marin Držić Theatre than what it cur- in the decades to come, but in spite rently has to offer to its still numerous of numerous popular and high-quali- audience, so, for this double anniver- ty plays, it never reached the level of sary, we can only wish for it to soon charisma and success it had in that pe- get relevant artistic leadership, which riod. A new rise, however, could have will be able to use the advantages of been possible in the late 1980s, when its attractive environment to achieve the role of the artistic director was the success it deserves. taken over by Marina Carić, who previously worked as director of the Split Summer Festival and the Croatian II auditorium National Theatre in Split. The Marin of the Marin Držić theatre joined the Dubrovnik Držić Theatre ITI 52 53 ITI CROATIAN THEATRE I BELIEVE THAT THEATRE SURVIVES

II Heiner Mülller: ON ITS AUTHORSMacbeth After Shakespeare, Mini Teater Ljubljana, Novo kazalište Zagreb, photo by Urška Boljkovac ITI 54 55 ITI CROATIAN THEATRE

I’m staging Uncle Vanya in Trieste; not Chekhov is one of the authors I am "" Croatian theatre once the original play but a new text by the least interested in. As a director, a cru- again has a director who young Slovenian author, screenwriter cial influence of mine was Pier Paolo is relevant in a European IN CROATIAN and director Nejc Gazvoda. He had Pasolini, both with his plays and his and global context, previously never written a theatrical Manifesto for a New Theatre, which I for the first time since play, until, at Ljubljana’s Mini theatre, really understood as a personal mani- Vladimir Habunek in the we convinced him to write and direct fest, in an intellectual sense but also mid-twentieth century, his play Divljač (Wild game), about the as a practical manual of sorts. When so Ivica Buljan seems THEATRE, ALL psycho-sexual relationships of adoles- I look back at the first plays I direct- like the right person to cents. After his excellent first work, I ed, I can’t fail to notice the strong in- comment on the Croatian decided to invite him to write a new fluence of that Manifesto – Pasolini theatrical realities, dramatic work based on Chekhov’s advocated the use of non-narrative but also to discuss motifs. structures, poetry, and he criticized the global theatrical THE DISCUSSIONS middle-class urban theatre, whose spirit of these times. qq I can imagine a theatrical puritan very prototype is Chekhov’s drama- reading this and thinking: if he turgy. For Pasolini, Chekhov is an wanted to do Chekhov, why didn’t apolitical playwright who misrepre- II Ivica Buljan, ARE FOUNDED MATKO BOTIĆ he use Chekhov’s original piece? sents reality in trying to mimic it, a photo by Peter Uhan Ivican Buljan is a hard man to locate sorts of conversations. The busiest and bring in for questioning, even Croatian director abroad is, after all, with the help of modern technolo- an exceptional interlocutor, one who gies. While I was breaking all appro- deserves one’s patience because his ON INADEQUATEpriate deadlines and waiting for him insights from the outside could have to find an hour of his time for this is- a beneficial effect on the stale air on sue of Croatian Theatre, his locations the inside, in Croatian theatre, which shifted like frames in a Hugo Pratt has been crammed with the same comic: a premiere in West-African people for so long that, sometimes, PRECEPTSAbidjan, a short visit to Zagreb filled in Miroslav Krleža’s words, the whole with commitments pertaining to his place smells, but it’s warm. Croatian latest Hungarian-Croatian-Slovenian theatre once again has a director co-production; a trip to Trieste to who is relevant in a European and A discuss a new project, an escape to global context, for the first time since CONVERSATION Liège to the European ethno-the- Vladimir Habunek in the mid-twen- WITH DIRECTOR atre conference, and finally Brussels, tieth century, so Ivica Buljan seems IVICA BULJAN where I finally found him in a noisy like the right person to comment on hotel lobby, acclimatizing myself to a the Croatian theatrical realities, but wobbly Skype connection. Even had also to discuss the global theatrical Corto Maltese, by some unlucky co- spirit of these times. Busy and direct, incidence, been a theatrical director, Buljan starts talking about his current he would have travelled less in such plans even before the first question a short time, so we have to make al- is posed, to diffuse the awkwardness lowances for Buljan’s relative un- of alienated communication over the availability and lack of time for these Internet. ITI 56 57 ITI CROATIAN THEATRE

he radicalized them in a way typical commonly considered Chekhovian "" I have always been of contemporary American television theatre. Incidentally, when we started bound by my directorial shows, with dialogues and micro-situ- working on the play we found out that credo to stage ations reminiscent of those from Gus the propulsive New York-based Soho contemporary texts Van Sant’s movies. Gazvoda, much Rep has taken a similar path – a young which tackle the like Van Sant, deals with the issues of playwright, Annie Baker, has written problems of modern teenagers in his writing; his characters her own version of Chekhov instead people, so I always are young people in conflict with the of adapting the original text. preferred texts dominant economic or political ma- that attempt to say trix, so I was curious to find out how qq Many interesting European something about the that sensibility would tackle the ba- directors, from Gotscheff and future as opposed to sic premise of Uncle Vanya – the exis- Gosch to Janežič and Schilling, those that recap the tential doubts of a man in his late for- manage to find authentic barbs patterns of the past. ties. While in Chekhov’s times those of the contemporary world even people were considered to be old, to- in Chekhov’s original texts… day that generation, to which I myself belong, still feels some almost ado- That is, of course, an entirely legiti- lescent doubts, from unsolved social mate and commonplace methodolo- issues to sexual traumas. Gazvoda’s gy. I believe that theatre survives on II Peter Handke: play touches upon those issues, deals its authors – I have always been bound Still Storm, with that sphere which Foucault calls by my directorial credo to stage con- Slovenian National the psychosexual, and it looks like temporary texts which tackle the Theatre – Drama, something very interesting and fun- problems of modern people, so I al- Ljubljana, photo damentally different from what is ways preferred texts that attempt to by Toni Soprano

II Miroslav Krleža: relic of the outdated dramaturgy of completely different.Uncle Vanya is Messrs. Glembay, the nineteenth century; following that important for the cultural milieu of Slovenian National line of thought, I felt a certain distaste Trieste because of Jovanović’s cult Theatre – Drama, towards that sort of dramatic writing. staging of the play in the late eight- Ljubljana, photo Myself and Diana Koloini, the director ies, which marked the end of the clas- by Peter Uhan of Trieste’s Slovene theatre, searched sical directorial paradigm just before for a narrative for a long time: we the explosion of the new visual the- needed to take into consideration not atre of the eighties, claiming its place only the local social context and the in the town’s collective memory as a specificities of the ensemble itself, landmark theatrical event. Because but my overall contribution to that of all that I came to think that Nejc theatre as well. Several years ago I di- Gazvoda, with whom I’ve been inten- rected Pasolini’s Pigsty there, a com- sively collaborating lately, could think plex show for which all the resources up a new, contemporary version of of the ensemble – and its numerous this Chekhovian dramaturgy. Gazvoda guests - had to be mobilized, so this performed a major textual interven- time we wanted to choose something tion – he preserved the relations, but ITI 58 59 ITI CROATIAN THEATRE

her works, warns the reader that the sort of dramaturgy could pique the in- transitional post-communist societies play is unstageable and invites the di- terest of such an audience, in a com- in this part of the world. rector to confront this unstageabil- munity where the theatre-going audi- ity. Chekhov, on the other hand, is ence is limited to the remnants of the The last play in my Kranj trilogy, Die quintessentialy stageable, and it was post-socialist middle class, while the starke Stamm, reached the farthest intriguing to attempt to find traces youth and the second-generation im- into the past – to Marieluise Fleisser, of modernism, which are definitely migrants exhibit no interest in it what- a playwright considered to be cru- I HADpresent in his plays, through the in- ABSOLUTEsoever. We decided to forgo populist cial in contemporary German thea- tertextual intervention of a contem- approaches and attempt to define a trology, almost to the same extent porary writer. Since this is a conversa- sort of activist modernist language as Brecht, with whom she was very tion for a Croatian theatrical revue, it which might mean something to these close both personally and profession- might be interesting to point out that people. We ended up with Elfrieda ally. Marieluise Fleisser was award- I’ve done some projects earlier in the Jelinek whose texts tackle the issues ed the title of the mother of modern Slovene context which hinted to this of this transitional post-proletariat, German dramaturgy by Sperr’s and turn towards a, relatively speaking, these remnants of a middle class in Fassbinder’s generation, and since narrative form of theatre. the process of transformation into her plays focused almost exclusively something for which we don’t even on social issues, the status of women qq I find your double life, in Croatian have a name yet. Her Princess Dramas and minorities, she fit in perfectly into say something about the future as and Slovene theatrical contexts, talk about the position of women in a our Kranj narrative. I’ve told you all of opposed to those that recap the pat- very interesting. Why do you different social environment, after a this to provide an example of a collab- FREEDOMterns of the past. I think this is harder work in Slovenia more often than INperiod which we rememberPICKING from the oration between a dramaturge and to pull off with works belonging to the here, and does your diverse opus days of late Yugoslavian socialism, a director, one that may not be the classical, middle-class dramaturgy, but in their theatres aesthetically with almost-realized feminist prem- most well-known point of my career, of course that doesn’t mean it’s impos- differ from your Croatian plays? ises. In communities such as Kranj, but which, through thorough prepara- sible. Instead of trying to modify and women, after the collapse of the in- tion and research, managed to pres- adapt these texts to myself and my I think that, anywhere I go, I always dustries which had ensured their ex- ent some rarely performed authors needs, I find it much more logical to work in the same way, by probing the istence, are exposed to new forms of who are nevertheless indispensable leave this to a writer whose sensibili- theatre where I’m staging a play in an capitalist oppression, which include in the context of modern European ties mirror mine. attempt to discover the character- the loss of the rights they had man- drama. And all of this was achieved istics of the repertoire, the tastes of aged to win for themselves. In this in a small, one might say endearing- qq Did this indirect, intertextual link the audience and the overall context light, our play based on the Princess ly provincial theatre, which still had with Chekhov eventually manage of that milieu. I can explain by way of Dramas was recognized as very con- enough dramaturgical, artistic and to warm you to the writer? example; I staged some lesser-known temporary and relevant to the local managerial depth to produce such a MY plays in Kranj, a communityCO-WORKERS compara- audiences. Elfriede Jelinek led us to complex project at the highest level. Well, definitely, I don’t want it to look ble to Croatia’s Varaždin in size and lo- the text Hunting Scenes from Bavaria When I compare that to the situation like we tried to get rid of Chekhov cation. Kranj is a place with a specific by Martin Sperr, a somewhat forgot- in Croatian theatres, I have to say that at any price, quite the opposite! In history, with a famous industrial past ten author of the German modern pe- I’ve sadly never, except at the Zagreb the past I’ve mostly dealt with play- and a strong Slovene and Austrian- riod, especially close to Jelinek, who Youth Theatre, had the opportunity to wrights, poets, writers who program- Hungarian cultural legacy; on the tackled the anomalies of the German work with a company in Croatia that II Olja Savičević matically avoid dramatic situations, other hand, today it is populated by society of the 1960s and 1970s: cor- was willing to enter such a form of di- Ivančević: Adios, like the aforementioned Pasolini, immigrants from former Yugoslavian ruption, the collapse of the banks, in- alogue, and I cannot function without Cowboy, Split Summer Bernard-Marie Koltès, Heiner Müller, countries, mostly deprived of any sort dividuals profiteering at the expense it – because the context always deter- Festival, photo Marina Tzvetaeava, Robert Walser or of economic backing. Dramaturge of society as a whole – all of which mines the text. In Slovenia I had the by Matko Biljak Elfriede Jelinek, who, in almost all of Marinka Poštrak and I wondered what are very relevant in contemporary fortune of collaborating with some ITI 60 61 ITI CROATIAN THEATRE

II Miroslav Krleža: people who are very important to which I founded with Robert Waltl to Messrs. Glembay, me – Janez Pipan, head of the drama enable myself to experiment freely Slovenian National department of the Slovene National and over time with actors, visual art- Theatre – Drama, Theatre monitored my progress scru- ists and musicians. This laboratory photo by Peter Uhan pulously, and the first project I worked gave birth to Schnewittchen after par- on there, Koltès’s Black Battles with ty and Macbeth after Shakespeare, Dogs, was prepared for more than a shows which left a significant mark year, I had absolute freedom in picking on the actors, the theatre and myself. my co-workers and actors, so it was an That is the way I would like to work in atmosphere in which everything was Croatia as well. geared toward the success of the play. Pipan himself suggested that I qq It sounds almost unbelievable that, should stage Ivo Svetina’s Oedipus after such a series of successful in Corinthus there, a play which, in plays in Slovenia and Europe, you spite of its status of a contemporary still haven’t received an invitation Slovene classic, hadn’t been staged from Zagreb’s Croatian National successfully until then. Oedipus in Theatre or the Gavella theatre. Corinthus in some way became an emblematic, watershed show for that Even when I was invited to some of theatre and its ensemble: afterwards, I those theatres, it never started from a also staged Yukio Misihma’s Marquise well-formulated idea, as was the case de Sade, Krleža’s Glembajevi, and in Slovenia, but out of incidental cir- Handke’s Still Storm. This sequence of cumstances of some sort. For exam- plays demonstrates a very clear dra- ple, Glembajevi from Ljubljana was maturgical and social line of reasoning performed in Zagreb, and afterwards I – all these texts influence the devel- received some invitations which were opment of the audience’s sensibilities. not the result of any personal inter- Another fact is very important: the action with dramaturges or art direc- plays on the repertoire of the SNG’s tors, but mere momentary reflections drama program are guaranteed, even of my play’s success. In Croatia pret- before the opening night, twenty-odd ty much everything happens haphaz- performances, so every show is auto- ardly; a director stages a successful matically seen by a significant num- play in one theatre, and the next sea- ber of people. Working continuously son he gets to work in three other big with the same ensemble is also impor- Croatian theatres. The only place in "" Even when I was invited tant for my development as a direc- Croatia where I can work in the same to some of Croatian tor and dramaturge – after three plays way I do in Slovenia is at the Zagreb theatres, it never with actors who I had become famil- Youth Theatre, where I have profes- started from a well- iar with, Glembajevi was the logical sional and personal connections with formulated idea, as was next step, and all the artists involved director Dubravka Vrgoč. Every play the case in Slovenia, adapted unreservedly to the experi- I have staged there was a result of but out of incidental mental conditions of our prepara- thorough preparations, discussions circumstances tions. Another special chapter in my and considerations about the play’s of some sort. work is the Mini Teater in Ljubljana, continuity. In other Croatian theatres ITI 62 63 ITI CROATIAN THEATRE

"" In our context, I would in this is, sadly, impossible, and I was nev- to try something similar in another principle be interested in er interested in coming into a theatre Croatian theatre, but I’m afraid that dialogue with a left-wing and cruising through a typical reper- the current conditions in Croatian political organization, toire show. cultural politics do not work in favor even the current ruling of that idea – in Croatian theatre, all coalition, but it is clearly qq In the late nineties, you and the discussions are founded on inad- visible that they insist on Mani Gotovac tried to lay the equate precepts. I’ll try to elaborate playing with completely foundations for a new, seductive this by comparing us to French cultur- unarticulated ideas, so form of theatre in Split; today, al politics: in the last year, a large num- no-one knows what is that theatre, like many others in ber of theatre directors have been ap- expected from Croatian Croatia, seems to be wallowing in pointed, and the Minister of Culture theatres anymore. its own mediocrity, unburdened by Aurelie Filippetti, an extremely com- ambition. Do you ever get the desire petent expert much like our Minister, to embark on a similar venture, is in the process of passing the first II Damir Karakaš: Sniper, taking managerial responsibility Bill on Creativity in Europe, with the Compagnie Yeyotheatre in a Croatian theatre? support of the Prime Minister and Abidjan, Novo kazalište the Socialist party. This sounds para- Zagreb, Mini teater Ljubljana, Of course that the idea of such a proj- doxical, especially in a climate such as photo by Ivica Buljan ect is interesting to me – I am not hap- ours, where bills are always passed in py with the present situation and I feel order to enforce some decision in fa- II Pascal Rambert: Love’s a responsibility towards theatre in my vor of a political agenda, but such a End, Mini teater Ljubljana, society. I consider the Split theatre law can really serve to encourage ar- Mesto gledališče Ptuj, to be an organic part of me – that is tistic creation in times of crisis. This Novo kazalište Zagreb, where I grew up, saw my first plays; tendency is visible in the human re- Festival Zadar snova, photo I was formed as an artist while I was sources policy of French theatre - by Nikola Predović the drama director there. I would love Rodrigo García, an Argentine director with an extremely radical artistic style, was made manager of the Montpellier National Drama Centre, while Phillipe Quesne, an artist with equally radical visual aesthetics, was appointed head of the very important Théâtre Nanterre-Amandiers. It is obvious that these changes are not the result of vying for positions, but the effects of a clear political and aesthetic decision to appoint individuals whose artistic integrity will guarantee the success of the institutions promoting contemporary art. In our context, I would in principle be interested in dialogue with a left-wing political organization, even the current ruling coalition, but it is clearly visible that they ITI 64 65 ITI CROATIAN THEATRE

insist on playing with completely unar- theatre, which is always preceded I studied at Michell Kokosowski’s facilities are financed, but the shows ticulated ideas, so no-one knows what by the adjective dramatic, without Experimental Academy, and dur- are not, and the actors graduating is expected from Croatian theatres anyone ever asking: what does “dra- ing our studies we travelled all over from their excellent academy do not anymore. The Ministry of Culture and matic” even mean today? Sticking to Europe to learn from masters such as have the option of permanent work the urban management authorities examples familiar to the Croatian au- Anatoly Vasilyev in Moscow, or from in a theatre. Because of all that, I ac- should be in charge of laying down dience, is director Jan Lauwers from students of the late masters such as cepted my second Ivorian collabora- the guidelines for important theatri- the Needcompany troupe a visual art- Jerzy Grotowski and Heiner Müller. tion despite the limitations of the pro- KRLEŽAcal centers, a task that has been over- ist, a musician, a choreographer or a REALLYAmong all this, it’s important to un- duction – I wanted to make a show IS looked for decades in Croatia. Due dramatic author? As long as the en- derstand that theatre is necessar- that could be staged anywhere – from to neglect, the Gavella theatre has tirety of Croatian theatre refuses to ily a multicultural and international open urban spaces to guest perfor- been thematically and aesthetically move out of nineteenth-century para- arena, and that is something I do not mances in theatres. inarticulate since Gavella’s passing. digms, a change in quality will remain forget in my work. The entire history A particular problem is exemplified impossible. of 20th century global theatre, from qq I suppose that Karakaš’s text wasn’t by the government’s financial back- Antonin Artaud, Ellen Stewart and the organizer’s idea, but your ing of theatres such as Kerempuh and qq You don’t sound overly optimistic… Grotowski to Peter Brook and Ariane choice. After Krleža, Karakaš? Komedija – everywhere else in the Mnouchkine, consists of a studious at- world, theatres leaning towards that The Croatian cultural policy is con- tempt to understand the particulari- When I read Karakaš’s text, it seemed sort of commercial repertoire are fi- stantly mired in legislature, which ties of distant culture through the me- very classical to me, almost Balzac- nanced by private sources, since they never opens the way to any sort of dium of theatric action. Today, when esque in its transposition of shat- are able to generate enough revenue creative advance, but instead de- it’s immeasurably easier to communi- tered illusions. On the other hand, I A through theirPLANET shows. No party in pow- nies any possibilities and bogs them cate at great distances, it seems as if think it’s wrongONTO to consider the text er since the War of Independence has down. I think the money still exists, the interest for it has vanished – the as a typical Croatian topic – its plot, II Miroslav Krleža: even tried to define guidelines for the it just needs to be distributed bet- closer the world is, the better the po- which relies on an intense revolution- Messrs. Glembay, great Croatian theatre companies, ter, with a clear vision and knowledge tential for communication, the weaker ary potential, is in fact impossible in Slovenian National whose repertoires are still formulat- about which matters need to be set- the ties seem to be. I was invited to the Croatia. Karakaš is merely project- Theatre – Drama, ed according to frameworks from the tled. The French Minister of Culture, Ivory Coast by Acho Weyer, the direc- ing the possibility of a rebellion, in a photo from rehearsal, late nineteenth century. Let us con- Ms FIlippetti, is aware of the poten- tor of their Theatrical Federation, af- context where such a revolt remains photo by Peter Uhan sider the abovementioned Gavella tials of the personnel she nominated ter seeing a French play I created with an illusion. In an African context, all for positions of authority, and doesn’t my students. On my first visit there, I of this is amplified with the motif of play these games of cat and mouse, staged Krleža’s Kraljevo and it was an Paris serving as an utopian, imaginary announcing vacancies to which every- amazing experience – in the begin- promised land – over there, Paris re- one from literature majors to career- ning we had over fifty participants, ally represents a window into a bet- less actors will apply. The people who actors, dancers and musician, and al- ter world. have proven their legitimacy through though I directed them,HIMSELF I learned just their work in Croatian theatre are as much from them, about their cul- qq You’ve staged Krleža’s pieces both in well-known, and they should be ap- ture, their storytelling traditions, the the heat of Abidjan and in the winter pointed to try to achieve a creative peculiarities of their way of theatrical chill of Vilnius, Lithuania, where you breakthrough. expression. That was in 2009; sadly, in tackled Messrs. Glembay. Can you the meantime civil war broke out over try to outline a short comparative qq Several days ago you returned there, and today Abidjan has almost analysis of these two clashes of from the Ivory Coast, where you no functioning theatres. It works on Krleža and foreign cultures? stage Damir Karakaš’s Sniper. This the same principle that is now being is not your first collaboration mentioned, albeit in a milder form, as To paraphrase Slobodan Prosperov with Ivorian actors… a possibility in Zagreb – the theatre Novak, Krleža really is a planet onto ITI 66 67 ITI CROATIAN THEATRE

