www.hciti.hr NEW CROATIAN PLAY // MODEL APPLICATION OF THE “HUMAN ENVIRONMENT” MULTICULTURALISM IN THEATRE: CASE STUDY OF THE “BORGES PROJECT”, CROATIAN DANCE SCENE IN THE SHADOW OF RECESSION (SEASON 2010/2011) IDENTITY CRISIS AND SOCIAL ON THE STAGES OF CROATIAN THEATRES COASTAL OASIS OF MULTICULTURAL THEATRE // // // //

CROATIAN THEATRE 5_2011

Croatian centre ITI CROATIAN THEATRE 5_2011 ISSN 1846-0860 CROATIAN THEATRE

5 www.hciti.hr contents editorial

Dear readers, This is the new issue of the Croatian Theatre in front of you, with its main purpose: to present actual events and trends in the Croatian theatre with accent on everything we think could be interesting and transparent to the audience abroad as well.

This time, we paid special attention to one institutionalized theatre which, in spite Matko Botić of its attribute “national,” boldly investigates new trends in search of innovativeness. 4 COASTAL OASIS OF MULTICULTURAL THEATRE This is the Croatian National Theatre Ivan pl. Zajc in Rijeka, and theatre critic Matko Botić provided contribution about this theatre.

Mira Muhoberac As in previous issues, this time we also present survey of events in Croatian theatre 12 IDENTITY CRISIS AND SOCIAL CRISIS ON THE STAGES houses in last season, written by theatrologist Mira Muhoberac. OF CROATIAN THEATRES Dance critic Maja urinović writes about especially interesting and strong artistic personalities, projects, and choreographers, internationally active dance-perform- Maja urinović ance art groups by analyzing Croatian dance scene, hit by the wave of recession. 22 CROATIAN DANCE SCENE IN THE SHADOW OF RECESSION On multiculturalism in theatre, Dr. Vitomira Lončar, assistant lecturer at the (SEASON 2010/2011) Academy of Dramatic Art in Zagreb, carried out a research through the project “Borges” which was presented by New Project Group at the 31st World Congress Vitomira Lončar in Manila in 2006. MULTICULTURALISM IN THEATRE: CASE STUDY OF THE “BORGES 26 In the second part of the publication, we present a dramatist of the middle genera- PROJECT”, APPLICATION OF THE “HUMAN ENVIRONMENT” MODEL tion, Mate Matišić, and this with translation of his entire text Woman without a Body, which could be interesting to theatre houses abroad.

And finally, we provide report on activities by the publisher of this magazine, the NEW CROATIAN PLAY / M. Matišić, WOMAN WITHOUT A BODY 40 Croatian Centre ITI. Here, one can of course find addresses of all relevant Croatian Hrvo theatre institutions with hope that perhaps exactly some of our texts will motivate you to contact them. And, on the other hand, if you are interested in previous issues INFO / ADDRESSES 58 of our publication, we would like to remind you that you can find them on our web site: http://www.hciti.hr.

Editorial Board

2 CROATIAN THEATRE 5 _2011 3 Matko Botić Milan RakovacRiva i Druxi,directed by Lary Zappia COASTAL OASIS OF MULTICULTURAL THEATRE

In a country in which the majority of truly significant theatrefrom the 1990s the title “Croatian National events occur in the capital and ossified institutions of largeTheatre” together with the theatres in national houses with united drama, ballet and opera Zagreb, Split, Varaždin and Osijek. Along with en sem bles most often deliver unenthusiastic mainstreamthe Opera, Ballet and Croatian Drama, Italian performances, one provincial theatre imposes itself as a Drama which, apart from its artistic value, welcome exception, a also possesses a permanent cultural-political primus inter paresamong the few value, has been active at the Rijeka Theatre theatres of quality located outside Zagreb. This is the since the end of WWII. The Italian Drama Croatian National Theatre “Ivan pl. Zajc” in Rijeka, a town ensemble is the only Croatian professional situated in the northernmost part of the Croatian side collective serving a national minority, and is of the Adriatic Sea, one hundred and sixty five kilometres also the only permanent Italian theatre from the capital. ensemble outside Italy. The liveliness of the Rijeka Theatre is determined to a The multicultural milieu of the largest town large extent by the tumultuous history of this port centre. in the Northern Adriatic has always enabled Its natural resources and ideal geostrategic position were the lively and propulsive activity of the Rijeka usurped by many, with the Austrians and Hungarians, Theatre, which is also distinguishable in the French and Germans alternating in their rule over the town thematic tendencies of its most significant the last several hundred years and, of course, the Italians successes. Multiculturalism was the basis of who formed a large portion of its total population up until key performances during the 1990s, including the mid-20 th century. Italian language and culture marked Practising Lifeby Nedjeljko Fabrio, an ingen- the very emergence of the Rijeka Theatre, which was built ious chronicle of Croatian-Italian coexistence on land taken from the sea, on its very shoreline, by Vien- in the twentieth century, and ne se architects Ferdinand Felmer and Herman Hellmer, Kraljevoby authors of some forty similar Neo-Baroque theatres Miroslav Krleža, a tormenting anticipation of throug hout Europe. Apart from already acknowledged the war, directed at the time by very young Middle European masters who helped in the creation ofSlovene Vito Taufer. Openness to the “Other” the Rijeka edifice, established Mediterranean artists suchand an inclination for involving artists from as Venetian sculptor Augusto Benvenuti also participatedneighbouring in countries has also remained a its making. The theatre was completed in 1885, almost tenconstant through to recent times, in which the most significant mark was left by the- years before King Francis Joseph I ceremoniously opened atrologist and dramaturge Mani Gotovac, the Zagreb’s theatre centre by the same architectural duo. first female director of the Rijeka Theatre. Rijeka’s dynamic history is also reflected in the functioningShe retained the positive achievements of of its theatre centre, which from the 1950s carries the nameher predecessors; however, with her choice of the great Croatian composer Ivan Zajc from Rijeka, andof provocative repertoires and collaborators,

4 CROATIAN THEATRE 5 _2011 5 Miroslav Krleža,Glembaj Family, directed by Branko Brezovac Filip Šovagović,Jazz , directed by Ivica Buljan

she drew extraordinary media attention to the Rijeka Theatre. Her mandate started in 2003 with the pompously announ- ced version of famous local legendCaroline of Rijekawhich Lary Zappia, its director and adapter, created as a “heroic piece with singing and shooting” and where the lead role was given to Croatia’s famous pop singer, Severina Vučković from Split. Although the media potential of this perform- ance was significantly larger than its artistic value, this move drew the attention of the entire public to the Rijeka Theatre, and created a lively artistic centre from a serious but somewhat lethargic theatre. In the continuation of Mani Gotovac’s mandate passions did not cool down, rather artistic achievements increased, and several extraordinary titles are remembered from those four years. Belgrade director Jagoš Marković inventively staged De Filippo’s sumptuous, Mediterranean-style come- dy

Filumena Marturano, and with this performance paved the way for a series of mostly very successful collabora- tions with Rijeka’s Drama and Opera ensembles. Mani Gotovac was also responsible for initiating “Rijeka Summer Nights”, whereby the northern part of the Adriatic received its summer festival, modelled after those in Dubrovnik and Split. The first performance at the new festival was director Ivica Buljan’s staging of the unconventional and playful Jazz by actor and writer Filip Šovagović, taking Rijeka Theatre to many noticeable guest performances as a result. Early into the 21st century, the Italian Drama ensemble also experi- enced aesthetic improvements with performances directed by Neva Rošić New( York Marathonby Edoardo Erba), Lary a cultural phenomenon needed to preserve Zappia ( Maria Callas Masterclassby Terence McNelly) and, the minority community, but also a full-blo- in particular, Slovene director Damir Zlatar Frey who oded and talented collective capable of the staged the award-winning Crime on Goat Islandby Ugo highest artistic achievements. In the Betti in a choreodrama key. With the mentioned perform- 2004/2005 season, Damir Zlatar Frey also ances Italians from Rijeka proved that they were not merely successfully collaborated with the Croatian

6 CROATIAN THEATRE 5 _2011 7 Ugo Betti,Crime on Goat Island, directed by Damir Zlatan Frey The Miser,directed Molière, by Oliver Frljić

young conductor Nada Matošević, while the Ballet, headed by young choreographer and dancer Staša Zurovac, staged a series of his youthful energetic, humorous, and well-con- ceived original works. Mani Gotovac’s term ended in the same way it started, raising much dust, and with the wide and exceptional media coverage of the premiere of The

Glembaj Family, written by Miroslav Krleža and directed by the champion of alternative Croatian theatre, Branko Brezovec, which again stirred up endless polemics and starred the queen of Croatian pop music  Severina. After Mani Gotovac, another woman succeed- ed to the head position of the Rijeka Theatre in 2007  already mentioned female maestro Nada Matošević, who had until then success- fully managed the Rijeka Opera. Her pro- gramme was somewhat more traditional and calmer than the Mediterranean impulsive- ness of Mani Gotovac; nevertheless, every year several excellent theatre events were created in Rijeka within this concept as well. Young Croatian director Oliver Frljić came to Rijeka during Nada Matošević’s first season and staged

Turbo Folk, the most important Drama in the excellent choreodrama interpretation of performance in the first decade of the 21st unendurable social situation not only in Croatia, but cities with this largely successful perform- Lorca’sBlood Wedding, and Croatian film director Vinko century in Rijeka with mostly young members also in the entire region. The fact that one such brutal ance, including Berlin and the “Wiener Brešan débuted at the Rijeka Summer Nights with the of the Croatian Drama.Turbo Folkis a furi- and unpleasant piece of political theatre could have Festwochen” in Vienna. In the last few years, widely praised and watched adaptation of the cult novel ous and uncompromising settling of scores been created without any pressure and censorship in a apart from Frljić, several more powerful the- theatre which carries the prefix “Croatian” and atre director personalities have been working Gold, Frankincense and Myrrhby Croatian writer Slobodanwith the time in which it was created, dispos- “National” is great praise and recommendation for the in Rijeka including Slovene Tomi Janežič, who Novak. During the time of Mani Gotovac, creative improve-sessed of unnecessary theatricalization and Rijeka Theatre. The theatre toured many European has been creating memorable performances ments also occurred with the Rijeka Opera, headed by very direct in naming guilty parties for the

8 CROATIAN THEATRE 5 _2011 9 Slobodan Novak,Gold, Frankincense and Myrrh, directed by Vinko Brešan Turbo-folk, author’s project of Oliver Frljić

lesser known scores of the Croatian music heritage and the engagement of the best Croatian opera directors, such as Ozren Prohić and Krešimir Dolenčić, what is also notable is the tendency to invite directors who have not had a chance to create on the opera stage, including Janusz Kica, Ivan Leo Lemo and Damir Zlatar Frey, who all have brought necessary fresh blood in imagination and inspiration to this old-fashioned artistic expression.

of riskEven in recent projects the Rijeka Theatre has not abandoned researchingthe aesthetics , which is not all too convenient for a “serious” national house in a Neo-Baroque environment. The occasionally incident-prone and experiment-inclined performances of Oliver Frljić (Molière’s The Miserstaged in a shipyard that had gone into bankruptcy) and François-Michel Pesenti, the authorial project centred around the works of Daniil Kharms as directed by Aleksandar Popovski, and announ- cements of guest performances in the near future by young European directors, such as David Doiashvili and Anica Tomić, eloquently reveal the intentions of the “strangest” natio- in Rijeka continuously since 2002. In 2008, he staged hisnal theatre in Croatia. The Rijeka Theatre, own adaptation of the novelNigger by Tatjana Gromača inbuilt on the very seashore and only a few a very original manner. The Italian Drama has also been meters away from the Rijeka market and port, mainly retaining the level of quality as the mentioned suc-inevitably shares its destiny with the town that surrounds it. Multicultural and open, Improvisecesses, primarily with the noticeable multicultural chronicle it is always able to accept diversity as an Riva i Druxi, directed by Lary Zappia, and especially with the advantage, and artistic risk as an unavoidable awarded staging of Luigi Pirandello’s drama Tonight We integral part of any relevant the under the directorial leadership of eminent Paolo Magelli. In the opera repertoire, along with presenting the atre act.