himself, and a top-notch internation- approach to a task which I couldn’t "" Working with actors al writer. When we started reading have afforded anywhere else. Parallel in my way often comes Messrs. Glembay, the actors were fas- with the rehearsals, we read and an- down to seeking a cinated with the sheer eros of that alyzed Freud’s The Interpretation of common invention in text, they read Krleža as a grand mas- Dreams, from a modern position, tak- the analysis of the text ter of the written word whose texts ing into account the Slovene Lacanian and the shaping of a need to be fought, immersed in their school, and tried to apply it to Krleža, performative language. bodies. Their ensemble very quickly seeking out dream-spaces hidden in identified him as a writer in whose the text. While working and analyz- sentences they recognized their own ing the narrative structure of Messrs. preoccupations and problems. Almost Glembay, we took off from Freud and the same thing happened in Africa – found shocking similarities with the their dramaturgy typically concerns it- American TV-show Twin Peaks. That self with the coexistence of the dead is a fantastic experience that only a and the living, and this is one of the top-notch, expertly crafted dramatic key thematic components of Krleža’s text can provide. Kraljevo. Furthermore, the play, which can seem hermetic or expressionistic qq When discussing the key to us, seems natural and familiar in an characteristic of your poetics, African context, as it is close to their Blaž Lukan highlights your folk-lore art forms, which often consist permanent collective, a group of bands of the poor commenting on of people who follow you from the world of the rich during some fes- show to show, in spite of changing tivities; this is, in fact, the main frame- circumstances: Robert Waltl, work of Krleža’s play as well. The lo- Marko Mandić, Ana Karić, Senka cal actors were at first convinced that Bulić, Mitja Vrhovnik Smrekar… I had previously thoroughly adapted Kraljevo to them and their context, The actors you’ve enumerated, Marko while I was merely working with the Mandić and Robert Waltl for example, original text. have travelled a long road by my side – we started with many gaps in our qq Krleža’s opus, without the knowledge, which is, if coupled with canonical gravity we ascribe to a desire to learn, a fantastic prereq- it, seems to take on a new glow… uisite for good theatre, and our passion for exploration always drove Canonical writers always have the us forward. Without all these plays most problems in the society which by Heiner Müller and exercises with II Bernard Mariè canonized them; that’s why I am not Artaud and Grotowski which Mandić Koltes: Roberto sure if I would dare stage Krleža in and I performed together, we certain- Zucco, Mini Teater Croatia. In Slovenia, my emblem- ly wouldn’t have been able to create Ljubljana, Novo atic actors, my long-time collabora- Leone like we did in Messrs. Glembay. kazalište Zagreb, tors, matured enough for the roles Or take, for instance, the process Maladype Szìnhàz in Messrs. Glembay, so I could risk through which Waltl, Mandić and I Budapest, photo attempting a studious, thorough prepared In the Solitude of Cotton by Toni Soprano ITI 68 69 ITI CROATIAN THEATRE

qq Let’s end this with Koltès, then, viewer’s activity. Lately, while working John Travolta, perceived through the whose Roberto Zucco was with students, I have been comparing lens of British social drama in the vein performed for Croatian audiences Koltès’s dramaturgy with the struc- of Ken Loach. This way of building a a couple of weeks ago, at the ture of the American TV-show The movie script or play might be com- Zagreb Youth Theatre. That author Wire – these are examples of a treat- mon today, but in his time it was in- is also one of the usual suspects ment of screen/stage time which was credibly innovative both in film and in in your permanent collective. considered to be revolutionary when theatre, and that is why Koltès is in- The Wire first appeared, but Koltès teresting to me – he’s the architect of The same thing Pasolini meant for had inaugurated it decades earlier in a type of theatre which has only re- me at the start of my career, Bernard- his movie script Nickel Stuff. Koltès is cently started to fully correspond to Marie Koltès has meant for me in the fascinating in his instructions for the our times. All of this goes to show how last fifteen years; I discovered him at director as well, not only through conservative a medium theatre is and the same time as Pasolini, but his ef- stage directions, but also through his how difficult it is for theatre to accept fect on me was more intense, and his Hitchcock-esque enigmas planted all the changes its revolutionaries initi- influence only grew over time. Unlike over the text. Because of that I love ate. Koltès’s complex narration is very most playwrights, much like Pasolini analyzing his plays with my students, alluring, in a way that is very similar to II Bernard Mariè and Heiner Müller, he offers an en- through a sort of quiz through which the new dramaturgy of movies and Koltes: Roberto crypted directorial handbook for the we find out, together, which charac- TV-shows, so that may be a way for Zucco, Mini Teater staging of his text along with his dra- ters from popular culture contribut- classical stories to find their way back Ljubljana, Novo matic material. His early works are es- ed to the formation of certain motifs into theatre. Perhaps that, to return to kazalište Zagreb, pecially interesting, since they were – for example the Character of Tony the starting point of our conversation, Maladype Szìnhàz written at a time when he was ac- Allen from Nickel Stuff, which is a bi- is where a new Chekhov awaits. Budapest, photo tively directing in theatre – Drunken zarre amalgamation of Bruce Lee and by Toni Soprano Trial, for example, his free paraphras- ing of the motifs from Crime and Punishment, contains some dramaturgical idiosyncrasies that are oth- II Damir Karakaš: Sniper, Fields by Koltès at the aluminum fac- erwise completely alien to the play- Compagnie Yeyotheatre tory in Kidričevo. – only when the ac- writing style of the 1970s, when the Abidjan, Novo kazalište tors became ready to carry that sort text was created. In a time when the Zagreb, Mini teater of load did I dare to attempt the un- poetics of the Theatre of the Absurd Ljubljana, photo certain task of staging that Koltès’s dominated, an author appeared, com- by Ivica Buljan play. pletely focused on the story, but in a completely post-dramatic way, which It’s predecessors were The Night Just Lehmann would only later theoreti- Before the Forests and Sallinger, as cally define. The stage directions in "" All of this goes to spiritual and physical exercises of a Drunken Trial are as artistically potent show how conservative sort. Working with actors in my way as the dialogue itself. They are an in- a me dium theatre is often comes down to seeking a com- tegral part of the text, which was un- and how difficult mon invention in the analysis of the imaginable at the time; the play con- it is for theatre to text and the shaping of a performative tains instances of an elliptical usage accept the changes language – this process is much more of time, the familiar dramatic struc- its revo lutionaries fruitful with actors I know well and ture is undermined, only to be collat- initiate. with whom I’ve collaborated before. ed into a coherent whole through the ITI 70 71 ITI CROATIAN THEATRE WHAT ELSE IS THERE BUT WAITING?

II Tomislav Zajec: Someone Should Walk the Dog, Croatian National Theatre Zagreb, photo by Damil Kalogjera ITI 72 73 ITI CROATIAN THEATRE

TOMISLAV SOMEONE ZAJEC CV SHOULD WALK PLAY THE DOG

He is the author of ten original drama for the play Atentatori (Assassins) CHARACTERS 1. background someone wrote: every- plays, John Smith, princeza od Walesa he received an award in 2000, in one’s got problems, yours are irrele- (John Smith, Princess of Wales) (1998), 2007 he received an award for the man 36 years old Under the awning vant. He worked at a library, that Man. Atentatori (Assassins) (1999), Svinje play Dorothy Gale, in 2009 for the father 78 years old rain In an elementary school. Morning (Pigs) (2001), Novi Nosferatu (New play Spašeni (Saved), and in 2012 woman 35 years old 4:51 pm shift, every week, winter was at its Nosferatu) (2002), Mlijeko(Milk) for the play Trebalo bi prošetati psa end. And we started with him because (2003/2004), Dorothy Gale (2007), (Someone should walk the dog). In Man is standing under an awning. we started with him, just for the sake Astronauti (Astronauts) (2008), addition, he received several other Just standing, not saying anything. of it. Who knows why we started with Spašeni (Saved) (2009), Trebalo bi awards and acknowledgements for his Smoking. And then. him. Maybe because he had a dog prošetati psa (Someone Should Walk literary and dramaturgical work. man Let’s start with him. Just like that. that needed a walk. Or because no the Dog) (2012) and Zagreb, volim te! Perhaps because he’s no longer alive. sadness can help us find what does (Zagreb, I love you!) (2014). His plays His name is included in several Or perhaps because on that morning not exist. And that Man had a sto- have been performed in Zagreb, Croatian literature reviews and an- he took the dog and went for a long ry, just one, the same story for all of Varaždin, Dubrovnik, Ljubljana, thologies, and his plays have been walk around town. His leg hurt, but no those who ask. A story about an af- Sarajevo, Novi Sad, Glasgow, translated into English, Hungarian, matter, someone had to take the dog ternoon in the city, just two months Tomislav Zajec is employed as an as- Bradford, Norwich, Bucharest, Braila Polish, Slovenian, German and for a walk. Perhaps he thought about before he would be no more. There, sistant professor at the Academy of and Ipswich. He published the se- Russian. something as he walked, perhaps that’s why we started with him. That’s Dramatic Arts in Zagreb. He has pub- lected drama plays as a part of the about whether one’s life is worth more why we started with the man under an lished three poetry collections so far: photo-dramatic map entitled Odlasci if you can tell it in a story. Later that awning in the rain who’s here as much Natanijelov dnevnik (Natanijel’s Diary) (Departures) (2013). day, standing under an awning, he as he’s gone. (1996), Sjever-zlatni šut (North-Golden knew something sad had happened, Woman comes running across the Shot) (1996) i Rupa njegova imena For his first playJohn Smith princeza but he could no longer remember street. She has covered her head with (The Hole of His Name) (2000); and od Walesa (John Smith Princess of what. Who knows if this happened at a jacket, to protect herself from rain. four novels: Soba za razbijanje (The Wales) he received the Dean’s Award all? Everything around him, on both She stands next to Man who has been Breaking Room) (1998), Ulaz u Crnu in 1999. He is the four-time winner of sides of the street, footsteps that watching her the whole time. Then she kutiju (Entrance to the Black Box) the greatest national award for dra- had already been or that would per- looks at him. (2001), Ljudožderi (Cannibals) (2005) matic opus Marin Držić sponsored haps once be. On the backside of that woman Fucking fuck! and Lunapark (Luna Park) (2009). by the Croatian Ministry of Culture; awning, in blue letters on a metallic Suddenly Woman starts laughing. Man ITI 74 75 ITI CROATIAN THEATRE

observes her, then he starts laughing went out. woman Fucking fuck, used what? father Wait, the wallet. 3. already. too; they laugh together. Then she man Here you go. man Chaos. man I’ve got money. father (from the other side of the stops. Takes out a cigarette. He lights her cigarette again. A moment. father You do? That’s ok, let me— In front of father’s door): What brings you here? woman Have you got a…? woman I shouldn’t, but they say it’s woman Ah, that. When it wasn’t… See man No need. apartment man You know what day it is. man looks at her. not good just to quit all of a sudden. you. father You look different. rain father (opens the door suddenly, but woman A lighter? man And you’re quitting? man See you, yes. man What? 2:45 pm does not move to let him in): She didn’t Man takes out a lighter and lights her woman Yes, I guess. A moment. father Go get that tie already, ok? show up. cigarette. A moment. woman (suddenly, abruptly): No, real- man Tell me. Man is standing in front of his Father’s man Who? A moment. man So. You’re on a break. ly, all of this. What are you doing here? father What’s there to say, all of apartment. He shakes the rain from father That idiot nurse, she’s not woman So— woman (nods): I work across the man I need to buy a tie. them there, tonight, expect me to say his umbrella and then from his jacket. here. She phoned she’s got a cold, man (simultaneously): I— street; it’s my new job. For the past something. Something that matters, man As he was standing in front of his bronchitis, she’s coughing. woman You first. three months, you see. because that’s what you should do. father’s apartment, an hour and a half man She’s sick. man Ok, yes… Hello. man A new office? 2. About myself, and then about them, before this what has just happened, father Not more than I am. woman You know, I’m not sure I want woman (shakes her head): No, it’s a much more about them, mostly about Man thought about that Woman you man Dad— to talk to you. ticket agency. father’s apartment them. Words, all the time, why would I have just met. Somehow she always father I’m allowed to say it, what?! A moment. A moment. rain prepare a speech? loved birds, and Man knew that. He re- man Yes, you are, but… woman What? woman Airline tickets. I sell tickets 4:10 pm man You don’t have to. membered that she was sad when one father And when she does show up, Man shakes his head. and then others fly, around, all over father You should go, the water heat- morning in the early spring some un- she does nothing, just sits here and woman You look— the place, you’ve lost weight, you man Which tie, dad? er’s now working. There’s hot water. lucky sparrow flew into the glass door stares. Sits and stares. Mister, do you man Like what? haven’t changed much. father You’re mumbling. I’m gonna take a bath. of their balcony, on the fifth floor of ever think about death? As if I have Woman shrugs. man You haven’t changed much ei- man (louder): I said, which tie do you A moment. their building. The bird saw something a choice. Death thinks about me, why woman. I’m on a break. ther. want? man How different… If I look different, through the glass, something irresist- should it have an upper hand? man Oh. woman You don’t know. father Which tie? I don’t know… The how different? ible. Woman took the bird, that spar- man That’s what she asks you? woman I come here often. Under this man No. But still, you haven’t. one for the suit. father Ah, that. row, and put it in a shoebox, and then father Real professional, right? awning. When I’m on my break. woman I haven’t, huh?! man I know it’s for the suit, but— A moment. he took it and tied its wings with a man She was just being— Man nods. Man shakes his head. Father points at the suit. father I never imagined you like fishing line and hung it on a tree, so it father (interrupts him): You’re mum- woman And of all… woman I used to cry a lot, but now I father Here… For this one… That’s this, sorry, I just didn’t. What, I’m old, looked as if it were flying. In the morn- bling. man Yes. have no time for that. Ok, just so you the one I want. So make the tie go I guess I can say what’s on my mind, ing wind, the bird looked alive again, man Polite. woman Yes, what? Are you following know, it sounded better in my head, with it, I don’t know. right? I just never did. as if in its center there was another father And she tells me: you’re a me, maybe? before I said it, all right? man It’s a good suit. man And when, when was that? bird, the same, just bigger. That’s why poet. And you’re a goat. And a sadist. Man shakes his head. Man nods. father Yes. father I don’t know, once, before. the Man was surprised when he saw man Will you let me in? woman (calmer): And of all places, A moment. A moment. When you were little… I don’t know. her cry over a bird that was dead but father When you’re old, it doesn’t there, you. woman I’ll go now. man Is your speech ready? man (worried): What is it, dad? suddenly wasn’t dead anymore. And take much to become a poet. man Yes, see. Yes. man Yes. A moment. father You ask, you need to ask your- perhaps that Man never actually un- Father steps away from the door, Man woman Total chaos. A moment. father You’ve lost some weight. I self, always. Even after your whole life derstood women. enters. Woman starts laughing again. woman What? think. has passed, you have to ask. father (from the other side of the father You came early. woman God, I… I’m sorry, really… You man No, no— man No, I haven’t. man But why do you have to? door): I don’t understand, who is it? look good. woman And see what everything is father Is she feeding you well? Is she father You just have to. That’s how man It’s me. man I’m wet. brought down to. a good cook? you know you’re alive. father (from the other side of the woman No, no… The rain. man To what? man Yes, she is. man What does that mean? door): Who’s that? man You too. woman To fucking fuck. A moment. A moment. man (louder): It’s me, dad. woman Yes. Woman laughs again. father And where is she, why is she father It means you came too early. father (from the other side of the A moment. woman (laughing): Total chaos. never here? door): And why? woman (points at her cigarette): It man Before you never used that— man Dad— man Dad, come on. Open the door ITI 76 77 ITI CROATIAN THEATRE

4. woman Uh-huh. 5. father Give it a good wipe, will you?! father A mess. and after they’d broken up she found man Yes, see. man I picked up your newspaper. man Yes. a job at an airline agency’s office in Under the awning woman A dog. That’s nice. I don’t Father’s apartment A moment. father That’s what you think. That the the city, across the way from the aw- rain have a dog. rain man And what were you doing? place is a mess. ning under which they had met. Then, 4:58 pm man Yes. 2:47 pm father What I was supposed to be man Well, no, it’s not a mess. she still dreamed of the sound of the woman It’s a pity. It’s nice to have doing, you came early, that’s all… I father Perhaps it’s something else. computer printing airline tickets out, Man and Woman at the same place someone. Man and Father at the apartment’s have to shine my shoes, for tonight. man Then it’s something else, yes. that strange Woman. She smoked again. man I have a dog. door. Man is still wet. man There’s time. A moment. even when she wasn’t on a break, and woman I can’t. woman Yes. father Wait! father And you’ve changed your father Hegel came to visit. That what then she dreamed of flying around, all man I understand. A moment. man What? mind. it is. over the place, to all the cities where A moment. woman I always preferred birds. father Wait, when I say so. Stay there. man What? man Georg Wilhelm Friedrich Hegel. dreams come true and everyone is woman I mean, I’ve arranged some- man I know, I remember. Father turns around and goes to the father You said you’d come with me, father That’s the one. He came to vis- happy. thing, for later, I don’t know, total cha- woman I should’ve left you, and not room. but you’ve changed your mind. That’s it and suddenly exploded. He sat on woman What about this one? os. the other way around. A moment. what you came here to say. the couch and exploded. And that’s A moment. man Yes. man Because of that sparrow? man (follows him): I thought I’d come Man shakes his head. not a mess. man It’s better, yes. woman And I’m tired, it’s been a long Woman looks at him, then laughs. early in case you need something. father You haven’t changed your Man laughs. A moment. day. woman You’re seriously disturbed, father (from the room): You’re mum- mind. father You never understood me. woman And you? Man nods. you know you are, right? bling. man No, why? man (hands him the newspaper): The man Me. woman Those people, they buy tick- man I do. man I came early in case you… father I don’t know. I don’t know why. newspaper, dad. woman Yes. ets like crazy and fly around, all over A moment. father (interrupts him, comes back Just so. father (takes the newspaper from man Me, nothing… I mean, it’s all the the place, I don’t know. woman And so now you want us to with some old rags): And what would man I haven’t changed my mind. him): Yes. The newspaper, newspaper. same. A moment. go get that tie. After four months, just I need? father You haven’t, huh?! man What… You want me to do some- woman So, nothing, not a thing. man Where do they go? like that. We should go get a tie. man (smiles): I don’t know… I really Man shakes his head. thing, perhaps? man I don’t know. Woman glances at him. Man nods. don’t know, dad. A moment. father The water heater’s not work- A moment. A moment. woman And why? father (throws the rags under his father Where’s your dog? ing. man There was a fire, at the school’s woman You know, I’ve got to go. man I don’t wear any, and he wants— feet): Come on, now. Here, wipe your man At home. man You want me to have a look. gym, so— man Wait— woman What? feet. father That dog of yours is at home. father There’s my repair guy, right?! woman Total chaos. I read it some- woman All of this is too— man (tries to finish the sentence, but Man wipes his feet. man Yes, I know it bothers you so— A moment. where, I think. man What? then smiles): I really don’t know what man Perhaps you should open the father I don’t like dogs. father You’ve made the papers wet man A TV crew came, showed up, woman Strange. he wants. I have no clue. You know window. man I know, dad. too. shot everything. man I know, yes, strange. But it’s nice him. A moment. father She doesn’t like your dog ei- woman Then I probably saw it. to see you, that’s all. woman I— father Be careful with that rag. ther. For sure. man Yes, you probably did. A moment. A moment. man What? A moment. 6. woman Beams— woman Listen… I’m not alone any- woman Sorry, something’s in my… father You’re dripping water every- father Have you walked it? man Yes, yes, the beams. more. I mean, I’ve got someone. Wait— where. man (smiles): Yes, dad, I have. Tie store woman What about them? man Ah. She grabs his shoulder for balance, he man Ah, that, I see, yes. father Now what? rain A moment. woman Yes. If you thought— holds her, she removes her shoe and father My books are getting wet, ev- Man shakes his head. 5:16 pm woman So, you’re still at the same man No, no. shakes out a stone. Then she looks at erything… man The week’s passed too quickly. I school. A moment. him. They observe each other, for a A moment. guess it’s that. man That Man we started with man Librarians mostly stay where they woman And you, have you got some- long time. man How do you find anything, among father Life has its pace; it’s neither should have said I’m sorry, but in the are. one? all these things? slow nor fast. Say something else, store there were too many ties. And woman (smiles): I guess so, yes. Man shakes his head. father How, it’s just the way it’s sup- something smarter. Woman changed her job, the moment man Same school, same library, same woman No. posed to be. Here. man I don’t know… You’ve made quite she’d moved out of his apartment. books. man A dog. I have a dog. Man wipes his feet. a mess here. Not quite, just a mess. Before that she had worked in a bank, woman I googled you once. ITI 78 79 ITI CROATIAN THEATRE

man You did? Why? woman That was his thing. It always just dust, nothing else. father I told them I don’t even read man I missed my step. man Because you look different. woman I don’t know, it just came to has been. Books and all. father And maybe no one shows up. anymore. Only the weather forecast. woman That one’s good, I told you. woman I’m tired. me, I guess… I shouldn’t have? man Yes, it was. He writes them, I look man What did you say— man Dad— It’ll fit. Goodbye. man No. You look different. man I’m just asking. after them. father I said, maybe no one shows father Hegel and I exploded in my man (catches her by the hand): Wait— woman (suddenly irritated): Different, A moment. woman (suddenly): You should have up. You don’t hear well? room, that’ what I told them. woman The shop assistant is staring. really?! How different? woman It sounds stupid, I know. It’s told him, you know. man The water’s… No one shows up man Ah, Hegel. Yes. man So what. man I don’t know. that... I just wondered how you were. man I’m sorry. where? A moment. woman She thinks we’ll run away with woman Let me tell you. I look as if ev- man So you googled me. A moment. father At my ceremony. My ceremo- father She doesn’t like that dog of the tie. erything is new. All right? woman I knew it would sound stupid. man Forgive me. ny, celebration, academy, I don’t know. yours. For sure. That’s why she left. man Wait until I pay, please. man I didn’t mean it like that— man No, it’s just that there’s nothing A moment. Perhaps they read papers too, look for A moment. Woman shakes her head. woman That’s because everything is about me. On the Internet. woman (shoves a tie into his hand): an obituary, a notice, if he’s dead, we father And you’re always so… man Why? new. woman There was something about Take this one, it goes with black. don’t have to come. man What am I? woman Why?! Because I dreamed of man I just hope you’re happy. the fire, that’s where I saw it. Woman turns and leaves. man Is there one? A moment. you, imagine that… I dreamed that you A moment. man Ah. father What? father What’s the time? were standing next to a suitcase that woman Fuck off! A moment. man An obituary. man Three. Just past three. was floating in the air because it was man I’ve been following you for days. woman And what color is it? 7. A moment. father It’s past three? held by giant balloons. It was as if it woman Wait a minute— man What? man Get me something to wipe all Man nods. were my birthday. The people didn’t woman The suit. What color is it? father’s apartment this. father Go get me my pills, it’s past say happy birthday, but he left, just Woman walks to the other side. Man rain father You’re mumbling again. three… Please. like that, gone, adios, total chaos, I 9. follows her. 3:06 pm Father shows him the cupboard above man Where are they, dad? don’t know. woman Perhaps on that side. the sink. Man goes to get the rag. father You’re mumbling. man I— Father’s apartment A moment. Man is messing with the water heater, A moment. man I’m asking where they are. Woman suddenly kisses him. rain woman And how is he? Fine? Father is reading his newspaper. father And what do you do, after father In the room. On the cupboard. woman See, nothing. And with him 3:13 pm man Dad, yes… He’s nervous, a little. father You done? school? The grey ones. The happy color of hy- I’m happy. He’s a pilot, you know. woman Why? man Wait a minute. man After school? pertension. man Ah, so. Great. man That he could do, he could man He keeps asking about you. father You’re mumbling. father When you come home from Man leaves. woman What does that mean? wait. What else is there but waiting? woman What does he ask? man Hold on… Go do something. work, yes. Usually, I mean. father (yells after him): And what’s man Nothing, really. Waiting to live, waiting to be whole, man This and that, asks when you’ll father I’m waiting… Reading newspa- man I don’t know, nothing. with your walk? woman I have to go. and then waiting for the wish to pass. come to visit. per. Weather forecast, rain. father Nothing, what do you mean? man He flies? Where Then waiting to forget, for everything woman You haven’t told him we’re man Ok. I guess you take that dog of yours for woman Where? Where would he fly? else to pass, to become the one and not— father I’m reading and waiting. a walk. 8. He’s a pilot, so he flies, he just does, I only truth. And then just a little bit Man shrugs his shoulders. A moment. man Yes, that… I walk the dog. don’t know. All over the place, around. more of completely pointless waiting, woman You haven’t told him. father Should we call someone? A moment. In front of the tie store To the cities where dreams come true and then everything is finally over. man He won a life achievement award. man There’s a lot of dust, that’s what father She too? With you? rain and everyone’s happy. I met him at a That’s what that Man thought, while woman Really? it is. A moment. 5:18 pm convention; he found me this job, this he was looking for pills in the happy man Yes. father I don’t know. father She’s mad at me. She never thing with airline tickets. A ground color of hypertension in the drawer. woman Great, that’s really— man What? comes to visit. Man gets out of the tie store, stops stewardess, that’s what it’s called. And And when he came back, to the room, man Yes, I guess so. A moment. man She’s busy, she’s working. the Woman. He holds a gray tie in his he was nice, when we met, at that con- his Father told him that he had nev- woman Why haven’t you told him? father (more to himself): You know father Yes… Everyone’s busy, every- hand. vention. The next day he brought me er loved his wife, the Man’s mother. man I don’t know, I really don’t. there are people who intentionally one’s working… They called me to woman Why are you hobbling? tulips. He didn’t hang birds from the Suddenly, just like that, because ev- woman (takes a new tie): How about set the water heater so that it leaks, translate a book, not because it’s me, man Wait, hey— trees. ery wait has its beginning, as well as this one? sometimes, I guess, at night. So that but because everyone else is busy, woman Does your leg hurt? A moment. its end. man The ceremony’s tonight. At the when they go to bed, it— they’re working. That’s what they said. man I can’t go that fast. woman Why are you looking at me Man sits down by his Father. Translators’ Association. man (can’t hear him, from water): It’s man And what did you— woman So I see. like that? man Wait a minute— ITI 80 81 ITI CROATIAN THEATRE

father (takes his pills): I need water A moment. man Yes. woman Listen, all of this is horrible thought when he was young, just af- her husband, he was a bureaucrat. to take these. father I think I’ll eat it, when you woman Yes. for me. ter he graduated; he studied Russian And I still wonder, nevertheless, just man Why that, why now? leave. A moment. man I understand. at the Faculty of Humanities. They get so I know I’m still alive. Can you for- A moment. man You’ll eat what? woman Then you must know about woman You do? I’m afraid you don’t. stuck to each other and it is so difficult give me? father I don’t know. father The letter, I still have it. him. That he’s married. Actually, you don’t have a clue, total once it happens. He could not know man And I’m supposed to? A moment. A moment. Man shakes his head. chaos. And for me, all of this is total- that the woman from Moscow would Father nods. man You don’t know. father When you’re old, you can woman That you don’t know. Well, ly, you and me and everything, I just not wait forever. He did not know that A moment. father No, I don’t, not anymore. eat a letter without others finding it you see, he is. can’t. he was not all those things she was to father You’re still doing it. Playing A moment. strange. Is that strange to you? A moment. man You can’t. him, and now he does. Now that he with your keys. father Because you are here, and man No, dad. woman You’re still doing it. woman You left me without a word. is an old man who has seen all these man Yes. I am old. Because I won the life father You’re mumbling. man What? Without an explanation. things so many times. She sent him a Man gets up. achievement award. Because Hegel A moment. woman Playing with your keys. man I didn’t know what to… letter saying she was happier without A moment. exploded in the living room. Because father What? … That has nothing to A moment. woman You didn’t know what to – him. Years later, he ate it. And that’s all man I’ll go get your tie… Go have a all the time there was another woman. do with your mother. woman And he’s not playing, he’s seri- what? there is to it. bath, ok? Man gets up and goes to the sink to man No, not today, not anymore. ous. Except that he’s married. He has A moment. father I’m going to take a bath. father Ok. pour him a glass of water. Then he father Not today, not anymore. Today a wife, has two children, imagine that. woman Oh, come on. Let me tell you man You can do it yourself? goes back to the table. I would like her to be here, instead of I’ve known it from day one, but I’m something. father And whom would I need? That man Here you go. me. still going out with him. He has a wife, Woman gets up suddenly. Then she woman has a horrible habit anyhow. 12. father Thanks. man Why? he has two children, and all I have is pauses, but only to take her jacket and man The nurse? Father takes the glass, swallows his father You’d be here more often. some contagious, strange misery just then she leaves. Man is still sitting. In a father Who else? Café pill. Man sits down. A moment. waiting to make all other homes emp- moment or two Woman comes back. man What habit, dad? rain man Who was she? father I have to clean my shoes now. ty… Yet again, he has a wife, so what? woman I forgot the fucking umbrella. father Keeps opening her mouth, 6:07 pm father You’re mumbling. Man nods. All the single people of our age are man Hey— and then words come out of it. man That other woman. father If I had only one wish left— screwed up anyhow. woman Why all this? Tell me. man Ah, that. man I mean. I want you to take him. father Who was she? man What would you do? Woman laughs. Man too. man I want you to have my dog. father Yes. A moment. man Yes. A moment. woman Isn’t it true? For example, A moment. woman Wait a minute. He’s dead? A moment. father I don’t know anymore. you’re not all there. man Why didn’t you leave her? Mom, man Who? father I met her in Russia, when I was Man nods. 11. I mean. woman The dog. Just like that bird, a student. She had a husband and a woman And I’m a whore. Father shrugs. that sparrow up in the tree. child, even back then. He worked 10. man No, you’re not. father’s apartment man It wasn’t because of me. man No. with papers, her husband did. A bu- woman Yes, I am. I really am. A total rain A moment. woman You’re insane. You know, you reaucrat, she never talked much Café whore. A real floozy. 3:29 pm Father shakes his head. really are. about him. And she was a book editor, rain Woman slaps his face. man And mom? A moment. worked for the Russian Pravda. She 5:40 pm woman People are looking at us. man Nothing that has ever been is father What about her? woman The dog’s dead, right? was pretty and her name was Ana. Woman slaps his face again. there to be forgotten, that’s what man Why didn’t you then? Man shakes his head. man That’s why you went there, all the Man and Woman are sitting at the ta- A moment. his Father thought, but he couldn’t A moment. woman He’s not. Then— time. ble in a café. man How about a shot of something? say it. Too many things stood in be- father Because life is such that I man No. Father nods. woman So, you’ve been… following Some brandy, instead of coffee? tween, for him to be able to say this. didn’t. Woman laughs, Man laughs after her. father And then she wrote me a let- me. woman Do I look like I need a shot? Too much time, too many moments, man And it was better this way? woman Jesus. ter. Told me never to come again. That Man nods. man I don’t know. No, I’m just asking. people, events, to say this. And peo- father This way is the way it was. It A moment. it made no sense. The letter, twenty- woman For long? You used to— ple, they are drawn together like mag- just was. man I’m not afraid, of that disease of five years ago, saying that it is over. man Yes, for a while. woman Yes. I used to. Before. Why nets. That’s what he thought as he ob- A moment. yours. One letter. And yet I still went, but she woman You’ve been following me for are you following me? served his son in front of him, as if he father And your mother is gone. And woman I don’t understand, what? didn’t want to see me. a while. A moment. were a stranger. And that’s what he maybe that woman is gone too, and man Forgive me. ITI 82 83 ITI CROATIAN THEATRE

A moment. woman See, people change. And 13. a good cook? you know you’re alive. through the room and fly up into my woman For what? what would I do with your dog? man Yes, she is. man What does that mean? mouth, like a moth, strange. With A moment. A moment. father’s apartment A moment. A moment. wings and everything, as if she wants woman Say it. woman Well? rain father And where is she, why is never father That means you came too ear- to suffocate me, and I can’t do any- man Because I never loved you. I sup- man I’ve got no one to give him to. 4:10 pm she here? ly. thing to stop it, because that’s exact- pose. woman Ah, I see. Too bad. man Dad— A moment. ly what is supposed to be. There’s no woman Never? man Why? father Words. father Wait, the wallet. Man gets up from the table. place in history books for us, because A moment. woman I don’t know. If only you had man What about them? man I’ve got money. man I’m off, then. we lived a noisy life, noisy but slow, woman See… I didn’t know that. stopped me. Yesterday or the day be- father How about some brandy, be- father You do? That’s ok, let me— father It’s easy for you. too slow. And we lived it foolishly. You man Yes. fore yesterday. Or a couple of weeks fore you leave? man No need. A moment. can ask that whole army of Russians I woman And now I do. ago and asked me to take your dog. Father goes to get the brandy without father You look different. father You’re young, and I’m old. translated. My work made me accept A moment. Yesterday I was still a bit different. waiting for his reply. man What? man I know, dad. You’re old, and I’m every illusion, as they came. One by woman Why didn’t you tell me? man Yes. A moment. father Go get that tie already, ok? young. one, in succession. man I don’t know. I thought, maybe, it woman And that’s all? father You know, all that’s blown out man Tell me. A moment. A moment. Woman says nothing. would happen on its own. Man shakes his head. of proportion. father What’s there to say, all of man Lock the door. father What? woman But it didn’t. A moment. man What is? them there, tonight, expect me to say father You lock it, so that they don’t A moment. Man shakes his head. man No. Because I have. Something, father Well, words. Words and talk- something. Something that matters, steal me away. woman Nothing… All that about the woman I guess life is like that, that it inside of me. ing. because that’s what you should do. Father gives him the key, Man takes it. illusion— never happened. woman (on the edge): We all have man But what’s left? About myself, and then about them, man See you soon. father Yes, about the illusion. man I’m sorry. something inside of us. father What’s left? much more about them, mostly about Man leaves. woman I know about it. Things I’d had A moment. man I’m sick. man What’s left. them. Words, all the time, why would I and then lost them along the way. And woman I went to his place today, to A moment. They drink brandy. prepare a speech? I really loved him. Once I really loved his wife’s, I stood at the door… I rang man It started in my stomach, when father I’m going to take my bath and man You don’t have to. 14. your son. the bell. But I didn’t wait for her to we were still… Dull pain, nothing really. you go get me a tie. father You should go, the water heat- Father takes her by the hand. She ac- open. Stupid, right? It’s stupid to be But it didn’t pass, so I went, but then man Which tie, dad? er’s now working. There’s hot water. Father’s bathroom/ cepts it. A moment. a woman, when that woman is me. But it was already in my bones. So… It’s father You’re mumbling. I’m gonna take a bath. Café’s toilet woman And look at us now. don’t worry. He flies to those cities of strange. First they tell you something man (louder): I said, which tie do you A moment. rain father Yes. his where dreams come true and ev- you don’t understand, and then they want? man How different… If I look different, 6:10 pm woman What else? eryone is happy, but the sky will not don’t say anything anymore. And it’s father Which tie? I don’t know… The how different? father I don’t know, nothing. fall on my head. not good when they go quiet. Right, one for the suit. father Ah, that. Father glances through the window. woman Nothing. man (smiles): That’s why the day is in it isn’t?! … Then I thought, there some man I know it’s for the suit, but— A moment. Then sits down on the tub’s edge. father Nothing else crosses my mind. such chaos. things I need to take care of, my dad’s Father points at the suit. father I never imagined you like Woman is in the café’s toilet, washing A moment. Father looks at her. woman No, actually not. You look sad. here. And then there’s that dog, you father Here… For this one… That’s this, sorry, I just didn’t. What, I’m old, her hands and watching herself in the father And is that you, Ana? man I’m not sad. know, someone should walk it. the one I want. So then find a tie to go I guess I can say what’s on my mind, mirror. Woman shakes her head. woman No… You know, I no longer A moment. with it, I don’t know. right? I just never did. A moment. father No, you’re not Ana. wonder, not at all. And all this, bah, it’s man What? man It’s a good suit. man And when, when was that? father (to Woman): Can I tell you woman No, I’m not. not important. Now, I just live. They look at each other for a long father Yes. father I don’t know, once, before. something? A moment. A moment. time. A moment. When you were little… I don’t know. woman Yes. father Goodbye old fears, so long, woman Have you got a cigarette? man Is your speech ready? man (worried): What is it, dad? father But that which I’ll tell you is see you in the next life. Man offers her a cigarette and then A moment. father You ask, you need to ask your- not a dream? woman Goodbye old fears, so long, lights it for her. father You’ve lost some weight. I self, always. Even after your whole life Woman looks at him, approaches him, see you— woman It’s the last one, really, for to- think. has passed, you have to ask. sits next to him, on the tub. father In the next life. day. man No, I haven’t. man But why? father I saw my mother. The other woman In the next life. man I didn’t think you would— father Is she feeding you well? Is she father You just have to. That’s how day. I saw her come up to me, pass Woman kisses him, then stands up, ITI 84 85 ITI CROATIAN THEATRE