10 CROATIAN THEATRE 5 _2011 11 Jean-Baptiste Poquelin Molière and Jean-Baptiste Lully, Mira Muhoberac The Middle Class Gentleman, Croatian National Theatre in Zagreb IDENTITY CRISIS AND SOCIAL CRISIS ON THE STAGES OF CROATIAN THEATRES

A Season of Croatian Authors, Directors, and Actors of the Middle Generation

Even though Croatian professional theatres staged diverse titles in 2010 and 2011, the performances that came into prominence with their intrigue and quality were those that emerged from the works of contemporary Croatian authors the year and the first part of the new jubilee and classics of world literature that provocatively staged theatre season, the Croatian National Theatre themes of identity crisis and social crisis. Since name and boldly turned away from staging classics and body in every society act as fundamental factors of identity moved to the promotion of works by contem- 1 porary Croatian authors. The 2010/2011 sea- and since theatre is a place where identity is self-formed, son opened with the staging of a drama by 2 created, and transformed, a survey of the staged titles at young Croat author Ivor Martinić, and direct- Croatian theatres of different names, with different spatial ed by a member of the younger generation, definitions and various repertoire profiles in a year that Anja Maksić Japundžić. Minimalist dramatur- marked the beginning of the second decade of thest 21cen- gy, a precise rhythm of sentences and tury reveals a medley of authorial, directorial, dramaturgi- exchange of events which stress the rhythm of everyday work, school and hospital obliga- cal, histrionic, visual and other creative identities. In the behind: tions, but also the rhythm of drinking coffee, most motivating realizations, this medley is presented as behind the subject, behind the chronotope of its greatest value is in the passing a shared image of Croatian theatre, drowned in European the present, in the space of memory, desire, identity, which offers provocativeness and an interesting pain, uncertainty, in the humorous replicas multilayered quality. which hook into life attempting to cure its The Croatian National Theatre in Zagreb, the oldest unbearable lightness  heaviness of being. Croatian national theatre house with its Drama, Opera, andSeemingly fragmented in the manner of a Ballet ensembles, dedicated the first part of its season to film mosaic and edited structurally, the classics, a customary choice for a theatre that nurtures thedrama’s greatest value is in the silence in theatre mainstream. Although Polish director Janusz Kica which the voices around the subject are dramas based on disappointment in reality and politics byMatujec, Livio Badurina and Alma Prica. The directed eavesdropped on, souls and spirits, in the Croatian drama author of the middle generation, musicianperformance opened on 15 October 2010 and and lawyer Mate Matišić. The authors of the performance,was connected to the famous opening of the The Possessed, based on Camus’s adaptation ofunusual mixture of recalling painful situa- almost all young and/or awarded authors, created it as a so-called ClassDostoevsky’s Gentleman novel, as a performance about loneliness intions from Shakespeare, Chekov, and one’s National Theatre. In co-production structure that develops codes of the vortex of a merciless world, the audience and criticsown life, similar to trivial ritual theatre. The soul-culture as a way of with the Vukovar Theatre, the performance stretching and anticipating of time, in which paid the greatest attention to the performanceThe Middle life, and not as a soul or subject moving in intimate spaces, Adagiowas created after the play of the same the mother’s death (stroke) also takes place, presenting spaces that came into being from media percep- , after the work by Jean-Baptiste Poquelin title by Lada Kaštelan, Croatian writer, trans- hides the rhythm of soul music deep in the Molière and Jean-Baptiste Lully. That performance, which tion, wishing “to destabilize our perception of space, and lator, and dramaturge of the middle genera- text structure of the drama. It is this combined the elements of French Classicism and the the- therefore our perception of the subject.” Concretization of tion who is employed at the Academy of the subject in the performance occurs on several Dramatic Arts in Zagreb. The premiere took atre within a theatre mechanism with the all the more soul- detested Croatian tycoon reality and the new primitivism Bachelardean floors, from the swimming pool to the moth- place on 7 November 2010 in Vukovar, and structureMirjana andthat Thoseis crucial Around for the Her genre-deter- of politicians who have amassed riches, won the Croatian er’s departure on the top floor of piled up boxes. The semi- presented on the stage of Zagreb’s Croatian mined form already in the title A Play About Theatre Award as the best performance of a Croatian pro- otic code of the “relocated subject” is self-ironically real- National Theatre at the beginning of 2011. It is fessional theatre in the last season. In the second part of , just as the ized by Croatian actors of the middle generation: Vanja based on revealing unpresentable layers and jazz-structure is crucial for the provocative

12 CROATIAN THEATRE 5 _2011 13 Henrik Ibsen,Peer Gynt,The Gavella Drama Theatre Alabama,The Davor Gavella Špišić, Drama Theatre

the multilayered musical-like background that strikes at Gavella’s ensemble surrounds Grabarić-Gynt after the disillusionment with some leading politicians who the stifling of emotions in unrealized or unrealizable rela-with positive actor energy, forming impres- were trusted without reserve and in the moment of spiritu- Davor Špišić, directed by young Croatian tions. sive drama personalities that in the epically al, social and existential crisis. It is this art of acting, for director Dario Harjaček, was staged at this structured performance in the first part and which the Gavella Theatre has been known since its estab- The second Croatian mainstream theatre, Gavella Drama theatre, illustrating the difficult Croatian theatre’s shadow of life and death in the sec- lishment in the early 1950s, and several powerful guests Theatre in Frankopanska Street in Zagreb, also recognized wartime and post-wartime reality and tragedy ond part are felt like a multi-identity and (Gavella’s last student, principal national actor Božidar the present-day spirit in Molière’s dramaturgical tenden- of mothers. Marina Nemet, a leading mobile group role based on Ibsenian illusion Boban as the Great Boyg, Button-Moulder, bringing back cies, characters, and types by entrusting the directing of Croatian actress of the middle generation and reality, showing up as short and concise, hope of the return to the acting archetype; Alma Prica, who died of a serious illness at the end of wondrous appearances combining the other- principal actress of the Croatian National Theatre as Peer’s Tartuffeto guest director from Italy, Marco Sciaccalugi, who 2010, received the prestigious acting award at worldly and fantastic. Grabarić as Peer Gynt mother Aase, reaches her most tragic moments with utter gave the leading role to Ozren Grabarić, one of the leading the Marulić Days in Split for her role of Ruža. carries the mystery of wandering, solitude, simplicity and inner acting energy), that holds this perform- young Croatian actors. The same actor is brilliant in the title The end of the year was marked by the per- human sorrow, happiness and warmth, ance on the tense edge of reality and imagination as faith in Witby American author Margaret role of Peer Gynt in Ibsen’s drama formance Peer Gynt, directed by exactly those characteristics that are the the return to theatre and life, and transforms it into a wan-Edson, translated from English into Croatian guest director from Macedonia, Aleksandar Popovski, who conceptual drivers of directing and dramatur- dering of one’s own dreams and realities. At the beginningby Tomislav Kuzmanović and directed by choseNight’s Grabarić Dream two seasons ago for the later awarded gy, as well as the reason for performing the of 2010, the impressive and distressing play Slovene director Samo M. Strelec, with Anja comic role of Bottom in Shakespeare’s Norwegian play here and now, in Croatia, Šovagović Despot in the leading role of Dr. A Midsummer Alabamaby Vivian Bearing, a university professor of liter- in the same theatre. In staging Ibsen’s play, contemporary Croatian author, dramatist, and dramaturge

14 CROATIAN THEATRE 5 _2011 15 Miroslav Krleža,Leda , The Gavella Drama Theatre Elvis Bošnjak,The River Takes Us,The Gavella Drama Theatre

empty space presents a continuation of the directorial tradition of one of the most promi- nent Croatian directors, Kosta Spaić, based on listening to the musical background and political pulse of the chronotope in which we live, as well as that of Petar Veček, recently deceased Croatian director who used to reveal a social mise en scèneby means of visual perspectives, and who counterpointed ature who is dying of cancer. the grotesque in a combination of a tragic sit- The fact that the Gavella Drama Theatre has once againuation and sarcastic performance accompa- gained prominence as one of the leading Croatian theatresnied by black humour. Svrtan sees the key for staging after several less notable years was also visible after the Ledain the general crisis: “The basis premiere of Ledain January 2011, a classic of Croatian of ‘Leda’ is crisis. Crisis in the arts, crisis in drama writing by Miroslav Krleža, whose work has been the lives of characters, material and a spiri- reappearing on theatre stages after a rather long pause. tual crisis, ‘a desperate struggle for estab- Boris Svrtan, an academically trained actor and docent at lishing personal integrity within the frames the Academy of Dramatic Arts in Zagreb, member of the where we live,’ middle generation, follows in the path of Croatian actors ‘in these pathetic provincial conditions,’ it is Matko Raguž, Rene Medvešek and Saša Anočić who are a very open and cruel fight for bare survival.” taking over the directing scene more and more. After For Krleža, Svrtan chooses actors of the Svrtan successfully directed younger and younger middle generation Croatian actor and play writer Elvis Bošnjak, and directed Šovagović Despot as Seka, their sister, and Metastases, created after the (especially striking is the elaborated cynical by Krešimir Dolenčić, Croatian director of the middle gener-also Vlasta Knezović as the Aunt, Siniša Ružić shocking novel by Ivo Balenović, in the nearby Kerempuh role by Ozren Grabarić as Oliver Urban and ation. Situated in the Dalmatian Zagora (hinterland) and theas Seka’s more recent husband and Perica Satirical Theatre he intelligently staged Krleža’s “comedy of the vehement and comically digressive role town of Hrvace, with the focus on a garage in which the Martinović as the Bride use wholly simple one carnival night,” the third part of the Glembaj series, by Jelena Miholjević as Aurel’s wife Klara) on rhythm of seasons is recognized by rituals, by which a rawacting accompanied by impressive move- titled after the mythological motif which became the inte- the edge of tragedy and comedy, managing to pork leg is turned into prosciutto ham and must into wine,ments and powerful words with reduced act- gral part of European painting iconography, thus embodying break Krleža’s heavy sentences into contem- and the rhythm of life in the exchange of deaths and wed-ing means to realize an almost documentary- the symbolic “small Leda” on stage; directing in different porary spoken discourse which illustrates the dings, the destiny of a family marked by tragedy is present-like convincing illustration of the difficult principles of painting, but also empty frames with multiple shattering of personality and disintegration of ed: the present death of the mother of three adult sons andpresent time and life outside city centres with meanings, suggests a theme of visual artists and their crit- identity. one daughter is interwoven with the aunt’s loss of a son inassociations of the links between Croatian, ics, as well as a deviation in the mirror perspective which The Gavella Drama Theatre marked the the past and the daughter’s son indulging in vices in his Irish and Scottish social environments. The stresses the connections of Krleža’s time and our own time, beginning of March 2011 with the premiere of student days in the present. Zoran Gogić as the oldest four-act structure with the exchange of sea- consequences which are brought about by the so-called the play brother Stipe, Darko Milas as the middle brother Nikola, sons and movement of the soul in pauses and new capitalism. Svrtan’s directing concept in a Brook-like Amar Bukvić as the youngest brother Jerko and Anja silences, in the The River Takes Usby contemporary agonof the silence of unde-