fixes her hair, gets out of the restroom woman Say hello to your dad. he met, some of them he loved, and Man shakes his head. A moment. father What? and goes back to the café. Father man Will do, don’t worry. some of them loved him. And once ev- woman In Vienna. I bought it back Woman kisses him on the cheek. man You messed with the water heat- stands up from the tub and closes the woman Yes. erything passes, not much will remain, then when we were in Vienna. woman I’m sorry. er. bathroom door. A moment. that’s what he thought. Only that man I didn’t know that. Woman suddenly turns and leaves. father There’s my repair guy, right?! woman What? thing, thing shining, for a moment, to woman Yes… I thought, what a nice Man stands there and watches her go. man What happened, then? man Nothing. someone. And only a day in which it present. A moment. 15. woman You’ve said something? never stopped raining. But it’s a new man Yes, it really is. man Dad— man No, I haven’t. day after that, and the day after it’s woman I don’t know anymore. I want- 18. A moment. In front of the entrance woman Aren’t you cold? spring. Almost spring. Because that’s ed to throw it away, after we… But father I’m scared. to woman’s building Man shakes his head. the way it goes in life, you never get we’re not children. Father’s apartment man Of what? … Come on, sit up. rain man I have to go, this is a big deal for it all. But even this almost is enough, man No, we’re not. rain There. 6:25 pm him. And his books. because when it comes, when it real- woman And it’s for your father, any- 7:14 pm father I’m sitting, ok. Here, I’m up. woman Sure, but— ly comes, then we have it. That’s what how. Man hands him a towel. Man and Woman are standing under man (interrupts her): Can you see me? the man thought as he waited for the man His Russians. Father is lying naked in the tub, Man man Put it around, like that. his umbrella, close to each other. Woman nods. woman to return. There was still a lit- woman And it cost me a fortune… tries to get him out. Their words over- father You’re worse than that hag. man So. man I’m ok. tle bit of something left in him that (She laughs.) Just joking. lap. man What are you afraid of? woman Yes. Woman nods. was truly completely quiet, and that’s Man laughs too. father Get out! father A sadist, just like her. A moment. man So— why it was shining. What, after all is woman I don’t know. Perhaps it will man Should I get someone? man Dad, how did you fall? woman I’d invite you in, but— Woman grabs him by the hand. Man said and done, a soundless world. mean, something, to him… Here. father No, don’t, no, no. Get out— father (points at a towel): Give me man I have to go anyway. looks at her. man Thank you. man What happened, dad? that one. woman Yes, yes… woman Wait a second, ok? A moment. father You hear what I say. man This one? A moment. A moment. woman I’m sorry if I kept you— man Come on— Father nods. woman You know… Once I told you I woman Just for a minute, ok, you’ll man No, there’s time. Thanks. father What? Get out. A moment. would change, do you remember? … wait for me? 17. woman You’re welcome… So, then… man You should sit up first… Ok? father What time is it? That’s what I told you. And then you man Yes. Call me, if— father Let me go, I will. man Dad, we don’t have to go if— told me that people hate when oth- Woman enters the building and runs In front of the entrance man I will, yes. A moment. father (interrupts him): I’m out of er people change. This way you just up the stairs. to woman’s building woman I mean, I have the same num- man Are you ok? … Can you hear me? words. don’t love me. That’s all. rain ber. father I don’t know if I’m ok. man You’re out of what? Man opens his mouth to say some- 6:36 pm man Me too… It’s a pain. man What happened, how did you father If I die, leave the balcony thing, but she covers his mouth with 16. woman What is? fall? open. her hand and shakes her head. Man is standing under his umbrella man To change your number, after— father I don’t know. man Dad, that’s Lorca. woman It’s better, this way, ok? In front of the entrance in front of the entrance to Woman’s woman Yes, it doesn’t make sense. man Are you in pain? … Come on, sit father That’s what I’m saying, I’m out man Yes. to woman’s building building. Woman comes back with a man No, it doesn’t. up. of words. A moment. rain book. woman Yes… I mean. father I will, ok. What time is it? man That’s never happened. You’ve man So, I’ll see you around. 6:31 pm woman It didn’t take too long, did it? man What? man Can you get up? never been out of words. woman Just be careful, on your way— Man shakes his head. woman Nothing. What will you do father I don’t know. father I’m bleeding. man What? Man stands under his umbrella in front woman Sorry. It took me a while to with the dog? man Give it a try, slowly. Man takes a handkerchief, puts it over woman About the tie, be careful not of the entrance to Woman’s building. find it. man I’ll figure out something, don’t A moment. his Father’s forehead. A moment. to get it wet. He’s waiting. Woman hands him the book. worry. man What happened? man Wait… Let me put a Band-Aid on Man pulls the tie closer under the um- man Man decided to wait, because he man What is this? woman Ok. father The time, what’s the time? it. brella. had just enough time. And while he woman Can’t you tell? man Yes. man I don’t know, dad. It’s past seven. father You’re mumbling, I keep tell- woman It’s pretty, it would be a was waiting, his thoughts filled with man It’s a book. A moment. father You’re mumbling. ing you. Stop mumbling. shame. strangers, because that’s the way it woman Akhmatova. In Russian. You woman Take care. man (louder): Seven. Did you mess man (louder): A Band-Aid, for the cut. man Yes. is when you’re alive. Some of them know where I got it? man You too. with the gas? father Stop yelling, I’m not deaf. ITI 86 87 ITI CROATIAN THEATRE

man Maybe it’s better you stay home. man Who, dad? 19. woman Come on— 20. Man nods. father Better for whom? father That dog of yours. man No, no— man What? man Where do you keep it, the Band- man He’s at home, sleeping probably. The terrace at the woman (interrupts him): I’m pregnant. Staircase father I should have eaten that letter Aid? He’s good when I’m not there, so he Translators’ Association/ With that pilot of mine. Imagine that. rain a long time ago. father Down here… Not in that draw- sleeps. woman’s apartment A moment. 11:25 pm man But then you weren’t old, and er. There. father He sleeps, you say, yes… And rain woman Are you there? only old people eat their letters. Man takes the Band-Aid out of a what about his hair? Does he shed 9:47 pm man Why didn’t you— man And then this happened in the Father smiles. drawer and places it on his Father’s much? woman What? staircase, the stupidest place for great Man takes a handkerchief out of his forehead. man A little, not too much. Dad, you Man and Woman talk on the cell man Tell me anything. Today. truths. His Father didn’t say anything, pocket, hands it to his Father. man There. want me to make you a cup of coffee? phone. He is standing against the ter- woman And you really think this con- he just tightly clenched the award for man You’re still bleeding a little. father Give me a hand. Father shakes his head. race wall, she is in her apartment. cerns you? all those words he had given sense Father looks at him, then takes the Man helps him get up and covers him A moment. man Dad says thanks... for the book. A moment. to when the Band-Aid unglued from handkerchief and presses it against with the towel. father Perhaps I could get used to woman Ah, that. Yes. woman I’m sorry, that’s not what I— his forehead, revealing the red mark his forehead. father My whole life I’ve been deal- him. To that dog… You know. A moment. man You’re right. That’s none of my of the wound. Both of them were wet father And I lived neither here nor ing with words, perhaps there aren’t man What do you mean? woman And where is he now? business. from rain, trams were passing in the there. as many as I think there should be. father Maybe you should come here. man Being congratulated, for the past woman Why did you call me? street, and his father sat down on a Man shrugs helplessly. Maybe I’ve spent mine. So, let’s see. To live with me, she, you and the dog. hour, a real spectacle. man I don’t know. My dad has a Band- step, somewhere halfway to his apart- father I lived neither here, nor there. man You’re sure? She’s beautiful, that woman. Next time woman Nice, and you? Aid on his forehead. ment. Father’s shallow breathing was Father hands him the paper, Man father Help me, will you. she comes for lunch, I’ll tell her. Does man I went out… It’s still raining. woman Really? just the rustling of a raincoat, a fly in takes it. man You’ve cut your forehead, maybe she love that dog of yours? woman Yes. man Yes, really. a spider’s web, nothing more. And the father Give this to that girlfriend of it would be— man Dad— A moment. woman What happened? Man sat next to him, and the two of yours. father Old people like myself, we al- father She loves him, you say. man Have I perhaps— man He fell in the tub, while having a them were just siting there in silence. man Dad, we broke up, it’s been a ways cut ourselves, we bleed rapidly, Man nods. woman No. What? shower. Father and son, both wet, both in the while. like salami. A moment. man You’ve busy or something. woman Is he ok? staircase, both in the middle of the father Really? … It doesn’t matter. man Wait. Here are your slippers, father Ah, forget about me. Old peo- woman No, really. You haven’t. man He is, I think. Hegel exploded in night with an award, a strange, metal Give it to her. easy… You want me to— ple’s talk. man If I’ve— his living room. plant growing out of concrete, with- Hands him the paper. father Yes, I do. man I know, yes. woman No, I haven’t been doing any- woman Hegel, huh?! out any of God’s water from the heav- man What is that? Man puts the slippers under his feet. A moment. thing, just… Ok… Wait a second. man Fichte and Schelling must have ens, without any questions, just like father I translated it, it’s from her Father takes a few unsteady steps and father (points at the small table): A moment. been busy. that. book. then sits at the table. He takes a deep That book, what is that? There. woman Hello… You’re still there? Woman laughs. father You and me, we’ve never. Man opens the paper and reads. Then breath; he’s moving with difficulty. man Where, dad? man Yes. What happened? man He asked me to move to his man It doesn’t matter. puts the paper in his jacket. father So now what, after I’ve fresh- father There, at the table, by the woman Nothing, what would happen? place. father Yes, it does. We’ve never. father Can you read it? ened up so nicely? door. man Are you ok? woman And what did you tell him? Man shakes his head. man Yes. Man laughs, his Father laughs too. man In all this mess, you manage to woman I’ve been making some tea, man I don’t know, nothing. man No, we haven’t. father I wrote it by hand, so— A moment. see that book and that book only. so I— woman Wait, he doesn’t know? A moment. man I can read it, dad… Shall we go father You know, when you don’t father I know it’s not mine. man I shouldn’t have called. man What? father And why? up? have a choice. Then you can live off woman I told you, my day has been— woman You shouldn’t be doing that. man Life is not worth more if you can A moment. of that too. But I don’t have that prob- man (says it along with her): A total man I know. I’ll tell him when this is tell it in a story. man What? lem, I’m old and I’ve never been too chaos. over. Father looks at him. A moment. father You know, people used to good a person. woman Yes. woman Ok. Because you have to. man Listen. Mom knew. About that think that the Moon was a mirror. man Don’t say that. man You look pretty today. man I know. woman, about Ana… From the very And a perfect mirror at that, and its father Yes. woman What? Excuse me? woman Really? beginning. craters were just a reflection of our A moment. man That’s why you look different, man Yes. But not before. When all this A moment. landscape. Mountains and oceans, father And what’s he doing now? that’s what I— is over, then. father She knew. And so did you. cities, streets, people. Of what we ITI 88 89 ITI CROATIAN THEATRE

do and what we are. That’s what 21. Woman takes the paper and reads. woman Really? they thought, and I’ve been looking man He wrote it by hand, can you Man puts his hands around the through that mirror my whole life. And In front of the man’s read it? Woman’s shoulders. Woman leans I think only about what I’ve missed. building woman Yes. onto him. And for a moment, both of What should have been different, but rain A moment. them seem as if they came from some it wasn’t. About a woman who didn’t 1:42 am woman It’s nice. different time. But just for a moment. want me, and about a woman whom man He translated it for you. After— I blamed her whole life because she Woman is standing under her umbrel- woman It was worth it then, huh? stayed with me. There, perhaps that’s la, by the entrance in the Man’s build- man Seems so. Translated by Tomislav Kuzmanović exactly what I needed to say. ing. He approaches her. She smiles at woman I’ll drop by him, one of these man Mom never saw it like that— him, he stands under her umbrella. days. father (interrupts him): You think that woman You’re soaking wet. A moment. I don’t know I disappointed you? That man It’s been a long day… And some- woman And what will you do with I don’t see that? where along the way this became him? man I don’t blame you, dad. hopeless. man I don’t know. He wants to stay at father Then what? woman The umbrella? That’s all right. home, I don’t know. man I just… I’m scared. For myself. For Come under. woman You’re tired. you. I’m scared, and I can’t tell you Man steps under her umbrella. Man shrugs. that. man I’m dripping. woman You look tired. I’m tired too. father You just did. woman Yes. man You didn’t have to— man I did. man And you, what are you doing woman I had to, I really did. Because A moment. here? I’m sad. father You’re scared. woman Well— man Don’t be, please. Man nods. man You’ve been following me? woman But I am… If only I still loved father Tonight. All of them keep say- Woman smiles. you like I used to. ing how nice you turned out, your son woman Actually, I’ve been watching Man smiles sadly. turned out nice, he turned out nice. myself in the window. One person, yet man Is that why you’re here? And then I tell them, all of them, cook- two of them. Woman shakes her head. ies turn out nice, not people. A moment. woman I came to walk your dog. A moment. woman You know what he told me, That’s why I’m here. father You’re my son. ‘First we’ll live, and then we’ll think.’ A moment. A moment. Huh?! … I don’t know. It doesn’t sound woman If you still want me to, of father Does it hurt? too smart to me. course. man What? man No, it doesn’t. Man nods. father It, all of it. The disease. woman No. woman Yes? man A little, yes. Sometimes. man Actually, it really doesn’t. man Yes. father Now? woman Screw that logic. woman You know, I think that every- Man shrugs. They laugh. thing can still turn out fine, that’s what And then Father takes his hand, and man Wanna go upstairs? I wanted to— they stay like that. A moment. A moment. II Tomislav Zajec: Someone Man takes out a piece of paper and woman One has to believe in some- Should Walk the Dog, hands it to her. thing, why not in that? That every- Croatian National man Dad gave it to me. It’s for you, thing will turn out fine. You know. Theatre Zagreb, photo when I see you. man That’s what I think too. by Damil Kalogjera IT’S ITI NOT 90 ABOUT91 ITI MYCROATIAN THEATRE COCK OR MY APARTMENT OR MY OLD MAN OR ME

II Photo by OR YOU…Petra Mrša ITI 92 93 ITI CROATIAN THEATRE

DINO STATIC PEŠUT CV PLAY

Dino Pešut (1990) was born in Sisak, CHARACTERS 1. With our grandmothers Croatia. He studied dramaturgy at the and grandfathers Academy of Dramatic Art in Zagreb. luka luka We sometimes pray for His play Pressures of my generation ana I was born in Sisak in 1990. God to end this war. premiered in May 2013 at Croatian marin ana luka and marin National Theatre in Split. He was marija I was born in Sisak 1990. We are the basement boys, awarded Marin Držić Awards for Best marin The rat-boys, New Play by the Ministry of Culture: I was born in Sisak in 1990. 24 (Hours) and Spoon. third place for the play L.O.S.E.R.S. To the Pandas I met along marija We mostly play. (2012) and first place for the play the way: Ana, Josipa, Mirna, I was born in Sisak in 1990. luka Static (2013). He also works as a dra- Hrvojka and Lada ana and marija I’m an only child. maturge and director. Thanks to Igor Ekštajn. We’re the basement girls, My father is a Serb. The rat-girls, My mother isn’t. Our names are 400 and Wednesday, I am a faggot. We play with Barbie-dolls ana Sent to us by children from Sweden You’re not a faggot. And we braid out hair. luka luka and marin I’m not a faggot. We are the basement boys, ana The rat-boys, I have a brother and a sister. Our names are 24 and Spoon, My father is not a Serb. We play with toy cars Neither is my mom, Sent to us by children from Denmark But my grandmother is. And we sleep on gym mats. Nobody knows that. II Photo by ana and marija marin Goran We’re the basement girls, I have a brother. Jovanović The rat-girls, I might as well not have a father. ITI 94 95 ITI CROATIAN THEATRE

I don’t have a house. marin marija the day they sign the peace treaty. luka ana It was blown up by a tank. If you’re against the war, then My God, Luka and I, we’ll stage OK. Kindergarten bores me. My mother cries a lot. you’re against Croatia. this Ceca is so pretty! a dance number - ana So does this game. marija marija marin Of happiness. You’re my husband. Let’s play at prosperity. I am an only child. If you’re against Croatia, then My God, this Thompson luka And you try to kill yourself Let’s play at Europe, My parents are Croats. you’re against family. is so handsome! Will we play at my suicide? because they call me a commie Copenhagen. True Croats. marin luka ana Serb Chetnik whore, Let’s play that Tuđman’s dead! They fight for Croatia. If you’re against family, They call me Finch. No. And they call you a faggot. marin marin then you’re a faggot. It’s a little bird. luka And then I save you and take What do you mean? I want to play privatization! marija Our neighbor Davor won’t Attempted suicide? you to Copenhagen. ana luka If you’re a faggot, then die. take me off his back. ana marija Well, he’s old. What’s a privatization? ana Our neighbor Davor has Oh well, fine. Luka’s grandma looks at me and says: marija marin He’s not a faggot. the prettiest shoulders. marin “God will give you strength; He will always be alive. The state has a factory. He’s my husband. They put together two chairs and You’re already dead to me. God knows you will need it.” luka Let’s say you’re the manager And we’re going to live filled the empty space between them I’ll see you in the newspaper, once, marin Do you think the war in of the factory - far, far, far away. With pillows. In thirty years, and I’ll see your eyes, Luka’s grandma looks at me and says: Bosnia will ever end? A Serb. When I learn to write, That’s my cage. I’ll see your palms sweating, “God will give you justice; God marija And you’ve hired these two Serbs. I’ll write an essay. Gramps sits next to it, smoking. I’ll see you shaking, your knows you will need it.” No. Hold out your hand. luka They say my Grandma mouth drying up. luka marin luka But you can’t write yet. sleeps in the hallway. I’ll see all of it, and I’ll be happy. My grandma looks at me and says: No. What do I need one Kuna for? marin I often dream of a grenade marija “God will give you love; God ana marin You’re a dumb whore. ripping her apart in her sleep. I’ll see you as well. knows you will need it.” No. Now the factory is mine. marija marin Somebody will tell me ana luka I just need to kill these. You’re a dumb commie The war will soon be over. And I’ll tell them that I always knew Luka’s grandma looks at me and says: Let’s play that some new luka Serb Chetnik whore. luka You’d make it. “He has already given you plenty.” government is taking over. And what about me? luka Soon we will play in the fields. ana Luka’s grandma likes me, I’ll be Prime Minister. marin I love you. marija Have you tried to kill yourself? Just like the finches and And we’ll have a lot of money. I’ll chase you out of your home. ana And hang around on the steps. luka the little dirty-birds marija Or do you want to become I’d like to have a sad story to begin ana Not yet. Who never seem to go away Me too? a Croat as well? A sad biography Until the night falls. In fifteen years, there’ll be So she feeds them. luka luka Shattered by landmines luka a site on the Internet - luka Especially you. Croat! Croat. Stained and damp. Until the lights go out Facebook. It’s boring in kindergarten. marin marin But I can’t. And my Grandma, from It’s there that Marin has to ana What about me? Then you mustn’t tell luka her balcony, calls out write that I’m a faggot. Let’s run away. luka anyone that I killed Because the basement is fun, My name. marin luka In four years’ time. Those two Serbs. All the neighbors are here marin You’re a faggot! Over the fence? You’re just starting your journey. marija And through their tears Soon I’ll be back. marija ana I’m not a Serb. They can’t wait for us to thrive. ana This cross will protect me from all ills. Far, marin ana marija I’ll forget a lot of things. Except from my husband. Far away, Okay. You’re just dumb. Our Croatia is the most prettiest! marija Nothing can protect me from him. To Copenhagen. ana luka marin I won’t play cards anymore. luka marija What about me? I don’t want to go to war. Serbia is ugly. That’s my husband’s job. This is where I try to kill myself. I have a baby doll in kindergarten luka I want to be against the war. luka ana ana And I have Ana. You’re already in Copenhagen, You’re ugly. But I’ll remember, forever, You’re not a faggot. They are both mostly silent. And I’m a faggot. ITI 96 97 ITI CROATIAN THEATRE

ana But I’m already rich! because I carry all the books. And her grandpa was a commie, luka marin You’re not a faggot. We aren’t playing at war. marin And her mother is a Croat. Spoiled boys from the You’ve got nothing to be afraid of. luka We’re playing at complexes. Luka, marija vanishing middle class I’m here. Fine, I’m not a faggot. It’s not about my cock or I’ll beat you up, every day, for Luka’s grandma is a Can watch all of this, marija I’m the Prime Minister. my apartment or my old eight years, starting today. Croatian, religious, And complain, I’m afraid of everything. And all is well. man or me or you… And nobody will be able And his grandpa was a Partisan. And become intellectuals, I’m afraid of God and father, marin I’m the only kid in kindergarten to do anything. His dad is a Serb, And complain, I’m afraid of you, And then I make it. with new sneakers, luka And his mom was a dirty pothead. And just watch, And one day I’ll be afraid of my I speak four foreign languages I eat earthworms, I’ll be covered in bruises. marin And complain. husband in the same way. And everyone likes me. I bite girls and I beat up Luka. Every day for the next eight years. C’mon, make out with me. marija marin And I’ll promise everything marija Nobody will be able to help me. ana Poor little girls can only You’ve got nothing to be to everyone. I’ll draw Dad in a black color, marija Go away. look for their prince. afraid of while I’m here. ana That’s what his eyes look like All the boys in my class like me. marin Because poor girls from strict marija You’ll rob all of us. When he wakes up and cries They make me kiss them. C’mon. families will confuse Everybody found out I marin In the middle of the night. Sometimes I want to, ana The Father, the Creator, the got finger-fucked I won’t, I won’t. luka sometimes I don’t. What are you doing? Let me go. Husband and the Son Behind the school disco. At least not on my own. I just laugh. ana marin As they become one. ana luka ana Everybody loves Marija. C’mon. ana So what? I’m bored with playing war. I’m holding your hand. I sometimes hate Marija. Relax. Help! So did they. marija luka marin ana luka Only I didn’t. Once, in ten years, I will meet Let’s climb up a tree. I sometimes hate Luka. You’re hurting me. I can’t do anything, Ana, I’m sorry. luka The first man who will treat me nice ana luka Help. I’m just a cliché. A note came to school, And just, just for a moment I can’t. I often hate myself. Help. In fifteen years’ time, I’d post a link The note said who had to I’ll be happy. luka marija Help. On Facebook. have an A in Croatian, And then he’ll turn into my father. Who won’t let you? In front of our building, we marin ana So Teacher gave all of luka ana play hide and seek, Now I know no-one can touch me. Help, them an A, in March. Once, in twenty years, I will meet My Mom. then we play stealing fields, ana help! ana A man from Paris who will have luka then cops and robbers. Help! marija Our teacher Ms. Benčić love and an apartment for me, Nobody will know. luka marin I’m sorry, Ana, I can’t do anything. Was the first brave woman I met. Just for a moment, ana Just like my parents at home. Big boys with rich fathers can I’m just a cliché. marin I’ll choose everything else. Nobody. Nobody will know? ana do whatever they want. The things I don’t want to see, Not everyone can have marin marija Just like my parents in court. Drive a car with too I don’t see. an A in Croatian We aren’t playing at war. For the first day of school I woke up marin much horsepower ana Because not everyone is Croatian. We never did. At six. Just like my dad at work. And kill two minors. Help. marija I have a small cock, I fixed my hair for a long time, luka They can stick a finger up your ass Help. These days will pass so quickly And my father probably And then I picked out my outfit. Marin is not a Serb, And the judge will say it was marin That I will forget them. has a small one too, They would make fun of it later - But his grandpa is a Partisan. a friendly handshake. Nothing happened. I’ll forget this day, And our apartment is tiny. At our ten-year anniversary. ana They can be clichés, ana This spring day when the I have to work and work and luka Marija is not a Serb, They can be provincials. These days will fly by so fast, birch tree released work and learn five languages, I hate school. But her grandma is. Big boys with rich fathers we will soon forget them. Its strange scent Get a degree in business, ana Her grandpa is an Ustasha, Can shout that they’d kill and luka And when Luka cried in literature, whatever. I can never know which And his brother is a Partisan. die for their fatherland. I hope so. the spring flowers Our apartment is so small classes we have which day. marin Big boys with rich fathers marija And when Ana’s hair was I sleep on the floor. My backpack is too heavy Ana’s dad was a commie, can do anything. I’m afraid. as wild as the river ITI 98 99 ITI CROATIAN THEATRE