16 CROATIAN THEATRE 5 _2011 17 Fadil Hadžić Tricksters,Kerempuh Satirical Theatre

terminedness and painful scream, stirs up associations ofscriptwriter Ante Tomić, directed by Krešimir Chekov, and the death in the river of Shakespeare and Dolenčić and adapted by dramaturge Željka Ophelia. The performance convincingly integrates the Udovičić, was staged on 25 September 2010. drama of life alongside a river that takes lives, and the The Histrion Acting Company presented the silent men who find powerful support in the capable and performance sometimes cunning women, who push life forward. After the Rehearsalafter a text by Ingmar Bergman, directed by Aida Bukvić, The Zagreb Youth Theatre, which promotes the values of and starring the father and daughter acting contemporary deconstructive theatre outside the Croatian pair Pero Kvrgić and Ana Kvrgić. The mainstream, had the premiere of the performance Company also presented a drama by actor Garage, and contemporary Croatian dramatist Amir directed by Ivica Buljan, after the novel of the same title by Bukvić, contemporary Croatian author Zdenko Mesarić and made in Who Took down the Berlin Wall, co-production with the theatre La MaMa, in February 2010 directed by Zoran Mužić, which premiered on after its pre-premiere in New York in January. Young autho-19 November 2010. In this drama, guest- My Street Ante Tomić, The Miracle in Poskokova Draga, rial duo, Jelena Kovačić, dramaturge, and Anica Tomić, actors Dragan Despot and Siniša Popović, Kerempuh Satirical Theatre director, decided to present the performance principal actors from the Croatian National This Could Be Theatre in Zagreb, embody the Croatian des- Patrick Süskind and the performance with the Zagreb Youth Theatre ensemble. It pre-tiny of banned, and imprisoned for political Faustus(Faustus’ Module Re-Linked) in miered on 23 October 2010 and was motivated by the vio-reasons, writers and of their investigators co-production with MMRKernel, Zagreb, lence and murder on the streets of Croatia among groupswho become ministers and former ministers. and PushPush Theater, Atlanta, USA, after of teenagers, in this case of young Luka Ritz. On the small Theatre KNAP presented the play The Tragical History of Dr Faustusby stage of the same theatre, “Miško Polanec” Scene, exists Amateurs Christopher Marlowe. Classthe provocative performance by director and co-author by contemporary Croatian author Borivoj Theatre Gavran, privately owned by married Borut Šeparović in the World Generation ’91-’95(or Croatian History Radaković. The play was directed by one of couple Gavran, presented The Craziest Show the most prominent Croatian directors, Petar ) by Boris Dežulović and Goran Ferčec about the des- by author Miro Gavran, the most Veček who died on the day of the premiere, tiny of people who were born during the Croatian War of widely translated contemporary Croatian 18 December 2010. The play is a sarcastic Independence. dramatist. In the performance, a number of comedy about amateurism which spreads With the death of Fadil Hadžić, doyen of the Croatian the- roles are virtuously played by theatre artist into all pores of society, from everyday life atre, on 3 January 2010, Kerempuh Satirical Theatre was Mladena Gavran, revealing both sides of to art and the buying of love. left without the founder of the contemporary satire and Croatian theatre productions and the true cabaret scene only two months after staging Hadžić’s com-In 2010, Theatre Exit offered performances motives for the creation of performances, as in Poskokovaedy Draga dealing with the crisis of the artistic identity well as love and jealousy intrigues among Tricksters, directed by Georgij Paro, on 20 November onand life split into soul and body: a monodra- actors. the occasion of sixty years of his artistic work.The Miracle ma performance by Rene Medvešek in the Scene Gorica operates on the outskirts of the , an adaptation of the novel by contem- performance Croatian capital Zagreb within the Open porary Croatian writer and journalist, columnist and Contrabassafter the text by

18 CROATIAN THEATRE 5 _2011 19 Patrick Süskind,Contrabass , Theatre Exit Medea,Theatre &TD

Euripid,

University Velika Gorica. The last performed title under the direction of actress Senka Bulić, immediately before she was relieved of her duty which was perceived as a political move and which attracted a large audience from Zagreb and other parts of Croatia, was the performance Cyclops which premiered on 4 October 2010, created after the text by Euripides, adapted by dramaturge Goran Ferčec and directed by Ivica Buljan, who frequently provokes with per- formances with a powerful political and erotic charge. Starting from Euripides’ rarely performed satiric play, the performance explores this hybrid genre in both the theatri- cal and political sense, in a political allegory which at the same time liberates corporeality and powerful satire, and is led by musicians-members of the Rijeka band “Let 3”, and in this case also actors, performers, and students of acting.tion conditions, thus leaving a consistent nists through corridors and rooms for arranging spaces, in The stage play spreads also to the orchestra and the mark of an attempt to destroy the world of other words, arranging layers of consciousness, to taking compromise and sense. off costumes and masks in the street as layers of the unconscious. temenosof contemporary theatre combining elements of In the Croatian National Theatre “Ivan pl. hypocrisy, aggressiveness, and excesses as reality and a Zajc” in Rijeka, within the production of In the most intriguing performances, Croatian professional signal of advancing social trends and more and more fre- Croatian Drama, Aleksandar Popovski, guest theatre shows the suggestive layering and dramatic vibrat- quent street riots. After the director of the theatre was director from Macedonia, directed the excep- ing of authorial, acting, directorial, artistic identity as a relieved of her duty, the performance continued to live atDestetika tionally well accepted performance reflection of the crisis of consciousness, subject, and Zagreb’s Theatre &TD, which came into being as a kind of Circus society. Since it is part of the European identity, certainly theatrical response to the students’ movement in 1968 and , which represents a magic of the- European audiences outside Croatia, as well as audiences a concretization of discussions of students of literature and atre art with traces of post-drama tenden- outside Europe, should view the powerful authorial works philosophy at that time. It was in this theatre that a per- cies. The Croatian National Theatre in Osijek created during the last and this theatre season on their formance created after Euripides’ staged the performance stages. Among them, the most prominent are the per- Medeahad its premiere Parallel Worlds, a formances under the dramaturgical, directorial, and in March. The play was directed by Marina Petković Liker successful drama excursion into something acting baton of the members of generations born in who, with simple and yet powerful directorial symbols of new by Miro Gavran, based on uncovering the the turbulent 1960s. passion and death, gives prominence to a trio of actors: secret identities of managers, scientists and young Marko Makovičić, experienced and one of the most university professors in an inventive and Suhrkamp multi-layered, awarded direction by Robert striking Croatian actresses Ana Karić, and young Marija 1 Compare with: David J. de Levita,Der Begriff der Identität, Škaričić, who realized the powerful role of Medea with a Raponja who, in a contemporary schizo- , Frankfurt am Main, 1976 2 mysterious and imaginative, rarely seen acting expressionphrenic reality, certainly leads an interesting Compare with: Erika Fischer-Lichte,Geschichte des Dramas, (after her globally noticed film roles) in minimalist produc-ensemble of actors, led by awarded protago- Epochen der Identität auf dem Theater von der Antike bis zur deut- schen Klassik, A. Francke Verlag Tübingen und Basel, 1999, 2nd issue Zdenko Mesarić:Garage, Zagreb Youth Theatre

20 CROATIAN THEATRE 5 _2011 21 humbleness Interface, Zagreb Dance Company, choreographer Snježana Maja urinović Abramović Milković, (Photo by Jasenko Rasol) CROATIAN DANCE SCENE he opens up a new space of being in theatre withstage a (I use his own syntagm), and  in an interna-  IN THE SHADOW OF RECESSION tional context  definitely offers a specific answer to this (SEASON 2010/2011) year’s questions posed with the Platform: What is contem- porary dance? And what is a choreographer? BADco. is undoubtedly the most visible (collaborative per- formance) collective in international terms, and  in its open fluidity  a model of a contemporary artistic organiza- tion (apart from the dancers/choreographers, it consists In the shadow of recession, the past season as if high- There is no “fun and games” in this profes- of two dramaturges, one philosopher and one producer). lighted the situation, characteristic for the Croatian dancesion at any place, and especially at such a Although the collective is connected with the Centre for scene. The powerlessness of the situation is obvious, alongpresent time, so the question is for how far Drama Art and only partly with the field of contemporary with the absence of a vision as well as strategy that wouldand why is personal dissatisfaction being dance scene, the four choreographers/dancers of the announce a change in the attitude of the politics of culture.pushed forward? Is someone else always the group: Nikolina Pristaš, Pravdan Devlahović, Ana Kreit- Within the politics, there were efforts to maintain, with a problem and should the audience be exposed meyer and Zrinka Užbinec are extremely visible. smaller budget, the existing situation. This meant  from to the problems of the artists who (after tak- the point of view of the contemporary dance scene, which ingis responsibility) have decided to stand in entirely non-institutional  that the basic idea was the fol-front of them on the stage? Luckily, someone SEMI-INTERPRETATIONS or how to explain contemporary lowing: to survive the season! To carry out, without “impos-strong enough (read: recognized on the inter- dance to an undead hare, a solo work by Nikolina Pristaš, sible” pretensions, the opening night of a project for whichnational scene) always comes along, inspired was created as a certain summary on the subject of sedi- minimal funding by the City or the Ministry of Culture was convincemented by(historically, means of gestures,in the sense but of by ten means years of of procedure BADco.’s justified and to add another title to a CV which would thento preserve the criteria (in this medium of such activities, but also in the sense of contemporary dance) help the approval when the revision of one’s independent quick oblivion), or rather, to set new ones. choreographic procedures, as cognition that artist status is being carried out. dance does not It could be said that this season was marked The majority of theatre and dance works is, as a result, on by Matija Ferlin, at this moment the most the level of a “work in progress.” Unfortunately, this pre- and thatdance can be clearly observed only if dancers per- interesting and powerful artistic personality, sist on a certain procedure scribed and accepted modesty in requirements  giving up . BADco. celebrated their ten an artist from Pula (with residences in New scenography or some more significant props and simple years of work with a series of events in Zagreb; they won York, Toronto, Vienna, and Ljubljana). He costumes  in the end is also reflected in spiritual “simplifi- the award by the Association of Dance Artists of Croatia for appeared in Zagreb in the autumn as a guest cation.” In one word: abandonment. Out of mainly good their exceptional contribution to Croatian dance. They are at the Young Choreographers Platform (orga- ideas, interesting starting points, merely the first level is also representing Croatia at the Biennale in Venice in 2011. nized by Dance Centre TALA) in several roles: realized; there is no time or space for research, no right to as Unfortunately, one of the main “aces” of the Croatian dance quit, and certainly no right to “correct,” elaborate... “ThereAlmostthe 6 exposedartist of the newepisode of scene and one among the rare possible bridges towards is no right” means that artists have consented to that. The personal series the excellentSaD SaM / spaces of contemporary ballet, the author-dancer duet of number of further running of performances is terrifyingly ; as the choreographer of the per- Maša Kolar and Zoran Marković, had to cancel the already small, and anyway, what is the point when only new proj- formance announced and actually completed performance due to ects are funded? In fact, it seems as if part of the scene is Onformancewith the Studio Contemporary Dance Company (for which injury. After returning from leading European troupes, already doing performance art! This is not bad in itself, they significantly changed the domestic dance scene in nevertheless, it seems as if activism “has choked” art, andhe received the Croatian Theatre Award for Nighttheir twoBefore performances now both the audience and critics are tired of the insistencebest dance performance); and as a performer on the part of artists to have incomplete and imperfect orand complete support to Aleksandra Janeva BoNetand The Morning After the Imfeldtres in the project invisible works in accordance with the transparency of 2women2brothers2me- (realized with the support of the Sisak Town Theatre) in terms of high professionalism, having the the principle “what you pay is what you get.” . Everywhere he goes Ferlin introduces a artistic starting point in the quality of the craft itself. new, fine quality. Spiritual and inconspicuous, more and more mature and self-confident Since the academic level of education has still not been from one project to another, in his own way established, and with this I do not mean a document, but

22 CROATIAN THEATRE 5 _2011 23 Five Tangos, Croatian National Theatre in Zagreb, choreographer Hans van Manen, (Photo by Saša and Ines Novković)

Little Tragedyis her solo in the air  an excep- Snježana Abramović Milković has been managing the phyNobody is Innocentwithin the Zagreb tionally attractive challenge to reveal the body Zagreb Dance Company (as well as the Festival of Con- Youth Theatre College programme. that slowly falls, moves through the air without temporary Dance and Nonverbal Theatre in Svetvinčenat)All the above listed belong to Zagreb’s pro- anchorage, resistance of the floor  in the with integrity and without any oscillations. This group is,duction, the undoubtedly and ironclad centre indicative power of gravity. All this along with, in terms of its production and organization, closest to theof events, where approximately thirty new as is characteristic for Šćekić, detailed prepa- notion of an institution and a representative example of projectsthe were performed. In all other cities ration, professional construction, execution mainstream in contemporary dance. combined (Rijeka, Zadar, Pula, Varaždin, Interface, the new of rigging, and physical support by alpinists, Sisak), the number is less than ten. And out choreographic project by Abramović is, in continuation of mem bers of the Croatian Mountain Rescue of those that were performed, I/we mostly the same style, a performance that is skilfully led, precisely Service. were not able to see them, but merely read performed, and formed in high aesthetics. Maja Drobac, a dancer of contemporary reviews or talked to colleagues. Another group, actually in terms of the years of existence of European and classical Indian dance who, apart Nevertheless, in principle there are even its first assembly, Studio Contemporary Dance Company from working on new projects, regularly offers greater problems of production, and espe- has for a long time now been without a clear artistic vision cially post-production, there than is the case and has been going through oscillations between an entire- with Zagreb. bharatanatjamadance recitals throughout the ly activist conceptualism and  luckily(!)  larger scale pro- With regards to Croatian ballet and the three year, drew attention to herself in 2007 (after ductions, such as the exceptional Ferlin’s national ensembles in Zagreb, Split and on the Loose one of her returns from India) with the unusual, Onformance. Rijeka somehow I think that they should at humorous and playful performanceSquirrels Marjana Krajač, Sonja Pregrad, Petra Zanki, Sanja Tropp least be mentioned when we talk about dance , especially due to the original Frühwald (who, apart from her own projects, also works on as theatre art  this is about institutions that ambience space of the Lukavec Castle. In the initiating a scene in Varaždin) and Bruno Isaković belong to function regularly and in a planned manner. same manner as is ordinarily the case in other the younger generation of choreographers who work both Zagreb had an excellent season with even in Europe and Croatia. I have not listed many of those who two premieres: Backmedia, especially film, the sequel to the poten- tial “series” from this season, have been active here for years, in the background out of Squirrels Strike protest, or who have their own scene and audience a little The Silence of My Murmurby , did not bring improvement in terms of on the side (Mark Boldin, Ana-Maria Bogdanović in Ribnjak, Leo Mujić and Airby Krešimir Seletković and quality. Actually, it is a pity that this first per- or Ljiljana Zagorac who returned with the dance visual art Martino Müller. In Split, Valentina Turcu formance had not been much performed and event staged her vision of Carmen. And Irena further elaborated  and it could definitely have Spiralsat the Centre for Culture Trešnjevka). Some Pasarić and Almira Osmanović make efforts been both, if the reception and communication are currently more successful in another medium, such as to harmonize classical ballet literature with were observed. Irma Omerzo and Ljiljana Mikulčić in dance film. Some are new, contemporary ballet handwriting. It rather systematic education, mentored research, etc., it isIf “the older generation” is observed, Rajko part of the international scene and visit merely from time seems that only Rijeka’s Ballet did not dance no wonder that numerous Croatian artists have searchedPavlić is persistently present and his new work to time, like the always full of inspiration Andrea Božić did much last year, at least not in the sense that for (and still do, because the dance study programme at the this year. Academy of Drama Arts is in a long procedure...) an organ- is expected of a “ballet ensemble” within Session for a Stand up Danceris in a way a On this occasion, I would like to mention another perform- ized continuation of their personal study outside the bor-and a Deadbeat their repertoire. They, in relation to the artis- sequel to the excellent Concerto for a Lazybone ance, a “black ballet” by Natalija Manojlović, ders of this country. After their return, they would bring tic managing of Staša Zurovac, performed . The ordered, multi-layered The Plumber with them new poetics and although last year they did not corporeal experience of dancing folklore, ball- (after motifs by Boris Vian). It is an excellent example of surpass their best works, they represented an important Discreet Charm of the Bourgeoisie, an inter- room dance, contemporary dance techniques, theatre of movement (or physical theatre) and already for part of the survey of the scene profile. The word here is esting choreodrama work with which they show dance, and hip-hop is all united by Pavlić primarily about Marija Šćekić. Her idea of choreography on three seasons it has been attracting audiences in Teataractually &TD. came close to the contemporary in his own term dance scene. stage as stage resonance with the psychosomatic state of ethno-urban poetics. This And in the end, said with a touch of optimism, there is a a dancer and movement of transformation of the body,“style” light also assumes a critical, Petrica new and interesting name among the authors, namely and sound, resulted in several truly anthological works,Kerempuh-like ironic attitude toward local Nataša Mihoci (otherwise a noticed dancer in the produc- such as reality, and at the same time a primordial, tions by dance_labcollective, Studio Contemporary Dance personal passion for dancing. Shadow(2006) orHuman Error(2009). This year’s Company, and Montažstroj), who staged her first choreogra-

24 CROATIAN THEATRE 5 _2011 25 Vitomira Lončar MULTICULTURALISM IN THEATRE: CASE STUDY OF THE “BORGES PROJECT”, APPLICATION OF THE “HUMAN ENVIRONMENT” MODEL

1. Introduction 1.1. Description of work on the “Borges other’s cultural diversity by means of theatre practice andand representatives of six countries partici- to be faced sublimely with the obstacles with which peoplepated. The work was constructive and high 1 Project” Cultural diversity, globalization, glocalization, and preser- of the new age face in the real world. quality. The meeting lasted three days and NPG6 vation of identity are central themes in the culture of the acts within ITI as one of its non-formal basic technical and production directions of 7 1.2. Operation regulations in the project 21 st century. Significant progress in the development of committees and it deals with the creation of the project were agreed on. Artistic issues In order to execute the project, it was necessary to estab- new theatre projects. In contrast to most were not discussed since the teams were not the mentioned ideas has been achieved in theory; however, lish a mode of operation together. Each participating coun- other committees, NPG carries out its inves- yet ready for that kind of rare projects in theatre practice investigate cultural try made their own stage perception of Borges’s story that tigations by means of concrete projects, i.e., conversation. diversity and cultural identities. lasted from 10 to 15 minutes with up to five participants, and theatre performances performed at ITI 1.3.3. From Heidelberg to arrival in the The New Project Group at the end of the process all the parts were integrated into 2, a non-formal committee of the Congresses Philippines: February 2005 to May 2006 8. one whole. The creative teams consisted of artists chosen International Theatre Institute3, works on identifying the by the director of a team. In this phase, Iceland and Korea withdrew At the 30 th possibility of communication and crossing boundaries Congress in Tampico, Mexico in 10 and eight countries remained in the project. 2004, NPG decided to make a multiculturalist The director and dramaturge of the project between cultures with the aim of achieving more tolerance The performance style was freely chosen by each country project which would, through theatre, explore travelled to the individual countries; they and removing obstacles which are, in spite of great efforts and this depended on culture, climate, personal ideas, and the possibilities of communication among dif- were introduced to the different perceptions on the part of individual subjects, an everyday hindrance in tradition. The entire project had a director,11 12 ferent cultures on a shared model. dramaturge, of Borges’s short story, and constructed their developing nonviolent communication and improving the and a team of producers13 who supervised the project from The short story “The Circular Ruins” by Jorge own vision. Their travel costs were covered by quality of life different sides of the world (mostly) via the Internet. 4. At the congress in Tampico, Mexico in 2004,Louis Borges their own countries  Germany and the U.S. a question was posed whether theatre could contribute 9 was chosen as the model to In the period of two years during which the preparations Croatia created the website were made, one joint meeting was held in Heidelberg, to raising awareness of positive tendencies in cultures. work on in the project and this choice was http://www.npg.iti-worldwide.org/eng/index. Germany along with several individual meetings which Are theatre artists able to open communication channels not accidental as Borges’s short story sug- html and from that point on, the project com- gathered members of the artistic teams with representa- municated via this site. The artists had the regardless of different traditions, histories, heritages, gests a deceptiveness of attitudes, the ques- tives of different countries (Cameroon, Croatia, and USA). virtual possibility of meeting with their future symbols, languages, dreams, and upbringings? tionable quality of reality and of a subject in this reality. Apart from that, Argentina (the 1.3. Phases of the Project partners by means of CVs and photos. The “Borges Project” motivated the artists to act with author’s country of origin) is not a member of 1.3.1. From Tampico to Heidelberg: Nevertheless, this possibility was not avail- the aim of crossing boundaries by means of theatre which able to some of the partners (the team from NPG and Borges’s short story “The Circular June 2004 to February 2005 in real life are crossed with much more difficulty. Their Cameroon and individual artists from Japan Ruins,” as a rather unknown model, offered In this preparatory phase, the invitation to the project was experiences offer tools that can also be applied to other and the Philippines). a foundation for questions with which NPG announced and ten countries applied: Germany, Belgium, channels of communication, professional ones, as well wished to deal: Is it possible to preserve Switzerland, Japan, USA, the Philippines, Cameroon, During this phase, the country that was host to the congress (the Philippines) withdrew as those in everyday life. To investigate the conscious andone’s own cultural integrity in the era of Iceland, Korea, and Croatia. Each country was to ensure from accepting the project as the official part the subconscious, the visible and the hidden intentions globalization? What is this new man like who financial means for their part of the project and many of the congress (which had been the initial of artists from eight countries and to attempt to put them is supposed to be born and built in the new potential partners did not succeed here. During this phase, most countries chose their artistic teams and started to agreement), and the project entered a critical in the service of a better communication for all is the circumstances which the 21 essential aim of the project and work together. build their budget. moment in terms of production, and espe- st century has cially of finances. It managed to survive only The “Borges Project” is a multiculturalist 1.3.2. Meeting in Heidelberg: February 2005 brought about? The German Centre ITI financed the meeting in Heidelberg 5 theatre responseThe “Borges Project” enabled artists from to Borges’s short story “The Circular Ruins.” eight countries to become familiar with each

26 CROATIAN THEATRE 5 _2011 27 owing to the readiness on the part of most of the artists toIn Manila, the main challenge was that the and Vitomira Lončar (Croatia), Stage Manager  J. Paul cial cultural specificities and values are accept poor working and living conditions. artists had different living conditions, accom- Prescault (USA) heightened. Globalization and glocalization 1.3.4. The Philippines: 15  31 May 200614 modation, hygiene, food, manner of commu- Artistic Teams: Switzerland: Philippe Nauer, Jost Nyffeler,develop parallel and simultaneously, there- nication and transportation. Participating Dominique Rost, Natalija Saile-Pocuca, the Philippines: fore one can say that globalization moves in The stay in the Philippines was divided into two phases: thecountries that supported their artists with Takz Guia, Sai Collado, USA: Kevin Bitterman, Michael two directions  homogenization on one hand, Lagunaphase and theManila phase. more financial means had better conditions Garces, Marc Bamuthi Joseph, Aya Ogawa, KJ Sanchez, and ever growing fragmentation and plurali- The Lagunaphase than others, which brought about an imbal- Belgium: Valerie Cordy, Croatia: Larisa Lipovac, Bojan sation on the other hand. Exactly due to this ance. Due to everyone having the same con- Laguna is the centre of culture in the Philippines, which was Navojec, Ivica Šimić, Japan: Chikako Bando, Leyna Marikatwofold process in the context of globalization ditions in Laguna, it was possible for the and international political climate, cultural built during the rule of Philippine President Marcos15, and it Papach, Niho Tsukimura, Arata Alicia Kitamura, Germany: team to gather together in crisis situations Frank Düwel, Martin Roeder-Zerndt, Katharina Uhland, dialogue has a new meaning in maintaining is situated in the jungle, approximately 150 kilometres south and to enable the project to make a positive of Manila, near the town of Los Bagnos. The work in Laguna Alexander von Hugo, Cameroon: Ambroise Mbia, Tchaya peace and prevention of violence. Cultural move. In the same way, the different living Fr. Tchameni Zigoto, Andre Takou diversity has an emancipatory character and lasted for eight days, however, there was no time to adjust conditions in Manila again destabilized the to the working and living conditions due to financial circum- because of that, the development of differ- project. Participants in the project experi- ences and strengthening of awareness of stances. Most participants had not met each other prior to enced cultural diversity at work. their arrival in Laguna and cultural diversity quickly became 2. Introduction to the Analysis one’s own ethnic identity is a driving force. very visible on all levels. Due to significant differences in 1.4. Quantitative indicators of the project 2.1. Cultural heterogeneousness (diversity) Multiculturalism relation to Borges’s short story, the entire project and mode Four performances were held for approxi- In the last thirty years of theth 20century, cultural diversi- 18 19 of operation of the two-year work once again entered a criti- mately 500 spectators and a total of 36 par- and interculturalismare ty 16 cal phase; however, with the assistance of nonviolent com- ticipants/artists from eight countries con- became the motivation and power of development,two not most frequent approaches to cultural munication, dialogue, and the specific feature of artistic tributed to the project. Due to the absence of only from the aspect of economic growth, but also as thediversity, and dialogue and dynamic quality in energy, it still managed to survive. In Laguna, there was no artists from Cameroon, the project was exe- leading element that improves intellectual, emotional, oppositionethi- to static quality and closeness are possibility to communicate with the outside world and this cuted by 33 artists from seven countries after cal, and spiritual life. Accepting and acknowledging culturalthe key words of a changed paradigm which diversity led to the dialogue between civilisations and cul- fact helped to keep the project alive and eventually to per- 15 days of working together in two locations. came into being at the end of the 1970s.20 tures with respect to mutual understanding. The promotion form it. All participants had the same living conditions in The artists were from Switzerland (3), the of cultural diversity, the shared heritage of humankind, In more recent times, interculturalism21 is Laguna: accommodation, hygienic conditions, food, commu- Philippines (2), USA (5), Croatia (3), Germany 17 nication, transportation, and working conditions. more desirable than multiculturalism due to (3), Japan (4) and Belgium (1). The perform- and dialogue are central themes with which UNESCO has its dynamic quality and openness. 22 ance was conceived as a multicultural pres- been dealing. This means that it is necessary to ensure entation of individual readings of Borges with space and freedom of expression for all cultures, but not inThe “Borges Project” belongs to the multicul- The Manilaphase a shared, intercultural frame in which artists such a way that they remain intact in their isolation, but thetural approach in contemporary theatre NPG moved to Manila in order to complete the production from all the countries participated. opposite: they should be motivated to revitalize and at thewhich, in this concrete case, is motivated by under the conditions of professional theatre. 1.5. Participants of the “Borges Project” same time avoid segregation and being closed in the artists. Multiculturalism is in theory approac- process, as well as prevent conflicts with one another. The mode of operation in professional theatre in the Production: Director  Günther Beelitz hed in different manners and is being Contemporary efforts in culture do not aim at eradicating Philippines is different from the mode of operation in other(Germany), Dramaturge  Liz Engelman analysed from a number of different perspec- cultural differences, rather the opposite, as the need for participating countries. Nevertheless, in this phase of the (USA), Producers  Emilya Cachapero (USA) tives 23; however, from the point of view of project all members of the team were already sensitised to their acknowledging is increasing. The world (in contrast to practical work, it is not possible to make accept differences and newly emerging problems were expectations) has become more and more pluralized in an strict divisions. In practice, many elements solved without (larger) crisis situations. ethnic-cultural sense and awareness of and loyalty to spe- are present which overlap from one approach