That carried the Serbs yours, telling her ana But he’ll become born in Sisak in 1990. ana Toward Serbia. That she’s dumb? Nobody will know. With money. ana It’s dumb. marin ana luka Marin looks stocky, but he’ll grow. Everything is so terribly dumb. Cold as fuck. I was the first to get my My mom told me so. Nobody will know? You can see that. And everybody is terribly dumb. luka First Communion The more successful the man, marin The three of them are swimming. luka Far far away. Because my dad’s the mayor and The dumber the woman behind him. Like I promised, I sit, I am a faggot. marija a policeman and the sheriff marin I beat him up for eight years Carefree, and everything ana I want to And the President of the Universe. Your mom is a whore. And then I let him go. becomes clear to me. I’ve always known that. disappear. I’ll be the same My mom told me so. With sperm I found out Tomorrow we’ll got to high-school, luka ana When I grow up. ana That there’s bigger problems The day after, to college, OK. Let’s cut class. luka Your mom is an extremely In this world. And we’ll lose this levity. marija luka In the distant future I wear dumb woman marija We’ll grow up to be unemployed, I was at the disco yesterday Let’s play hooky, for the entire day. black turtlenecks Who’s raising a murderer. My God, this Umag is so beautiful. Frustrated, And Ivan was there marin And beige pants marin I sit on the beach, playing Displaced, And he was totally looking at me Let’s take a day to make memories. And my flat is black and In the distant future, with pebbles. Neoconservative I mean, really looking at me. marija white, with no walls I might run over two people, I’m alone. Idiots. Then I came to him and he I don’t care. And I have a shelf full of Just like my dad, Ana, Luka and Marin are in the sea. Me first, bought me a Redbull-vodka, ana books and VHS tapes. I might kill them with a bullet I pretend that they’re my children. Then Luka, Imagine that. Let’s cut class ana through their window, I’m having my period, my first one, Then Marin, And then another one and And I’ll turn on the fire alarm In the distant future, Just like my dad. So persistent, it won’t go away And Ana will be left alone, I really got drunk. And run away. I wear expensive dresses luka and Teen Magazine said Unbowed and beautiful. luka And nobody will have classes and drink white wine Dear God, it would be short. We saw. At least for that period. And whiskey. Please give me strength My God, this Umag is so beautiful. marin marija Sometimes I snort cocaine. and love and justice, Ana is so beautiful, Everybody saw it. Eva from my class tried to kill herself I have a lot of understanding Please give me a better life, Her body lithe and supple 2. There’s one disco in our town, Because she failed math for boring armchair leftists A world where no-one will beat me Her cheekbones set so high. One authority, And doesn’t see any future And turbo-folk singers- And where I won’t be afraid Ana comes from deep in the woods. luka Once diocese. for herself in the village At the same time. Or jump over my own shadow Ana is so pretty and smart and I I am Luka; we were the first ana Next to our town. marija A world without the flood know I’ll run into her in ten years generation to take standardized And 5464 unemployed. luka In the distant future, of purple water And she’ll be the most graduation tests. marin I secretly fantasize about I’m still at the disco in Sisak, In which I drown almost every night. beautiful woman, ana And zero Serbs. a sports star. I’m still plagued by cheap gossip. Dear God, successful I am Ana; we were the first marija I’ll secretly fantasize about And only the crucifix between Please give me the and I’ll be ashamed to generation to take standardized Why do you worry about it so much? him my whole life. my tits keeps getting bigger. health and strength stand in front of her. graduation tests. We’re young. I’ll tell everyone I’m a faggot. ana To give as I have received, Luka is standing motionless marin ana marin Marija, Thank you next to her. I am Marin; I am class president, My father is unemployed. Let’s take a day to make Don’t be dumb. ana He’s handsome as well, and he’ll member of the European Youth luka some memories. Please. Hold my hand. stand motionless next to her. Parliament; I placed fifth in the So is mine. I won’t have a lot of them. marija luka I’ll see him once as well, national debate tournament; marin I’ll have everything else. You’ll keep telling that to me I’m afraid. rushing off to somewhere, I’m the junior tennis champion So is mine marija Even in a hundred years. ana I’ll stalk him on Facebook and hope and I volunteer at the Sisak Has been since the left party Ivana from my class marin You’ve got nothing to be afraid of. That my sons will be like him. diocese Red Cross. merged with the right. tried to kill herself. What business is it of luka And they won’t. marija luka She od’d and collapsed in music class What if I embarrass myself? Marin is not handsome yet I am Marija and I was I want to go live in Copenhagen. Because her stepfather ITI 100 101 ITI CROATIAN THEATRE

is molesting her Marin’s father hates himself. will incite insanity. ana marin ana And her stepfather was in the war. Marin’s mother prays a lot. I dream that a new war will erupt, Come on. When you get famous, What is? I’ll never see her again. ana That the one in Bosnia never ended, Just like in Umag. Will you take me somewhere marija I barely managed to Marin just wants everyone That Serbs and faggots will be killed luka nice? Life. remember her name. to drop dead. in Croatia again. Especially me. Wanna smoke? luka luka ana Marin just wants everyone I dream that the papers will marin Yes. Promise me you won’t go to jail Let’s play Columbine. to disappear. say that Ana is a witch. Yes. marin marin marin Marin wants only one thing - life. I dream that these people will luka And find me an actress I won’t. Just for a day. marija stay around me – from before. I want to dye my hair blue. for a girlfriend? luka ana Marin’s parents are not educated. ana marin luka Don’t. Marin is a welfare case. Marin’s mother often confuses You’re boring. My head is spinning. I promise. ana Marin is a statistic. her God and father and son. Let’s play hooky the whole day. luka ana You’re so cute. marija marin And run away. Let’s be a gang. I hope you’ll find yourself marija Marin’s parents are very conservative. That’s the plan! marin That’s what I want. a nice husband. I want to be you. Marin’s dad owns arms from the war. First, I kill Marija. Soon enough we’ll be marija ana luka She won’t complain. strangers to each other. marija So do I. There’s nothing special He hasn’t said farewell to them. Then I’ll kill Ana Let’s take the day. You’re so pretty. ana here. marin Because she’ll try to marija ana Who won’t beat you. Or here, or here. Leave me alone. explain things to me. I don’t care. Shut up. marija I am nothing special. ana Then I’ll try to kill Luka, luka All the boys are hot for you. He won’t. But I’ll become. Marin is a social problem. But I won’t. Let’s play hooky the whole day. In class, in town. Not anymore. marija Marin has killed animals luka ana marija ana I love you. and raped little girls. Why not? But first, But you’ve got those eyes I hope I’ll find myself a husband too. You’re my best friend. Marin is a faggot. marin I will dye my hair green And those pouty lips. marija My only friend. marija Because you won’t be able to sleep. And try every drug, And you’re smart. You’ve got Luka. marin Marin’s father is an alcoholic. Because that way I will finally - I won’t even notice how ana ana Belonging, Marin’s father often Permanently hurt you. beautiful I’m becoming, I copy all my tests from you. Luka is a faggot. That’s the first time I felt beats Marin’s mom. Because you’ll wonder In the company of a faggot luka marija like I belonged. Marin’s father often beats Marin. why Ana, and not you. and three morons I will Why did you use to beat me? Nobody needs to know that. After that, I will never belong, marin Because you won’t give occasionally make out with. marin ana When I become the last yuppie, Stop it! a fuck about Marija. marin Because I could. Nobody will know? When I join every student union, ana Because you’re the only You’re so pretty, luka marin When I turn slightly to the right and Marin only plays videogames. one here who doesn’t think But what the fuck are you Do you ever feel sorry? When I get rich, Surround myself with brutes. Marin wants to exterminate all the he’s better than he is. doing to yourself? ana I’ll buy you a flat. They had pink, green and blue hair morons, just like in the videogame. Right here, in the bathroom of the marija I hope you don’t end up being dumb. You won’t have to worry. And we were a gang. Marin wants to kill everyone. only high-school around here. I want to drink spritzers. marija luka More like bound to each other. luka The smell of blood and stale I want to be like you. I won’t. Thank you. And I belonged. Marin is a welfare case. smoke will bring me peace, ana Not yet. marija And I will never belong again, Marin eats potatoes Just for a moment. Do you want me to dye I am going to meet him soon. I’d like to do something with my life. To no-one, no group, no three days a week. luka your hair pink? marin ana union, no party. Marin wears Ustasha uniforms. I keep having bad dreams. marija Sometimes. Who’s standing in your way? I will never have a gang again. marija I dream that in ten years things will Yes. luka marija Only the mob, sometimes. Marin’s father hates Serbs be even worse than they are now. I’ll think about my father later. When you get rich, Nobody needs to. And once, in thirty years, and faggots and Gypsies. I dream that poverty will you remember me? That’s for girls like you. When the police come and take ITI 102 103 ITI CROATIAN THEATRE

away everything I spent years town. ana And we’ll get shitfaced. I’m not that desperate. marija collecting, ana She’s so dumb. And laugh at everybody. luka I’m sad. when the empire I have been In a school that produces luka marin Truth be told, It’s hot and sticky building so carefully mediocrity. It’s like something out I won’t come. Our school fucking sucks. And everything is clear. crumbles, marija of a trashy local luka Our town fucking sucks. luka and when I lose each and every I’ll be quieter. movie. And we’ll laugh at how marija I watch them. one of my cocaine friends, marin marija hollow your life is. So we’ll all study business! ana I will remember my gang, I’ll start in a local party. Once, Luka will see pictures marija For the future. I’m all dressed up. And their green, blue and pink hair. In small towns it doesn’t of me, on his cellphone, I won’t do it until I graduate. ana I’ll look exactly like this in ten years I’ll remember how gorgeous Ana is, really matter - Sucking his cock. And I’ll finish college. I don’t give a fuck. When I come back to And Luka’s big heart, It’s just orgies anyway. ana Some quiet, self-effacing course. luka these backwoods. And how I could make Marija happy. ana Marija, get a fucking grip. Something, something basic. I’m taking a special I’ll have an expensive hairdo And I’ll remember my gang, Every year, You’ll end up as some story Just so I have it. admissions exam anyway. And a designer dress. With my hands in cuffs, I sit at the same bench, in the crime section. ana marin luka Without my paintings, Last row, luka For the first time I’m I’ll be in the top ten percent. Ana... without my watches, with no By the wall. Don’t you have anything, disgusted by women ana marija dignity and no morals, If anyone tries to take that anything, Women like you. You’re morons! Fuck this wine-red satin I picked out All I’ll have is this day, spot, I fuck them up. planned for the future? Women full of potential marija Just like all the hick girls My gang luka marin Who give up so quickly. For some reason, from my class. And their green, blue and pink hair. Every year I sit next to Ana. Leave her be. marija Everybody will end up exactly We look like sad bridesmaids. ana And we’re the smartest Leave her be, right now. Let me kiss you on the cheek. where they wanted. Our mediocrity is obvious. I’ve decided, people in the world. marija You’ll get there as well. Luka will go to the Art Academy, ana If I’m single when I’m thirty, Every year, we’re on a different drug. This is me! I promise. Ana will study Humanities, It is transparent. I’ll marry you. marija This is me! luka Marin will go to Law School, It is prettier. luka Every year I sit in front of Ana. That’s what I knew I’d be. Enough! And only I, only I, marin And what about me? marin I’m not like you guys. We haven’t got much left. Will send applications Marija looks pretty. ana Every year I sit next to Marija. marin marin and applications luka Well, you won’t be allowed I fantasize that we’re together. Just so you know, So little time for this levity Until I give birth. Modest. to get married. Sometimes I jack off while I fantasize. Once, in ten years, While everything is crumbling. ana ana luka marija You’ll realize that you could ana I will be smart. Simple. OK. In third grade I’ll meet a boy have been happier. They’ll start to test us like rats, I will write essays. luka marin who will be nice to me marija Destroying any degree of And I’ll be free. She’s given up. Marry me. just for a little while. I know. education we have. luka marin ana marin I’ll regret this. And no one will have a fucking clue. I’ll run away from myself and This will be the last time I see her. Don’t! She’ll meet a moron. marin luka Create universes. luka The more successful the man, ana I know. They’ll ad-lib it. And destroy them immediately. Ana and I drink The dumber the woman behind him, What a fucking hick. You’ll regret this. As if our destinies are not at stake. marin Like we will drink in our Beneath him. luka ana marija That’s it! flat in Zagreb. marija How pathetic. I’ll be your maid of honor. What do you mean, apply It’s begun. Like we will drink when You keep saying that, ana That’ll be it as far as weddings to ten colleges? ana things go downhill for me But we’re not the same. How sad. are concerned - I don’t have the ambition. I’ll know everything and And then for her. luka marin For me. ana understand everything Ana and I, we laugh. We’ll survive on cheap How sad. luka What do you mean, apply So nobody can understand me. Our time is only just beginning. Herbal bitters produced in our I’ll come as well. to ten colleges? ITI 104 105 ITI CROATIAN THEATRE

ana We will never see her again. luka marin ana luka I take it all in. marin God. And you said Luka’s was Give me your hand. Yes to skinny jeans! I take it in so I never forget These two will be the ana two times bigger. marija ana How I could have turned out. epitome, of a new, urban, Let’s. luka I’m afraid. Yes to fur coats! marin Trendy, sexy youth, marija Ana, for fuck’s sake. ana luka Ana and Luka look as if They’ll stand on the I’ve got no money. marin On three. Yes to light drugs! they’re above all this. other side from me, marin It doesn’t matter. Let’s play. marin ana Their time is only beginning. And I’ll be proud to I’ve got money. luka One... Yes to looking for the morning-after They know that. have known them. luka Another spritzer. marija pill and arguing with idiotic doctors. Mine is ticking away. luka It’s dawn. marija Two... luka Marija has switched off. Nothing but love. ana What are you doing? luka Yes to urban protests in She will burst into tears. ana It’s really nice. ana Three... Varšavska street! She’s losing her friends. And some more speed. marin Let’s take a swim. ana ana She’s gotten a family. marija Will we see each other in Zagreb? marija Run. Yes to fucking cute architects ana I’ll light a cigarette. marija It’s cold. /happiness, freedom/ from Varšavska street! I’ll get drunk and toast to myself. I’ll think about my old man later. I won’t be going to Zagreb. ana luka To freedom. I’ll be the first one to have ana Come on. Yes to the Pride! luka to go home anyway. No. luka ana To Copenhagen. luka luka Let’s go together. 3. Yes! ana I forgive you. Maybe. marin luka To you. Here. ana You girls are so pretty. ana Yes! luka marin Don’t lie. luka Yes to happiness! marija To you. I’m sorry. marin Fuck, it’s cold. luka Every morning I wake ana ana But we had such a good time. ana Yes to freedom! up at half past five. Faggot! I hope you won’t be as dumb luka Don’t be pussies. ana Every morning I wash up, luka As I fear you will be. Not all of us. marin Yes to hot guys! I put on some mascara and Whore. marija ana On three. luka Some cheap foundation. ana I’m sorry. We did. marija Yes to hot guys! Every morning I go overboard. Luka will dance with the ana marija I’m ashamed. ana I go to the train station, young teacher. Hello, Mr. Horvat. I’ll miss you. ana Yes to smoking in the apartment! It’s cold and in the middle This is the young teacher’s This is Ana... ana Come on. I’ll take off your bra. luka of the cornfield. middle finger Yes, that Ana. I’ll miss you too. And don’t be dumb. marija Yes to partying! The fog engulfs me. To everyone in the room, Can Marija please, I beg you, marija Thank you. For everything. ana I have a fiancé, Whether or not he’s really a faggot. Stay with me some more. I’ll try not to. ana Yes to fucking! The villagers say he gambles That’s when I knew I My folks will pick us up. marin You deserve better. luka around Germany. wanted to become - I promise nothing will happen to her. Honestly, Ana fucked me up. marin Yes to dirty dishes! The train is late. That teacher. This is our prom night, ana Give me your hand. ana I was never interested in business marija Our day. What? luka Yes to showing off! I want a child. They’ll lead such happy lives. Give her just one memory. marin What? luka luka All of them - Trust me, When we fucked, you told marin Yes to pretentiousness! Yes to freezing in Varšavska street! Except me. She will need it. me I had a small cock... I hope someone will love ana ana ana ... ana you. Sometime. Yes to handsome Serbian Remember, I hug Marija. marin You were my first, for fuck’s sake. luka movie directors! Without our ideals - She bursts into tears. Let’s go to the casino. On three. We aren’t worth shit. ITI 106 107 ITI CROATIAN THEATRE

luka ana I often cry in the dirty toilet I’m growing fat ana marija I’m lonely. He won’t even say hello to us. And I miss Ana Like any ordinary woman. Just for the weekend. Hi. ana marin To protect me. Soon I’ll join some marin marin Shut up. They look like hobos, She’s got a life of her own. association I’m going insane from studying How have you been? Fight. posers, ana of young And folk music. marija luka Ana has that green hair again. I’m dominating. Christians. I’m going insane from studying Same old. I’m cold. I hear she has a band I know it, marin And folk music. marin Hold me. And that they do a lot of drugs. I can feel it, I’ll move away. I’ve moved to another city, What happened? ana luka I’ve been waiting for it. This country is too small for me, And it’s as if I haven’t moved an inch. marija We’ll sleep here and Marin!! I’ve been waiting for the hottest guys. For my potential, marija I’m alive. Have a story ana Women are afraid of me. For everything I can change. No surrender! marin For the grandkids. Don’t. I’m dominating. ana Every morning, I see. luka marin I know it, Yes! At half past five, marija Yours? I’ve got nothing to say to them. I can feel it, Yes to going out! A layer of cheap foundation. This is my tram. ana Their struggle is stupid. I’ve been waiting for it. luka Another unbearable day in my own marin Yours. They’re blocking working places. I’ve waited to be smart and Yes to excess. mediocrity. Call me. luka They’re becoming leeches fuckable - ana I’m going to Sisak tonight - marija I want to tell you my secrets. on the national budget. at the same time. Yes. A night on the town. I won’t. And my fears. They’re sad. I’ve waited. You know, I’m happy. luka I’ve no reason to. ana ana luka luka They’re called David and Igor marin Slowly. So sad. Spells of depression come Me too. and Sanjin and Zoran and Virna How the weak wither. marin luka Like purple waves. ana and Pia and Mirna and Hana... How they just give up. I’ve met new people. So pathetic. Smothering me. Let’s sleep through the train. ana God help you, Marija. Young, ambitious, hot marin Hurting me. Let’s make ourselves some lunch. And they’re called Domagoj and Irja marija guys. I don’t know these people. I call them my seizures, luka and Daina and Ana and Hrvojka... Thank you. And I like it with them. I don’t know them anymore. Later, they will become Buckwheat. luka Even God can’t help me anymore. We’re loud and we will be successful. I don’t belong with them anymore, psychosomatic. ana And they’re called Dubravka and marin You can feel it. playing at jet-set, ana And nettle tea, Frano and Goc and Damir Don’t give up. luka with fifty Kuna in my wallet My whole life is waiting for me. It’s good for the liver. ana luka Is that Marin? in a second-class turbo-folk club. marin luka And they’re called Tonči and Marija? ana luka I shave every morning. Let’s stay in this shitty salon Dino and Miloš and Mate... marija No. Fuck ‘im. ana forever. luka I’ll pretend that I don’t see him. marin marija Every morning I drink my coffee ana And we ride in overly expensive cabs. I’ll pretend that I don’t know him. And we play future leaders, God, And read the newspapers. Let’s read Susan Sontag! ana I’ll pretend that I’m not jealous. We play at power, I’m so lonely luka luka And we know this is as luka We play at success In the middle of my college building Every morning I stare And Dubravka Ugrešić! good as it gets. Marija? And we play at luxury. With too much cheap foundation on. blankly at the mirror. ana luka Marija? luka I have no friends, marija And Virginia Woolf. As good as it’s allowed to get. marija That’s Marin. Pitiful little philistines Every day I eat at the cantina. luka marin I’m disappearing. ana laugh behind my back, The food is cheap and greasy, And other women. Marija? Only they can still recognize me. He looks like the last yuppie. Calling me a hick Usually deep fried. ana marija ana luka Because I wear a little crucifix My skin has never been worse, Let’s stay under our blankets. Marin. I don’t recognize Sisak anymore. Sad. And short mini-skirts. uglier, luka marin These are not my streets. I’m sad, more wrinkled. Just for today. Hi. This is not my block. ITI 108 109 ITI CROATIAN THEATRE