28 CROATIAN THEATRE 5 _2011 29 into another, and therefore exclusiveness is unacceptable.as well, it is possible to include theatre into The Maxim of Quality refers to the truthfulness of what is down of each and every movement, sound, Individual elements of theory can be more or less detected,scientific research that leads to a higher communicated; it demands that participants tell the truthimage, symbol, context, musical instrument, but theatre opens different vistas from the ones offered byquality of appreciation of differences. and that others will accept them in this way. and other elements which were available in theory. 2.2. Description of the analytical approach The Maxim of Quantity demands that participants are the narrative, presented by means of video The “Borges Project” investigates the need and manners of informative, i.e., that what is presented should introduce material. The process of analysis was created on the achieving visibility, as well as the possibility of expressing new information into a communication situation. 2.2.2. basis of video materials and a possible sce- Frame “People, Place, and Process” this visibility, but also of establishing a dialogue with others nario was produced from them. By means of The Maxim of Relation demands relevancy, i.e., the adequa-“People, Place, and Process” is an analytical along with strengthening one’s own visibility. Since reasons observing the newly produced scenarios, cy of what is said according to the situation in which it is frame on which the “Human Environment” for diversity are different in individual participating coun- answers were found to the questions of who said. model was based. The frame and model were tries (post-colonialism, globalization, international migra-were the subjects (people), what kind of The Maxim of Manner is clarity, i.e., in each and every act createdof during the European project SANE tions, reaffirmation of national minorities, raising aware- space they occupied (place) and what actions communication, the one who communicates should do so in 25 ness of indigenous peoples, politics of identity), approaches and interactions were developing among the a way he or she thinks other people will find clear. (Sustainable Accommodation for the New to the theme on the part of the artists are also different. subjects in this space (process). The sources In the concrete case of Borges’s short story, this means Economy). This theoretical basis was created The performance “Borges Project” was conceived as the used as the basis for the analysis were that participants of the project followed the agreed pattern,for the analysis and forming of moving work- beginning of a dialogue. Borges’s short story “The Circular Ruins,” specifically, that the theme of each individual performanceing space and served as the starting point for watching of the performance, video recording The goal of this analysis of the “Borges Project” is twofold: was Borges’s short story (the Maxim of Quality), that per- the analysis in this project.26 on one hand, there was an attempt to understand the inter-of the performance, personal participation in formances by the teams provided an insight into their inter- pretations of Borges’s short story “The Circular Ruins” in the project, and conversations with partici- pretation, that they were informative, bringing an under- By means of observation and with the help of individual performances which were produced by artists pants of the artistic and production teams. standing of Borges’s short story (the Maxim of Quantity). the “People, Place, and Process” frame, an from the participating countries with their teams and, on All teams used different means to achieve Relevancy was communicated in that each action by the intuitive interpretation of video material was the other hand, there was the intention to create a summa-the same goal, which was to create an image participants was related to elements of the story and to created. By the process of decoding symbols ry analysis of shared characteristics and inter-differences.of Borges’s “new man.” Within this goal, aspects of their interpretation (the Maxim of Relation), andand other offered elements and using the The focus of this analysis of a multicultural approach to there were many differences in the choice of that the participants had the desire to be clear in order to“People, Place, and Process” method, at first theatre performance is from the point of view of human means and the manner of interpretation, familiarize the audience and other subjects in the project sight incomprehensible narratives became communication, in other words, this analysis deals with thewhich was obvious already during the first with Borges’s story and their interpretation (the Maxim of clearer, while some sections of interpreta- question of how groups of artists from different cultures watching of the performance/video material. Manner). tions remained unexplained even after a communicate their distinctive and unique interpretation of2.2.1. a Grice’s Cooperative Principle According to Grice’s Cooperative Principle, this is the foun-detailed analysis. shared theme in space. Within the analysis, special atten-The supposition for the analysis was that all dation for the creation of “mu-tual expectations” of all sub-Significant progress in understanding was tion was paid to symbols which were used by artists and toteams had used Grice’s jects who participate in a certain communication situation.achieved while reading the Japanese story the manner in which these symbols were expressed by In the concrete project, mutual expectations were not which was based on symbols and associa- means of artistic skills in a certain space. always realized. Only some performances were under- tions via the “People, Place, and Process” model which enabled a wide range of inter- The assumption is that theatre comes into being at the 24 Cooperative standable after the first watching. In order to come closer pretations. In contrast to the Japanese story, moment when an actor and audience (people) are at a cer-Principle as the starting point, this being that to the incomprehensible interpretations, an additional the Philippine story, based on inaccessible tain location (place), and if we add dialogue (process) toin that human communication, participants stick analysis was necessary and this included the breaking language, still remained unexplained in some to four basic maxims implicitly. These max- aspects. ims are: the Maxim of Quality, Quantity, Relation, and Manner.

30 CROATIAN THEATRE 5 _2011 31 The African-American part of the American presentation certain consequences: artists, no matter • Creation of the new man by means of symbols: Japan Croatia, Belgium, Germany, and Switzerland based on familiar language this time was not completely what kind of art they deal with, express As can be concluded, not one team took a descriptive did not have any local features of their own. decoded because the poetic form of speech on the part ofthemselves in symbols. approach in relation to Borges. The closest to the descrip-All four are European countries and this was the artists prevented understanding of the content. Since participants in the project were not, for tive approach was the interpretation by the Cameroon team,manifested by the similar/same cultural cir- After the process of breaking down each and every sectionthe most part, institutions obligated to send but since only a synopsis was accessible, this could not becle and manner of communication. of the performance, those interpretations that were clear their employees, it can be assumed that the established with certainty. Countries that used ethnic elements wished on first watching to a great extent changed their meaningsartists came into the project of their own free According to their own affinities, the seven teams chose sixto communicate their own culture, ethnic and brought about new readings. Therefore, the procedurewill, led by a desire for new experiences, different approaches in order to express their vision of theidentity, cultural diversity, in other words, the of analysis by means of the “People, Place, and Process” exchange, and because of their desire to new man and Borges’s short story. identity of their own group. The Philippine method which was used due to insufficient knowledge aboutcommunicate with other, different cultural 3.2.1. Ethnic discourse and American artists used ethnically recog- the cultures of countries outside European circles, also identities. What is also immanent to all nizable elements in order to express their contributed to new understandings of familiar narratives. artists is curiosity that moves them toward own ethnicity, localize interpretation, make Language, as an important element of every ethnic group new artistic experiences and solutions. • With the use of ethnic elements: the Philippines, USA cultural identities more visible, and highlight (and, therefore, of the teams of the participating countriesObserving the “Borges Project,” all partici- • Without the use of ethnic elements: Switzerland, Belgium,group/ethnic diversity. The European groups as well), temporarily took a marginal position in this analy-pating artists shared Borges’s short story Croatia, Germany, Japan decided (independently one from another) on sis and the focus was transferred to the role of symbols in“The Circular Ruins” upon which they built The Philippine and American teams used elements charac-presentations which were oriented to a per- the creation of a common ground and mutual expectationstheir vision of creation of the new man. teristic for ethnic groups from their countries. The son and individual issues. all within the context of “People, Place, and Process.” Therefore, with different but always artistic Philippine story is about the island of Mindanao and the The Japanese interpretation was outside both means, the same goal was achieved, creation problems of ethnic groups there, more precisely, of the circles and due to the hermetic quality of the of the new man, through symbolism within indigenous tribe Monobo. The American story involved theperforming, it was not possible to assign it to one’s own culture, traditions, or again a devi- theme of hurricane Katrina through the discourses of a any of the two mentioned categories. 3. Summary Analysis Hispano-Ameri can male, a white male, an African- ation from those. 3.2.2. Emotional involvement 3.1. Shared elements American male, and an Asian-American female, while the 3.2. Differences • All participants are members of NPG and ITI Swiss, Belgian, Croatian and German interpretations could • Borges’s short story “The Circular Ruins” be replaced and happen in any country. Not one of the European countries decided on specific recognizable fea- • Participants in the project are theatre artists (actors, • Rational: Switzerland, Belgium, USA (white tures or folklore elements and in this sense, they remained directors, dramaturges, dancers, musicians, producers) • Seven countries, six different approaches male), Japan unrecognizable. • Artists express themselves in symbols • Creation of the new man as a being con- • Emotional: the Philippines, USA (a Hispano- The Philippine artists were dressed in folk costumes, they • They want to create an image of Borges’s new man nected to his own tradition: the Philippines American male, an African-American male, sang folklore melodies, played traditional musical instru- • They express a desire for new experiences and exchange an Asian-American female) • Creation of the new man as a political ments and the theme of their interpretation of Borges’s of experiences being: the Philippines, USA short story was deeply rooted in Philippine history. The • Both: Croatia, Germany • They express a desire for communication • Creation of the man as a combination of the Cameroonian interpretation (according to the synopsis) con-The relation to the theme by artists from • Curiosity is characteristic for artists corporeal and spiritual: Switzerland tained traditional dance, drums as traditional musical Switzerland, Belgium, and the USA (white • They use the English language as the language of com- • Creation of the man of communication: instruments, and the American interpretation insisted on male) was objective, not emotionally munication in NPG Croatia, Belgium ethnic presentations by the very choice of artists. engaged, there was no personal relation to what the artists discovered, analysed and All teams consisted of artists, therefore all the participants• Creation of the new man through transfor- brought into connection. The problem they shared dealing with the arts in common which produced mation of personality: Germany