This is not the place where I got high, ana luka “I just hope I don’t turn into Where they know fascism is evil. I travel, This is not the place I threw up. She always has been dumb. I’ll regret it. Dubravka Ugrešić.” Let’s run far away from here. Brussels, Paris, London, I don’t recognize Sisak anymore. luka ana luka luka Madrid, Helsinki and New York. I went to London and felt I’m sorry. I have no doubt. Because of a moron who will No. Copenhagen eludes me every time. more at home there marin marija Publish her cellphone number ana It’s better that way, fuck it. Than I do here. She’s changed. Soon it will begin. In the newspaper. I can’t bear to look at you. luka Here where time has stopped ana Someone will make fun And tell everyone she marija I’ll spend a year in therapy Time has disappeared, So have we. of Marijana Petir had an abortion. Out of boredom And in psycho-drama And I walk alone. marin For wearing a crucifix and mini-skirts, ana And too much free time, and in Gestalt luka Call me sometimes. Just like me. I whisper to him: I spend my time, and on medication This is not where we luka marin “Take me home.” Mostly on Facebook. and I will realize all of the drank for Christmas, OK. It will begin. marija marin mechanisms of oppression. And this is not where we marin You’ll need a person just like me. How sad my life is. Out of boredom marija danced on the tables, I’m lonely. Young, ambitious, silly. And how sad it is yet to become. And lack of free time, Have you already given your Pleased with ourselves. ana I’ll be the one you need. marin I jack off every night after work signature for the referendum? This is not where we beat up those We all are. ana I’ve done well for myself. To amateur porn. marin morons from the waiters’ school. marin My first piece was published I only wear shirts and carry ana I wake up every day at This is not where we fantasized I don’t have any friends there. And I was so proud a leather briefcase. Out of boredom six in the morning. about Copenhagen Not friends like you. I got the whole bar drunk, I’m no longer from Sisak And too much free time I can’t get rid of my And the life we lead now. luka Without ever getting or from Croatia. I enroll in another master degree seborrheic dermatitis. ana I’ll try. paid for the text. I drive the company car In theatrical direction. They say it’s a managers’ condition. A church is here now. marin luka And fuck dumb blondes. luka I turn red in five minutes, Some new Ana and Luka I miss you guys. Ana is so beautiful. I lie a little Out of boredom Every time somebody in the office are here now. ana I watch her down her shots, And steal even less. And too much free time says luka Don’t be a fucking wuss. Brushing her hair away from her eyes, ana I develop a smoldering Police, financial inspection! And some new Marin and Marija. Let’s go to a turbo-folk bar. No longer hiding behind Actually, depressive disorder marija ana luka her intelligence I’ve always known I would move away. With anxiety attacks. Have you signed already, We’re not from around here. Let’s flunk a year Or cynicism, That’s why I’m doing all this. The purple waves are for family values? We’re from the Internet. And go to Berlin, Standing there buying luka growing more common, ana luka Go to the Berghain and watch guys everyone drinks Actually, I’ve always They come in the form of Marin For a moment I From Facebook. Fuck and whip each other. And how happy she is. known I would stay, and the other guys beating me up, Just for a moment I was happy to be marin ana Ana is so beautiful, That’s why I did all this. In the form of my mom crying and home. I saw Marija. And to galleries that are garages. She’s as nimble as a gazelle, ana not being able to take it anymore, To have a home. ana luka Her eyes are focused, You’re dumb. In the form of a fear that And Luka and my apartment Where? Freeze our asses off. She’s as witty as hell, luka someone will kill me, That’s so hip. marin ana And she’ll stay alone, I know. In the form of a country I was so happy to live in an In town. And take the finest MDMA. With her smarts ana that wants to eliminate me apartment through which luka luka And beauty, And you’ll regret this. through its Constitution, I could walk, And? And soon my French guy will come She’ll stay so alone luka And in various other forms. And not in some shed marin And love me In spite of I know. ana Some cubbyhole with a couch She’s playing And I’ll leave him for - All the hottest guys - ana I leave for the second time. in the middle of the kitchen. At being a perfectly My homeland. Because of that moron. Let’s run away from here, from here. For a year, I was happy that the Pride gathered ordinary ana ana Let’s run far away, Once again to Berlin, 15,000 people woman. You’re an idiot! I whisper to him: Where they don’t beat up faggots, Which I don’t like. And that I saw change. ITI 110 111 ITI CROATIAN THEATRE

I was proud I could hear Ali’s She has a lovely life, And pretty - They said, I got a law I’ll disembowel you, I’ll cut your lectures for thirty Kuna Lovely skin, Especially pretty. They said that capitalism And funds for a new movie. uterus up into a thousand pieces And have a smoothie for fifteen. Lovely lips, She has travelled, she’s doing loves the young. The new movie was not my so that no more children can be I was happy that Luka wasn’t A clever wit, well, she’s still fighting Lie! ticket out of Croatia, murdered inside, I’ll blow your brains depressed anymore freedom, Mostly windmills. Transition loves the young: But my surrender to it. out and wash them with lye to rinse And that Marin turned around hot guys, She’s at peace and happy, The young, the gullible, the ana these filthy ideas out of your head! and went back to college. sex. Grown up. hungry, the lustful, voracious Slowly. ana The only thing pissing me off were She has it all. Luka won some award, Young men. I counted to ten. And then I realize: the fascists, everywhere I turned, That look The youngest ever to get that award. Mostly men crawling out of small Getting translated into French People might change, But I thought, Between disappointment and disgust He says he’s depressed towns, pits, holes, the boondocks, didn’t interest me that much. But society almost never does. I hoped, I will never forget. and I’m repentant. Who try so very hard I thought marin That I had a home, and for that She didn’t say anything, I eat pizza, And learn about art I would stay here. I wake up. shitty apartment, my depressed But I could hear My palms are covered And go to the theatre I thought I wash my hands, Luka, a play and a half, and How dumb I was. with crusted cum And buy the new book by I was a fighter. I need to scrub off the 723 Facebook friends, From that moment on And I’m really sorry. the Japanese classic I thought cum from last night. for that home I was dead to her. Luka has grown inward, cocooned, And slowly wipe out any trace I would be the last one to surrender. luka and that family, luka Shaking in front of the camera, of mud off themselves. marija I come home drunk at dawn, I was ready to fight. We watched Marija. His voice becoming deeper, And then – knock-knock? I called her, Into my new place, marija We watched how sad Afraid of Who’s there? You dumb whore A luxurious new apartment I saw Ana only once. And ordinary she has become. himself. Police inspection! And hung up. where Marko is waiting for me. She was so modern. We felt sorry for her. And then Marija comes along. luka marin Marko is handsome She wore a beautiful dress and But, she had given up marija Ana published an essay. In my town, And doesn’t love me. Expensive makeup. a long time ago. I’m for family values because this It went viral. We’re all unemployed marija She seemed so accomplished. And we were sorry. country needs a new generation Ana finally became smarter And don’t have the I no longer wake up I was standing at the booth Poor, poor Marija, of kids who will pull Croatia out of Than she was beautiful. money to buy coffee And no longer sleep. In an oversized shirt Poor, poor, battered Marija, this mess and who will open up new marija Or the newspaper. marin with a stolen logo Poor, poor, married Marija. jobs and enable economic growth Ana published an essay, luka I undress, And fought for family values, Poor and and reduce international debt. And essay for which we will exile her. Leave me alone. I’m filming. Look at myself in the mirror, Against the fags, sad. marin Me first, It’s a night shoot. My muscle tone has gone Thinking about Luka all day long. marin Fuck, she’s dumb. Me first, pregnant, ana with the embezzlements, And I knew how dumb I was. A couple of years ago, marija Me first, accidentally pregnant, It’ll stop. my six pack has turned into She was passing me by, laughing I was all they needed. I’m for family values because I Me, first, accidentally pregnant, Everything stops. Christmas plum pudding. and waving to some other Now that they’re in prison suffer from chronic loneliness. and with no chance in hell. marija I hit the shower, Modern people. They don’t need anybody. luka marin 098 945 8770 stripped down. She kissed some of them. I still jack off twice a day I’m ashamed... In Sisak, You’re a dumb whore. I’ll kill you. marija I hoped she wouldn’t see me. To amateur porn, marija Ana’s essay resounded like a bomb. Relief. I let the cold water flow, I hid a bit. I watch TV I don’t want to deny anyone Nobody read it. marin shivering, She was standing in front of And eat. anything, but a marriage is Nobody. I give up. my skin tightening. me like some goddess, Money I’ve got. between a man an a woman. But everybody hated Ana and My secretary has a nice ass. I cry. Looked contemptuously at the booth Sanctions, none. Everything else is something else. her brother – the faggot. luka luka Then at me, Enthusiasm I will never have again. ana luka I edit. I curl up, like a kitten, Glanced at my cheap foundation First I started noticing Ana on TV. I’m sincerely sad. At peace with I edit all night. The hot water hitting my back, And then at the booth again... They invited her every marin myself marija Nobody must hear my cries. She has travelled, time, to be smart I’ve seen a play. and the constitutional segregation, ...8770 ITI 112 113 ITI CROATIAN THEATRE

marin 4. people shouldn’t meet their idols. luka on time. marija I punch against the tiles. We met in a typical Parisian café, She doesn’t give a fuck. I’ve run away from jealousy and It might be for the better. I don’t even use soap anymore. marija or more accurately on its terrace, ana Careerist compensation. ana The water floods the bathroom. I am Marija and I live in Žažina near near the Centre Pompidou. In her We talked about Sisak and about I’ve run away from human malice And so Dubravka Ugrešić and I had ana Sisak, I am a mother of three, sons, eyes I must have been one of those how, every now and again, this post- that justifies itself with a small coffee, talked about hipsters, The seborrheic dermatitis is gone. and I have a degree in business. girls she would call little mouse or industrial, post-transitional twilight crisis about Amsterdam and Berlin, about I wash my face with cold water marin blotter-girl. I crammed all her books zone gives birth to something and poverty her essay and mine, about my French and rub in some cream, I am Marin and I’m head of the in my backpack, even though I had interesting: Marijan Crtalić, Marko marija and her Dutch, about translators and neutral, Culture, youth and education not decided which one I would have Tadić or the Bambi Molesters. Well who do we have here? parents… As our final cigarette went for babies’ bottoms. Bureau in Sisak; I’m married. her sign. I was, and still am, too Besides, she comes from Kutina, she luka out, we created that uncomfortable I’m at peace. luka proud to show her my collection made that observation herself; I tried Old gal, you look amazing. silence which marks the death of People change, but society Hello, I am Luka, screenwriter/ and thereby admit to her that I’ve to add that Marijana Petir came from marija conversations like these. From my almost never does. director based in Zagreb, Croatia. spent more nights and evenings lying there as well. She didn’t find it funny. Oh, I’m fat. backpack I took out her last book The only translation I have is French, ana down with her than with any man. I didn’t move away hoping marin which they sent me from Belgrade. My only publisher is in Paris, Je m’appelle Ana. Je habite à Paris. The show was over after our final that I’d make it. Like hell you are. Sit down. She signed it, protesting slightly. I fucked him a year ago, marija introduction, when I’m supposed I moved away so I can be lazy, marija There are generations Not to get the book published, For our ten-year graduation to be in Paris, so, as far as I’m To realize Stilinović’s It was supposed to be between me and Dubravka, But because he was just too hot. anniversary concerned, you’re free to go – I’m dream of laziness, just the two of us. A row of defiant women It all came together. I bought some more about to start with my essay. And I could only do that by luka Who won’t be canonized I have a designer coat and expensive foundation, marin becoming an artist of the East Come on, you look like a young girl. by feminism. Expensive hair Because now I can Antonela is pregnant. In the heart of the West. marija Feminism isn’t interested And a tidy little flat with And used it to hide luka We live in a time where Ten years, people. Ten, and it in tough chicks, A couch in the kitchen twenty eight years How wonderful. goodness is banal, seems like a lifetime to me. They prefer martyrs. And a MacBook. Of mediocrity. marin In a system programmed to marin I walked from the Pompidou, And suddenly ana Yes. What about you? fabricate itself well, How are your little ones? across Le Marais, Out of thin air, Yes to younger lovers! And your fellow? where there is no individual need marija Marched through the tenth I wash my hands marin luka or duty towards goodness, Don’t even ask me. They won’t study. arrondissement to buy a new DVD The way the nurses teach For my ten year graduation We’re okay. He works a lot where we define ourselves luka By some Norwegian director – us in kindergarten, anniversary marin in relation to ourselves, It’s just a phase. everyone’s praising her lately – Long and soapy, I wasn’t ready I’ve seen him on television. instead of others. marija And walked to the edge of splashy. . luka I’ve realized my right to laziness. I watch that fella of yours every day. town, to a hidden garden, In the lather I see small lives ana He’s full of shit, with I’ve taken the side of the bad pupils luka The masterwork of some And small people, Yes to too expensive wines! those soap operas. who are late with their homework Yeah. Japanese artist I see hard mornings and luka marin Who smoke behind the school marin And I was home, Such easy nights, For my ten year graduation Oh, that’s okay... And who have a historic Working? Surrounded by bamboo, I see childhood and old age - anniversary luka right to sexiness marija Picky about my sexual partners, Both at once. I spent three hours getting dressed; Everyone’s grown so old. And the definition of cool. When would I find the time? Too lazy to procreate or work. I see the past and the future For vengeance, compensation marin I’ve escaped the banality marin But, for some reason, In a diagonal. and moral victory. So what... Ana is not coming? of excellence, True. People claim I make them I am ready. ana luka The harnessed notions marija happy, and calm. Ready for a new home. I met Dubravka Ugrešić in Paris. She couldn’t find a cheap flight. of neoliberal logic, Ana won’t be coming, I assume. . We could have been introduced marin The students trained to luka THE END earlier, in Zagreb, but I ran away How is she doing? file their applications She can’t. /at least for now/ from her. She wrote herself that for their EU funds ITI 114 115 ITI CROATIAN THEATRE

in Paris, France, but named after the songs. He also likes to read fantasy capital of Ohio, the outcome of which fiction, which inspires his music vid- was a country no one really wants to eos in most original ways. INDEX live in, unless necessary. Since the Serbian forces, armed with full met- Serb-Chetnik whore: a kind of al jackets and the army equipment woman seen only in Croatia since the of the Yugoslav National Army, nev- nineties until today. Unlike Partisans, er had any interests in the Bosnian Chetnik policies made women unable war and therefore never took part in to perform significant roles. No wom- it, whether logistically or a bit more en took part in fighting units and were concretely such as committing eth- restricted to nursing and occasional in- nic cleansing and genocide, it is a bit telligence work. Also, there is no evi- unusual that one of the main signato- dence that the women in the Chetnik ries of this agreement was Slobodan movement ever performed prostitu- Milošević. Among others signato- tion. Somehow, a number of Croatian ries were also leaders of other coun- women that do not comply with the tra- ANA LETUNIĆ AND Ceca: in Serbia, the greatest turbo folk Chetniks: According to the last New tries that never had any interest in ditional image of a Croatian Catholic Kuna: the Croatian currency since TANJA ŠLJIVAR star, in Croatia, a Freudian unfulfilled Year’s hit series “Ravna Gora”, di- Bosnia and Herzegovina either: Franjo mother got labelled as “Serb-Chetnik 1994. Since then it stands as an em- wish, in Slovenia an iconic figure of the rected by acclaimed revisionist and Tuđman, Richard Holbrooke and Alija whores”. blem of independence and corrup- gay movement and possible new wife poet-of-the-Serbian-countryside film Izetbegović. The Dayton agreement tion. The word “kuna” means “marten”, of philosopher Slavoj Žižek. Her ca- director Radoš Bajić, the Chetniks is also an all-time favorite agreement Handsome Serbian movie directors: a swift little animal, since the name is reer could be divided into four equally were a World War II movement led of the current President of Republika no need for further explanation. based on the use of marten pelts as controversial phases: 1. A thin and tall by Draža Mihajlović, who were toler- Srpska, the “country” whose existence units of value in medieval trading. cocaine-addicted teenage star from ant towards all minorities, ethnicities is enabled and forever guaranteed Tuđman: Croatia turned out hetero- Comes after the Dinar (1RSD=0.065kn) the village of Žitorađe; 2. An androg- and religions in the region later to through it. sexual even though it had two fathers - and chases the Euro (1eur=7.7kn). ynous cocaine-addicted singer of a become Yugoslavia, fighting for lib- Ante Starčević and Franjo Tuđman - and melancholic ode to the Serbian capital eration and unification, and not col- Thompson: an ex-soldier from the no mother. Before the birth of Croatia, Belgrade (her boyish hairstyle was de- laborating with the occupying forces. Croatian War of Independence who he performed the role of the president signed by her husband, the war crimi- According to some other sources this can only cure his severe PTSD by per- of the “Partizan” tennis club. Besides nal Arkan, as a punishment for dating a World War II movement was actu- forming rock music in front of big au- becoming Tito’s youngest general – Muslim football player from Bosnia in ally called “Partisans” and was led by diences. His name originates from a which heavily influenced his later fash- her teens) 3. A fertile cocaine-addicted Tito. Recently, some bearded greasy Thompson submachine gun he held ion style, as he liked to wear Tito-styled widow with a famous quote about her men with knives were seen in Ukraine, dearly in the Civil war. To release ten- white suits when he felt at his best - husband’s assassination: “When I heard fighting for the general Orthodox sion, Thompson’s fans like to dress up Franjo was very passionate about his the sounds of gunfire, I thought to my- cause. At Serbian weddings, it is com- as Ustashas and yell out their slogans hobbies: creating inspirational quotes, self who the fuck got on his nerves so mon for the bride, in her huge white that were originally used in World forging passports and history, which much this time”; 4. A cocaine-addicted dress, to sing some of the hymns of War II. In addition to the costumed ex- even led him to the position of a profes- prisoner welcomed by the whole fe- the Chetnik movement. soldiers and teen audiences, Serbian sor at the Faculty of Political Science. male wing of Belgrade’s Central pris- tabloid news reporters often visit his His unique interpretations of Croatian on singing her song “Kukavica” (The The Dayton peace agreement: an concerts in order to gain intercultur- national history made him stand out Coward), 5. Serbia’s most eligible co- infamous document, seminar, or a al understanding. In contrast with his among his colleagues at the faculty, caine-addicted mother-in-law, whose long, cozy and somewhat turbulent “tough guy” attitude, Thompson pri- lead Croatia in a war of independence children’s dating dossier is more inter- business trip of the three leaders of vately likes to listen to ABBA songs and, last but not the least, experiment esting than her own these days. former Yugoslav countries, signed and often uses their tunes in his with ethnic cleansing in Bosnia. ITI 116 117 ITI CROATIAN THEATRE STRIVING FOR THE VISIBILITY OF CROATIAN THEATRE ANDiti PLAYWRIGHTS ITI 118 119 ITI CROATIAN THEATRE