32 CROATIAN THEATRE 5 _2011 33 chose for the analysis in Borges’s story was not a personalwithout rights in the conflict is not unexpected. puters, cameras, projections, sounds). Although all partici-ments of voice communication, but not direc - matter and therefore their rational approach was a logicalThe cognition of details outside the text of the pating countries represented their reading of Borges as atly verbal in the classical sense of the word. choice. project was important for recognizing what theatre form, i.e., a live performance, Switzerland and Croatia and Japan opted for non-verbal the- For the Japanese approach, we could only assume that it the individual teams created and in which Belgium used media within this approach as a channel byatre. was rational, and this assumption resulted from a possiblemanner they interpreted Borges’s short means of which they communicated with the audience. The3.2.6. Use of colours scenario in which the female artists who participated in thestory; therefore it can be concluded that con- Philippines, USA, Croatia, and Japan used the direct theatre interpretation had the role of symbols and did not interprettext helped in decoding the text and helped actor-spectator relationship. Belgium and Switzerland used• White: Switzerland and Japan their own personality. with the possible interpretation of the incom- elements of technology in their approach between the spec-• Black/white: Germany and USA (white male) tator and actor, and they introduced a kind of “buffer zone” A question that is posed here: Why, for example, did the prehensible parts. • Black: Croatia in the direct relation. Swiss team choose the rational and the Philippine team theThis division could also be compared with an • Multicolour: the Philippines (red and black emotional approach? ethnic/non-ethnic discourse. The Philippine Both countries that used technology were European coun- prevailing) and Cameroon (according to the tries and they did not have a traditional-folklore approach Contextual answers are possible. Switzerland is a countryartists and the American artists (all parts synopsis) to the theme, while no country with a traditional-folklore without wars for more than three centuries; it is one of theexcept for the part by the white male) were • Belgium: colours as an element important approach used technology. wealthiest countries in the world; it is a neutral, multina- emotionally engaged, which brings to the for the interpretation did not exist 3.2.4. Process tional and polyethnic state with multiculturalism in its conclusion that ethnic engagement often • USA: African-American male  bright and roots. It is a multilingual, liberal democracy with a high includes emotions. dark grey (colours of ashes) gross national income; it is rich, rather open for new immi-3.2.3. Use of technology • USA: Asian-American female  red colour grants and migrants; it is physically compact, in the heart • Process: Dying of the old man and birth of the new one is The colours of the costumes in most cases of Europe, and without one dominant ethnic group. included/or excluded helped the analysis, especially in the stories • With technology: Switzerland and Belgium, • Included: Croatia, Germany, Switzerland, and Japan The Philippines were colonized for centuries; this country is of Switzerland, Japan, USA (Asian-American USA (Hispano-American male) • Excluded: the Philippines, Belgium, and USA a young democracy, with mostly one nation and a majority female and white male American), Croatia, Borges ends his short story “The Circular Ruins” with the Catholic population, a low gross national income, and wide-• Without technology: the Philippines, USA and the Philippines. It can be said that thesis that we all are a dream of another man. Observed in spread corruption; it is a poor, island country in Southeast (white male, African-American male, Asian- colours were an additional element for better a broader sense, all teams included this element in their Asia, a country of great segregations and a fertile ground American female), Croatia, Germany, and interpretation of individual parts of perform- interpretations, even the Philippines, Belgium and USA, for dissatisfaction and emotional manifestations. On the Japan ances. which are listed here as countries with interpretations that island of Mindanao, which is the location of the events in The teams from Switzerland and Belgium 3.2.7. Use of costumes the Philippine story, conflicts among three groups  the used technology in their search for the new did not include dying and rebirth of the new man. However, Muslims, Catholics, and indigenous people  are an every-man and they interpreted Borges’s short in the Croatian, German, Swiss, and Japanese interpreta- day occurrence. There are 63% Catholics on the island of story with the help of technology, while the tion this element was clearly expressed as opposed to the• With traditional elements: the Philippines Mindanao, 32% of the population is Muslim and indigenousteams from the Philippines, Croatia, Germany other countries, where such an interpretation was possible,and Cameroon (according to the synopsis) people, who make up approximately 5% of the population,and Japan did not use any technology at all. but not clearly indicated. • Without traditional elements: Switzerland, are without any rights. Apart from economic and inter-eth-The American team only used technology for 3.2.5. Use of language USA, Japan, Germany, Belgium, and Croatia nic problems, as well as physical distance from the centre,creating the background/projection in one Participants of individual groups used cos- a political and emotional approach by one of the parties part of their story (Hispano-American male). tumes as an important element in theatre • Verbal: the Philippines, USA, Belgium (by means of tech- in accordance with their interpretations. The Belgian and Swiss stories based their nology), Germany, and Switzerland interpretations entirely on technology (com- The Philippine costume clearly displayed the • Non-verbal: Croatia and Japan direction of the Philippine production; the For the Belgian story it can be said that it contained ele-

34 CROATIAN THEATRE 5 _2011 35 American costume was very clear in the part of the white team, while in the case of the Philippine and 3.2.10. Question of birth • Communitarian/group: USA and the Philippines male: a black suit with a white shirt and tie (clothes clearlyJapanese artists (who were barefoot), this • The question of birth is present: Croatia (the new man is a indicated to which social group the person belonged). fact was not related to public/private space in woman), Germany (a woman builds the new man), • Outside this division: Japan The Hispano-American and African-American males did not the performance itself. The Philippine artists Belgium (male-female relationship) Although multiculturalism has more than one have traditional costume elements, nevertheless, the red were barefoot which was connected with the division and each are different from one • The question of birth is absent: Switzerland, the Philippi- dress of the Asian-American female had a powerful sym- climate (high temperatures throughout the another, the most interesting one for this nes, USA, Japan, and Cameroon (according to the synopsis) bolic meaning, but without traditional elements. year on the island of Mindanao), neverthe- analysis is that according to group rights or In the Croatian interpretation, HIS costume clearly said thatless, not wearing shoes could be explained in Not one team that interpreted the short story by means ofindividual rights, or rather, choosing between the person was a business man and that SHE was becom-a broader interpretation as that of a subordi- ethnic elements (USA and the Philippines) dealt with the liberal or individual and communitarian or ing his copy, therefore we could say that costume played anated position in relation to colonizers. In the question of birth in the interpretation of the model, the group multiculturalism. The American and significant role in the analysis. In the German interpreta- American performance, only the white male same as Japan. Performances by countries of the EuropeanPhilippine teams dealt with advocating tion, SHE was wearing a skirt which emphasized her gen-was wearing shoes, and the other ethnic cultural circle (3 out of 4) could be interpreted in this light;acknowledgement of the rights of groups der, and in the moment when HE took off his shirt and groups were without shoes, which was an nevertheless, each of them did it in a different way. The (USA  white male, Hispano-American male, protectremained with a bare torso, his costume informed about hisadditional element that confirmed the broader view of multiculturalism does not exclusively dealAfrican-American male, and Asian-American becoming vulnerable, in other words, his costume assumption of the subordination of these with ethnic problems and divisions, but also aspires to female; the Philippines  the right to groups to the white male, in other words, on acknowledging other different disadvantaged groups as acknowledge the indigenous people Monobo did not deprivation in the same country. well, among which are women, persons with invalidity, sen-on the island of Mindanao). In contrast, him. Croatia, Switzerland, Belgium, and Germany 3.2.9. Use of music ior citizens, and persons with different sexual orientations. In accordance with their approach, the Swiss team wanted The theme of Borges’s short story  creation of the new dealt with individual problems and they rep- resented the liberal, that is, individual line of to communicate neutrality with their costumes  white man  interpreted in the Croatian, German, and Belgian multiculturalism. space-suits, while the Japanese team’s choice of costumes stories had the problem of birth included in that they did • With concrete musical instruments: the was also in accordance with their approach in which they not include man as merely a human being, but also dealt Teams from the European countries did not Philippines, Japan, and Cameroon (accord- interpreted Borges’s short story with symbols. with the problem of woman in contemporary society, but insist on cultural diversity and presentation of ing to the synopsis) 3.2.8. Use of elements of costumes  shoes each in different ways from one another. While in the their own ethnicity, i.e., group identity, as • Music, but without concrete musical instru- Croatian interpretation this new man who was being creat-opposed to other participating countries/cou- ntries outside the European circle that insist- • Barefoot: Japan, the Philippines, USA (Hispano-American ments: Switzerland, Belgium, and USA ed was a woman, in the German interpretation the woman ed exactly on ethnic representation. male, African-American male, Asian-American female), • Without the use of music: Croatia and was the one who was building the new man, and the Bel- The Japanese approach was again outside Cameroon (according to the synopsis) Germany gian interpretation, in its one segment, dealt with the male- female relationship. The Swiss, Philippine, Japanese, andthese divisions since the foundation of their • Taking shoes off and on as a sign: Croatian and GermanyOnly two countries used musical instruments American stories did not take this distinction into consider-interpretation were symbols. • Shoes do not have any importance: Switzerland and in their interpretation and among them, the ation and we assume that Borges’s short story did not mo3.2.12.- Sectorial affiliation of the artists Belgium Philippines brought traditional musical instruments to the stage while Japan brought tivate artists from these countries to this kind of reading. • With shoes on: USA (white male) the violin as a neutral musical instrument 3.2.11. Manner of processing the theme In their interpretations, the Croatian and German artists and as a symbol for music. In the Swiss, used shoes as part of the costume, specifically, as an Belgian, and American (the part of the • Sectorial manner of organization of important element of transfer from the private into public Hispano-American male) performances, artists/participants st ,1 2nd, or 3rd Sector space; the white male was wearing shoes as a sign of being music highlighted the plot. • Liberal/personal/individual: Croatia, Belgium, Germany, • 3rd Sector: Switzerland and Belgium (inde- public, but also of domination over other groups in his and Switzerland pendent groups)

36 CROATIAN THEATRE 5 _2011 37 • 1st Sector: Germany (institution) the 21st century, and that it has enriched and (International Playwrights’ Forum, Commu nication Committee, InternationalCommission (Decision 1983/2006/EC) on 18 December Dance Committee, International Monodrama Forum, Dramatic Theatre 2006. • Independent artists gathered for this project: the improved with its results not only NPG, but Committee, Music Theatre Committee, Theatre Education and Training 22 “The White Book of Intercultural Dialogue,” Strasbourg, Philippines, Japan, Croatia and USA also ITI as a whole. Committee, etc.) 7 May 2008. 8 The first performance by NPG was in Seoul, Korea in 1997. On that occa-23 Charles Taylor, Will Kymlicka, Bikhu Parekh, Iris Ma- As it has already been mentioned in this work, the artists/Note: sion, a group of artists from different countries created the performancerion Young, Ronald Dworkin, Bruce Ackerman, and others. “King Lear” for the opening of the Congress. The project proved interesting24 Herbert Paul Grice 1913-1988, British philosopher of participants in this project were organized in different waysThe integral text and research was carried out at and it was decided to continue the work. In Athens in 2002, the second proj-language. Grice, Paul (1975) “Logic and conversation”. In in which they fulfilled their tasks. Only the representatives in the Way of Words the ICOM Centre at the Royal Holloway University, ect (dance) was created. NPG is an informal group and it does not include from Germany came from an institution, namely from a London, UK. It is accessible upon request at the e- working bodies like other committees within ITI do. In the spring of 2008,Syntax and Semantics, 3: Speech ,Acts ed. P. Cole & J. public institution/the first sector in contrast to the others, mail address: [email protected] NPG gathered 31 members from 17 countries. Morgan. New York: Academic Press. Reprinted in:Studies 9 who are independent artists or members of non-profit Jorge Francisco Isidoro Luis Borges (1899-1986), Argentine writer, wrote , ed. H. P. Grice, pp. 22-40. Cambridge, 1 short stories, essays, poetry, literary criticism, and was also a translator. He organizations and therefore part of the third sector. Glocalization is a dual process which appeared as a con- MA: Harvard University Press, 1989. sequence of the fast expansion of capital, migrations of is one of the most significant authors of the 20 25 Program EU Framework 5, IST-2000-25257. workers and refugees, revolution in communication tech- 26 Within the SANE project, Mala Scena Theatre from 3.3. Conclusion of the analyses th century. He is a representa- Zagreb, with researchers Vitomira Lončar and Ivica Šimić, nologies and transportation means. On one hand, there is tive of fantastic literature. After completing the process of investigation, it became was one of the partners, and the leader of the entire proj- globalization which creates interconnectedness and inter- 10 Actors, directors, dramaturges, producers, dancers, musicians, com- ect, Prof. Duska Rosenberg, was a contributor in the clear that the reason why the European narratives were dependence through which the awareness of one’s own posers, video artists, etc. investigation of this work. uniqueness and group identity in a foreign environment 11 Günther Beelitz, director, a member of ITI Germany, at that time a theatre easier to understand was the fact that not one among the 27 The exception were actors from the German team who (homogenization) increases, and on the other hand, manager in Heidelberg. European countries used cultural differentiations, dealt were employees of a theatre in Heillbron and involved as a increasing fragmentation and pluralisation, that is, glocal- 12 Elizabeth Engelman, dramaturge, a member of ITI USA. result of a decision by the head of theatre, member of ITI with specific ethnic identities, and used symbols which wereisation comes into being. According to Beck (2000) and 13 Emilya Cachapero, producer, a member of ITI USA, and Vitomira Lončar, Centre Germany. Nevertheless, before entering the group, Bauman (1998) in Mesić (2006). producer, a member of ITI Croatia. typical for the climate of the countries from which the 2 they had also been asked if they wanted to work on the Further in text: NPG. 14 Unfortunately, the team from Cameroon did not come to the Philippines artists came. In contrast, other (non-European) countries 3 project. Further in text: ITI. as they were not issued entry visas. The Cameroon team had sent a synopsis 4 28 The first colonization from Europe was by Spain: the mostly dealt exactly with this aspect in their theatrical The mission of the New Project Group (NPG) is to be a of their vision of the project one year earlier and this was the document on country was given its name after Spanish King Philippe II, laboratory for the international work of artists who in the the basis of which it was possible to draw conclusions. reading of Borges’s short story. Since each and every indi- and in more recent times, it was colonized by the United process retain their individual identities. The aim is to cre- 15 Ferdinand Marcos, President of the Philippines from 1965 to 1986. vidual ethnic/ cultural identity is unique and has its own States. ate works of art by means of intercultural dialogue with an 16 Cultural diversity is defined in the text “Declaration on intercultural dia- 29 The Philippines have been a democracy since 1965, but specific signs, symbols, indicators, and rituals, it was emphasis on cultural diversity. The focus is primarily on logue and prevention of conflict, Appendix: Definitions, Principles, and this is also questionable since they were a country under the creative process, and the final result is only the sec- Methods,” European Ministers of Culture Conference, Opatija, Croatia, from extremely difficult to recognize them and explain them due the autocratic regime of President Marcos. Therefore, this ondary focus. http://www.npg.iti-worldwide.org, 30 Sep- 20-22 October 2003. to a lack of information. year cannot be marked in practice as the beginning of tember 2008. 17 According to the universal “Declaration on Cultural Diversity” by UNESCO, 5 democratization of the country. The universal symbols and elements which were offered by According to Bhikhu Parekh (2000), a society with more Paris, 2 November 2001. than one cultural community can be multicultural and 18 the European countries were significantly more accessible It is a static principle which implies a fitting of different identities into a multiculturalist. The one that greets and glorifies differ- certain frame, and ensures the same social and cultural options for all dif- for recognition than those of other countries, who offered ences with respect for special cultural demands of minor- ferent cultures that make a country. Dragojević, Sanjin. “Multiculturalism, 30 ity communities is multiculturalist, and the one that only Interculturalism, Transculturalism, Pluriculturalism: Opposed or Mindanao is the southernmost island of the Philippines. specific symbols of individual cultures. 31 signifies the fact of diversity and attempts to assimilate Supplementary Concepts”. In: Iris Marion Young is the most important representative The frame “People, Place, and Process” helped in solving these communities into a central culture is multicultural. of broader perception of multiculturalism. 6 the enigma of entirely incomprehensible stories and NPG came into being after the initiative of several artists 32 The most significant representative of liberal multicul- at the ITI Congress in Caracas, Venezuela in June 1995. turalism is Canadian theoretician Charles Taylor, Culture, Ethnicity, Identity(edited by Jadranka enabled the understanding of other interpretations. The first country members were Germany, Mexico, researcher of themes of contemporary philosophy, creator Čačić-Kumpes), Institute for Migration and Ethnic Studies, Zagreb: Naklada It can then be concluded that the “Borges Project” was Bangladesh, Switzerland, the USA, and Uruguay. of “the theory of acknowledging.” Mesić, Milan: 7 ITI functions through committees. Each committee has Jesenski i Turk, Croatian Sociological Association, 1999, pp. 77-90. 19 Ibid. an important and valuable project in the first decade of its own field of activities and carries out projects Multiculturalism, Zagreb: Školska knjiga, 2006. 20 The term multiculturalism was introduced for usage in 1971 by Canadian 33 Will Kymlicka, professor of political philosophy in Prime Minister Pierre Trudeau. Kingston, Canada, liberal, one of the most ardent defend- 21 The year 2008 was proclaimed as the European Year of Intercultural ers of cultural rights of minorities. Mesić, Milan: Dialogue according to the decision by the European Parliament and Multiculturalism, Zagreb: Školska knjiga, 2006.

38 CROATIAN THEATRE 5 _2011 39 MATE MATIŠIĆ WOMAN WITHOUT A BODY (1965)

Title: WOMAN WITHOUT A BODY Premiere: 15 December 2006, Kult Varaždin, director Dražen Ferenčina Number of characters: 2 female + 3 male Length: 2 acts with epilogue Translation: English, Turkish, Russian chronicleMate Matišić was born in the village of Ričice near Imotski Contact: [email protected] on 17 January 1965. He has lived in Zagreb since he was six. SUMMARY He debuted as a dramaturge in 1987 whenGastarbeiter his Martin is a thirty-four-year old retiree, war veteran, who has cancer and wants to face the demons of his past “A Flash of the Golden Tooth” premiered at the before death. One evening he brings Ema, an older prostitute, to his flat and instead of sex, he asks her to Croatian National Theatre in Split. Other drama texts have marry him. Martin has a simple plan: he has two or three months left and he would like to do a good deed; been performed in a dozen Croatian theatres, on Croatian he would like to marry her in order to leave her his war disability pension. The choice of Ema is not a coinci- Radio, as well as in theatre houses in Bosnia and dence √ this is the wife of a notorious Chetnik leader, a war butcher who massacred Martin’s war mates. Herzegovina, Bulgaria, Macedonia, Russia, Turkey, Slovenia, Martin and his group found him, broke into his house, hanged him by his feet, and left him hanging until he Serbia, and Montenegro. was dead, meanwhile raping his wife, whose real name was Ruža. Her tragic life story began, says Martin: “The night we paid her a visit…” Martin’s comrades prevent him from carrying out his plan because they Mate Matišić has written screenplays, on his own or in cannot allow the truth to be discovered √ later on in the play, Martin’s former commander Mladen tells collaboration with other authors, for seven feature-length Martin that Ema will be killed if no other choice is left. This other choice is Martin’s suicide √ the men hire films, cooperating with the film directors Krsto Papić, Ema as clients and they wait for his final decision... In the epilogue of the play, Ema recognizes the soldiers Dalibor Matanić, Arsen Ostojić, and Vinko Brešan. He has who raped her at Martin’s funeral and begs Martin’s mother to bear witness in court about what she knows. also composed music for numerous theatre performances But the mother refuses to denounce her son’s fellow soldiers. “Lady, pray for your son… This is what he and eight feature-length films, as well as several TV series needs most now,” says Ema to her at the very end. and short feature and documentary films. He has played in reputable jazz groups from Zagreb (Branko Kralj Quartet, The Cute, and Zagreb Dixieland Ensemble). Since 1990, Woman without a Bodyis the central part of thePost Mortem Trilogy, Mate Matišić’s dramatic triptych, he is a member of Hot Club Zagreb. in which there is interest for some of the crucial ethical uncertainties which resulted from the war conflicts in former Yugoslavia. Post Mortem Trilogy, which apart from the mentioned play, consists also of the plays Plays: Sons Die Firstand Nobody’s Son, is full of retirees in the prime of their lives, the living dead in their thirties who are collateral victims, abandoned by everybody, of the aggressive conquering politics in this region. In A Flash of the Golden Tooth(1985),Legend on St. Muhla(1998),Christmas Fairytale(1989), his inductive approach, Mate Matišić does not attempt to describe a broader picture. Instead, he sublimates, Cinco and Marinko(1992),Angels of Babylon(1996),The Priest’s Children(1999),Sons Die First(2005), in individual destinies, all the pointlessness of annihilation of a Croatian Anyone in merciless events of war destruction. The entire Nobody’s Son(2005),Woman without a Body(2005). Post Mortem Trilogyhas retained the characteristics of Matišić’s playwriting from earlier works and as such Woman without a Bodyis also read as impeccable in terms of a style mixture of black humour accents and a complex, almost thriller-like plot which skilfully culminates in hopeless resignation. Nevertheless, Post Mortem Trilogydoes not share the playful elements of grotesque and warm humorous atmosphere of the rural milieu which emanated from the pages of his popular youthful works. Woman without a Bodyis written maturely and with craft, without the use of obvious mannerisms and is entirely focused on the convincing dialogue among the protagonists. Although they communicate with interest, it is clear from the very beginning that they cannot help one another and this bitter feeling of matematišićhopelessness is masterly transferred by Matišić into a convincing dramatic document of the time.

40 CROATIAN THEATRE 5_2011 41 WOMAN WITHOUT A BODY EMA: Because of …, well … because you chose me… MARTIN: You’re very observant, I must admit. MARTIN: Why? EMA: When you are in my line of work, you (Night. A dark living room. After a few quiet EMA: Well, I mean, there were younger women… But, must watch everything closely like a film detective. As soon as I enter somebody’s moments we hear the front door opening. I don’t mind if you like them older… You know how they flat I can see who he is, what he’s like, SomeoneACT switches ONE on the light say in the song: “Years are not important.” Several what his wife’s like, what religion he is … in the hall.) years ago, a boy used to come to the beat, he couldn’t by have been over twenty five, and he always asked Žak to You needn’t lie to me. You’re neither the Mate Matisic MALE VOICEoff ( ): Please… come in, come in… find him a woman who was over sixty… Žak offered me, first nor the last to cheat his wife with one (The light goes on in the living room. We see but even I was too young, so Žak had to hire again a of us. But we must be careful, some of them can be very dangerous when they Jasenka Zajec a modestly furnished flat. An old sofa in the woman who used to work for him before and who had Translated by realise that their husbands are cheating middle of the room, doors in the back leading been living in a retirement home for several years. CHARACTERS on them… Two months ago God himself to kitchen and another room. A pretty woman They did it regularly at least twice a month until she died… He cried harder than her grandchildren at her saved my life. Otherwise I’d be in the in her fifties dressed conspicuously in a fake morgue now, not here with you. MARTIN, a retired, 34 year old fur coat, short red skirt, lace stockings and funeral… You won’t regret having picked me up… The young ones think that it’s enough to spread their legs…MARTIN: Someone attacked you? EMA, a prostitute, 50 years old white patent-leather shoes, enters the room. EMA: Not me, but my colleague Nikolina… It Martin follows her.) MARIJA, a retiree, Martin’s mother was even in the paper. The wife suspected MLADEN, a retiree, 45 years old, Martin’s friend MARTIN(confused, noticing that the woman is (produces a flask from her purse and drinks)My circu- that her husband was cheating or her, so standing in the middle of the room) lation,s not so good… so I have to take a sip. I’ll take she told him that she was going to visit PIŠTA, a retiree, 34 years old, Martin’s friend : Please … a chewing gum before we start, so you won’t smell her mother in the country for the week- sit down… anything… end… Naturally, the husband came to the LADY: Excuse me, but… I would like the money beat straight away and he wanted to pick (Telephone rings. Martin does not pick up the receiver.) first … me up because I used to work with him MARTIN (confused): Of course… I’m sorry… EMA: Aren’t you going to answer it? before… But fortunately, a minute before MARTIN: It’s probably nothing important. he came, Žak fixed me a truck driver, an LADY (while Martin is looking for the money): I do Italian, on the motorway, so that bloke trust you, but you know how it is… There are (Ema takes off her coat. picked up my friend  Nikolina… And the all kinds of people out there… They say they’ll The telephone soon stops ringing. wife, instead of going to visit her mother pay, and then after the job is done they play Silence.) in the country, hid in the closet… When stupid… They run away without paying, and EMA (goes towards the sofa): Shall we do it here? they undressed and lay down, the fucking then Žak beats me up, because he thinks I’m MARTIN: As you wish… It’s a bit lumpy… wife jumped out of the closet with a cheating him… EMA (sits on the sofa, testing: it) Compared with the places kitchen knife in her hand, like in a movie… MARTIN:bill) There you are… She stabbed Nikolina a dozen times… (hands her a 100 Euro I’ve been to this seems like a first class hotel… (The woman looks at the money.) MARTIN: And the husband? (At that moment Martin’s mobile starts ringing.) EMA: The cunt, he escaped through the win- MARTIN: I’m sorry… I don’t know what all these rings are dow… He’s happy now… He got rid of his LADY: You can pay me in kunas if you like. I only tonight… wife; since she’s been in prison he comes negotiate the price in Euros, but you can pay (Martin does not answer the call but only switches the to the beat every other day… Now he in kunas as well… mobile off. doesn’t need to worry that she will jump MARTIN: No, no, it’s OK. Ema takes another sip. out of the closet … Martin watches her.) MARTIN: There is nobody in my closet… You (The woman puts the money in her purse.) can check yourself… The shoes belong to LADY (stretches out her hand): My name is Ema. EMA: We should watch out that your wife doesn’t appear my mother… MARTIN: Martin… (they shake hands)Thank you suddenly… EMA for agreeing to this… MARTIN: Wife? Whose wife…? EMA: I’m grateful to you for picking me up… EMA: Well, your wife… The one that’s calling you… Imagine how it feels to stand outside at MARTIN: Oh don’t worry about that… minus 15ºC… Although, I was a bit puzzled… EMA: And the lady’s shoes? I saw them by the door in the (knowingly): They can be even more MARTIN: What? hall… dangerous…