THE CROATIAN CENTRE MISSION THE CENTRE’S STRUCTURE

The Croatian Centre of ITI was The Croatian ITI strives to be equally || Carrying out international Members of the Centre may be in- founded in 1994 as a non-profit pro- present on the international scene by cooperation and promotion of dividual and collective (theatres, as- offessional and ITI volunteer organization. organizing round table discussions, Croatian theatre, drama, and dance; sociations, organizations, festivals, Sanja Nikčević was elected as the first symposia, and meetings that raise || Translating Croatian playwrights dance companies…). President at the founding assembly. burning issues of our theatre every- and introducing their texts Željka Turčinović has been the head day life in the international context. through public readings; Željka Turčinović, dramaturge and of the Centre since 2001. Throughout It is also the publisher of the theat- || Inviting foreign selectors, Editor of Drama Department of the years, the Centre has grown from rological and drama series Mansioni, programmers, directors, translators Croatian Radio Television (HRT) is a small organization of theatre enthu- and two magazines: Theatre (for the- and theatre professionals to the President of the Centre; Matko siasts into a programmer of theatre atre) and Movements (for dance art). Croatia and enabling them to see the Botić, dramaturge and theatrologist, projects (International Drama Colony, best theatre and dance productions; is the Expert Councilor; and Dubravka Croatian Theatre Showcase, Theatre Thanks to the Croatian ITI much infor- || Striving for the visibility of Čukman is the Administrative Days) and promoter of Croatian the- mation on Croatian theatre and dra- Croatian theatre and playwrights Assistant. atre and drama on the international ma has found its way to world theatre on the European and world theatre level. The Centre publishes a series publications and magazines. map and making them sought after; Executive and Supervisory of publications in English (Croatian || Publishing promotional Board (April 2014) Theatre, Theatres in Croatia, and Since 2003 the organization’s office publications and magazines on Shortcut to Croatian Dance) as part has been located in a representative Croatian theatre, drama, and Hrvoje Ivanković, Mario Kovač, Želimir of its promotion of theatre and dance. space of Villa Arko in Zagreb’s his- dance in world languages; Mesarić, Zoran Mužić, Urša Raukar torical Upper Town, in Basaričekova || Instigating the exchange of (Executive Board), Matko Botić, Ivica Street 24. writers on the basis of reciprocity Buljan, Ivor Martinić, Katja Šimunić, (mutual cooperation) so that Dubravka Vrgoč (Supervisory Board) We share the space with the Croatian both theatre milieus present Writers’ Association and P.E.N. while their best writers and pieces; President of International Playwrights the villa’s attic houses the atelier of || Being active, transparent, and Forum (ITI): Jasen Boko Zlatko Bourek. of service both internationally and nationally. ITI 120 121 ITI CROATIAN THEATRE

DANCE COMMITTEE THE MANSIONI SERIES

The Centre has a Dance Committee, In the fifteen years of its existence, established in July 2000, with with the ample scope of interests Executive Secretary Maja Đurinović connected to theatrological studies, and Honorary President Milana Broš. dramatic texts, theatre travelogues, The Dance Committee presents a essays and biographical writings, the stronghold and logistical support to series “Mansioni” has profiled and es- dance companies and projects as a tablished itself as one of the most im- source of information and an out- portant Croatian theatrological series. let for joining dance touring net- The publications in this series feature works. The Committee has support- both domestic and foreign authors; ed tours of our ensembles to Mexico besides books in Croatian, transla- (Liberdance), Peru (Contemporary tions of plays by Croatian dramatists Dance Studio) and Cyprus (Dance are published in foreign languages Theatre Tala). The Dance Committee with the aim of promoting Croatian is the initiator of the dance art maga- drama abroad. zine Movements, various promotional publications, and the book series The Editor-in-Chief is Željka Turčinović Movements which features dance the- with guest-editors being hired for in- ory through the Dance Studies edition dividual editions. and dance critique through the Small Hall edition.

II Irma Omerzo: Meteo, photo by Jasenko Rasol ITI 122 123 ITI CROATIAN THEATRE PUBLICATIONS AND MAGAZINES ON CROATIAN THEATRE,

II L.O.S.E.R.S., International Drama Colony Grožnjan, photo by DRAMA, AND DANCEMatko Botić ITI 124 125 ITI CROATIAN THEATRE

PUBLISHED (1994-2014)

theatrology plays

Marvin Carlson Vinko Grubišić Sanja Ivić Sibila Petlevski Author group GONG Elvis Bošnjak Theories of the Theatre 1, 1996 Artaud, 2000 Sturgeons Of Second- Drama and Time, 2007 Repeated Prophecy The river carries us, and Rate Freshness, 2004 of Cracks, 1994 other plays, 2011 Boris Senker Acija Alfirević Miljenko Foretić Croatian Dramatists in The Australian New Wave, 2000 Mikhail Chekhov Theatre in Dubrovnik, 2008 Miro Gavran Ivan Vidić their Theatre, 1996 To The Actor – On The Droll Pieces, 1996 The valley of roses, and Sibila Petlevski Technique Of Acting, 2004 Darko Lukić other plays, 2012 Nikola Đuretić Symptoms of Dramatic The production and marketing Davor Špišić Theatre Travelogues and Postmodernity, 2000 Branko Hećimović of the performing arts, sec- Foreplays, 1996 Tomislav Zajec Milestones, 1996 In Theatre’s Embrace, 2004 ond edition, 2010 Departures, 2013 Peter Szondi Borislav Vujčić Marvin Carlson The Theory of Modern Gordana Muzaferija Darko Lukić White Tragedies, 1997 Dubravko Mihanović Theories of the Theatre 2, 1997 Drama 1880-1950, 2001 The Theatre Plays Of Theatre, Culture, Transition, 2011 White/ The Frog/ Marjan, Miro Gavran, 2005 Davor Špišić Marjan/Everything passes, Marvin Carlson Antonija Bogner-Šaban Darko Gašparović Paradise With No 2014. Theories of the Theatre 3, 1997 The Return to No-Return, 2001 Joseph R. Roach A deep cut (through Croatian Closing Time, 2001 The Players’ Passion, 2005 drama of the twentieth century), Manfred Pfister Adriana Car-Mihec 2012 Ivan Vidić Drama, 1998 The Diary of Three Genres, 2003 Darko Lukić Plays, 2002 The Production and Marketing Ivica Kunčević Đurđa Škavić Sanja Nikčević of Performing Arts, 2006 Ambient, the Dubrovnik Mate Matišić The Glossary of Croatian Affirmative American Drama or way, 2012 Post Mortem Trilogy, 2006 Theatre, 1999 Long Live the Puritans, 2003 Mirella Schino The Theatre of Eleonora Matko Botić Feđa Šehović Antonin Artaud Peter Brook Duse, 2007 Playing prose, Comedies and Dramas, 2010 The Theatre and its Double, 2000 Threads of Time, 2003 writing theatre, 2013 ITI 126 127 ITI CROATIAN THEATRE

Other Activities (2011 – 2014)

1. 2. anthologies translations of publishing dance committee activities croatian drama activities Irena Lukšić Ivica Buljan 3rd Symposium dedicated to the work The Anthology of Russian The Anthology of New Tomislav Bakarić The Movements series was launched “Croatian Theatre”, a magazine for of Milko Šparemblek, “Paris – Zagreb, Dissident Drama, 1998 French Drama, 2006 La muerte de Stjepan Radić in 2009 as a natural continuation the international theatre community 56 years after 1956”. Zagreb, July 17, (The Death of Stjepan of the publishing activity of the which provides an insight into the cur- 2012. Ian Brown The Anthology of Radić - Spanish), 1998 ‘Movements’ magazine. It is present- rent trends in contemporary Croatian The Anthology of Contemporary New Czech Drama ed in two sub-editions: Dance Studies drama and theatre. The Croatian presentation of the Scottish Drama, 1999 (edites by Kamila Černa), 2009 Maja Gregl featuring dance theory and Small Hall book Feminine Futures by Adrien Sina The Loves of Alma Mahler/ featuring theatre critique and dance. vol. 5 (English version, 2011), vol. 6 - (Feminine Futures, Valentine de Saint- Borislav Pavlovski Six Argentine dramas Die Lieben der Alma Mahler “Croatian Theatre / Theatre Croate” Point / Performance, Danse, Guerre, The Anthology of New (edited by Robeto Aquirre), 2014 (Croatian/German), 1999 The Editor-in-Chief of the series is Iva (Edition in French, to complement Politique et Érotisme, Les presses du Macedonian Drama, 2000 Nerina Sibila and guest editors are the major presentation of Croatian réel, Paris, 2011), Zagreb, October 24, Mislav Brumec invited for individual publications ac- culture in France - “Croatie - la voici”, 2013. Sead Muhamedagić Smrt Ligeje/Death of Ligeia cording to the need. 2012) The Anthology of New (Croatian/English), 2000 Katja Šimunić’s participation at the Austrian Drama, 2002 Edition: DANCE STUDIES Special edition in Mansioni series: World Dance Alliance Global Summit Tomislav Durbešić Laurence Louppe: POETICS OF “Marin Carić”, monograph, 2011. in Angers, as a part of the program Contemporary Italian Drama- Drames Choisis (Selected CONTEMPORARY DANCE of the Conference with a lecture on selected authors Plays - French), 2002 “The Theatre”, magazine about the- one of the most interesting contem- (edited by Mario Mattia Edition: SMALL HALL atre art, from volume 45 to volume 54 porary Croatian choreographers, Giorgetti), 2003 Different Voices (Mala dvorana) Marjana Krajač, and her participation Eight Contemporary Croatian Tuga Tarle: DANCE REVIEWS at the round table of the World Dance Franciska Ćurković-Major Plays (English, edited by Maja Bezjak: A CRITIQUE OF Alliance-Europe, presenting the con- New Hungarian Drama, 2005 Boris Senker), 2003 BALLET; YES, BUT WHAT KIND? temporary Croatian dance scene.

Lada Kaštelan Prije sna/ Before Sleep, 2007 ITI 128 129 ITI CROATIAN THEATRE

3. 4. 5. 6. international drama world theatre day and croatian theatre regional council colony “from text to international dance day showcase 2011 - 2013 meeting of iti centres Publishing Activites of the performance” in grožnjan / 8th croatian theatre Dance Committee: International messages were accom- The Showcase was organized every showcase, zagreb 2012 The colony IS organized every year panied by their Croatian versions, year in October / November, with par- “Movements” – a magazine for in July with the following partners: and presented before every perfor- ticipants from all over Europe. The Traditional Croatian Theatre dance art, Vol. 17 (2012). The 17th edi- 2011 - Serbia, 2012 - Macedonia, 2013 mance on World Theatre Day and Showcase was organized in Zagreb tion of magazine was published to- - Bosnia and Herzegovina, 2014 - International Dance Day. in December of 2012, presenting the gether with aforementioned issue of Bulgaria. Participating directors: Boris best plays produced by Croatian the- “Croatian theatre”, to complement Liješević, Anja Maksić Japundžić, The Croatian message for World atres in the previous season. In addi- the major presentation of Croatian Martin Kočovski, Goran Golovko, Theatre Day was written by actor tion to the Showcase, the Croatian culture in France - “Croatie - la voici”. Selma Spahić, Tamara Kučinović, Krunoslav Šarić in 2011, actor Pero Centre of ITI hosted the Regional Helena Petković, Renata Carola Kvrgić in 2012, theatrologist Sanja Council Meeting of ITI Centres, with Gatica Nikčević in 2013 and actor Zvonimir participants from Slovenia, Bosnia and Zoričić in 2014. Herzegovina, Macedonia, Romania, Serbia and Kosovo. The Croatian message for International Dance Day was written by choreographer Vera Maletić in 2011, dance pedagogue Irena Milovan in 2012, dancer and choreographer Irma Omerzo in 2013, and prima bal- lerina Edina Pličanić in 2014. ITI 130 131 ITI CROATIAN THEATRE CONTACT US

II Ranko Marinković: Gloria, Theatre &TD, photo by Damir Žižić ITI 132 133 ITI CROATIAN THEATRE

Important

addresses CROATIAN CENTRE OF ITI CULTURAL ASSOCIATIONS ZAGREB DANCE CENTER CROATIAN ASSOCIATION OF | Hrvatski centar ITI | International | Zagrebački plesni centar | LITERARY TRANSLATORS Theatre Institute | Međunarodni CROATIAN CENTRE OF P.E.N. Ilica 10 | Društvo hrvatskih kazališni institut | | Hrvatski centar P.E.N. | 10000 Zagreb, Croatia književnih prevodilaca | Basaričekova 24 Basaričekova 24 t +385 1 4833 083 Ilica 42/II 10000 Zagreb, 10000 Zagreb, Croatia f +385 1 4641 154 10000 Zagreb, Croatia Croatia T +385 1 4880 014; e [email protected] t/f +385 1 4847 565 T +385 1 4920 667 f +385 1 4880 015 w www.plesnicentar.info Artistic e [email protected] f +385 1 4920 668 e [email protected] Director: Mirna Žagar w www.dhkp.hr e [email protected] w www.pen.hr President: Petra Mrduljaš Doležal w www.hciti.hr President: Nadežda Čačinovič CROATIAN ASSOCIATION OF President: Željka Turčinović THEATRE CRITICS ASSOCIATION OF DANCE CROATIAN ASSOCIATION AND THEATROLOGISTS ARTISTS OF CROATIA CROATIAN CENTRE OF ASSITEJ OF DRAMATIC ARTISTS | Hrvatsko društvo kazališnih | Udruga plesnih | Hrvatski centar ASSITEJ | | Hrvatsko društvo kritičara i teatrologa | umjetnika Hrvatske | International Association of Theatre dramskih umjetnika | c/o HDDU, Amruševa 19/III Šenoina 26 for Children and Young People | Amruševa 19/III 10000 Zagreb, Croatia 10000 Zagreb, Croatia Međunarodna udruga profesionalnih 10000 Zagreb, Croatia t +385 1 4920 717, t +385 1 4813 786 kazališta za djecu i mlade | T +385 1 4920 717 f +385 1 4920 718 e [email protected] c/o HDDU, Amruševa 19/III, f +385 1 4920 718 e [email protected] w www.upuh.hr 10000 Zagreb, Croatia e [email protected] w www.hdkkt.hr President: Branko Banković t/f +385 1 4813 252 w www.hddu.hr President: Sanja Nikčević e [email protected] President: Boris Svrtan CROATIAN WRITERS SOCIETY w www.assitej.hr ASSOCIATION OF | Hrvatsko društvo pisaca | President: Romano Bogdan CROATIAN INSTITUTE FOR CROATIAN WRITERS Basaričekova 24 MOVEMENT AND DANCE | Društvo hrvatskih književnika | 10000 Zagreb, Croatia CROATIAN CENTRE OF UNIMA | Hrvatski institut za pokret i ples | Trg bana Jelačića 7/I t +385 1 4876 463, | Hrvatski centar UNIMA | HIPP | 10000 Zagreb, Croatia f +385 1 4870 186 International Puppeteers Union | Bijankinijeva 5, t +385 1 4816 931, e [email protected] Međunarodna udruga lutkara | 10000 Zagreb, Croatia f +385 1 4816 959 w www.hrvatskodrustvopisaca.hr Amruševa 19/III t +385 1 4621 969; 4621 967; e [email protected] President: Nikola Petković 10000 Zagreb, Croatia f +385 1 4641 154 w www.dhk.hr t/f +385 1 4813 252 e [email protected] President: Božidar Petrač e [email protected] w www.danceincroatia.com w www.unima.hr Artistic Director: Mirna Žagar President: Jasminka Mesarić ITI 134 135 ITI CROATIAN THEATRE

CENTRE FOR DRAMATIC ART NATIONAL AND FACULTY OF PHILOSOPHY CULTURELINK NETWORK THEATRE MAGAZINES MOVEMENTS, Magazine | Centar za dramsku umjetnost | UNIVERSITY LIBRARY | Additional Study in Theatrology | Mreža Culturelink | for Dance Art Gaje Alage 6 | Nacionalna i sveučilišna knjižnica | | Department of Comparative Lj. F. Vukotinovića 2, P.O. Box 303 THEATRE | Kretanja, časopis 10000 Zagreb, Croatia Hrvatske bratske zajednice br. 4 Literature | Filozofski fakultet, 10000 Zagreb, Croatia | Kazalište | za plesnu umjetnost | t +385 1 4846 176; 10000 Zagreb, Croatia dodatni studij teatrologije | Odsjek t +385 1 4877 460, Publisher: Croatian Centre of ITI Publisher: Croatian Centre of ITI f +385 1 4846 180 t +385 1 6164 111, za komparativnu književnost | f +385 1 4828 361 Basaričekova 24 Basaričekova 24 e [email protected] f +385 1 6164 186 I. Lučića 3 e [email protected] 10000 Zagreb, Croatia 10 000 Zagreb, Croatia w www.cdu.hr e [email protected] 10000 Zagreb, Croatia w www.culturelink.org t +385 1 4920 667, t +385 1 4920 667; Executive Board President: w www.nsk.hr t +385 1 6120 111; Coordinator: Biserka Cvjetičanin f +385 1 4920 668 f +385 1 4920 668 Goran Sergej Pristaš Director: Dunja Seiter-Šverko f +385 1 6156 879 e [email protected] e [email protected] e [email protected] ARTS ACADEMY w www.hciti.hr w www.hciti.hr DEPARTMENT OF CROATIAN w www.ffzg.hr UNIVERSITY OF SPLIT Editor-in-Chief: Željka Turčinović Editor-in-Chief: Iva Nerina Sibila THEATRE HISTORY Head of Studies: Boris Senker | Umjetnička akademija CULTURAL, SCIENTIFIC INSTITUTE FOR THE HISTORY sveučilišta u Splitu | CROATIAN THEATRE AND EDUCATIONAL OF CROATIAN LITERATURE, ACADEMY OF DRAMATIC ARTS Glagoljaška bb | Hrvatsko glumište | INSTITUTIONS THEATRE AND MUSIC OF | Akademija dramske umjetnosti | 21000 Split, Croatia Publisher: Croatian Association of INTERNATIONAL THE CROATIAN ACADEMY OF Trg maršala Tita 5, t +385 21 348 622; Dramatic Artists CULTURAL CENTRES MINISTRY OF CULTURE OF SCIENCES AND ARTS (HAZU) 10000 Zagreb, Croatia f +385 21 348 620 Amruševa 19/III THE REPUBLIC OF CROATIA | Odsjek za povijest hrvatskog t +385 1 4828 506, 4553 243; e [email protected] 10000 Zagreb, Croatia AUSTRIAN CULTURAL FORUM | Ministarstvo kulture RH | kazališta zavoda zapovijest hrvatske f +385 1 4828 508 w www.umas.hr t +385 1 4920 717; | Austrijski kulturni forum | Runjaninova 2 književnosti, kazališta i e [email protected] Dean: Mateo Perasović Fax. +385 1 4920 718 Österreichisches Kulturforum 10000 Zagreb, Croatia glazbe HAZU | w www.adu.hr e [email protected] Agram t +385 1 4866 308; Opatička 18 Dean: Borna Baletić UNIVERSITY JOSIP JURAJ w www.hddu.hr Gundulićeva 3 f +385 1 4816 755 10000 Zagreb, Croatia STROSSMAYER OF OSIJEK Editor-in-Chief: Zlatko Vidačković 10000 Zagreb, Croatia w www.min-kulture.hr t +385 1 4895 333 CROATIAN COPYRIGHT AGENCY ARTS ACADEMY OF OSIJEK t +385 1 4881 250, Minister of Culture: f +385 1 4895 302 | Hrvatska autorska agencija | centar | Sveučilište Josipa Jurja FRACTION, Magazine for f +385 1 4830 739 Andrea Zlatar Violić e [email protected] za intelektualno vlasništvo | Strossmayera u Osijeku, Performing Arts e [email protected] w www.hazu.hr Ribnjak 40 Umjetnička Akademija Osijek | | Frakcija, magazin w www.kulturforum-zagreb.org CITY OFFICE OF EDUCATION, Head of Department: 10000 Zagreb, Croatia Kralja Petra Svačića 1/F za izvedbene umjetnosti | Director: Georg Christian Lack CULTURE AND SPORT Branko Hećimović t +385 1 4811 055, 31000 Osijek, Croatia Publisher: CDU DEPARTMENT OF CULTURE f +385 1 4921 195 t +385 31 253 300; Prilaz Đure Deželića 26 BRITISH COUNCIL | Gradski ured za obrazovanje, MATRIX CROATICA e [email protected] f +385 31 253 322 10000 Zagreb, Croatia | Britanski savjet | kulturu i šport, Sektor za kulturu | | Matica Hrvatska | w www.haa.hr e [email protected] t +385 1 4846 176 Ilica 12 Ilica 25 Ulica Matice hrvatske 2 Theatre Copyrights w www.uaos.hr f +385 1 4846 180 10000 Zagreb, 10000 Zagreb, Croatia 10000 Zagreb, Croatia Administrator: Đurđica Paić Dean: Helena Sablić Tomić e [email protected] Croatia t +385 1 6100 501; t +385 1 4878 360 w www.cdu.hr/frakcija t +385 1 4899 508 f +385 1 6100 508 f +385 1 4819 319 Editor-in-Chief: Marko Kostanić e [email protected] e [email protected] e [email protected] w www.britishcouncil.hr w www.zagreb.hr w www.matica.hr Director: Dr. Conor Snowden Head of Office: Ivica Lovrić President: Stjepan Damjanović ITI 136 137 ITI CROATIAN THEATRE

FRENCH CULTURAL INSTITUTE THEATRES KEREMPUH SATIRICAL THEATRE BIRD OF FIRE THEATRE HISTRION ACTING COMPANY KUFER | Francuski institut | Institut Français | Satiričko kazalište Kerempuh | | Gradsko kazalište Žar ptica | | Glumačka družina Histrion | Cankarova 18 Hebrangova 2 ZAGREB Ilica 31 Bijenička 97, Ilica 90, 10000 Zagreb, Croatia 10000 Zagreb, Croatia 10000 Zagreb, Croatia 10000 Zagreb, Croatia 10000 Zagreb, Croatia e [email protected] w t +385 1 4893 621 CROATIAN NATIONAL THEATRE t +385 1 4833 354; t +385 1 2347 228; t +385 1 5496 387; http://vimeo.com/kufer f +385 1 4893 666 IN ZAGREB, Drama, Opera, Ballet f +385 1 4833 348 f +385 1 2347 855 f +385 1 5496 397 Artistic direction: Petra Glad and e [email protected] | Hrvatsko narodno kazalište u e [email protected] e [email protected] e [email protected] Vedrana Klepica w http://institutfrancais.hr Zagrebu | drama, opera, balet | w www.kazalistekerempuh.hr w www.zar-ptica.hr w www.histrion.hr Director: M. Luc Levy Trg maršala Tita 15 Manager: Duško Ljuština Manager: Marija Sekelez Manager: Zlatko Vitez KNAP 10000 Zagreb, Croatia | Cultural centre Peščenica | GOETHE INSTITUTE t +385 1 4888 432; ZAGREB YOUTH THEATRE ITD THEATRE I. B. MAŽURANIĆ PUPPET SCENE Ivanićgradska 41a | Goethe institut | f +385 1 4888 433 | Zagrebačko kazalište mladih | | Teatar &TD | | Lutkarska scena I. B. Mažuranić | 10000 Zagreb, Croatia Ulica grada Vukovara 64, e [email protected] Teslina 7 Savska 25, Vlaška 106, t +385 1 2303 122 10000 Zagreb, Croatia w www.hnk.hr 10000 Zagreb, Croatia 10000 Zagreb, Croatia 10000 Zagreb, Croatia f +385 1 2317 354 t +385 1 6195 000 General Manager: Dubravka Vrgoč t +385 1 4874 560; t +385 1 4593 510; t/f +385 1 4640 953 e [email protected] f +385 1 6274 355 f +385 1 4872 551 f +385 1 4843 492 e [email protected] w www.knap.hr e [email protected] GAVELLA DRAMA THEATRE e [email protected] e [email protected] w www.scena-ibm.hr Manager: Tomislav Štriga w www.goethe.de/ins/hr/hr/zag. | Gradsko dramsko w www.zekaem.hr w www.sczg.hr html kazalište Gavella | Manager: Ksenija Marinković Artistic Director: Nataša Rajković CHILDREN’S THEATRE DUBRAVA PLANET ART Director: Katrin Ostwald-Richter Frankopanska 8-10 | Dječje kazalište Dubrava | vlaška 70a 10000 Zagreb, Croatia ZAGREB PUPPET THEATRE EXIT THEATRE Cerska 1, 10000 Zagreb, Croatia ITALIAN CULTURAL INSTITUTE t +385 1 4849 222; | Zagrebačko kazalište lutaka | | Teatar Exit | 10000 Zagreb, Croatia t +385 1 4821 447; 4846 967 | Talijanski institut za kulturu | Istituto f +385 1 4848 540 Trg kralja Tomislava 19, Ilica 208, t +385 1 2050 030; e [email protected] Italiano di cultura e [email protected] 10000 Zagreb, Croatia 10000 Zagreb, Croatia f +385 1 2910 487 w www.planet-art.hr Preobraženska 4 w www.gavella.hr t +385 1 4878 444; t +385 1 3707 626; e [email protected] Artistic director: Marko Torjanac 10000 Zagreb, Croatia Manager: Boris Svrtan f +385 1 4878 465 f +385 1 3704 120 w www.kazalistedubrava.hr t +385 1 4830 208 e [email protected] e [email protected] Manager: Leo Vukelić Rugantino Theatre f +385 1 4830 207 CITY COMEDY THEATRE w www.zkl.hr w www.teatarexit.hr | Teatar Rugantino| e [email protected] | Zagrebačko gradsko Manager: Ljiljana Štokalo Manager: Matko Raguž Moruzgva Theatre Ivana Rangera 2 w www.iiczagabria.esteri.it kazalište Komedija | | Kazalište Moruzgva | 10000 Zagreb, Croatia Director: Maria Sica Kaptol 9, CHERRY CITY THEATRE SMALL STAGE THEATRE Bulićeva 9, t +385 1 5554 035 10000 Zagreb, Croatia | Gradsko kazalište Trešnja | | Kazalište Mala scena | 10000 Zagreb, Croatia f +385 1 4550 272 t/f +385 1 4812 179 Mošćenička 1, Medveščak 2, t +385 91 8852 606 e [email protected] e [email protected] 10000 Zagreb, Croatia 10000 Zagreb, Croatia e [email protected] w www.rugantino.hr w www.komedija.hr t +385 1 3638 010; t +385 1 4683 352; w www.moruzgva.com Manager: Gordana Gadžić Manager: Niko Pavlović f +385 1 3638 380 f +385 1 4683 370 Artistic director: Ecija Ojdanić e [email protected] e [email protected] w www.kazaliste-tresnja.hr w www.mala-scena.hr Manager: Višnja Babić Manager: Vitomira Lončar ITI 138 139 ITI CROATIAN THEATRE

Gavran Theatre OSIJEK PULA HKD THEATRE SPLIT CITY PUPPET THEATRE VIROVITICA | Teatar Gavran | | HKD teatar | | Gradsko kazalište lutaka Split | Dugi dol 58c CROATIAN NATIONAL ISTRIAN NATIONAL THEATRE Strossmayerova 1 Tončićeva 1 VIROVITICA THEATRE 10000 Zagreb, Croatia THEATRE IN OSIJEK | Istarsko narodno kazalište | 51000 Rijeka, Croatia 21000 Split, Croatia | Kazalište Virovitica | t/f +385 12346 068 | Hrvatsko narodno Matka Laginje 5 t +385 51 377 327 t +385 21 395 958 Trg Ljudevita Patačića 2 e [email protected] kazalište u Osijeku | 52100 Pula, Croatia f +385 51 377 328 f +385 21 394 714 33000 Virovitica, Croatia w www.teatar-gavran.hr Županijska 9 t +385 52 212 677 e [email protected] e [email protected] t/f +385 33 721 330; 725 220 Artistic director: Miro Gavran 31000 Osijek, Croatia f +385 52 214 303 w www.hkd-teatar.com com.hr e [email protected] t +385 31 220 700; 220 737 e [email protected] Manager: Nenad Šegvić w www.gkl-split.hr w www.kazalistevirovitica.hr DUBROVNIK f +385 31 220 734 w www.ink.hr Manager: Marija Tudor Manager: Miran Hajoš e [email protected] Manager: Gordana Jeromela Kaić SPLIT MARIN DRŽIĆ THEATRE w www.hnk-osijek.hr ŠIBENIK ZADAR | Kazalište Marina Držića | General manager: Miroslav Čabraja RIJEKA CROATIAN NATIONAL Kovačka 1 THEATRE IN SPLIT CROATIAN NATIONAL ZADAR PUPPET THEATRE 20000 Dubrovnik, Croatia CHILDREN’S THEATRE CROATIAN NATIONAL | Hrvatsko narodno kazalište THEATRE IN ŠIBENIK | Kazalište lutaka Zadar | t +385 20 321 419 BRANKO MIHALJEVIĆ THEATRE “IVAN PL. ZAJC” Split, drama, opera, balet | | Hrvatsko narodno Sokolska 1 f +385 20 321 071 | Dječje kazalište Branka Mihaljevića | Hrvatsko narodno kazalište Ivana Trg Gaje Bulata 1 kazalište u Šibeniku | 23000 Zadar, Croatia e [email protected] u Osijeku | pl. Zajca drama, opera, balet, 21000 Split, Croatia Ulica kralja Zvonimira 1 t +385 23 212 754 w www.kazaliste-dubrovnik.hr Trg bana Jelačića 19 talijanska drama | t +385 21 344 999 22000 Šibenik, Croatia f +385 23 311 122 Artistic Manager: Ante Vlahinić 31000 Osijek, Croatia Uljarska ulica 1 f +385 21 306 911 t +385 22 213 123 e [email protected] t +385 31 501 487 51000 Rijeka, Croatia e [email protected] f +385 22 212 134 w www.klz.hr KARLOVAC f +385 31 501 488 t +385 51 355 924; 355 900 [email protected] e [email protected] Manager: Iris Pavić-Tumpa e [email protected] f +385 51 355 923 w www.hnk-split.hr w www.hnksi.hr CITY THEATRE ZORA’S HOUSE w www.djecje-kazaliste.hr e [email protected] Director of Drama: Žarko Radić Manager: Maja Trlaja CROATIAN NATIONAL | Gradsko kazalište Zorin dom | Manager: Ivica Lučić [email protected] Manager: Vesna Čotić THEATRE IN ZADAR Domobranska 1 w www.hnk-zajc.hr VARAŽDIN | Hrvatsko narodno 47000 Karlovac, Croatia POŽEGA Director of Drama: SPLIT CITY YOUTH THEATRE kazalište u Zadru | T/f +385 47614950 Magdalena Lupi; General | Gradsko kazalište mladih Split | CROATIAN NATIONAL Široka ulica 8 e [email protected] POŽEGA CITY THEATRE Manager: Oliver Frljić Trg Republike 1/I THEATRE IN VARAŽDIN 23000 Zadar, Croatia w www.zorin-dom.hr | Gradsko kazalište Požega | 21000 Split, Croatia | Hrvatsko narodno t +385 23 314 586 Manager: Srećko Šestan Trg Sv. Trojstva 20 RIJEKA CITY PUPPET THEATRE t +385 21 344 979 kazalište u Varaždinu | f +385 23 314 590 34000 Požega, Croatia | Gradsko kazalište lutaka, Rijeka | f +385 21 321 258 Cesarčeva 1 e [email protected] t/f +385 34 273 161 Blaža Polića 6 e [email protected] 42000 Varaždin, Croatia w www.hnk-zadar.hr e [email protected] 51000 Rijeka, Croatia w www.gkm.hr t +385 42 214 688 Manager: Renato Švorinić w www.gkp.hr t +385 51 325 680 Manager: Ljubica Srhoj f +385 42 211 218 Manager: Valentina Soldo f +385 51 325 691 e [email protected] e [email protected] w www.hnkvz.hr com.hr General Manager: Jasna Jakovljević w www.gkl-rijeka.hr Manager: Zrinka Kolak Fabijan ITI 140 141 ITI CROATIAN THEATRE

CROATIAN THEATRES FESTIVALS DAYS OF SATIRE, ZAGREB, DUBROVNIK SUMMER THEATRE SUMMER, ZADAR SLUK, OSIJEK: Meeting ABROAD Festival of Annual Satire FESTIVAL, Drama, Music | Zadarsko ljeto, Zadar | of Croatian Puppeteers MARUL’S DAYS, SPLIT, Festival Production in Croatia | Dubrovačke ljetne igre, Široka ulica 8 and Puppet Theatres BOSNIA AND HERZEGOVINA of Croatian Drama | Dani satire, Zagreb: Festival drama, glazba | 23000 Zadar, Croatia | SLUK, Osijek: Susret lutkara i | Marulićevi dani, Split: godišnje satiričke produkcije u Od Sigurate 1 t +385 23 314 586 lutkarskih kazališta Hrvatske | CROATIAN NATIONAL Festival hrvatske drame | Hrvatskoj | 20000 Dubrovnik, Croatia f +385 23 314 590 Trg bana Jelačića 19 THEATRE IN MOSTAR Trg Gaje Bulata 1 Ilica 31 t +385 20 326 100 e [email protected] 31000 Osijek, Croatia | Hrvatsko narodno 21000 Split, Croatia 10000 Zagreb, Croatia f +385 20 326 116 w www.hkk-zadar.hr t +385 31 501 485 kazalište u Mostaru | t +385 21 344 999 t +385 1 4833 354 e [email protected] Manager: Renato Švorinić f +385 31 501 488 Trg hrvatskih velikana bb f +385 21 306 911 f +385 1 4833 348 w www.dubrovnik-festival.hr Time Held: June / August e [email protected] 88000 Mostar, Bosnia and e [email protected] e [email protected] General manager: Krešimir Dolenčić w www.djecje-kazaliste.hr Herzegovina w www.hnk-split.hr w www.kazalistekerempuh.hr Director: Ivana Medo Bogdanović WORLD THEATRE FESTIVAL Manager: Ivica Lučić t +387 63 317 348 Manager: Vesna Čotić Manager: Duško Ljuština Time Held: July / August | Festival svjetskog kazališta | Time Held: biannually / April & May e [email protected] Time Held: April Time Held: June Teslina 7 w www.hnk.ba SPLIT SUMMER FESTIVAL, 10000 Zagreb, Croatia ŠIBENIK INTERNATIONAL Manager: Ivan Vukoja FESTIVAL RIJEKA EUROKAZ, ZAGREB, Drama, Opera, Ballet and t +385 1 4872 554 CHILDREN’S FESTIVAL | Međunarodni festival Festival of New Theatre Concert Programmes f +385 1 4872 582 | Međunarodni dječji HUNGARY malih scena, Rijeka | | Eurokaz, Zagreb | | Splitsko ljeto, dramski, operni, e [email protected] festival Šibenik | HKD Teatar, Korzo 16/2 Festival novog kazališta | baletni i koncertni program | w www.zagrebtheatrefestival.hr Kralja Zvonimira 1 CROATIAN THEATRE IN PECS 51000 Rijeka, Croatia Dežmanov prolaz 3 HNK, Trg Gaje Bulata 1 Artistic Directors: Dubravka Vrgoč, 22000 Šibenik, Croatia | Hrvatsko kazalište u Pečuhu | t +385 51 377 327 10000 Zagreb, Croatia 21000 Split, Croatia Ivica Buljan t/f +385 22 213 636 Anna 17 f +385 51 377 328 t +385 1 4847 856 t +385 21 344 999 Time Held: September e [email protected] H-7621 Pecs, Hungary e [email protected] f +385 1 4854 424 f +385 21 306 911 w www.mdf-sibenik.hr t +36 72 514 300 w www.theatrefestival-rijeka.hr e [email protected] e [email protected] INTERNATIONAL FESTIVAL Festival Director: Maja Trlaja f +36 72 210 197 Manager: Nenad Šegvić w www.eurokaz.hr w www.hnk-split.hr “THE VERY BEST” Time Held: June & July e [email protected] Time Held: May Artistic Director: Gordana Vnuk Manager: Tonči Bilić | Naj Naj Naj festival | w www.horvatszinhaz.hu Time Held: June Time Held: July / August Bijenička 97 INTERNATIONAL PUPPET Manager: Slaven Vidaković ACTOR’S FESTIVAL, VINKOVCI 10000 Zagreb, Croatia THEATRE FESTIVAL | PIF | | Festival glumca, Vinkovci | GOLDEN LION, International DREAMTIME ZADAR t +385 1 2347 228 | PIF, Zagreb, Međunarodni festival c/o HDDU, Amruševa 19 festival of chamber theatre | Zadar snova | f +385 1 2347 855 kazališta lutaka | 10000 Zagreb, Croatia | Međunarodni festival Nikole Matafara 2a e [email protected] B. Magovca 17 t +385 1 4920 717 komornog teatra Zlatni lav | 23000 Zadar, Croatia w www.zar-ptica.hr 10010 Zagreb, Croatia f +385 1 4920 718 Trgovačka 6 t/f +385 98 933 8252 Artistic Director: Marija Sekelez t +385 1 6601 626 e [email protected] 52470 Umag, Croatia e [email protected] Time Held: April f +385 1 6601 619 w www.hddu.hr t/f +385 52 743 447; w www.zadarsnova.hr e [email protected] Time Held: May e [email protected] Artistic Director: Kristijan Mičić and w www.pif.hr w http://zlatni-lav.com Samanta Stepčić Director: Josip Forjan Director: Damir Zlatar Frey Time Held: August Selector: Livija Kroflin Time Held: July Time Held: September ITI 142 143 ITI CROATIAN THEATRE

DANCE FESTIVALS YOUTH FESTVALS

CONTEMPORARY DANCE PUF INTERNATIONAL THEATRE WEEK, ZAGREB FESTIVAL, PULA, POREČ | Tjedan suvremenog plesa, Zagreb | | PUF - Pula, Poreč: Međunarodni HIPP kazališni festival mladih | Biankinijeva 5 INAT Pula, Sergijevaca 32 10000 Zagreb, Croatia 52100 Pula, Croatia t +385 1 4621 967 t/f +385 52 223 915 f +385 1 4641 154 e [email protected] e [email protected] w www.kazaliste-dr-inat.hr w www.danceweekfestival.com Artistic Director: Branko Sušac Artistic Director: Mirna Žagar Time Held: July Time Held: June INTERNATIONAL YOUTH THEATRE FESTIVAL OF DANCE AND FESTIVAL | MKFM | , PULA NON-VERBAL THEATRE, | MKFM, Pula: Međunarodni SVETIVINČENAT kazališni festival mladih | | Festival plesa i neverbalnog INK Pula, Matka Laginje 5 teatra Svetivinčenat | 52100 Pula, Croatia ZPA, Hebrangova 36 t +385 52 218 890 10000 Zagreb, Croatia f +385 52 214 303 e [email protected] e [email protected] w www.svetvincenatfestival.com w www.ink.hr Artistic Director: Snježana Manager: Gordana Jeromela Kaić Abramović Milković Time Held: June & August Time Held: July

II ranko Marinković: Gloria, Theatre &TD, photo by Damir Žižić ITI 144

CROATIAN THEATRE 7/8 2014 A publication on Croatian Drama and Theatre

publisher Croatian Centre of ITI

for the publisher Željka Turčinović

editor Matko Botić

editorial board Željka Turčinović Hrvoje Ivanković Matko Botić

art director Tatjana Petric

design & layout Studio kuna zlatica

translation & proofreading by Vinko Zgaga

print Printera grupa d.o.o.

cover photo Oliver Frljić: I Hate The Truth, Theatre &TD, photo by Damir Žižić www.hciti.hr