42 CROATIAN THEATRE 5_2011 43 MARTIN: Mothers? church on a pilgrimage to Međugorje… EMA (looks at her watch): I should just give Ljerka a ring… the flat until I rang the bell… Then it EMA: Aha. I know a case of an invalid whose mother ruined (Ema drinks. may I… become quiet … I don’t care, as long as his life. Silence.) MARTIN: Go ahead… he’s alive and healthy… MARTIN: What did she do to him? EMA (stops drinking): Excuse me for asking… EMA: Thank you… (Silence. EMA: Its what he did to her… Would you really like to hear What does your mother suffer from…? Ema eats. that story, or shall we start… (Ema goes to the telephone and dials a number. MARTIN: She’s not ill… What makes you think Martin is watches her.) MARTIN: Yes, yes, I’d like to hear it. Meanwhile Martin is getting her supper.) she’s ill? EMA: When I was in hospital, he never came EMA: It’s your call, I mean, you’ve paid for the whole night EMA (on the phone): Hello Žak… this is Ema… Is Ljerka EMA: People usually go the see Our Lady to visit me. Three months. I know that he so we’re in no hurry … It’s just that I don’t want to waste there, perhaps? Please tell her to call me to this num- when they have a problem… was afraid, because his wife would eat your time with my stories. ber (looks at Martin who nods affirmatively)…when she MARTIN: She went because of me… receiver) him alive, but he could have come at least MARTIN: No, it’s OK. I really want to know what happened gets back. Tell her that I need her because of the EMA: Because of you…? once… She didn’t need to know that he to him … Was he a war invalid, or…? exchange of customers… See you… (puts down the MARTIN: Yes. I’m the one who’s ill. visited me. EMA: He had a car accident… The father was driving, the I had an appointment with a regular customerMARTIN: And why were you in hospital? boy was sitting shotgun, they drove into a truck, and EMAhe tonight, so I’ll ask Ljerka to take him over… EMA: My nerves… At that time I used to drink ended in a wheelchair… Several years later the father (worried): Well then, I am sorry, don’t be MARTIN too much, so I cut myself a little… Don’t saw that the boy was all nervy because he was interest- angry, but I’d rather give you your money (putting the plate and cutlery on the tea table in front of the sofa) worry, when the light is dimmed, you ed in the male-female stuff, and he probably also felt back… : It is all right. You can call whoever (Opening her handbag)I mean… can’t see a thing… guilty because he’d been driving… so he came to the you know, I’ve got kids… you want. MARTIN: Why did you do that? beat and picked one of my colleagues, Ljerka… He paidMARTIN: You needn’t be afraid… EMA: There’s no one else… with andthe handwent forthe amovements walk. Ljerka of hasmale just masturbation) started… MARTIN: Your children? You said you had children… EMA: I don’t know… While I was in hospital, EMA: I don’t know. When you’re ill, you are I heard a doctor talking to a student that EMA: I said that when I thought you had some other dis- ill… I don’t want to end up like that poor I was disgusted with my body, so I had (shows ease, not cancer… girl from Ukraine in Posušje… She had all done that to myself… I think I was drunk… … imaginable illnesses… MARTIN: So, you haven’t got any children…? If Ljerka hadn’t found me, they wouldn’t when the mother appeared out of nowhere. She started MARTIN: I have cancer. EMA: I have, three… But, I won’t call them… They haven’t have been able to save me… Don’t worry; shouting… You whore, get out… The boy begged and called me for ages, so I don’t call them… it’s no more contagious than your entreated, let her be mammy, please mammy, but she (Silence. cancer… called the police but Ljerka left in time. Žak would kick Ema looks at him. She is embarrassed; (Ema drinks.) MARTIN: I am not worried… her ass if he had to bail her out of the police station… it is obvious that she did not expect an The next morning we read in the paper that the kid EMA: My son ‘s not so bad, but his wife’s all fucked up… illness like that.) killed her… Pretends to be a lady… (short pause)I MARTIN: Your colleague? MARTIN: I hope you don’t mind about can- MARTIN: Here you are… Help yourself… saw you there… EMA: His mother… He strangled her with his bare hands… cer…? EMA: Thank you… EMA: Where? EMA MARTIN: While you were in the hospital… Invalids in wheelchairs have very strong arms; they can (confused): No, no I don’t… I mean it is (She sits down on the sofa.) strangle a man easily… Poor father tried to get him off, not contagious… That ‘s what’s most EMA: Who are you  a doctor…? EMA: And what about you? I won’t be eating alone, surely…? he even claimed that he had strangled his wife, but the important… No hard feelings, but you MARTIN: No. I was there too, at the same MARTIN: I’ve had my supper already … Eat up please... police found the fingerprints, and fuck it… The kid ended know how it is … time… up in prison, and then the real mess started. Ljerka MARTIN: I know, I know… I don’t mind… (Ema starts eating.) EMA: You used to drink, too? told me that whenever he masturbates his mother’s I’d react the same way if I were you … MARTIN: Do you just have a son, or…? MARTIN: No. I had some… mental problems… head with her eyes popping out, just the way she looked EMA: I’ve got two daughters as well… The older one isEMA: with Today anybody who doesn’t have men- when he was strangling her, would appear before him… (Ema is drinking.) some folks without kids, adopted, and the younger onetal problems  isn’t normal. Eventually they had to move him to the lunatic asylum… MARTIN: Are you hungry…? is sick… She’s in an institution… She’s the best… MARTIN: I was there because of… grass… If the mother hadn’t behaved like she did the boy could EMA: Well, since you are asking… have had a more or less normal life... One of us would At least she’s not ashamed of me like my son… She’sEMA: Grass? What do you mean  grass…? visit him once a month and everything would be all MARTIN: I’ve got some chicken… Mother always happy to see me when I visit her… my son would-MARTIN: I’ve got a compulsive fear of grass right… That’s why I said that mothers can be even more roasted it so that I’d have enough while n’t open the door to me last year when I came to wishsurfaces and earth… Because of that I like dangerous… she was away… Or we can order a pizza my grandson a happy birthday, so I had to leave his walking on the asphalt and I didn’t want present outside. I asked him later why he didn’t open MARTIN: Don’t worry; my mother has left tonight with the if you would prefer…? us to take the short cut through the EMA: No, no… Chicken’s just fine… the door, and he told me that they were not at home, butpark… MARTIN: Sit down… I’ll bring it right now … on an excursion… And I heard voices and laughing from

44 CROATIAN THEATRE 5_2011 45 EMA: You mean you never go to parks, and places like (Pišta doesn’t say anything. PIŠTA: And will you fuck her, or only…? choose the one you like best… These are that...? Tense silence.) MARTIN: Please… from Austria… coloured… Ljerka bought MARTIN: I do now, but… I try to avoid them as much as EMA: Excuse me, where’s the bathroom…? PIŠTA: No, really… Why not fuck her first and ask her after- them for me when she was in Ikea… I can… The good thing is that because of that I got the I need to wash my hands. wards… You don’t have to pay for them separately; disability pension… they are included in the price… (Pause)And you are OK now, right? MARTIN: In the hall… first door on your left… (Martin is silent.) MARTIN EMA (nods affirmatively): I’m just fine. I’d even stop working (Ema looks at Pišta once again, and then PIŠTA(confused, noticing that Martin is watching him cold- (holding the condom in his hand): if it weren’t for my youngest one… One always has to exits. ly): I’m only asking… As far as I remember she’s got a You don’t need this with me… take something to the doctors and nurses… Silence.) good cunt… A bit too hairy for my taste, but… warmEMA and (in an experienced manner): Never mind MARTIN: And her father? Why doesn’t he help you…? MARTIN(making sure that Ema cannot hear): juicy… that… You never know… Better safe than EMA: He’s in prison, in Lepoglava… He used to work the OK… You’ve seen everything, now you can MARTIN (cuts him short): Goodbye… sorry… And anyway, it is safer with this… railway swing-gate… He didn’t shut the gate; and a the It protects you from me… I mean, I go to go. PIŠTA: Oooh, I see, you’re really horny… train came and… ran over a car… Everyone thought PIŠTA: Is that her…? regular check ups, but still… You can (Silence.) there were not a lot of casualties, because the car wasMARTIN: Yes. never be hundred percent sure… a little Fiat 126, but when they started to pull them outPIŠTA: Fuck, I thought she was prettier… PIŠTA: And when will you ask her? MARTIN: With my diagnosis I really do not they found six passengers… Can you imagine? She’s really ugly. MARTIN: Tonight. care… MARTIN: In a little Fiat? MARTIN: She was fifteen years younger. PIŠTA: Don’t you think she’ll find it strange? EMA: I see what you mean, but… you must EMA: Even the judge didn’t believe it so he asked for con- MARTIN: She probably will… I don’t know… see my point of view as well… True, you formation … Three died on the spot… Instead of punish- (Silence.) do seem more decent that my regular ing the survivors for traffic violation, he sentenced my (Silence.) customers, but… Where would I be if I PIŠTA: Have you asked her? husband to nine years in prison… And then he beat up PIŠTA: I’ll have to tell the others… believed everybody? In six months I’d be MARTIN: Not yet. two men in the prison, and one of them died on the way MARTIN: I know. dead… We can start if you like… (Short pause.) to the hospital… What can I say? He’ll be lucky if he gets (Silence.) out before he dies. PIŠTA: Have you talked about the husband? PIŠTA: OK. Bye. (Ema lies down on the sofa in her clothes. MARTIN: Yes. She told me that her husband MARTIN: Bye. is in prison. Martin stands motionless. Silence.) (Ema is still eating.) PIŠTA: In prison? How do you mean in (Pišta leaves. EMA: Your mother’s a great cook… I haven’t eaten such prison? Martin shows him out and then returns to the room. EMA (baffled):Do you want me to put in on Silence. good chicken in a long time…(eating) And you… you’re MARTIN: So she told me… for you? He takes Ema’s bottle and has a gulp as if he wants not married…? PIŠTA: So, in addition to being a whore, MARTIN: What? to pluck up courage for something he intends to do. MARTIN: No… the cunt is lying… EMA: The condom… At that moment Ema appears at the door.) MARTIN: If I’d known you’d react like this, MARTIN EMA: So you are divorced? (uncertain): No, no… I wouldn’t have told you anything. EMA: Your friend’s not very polite… A person greets him MARTIN: No, I was never married… EMA: All right then, since you have cancer we Please go… politely with “good evening”, and he’s as silent as a EMA: And kids, I mean, do you have any? can do it without it. But it will be fifty PIŠTA: And children? What does she say grave. I was worried that you’d lured me into a trap. MARTIN: No. Euros more… about children? How many does she MARTIN: What kind of a trap? have? MARTIN: Please don’t be angry, but… (The front bell rings. EMA: With your friend… It happens. One pays, and all at MARTIN: Three. I haven’t called you for that… Martin and Ema exchange surprised looks.) once another one or several appear for the same PIŠTA: Maybe she’s lying about that too… money… EMA: I hope it’s not your mother… She might be angry (Ema looks at him mystified. I mean, if she’s lying about her husband… MARTIN: Don’t worry no one else will come. because I’m eating… Silence.) MARTIN: You shit… You know well enough EMA: I didn’t undress because of the scars from the cuts. MARTIN: Keep on eating… She wouldn’t ring, she’s got the MARTIN: I’d like to talk to you about some- she’s not lying… I only took off my panties… key. thing important… (business-like)If you are (Martin goes to open the door. especially turned on by something, don’t hesitate to tell (Silence.) Ema stays in her place eating. (Silence.) me. I can do anything, I just don’t allow fucking in the MARTIN: Please, sit down… Silence. PIŠTA: So, you’ve not changed your mind? ass… I’m telling you straight away. (Silence. Martin and Pišta enter the room.) MARTIN: No. MARTIN: No, I don’t have any special wishes… Ema sits down on the sofa uneasily.) EMA EMA (with her mouth full): Good evening. (Silence.) (takes condoms from her purse): Here… You can MARTIN: I don’t know where to start…

46 CROATIAN THEATRE 5_2011 47 8CROATIAN THEATRE 48

EMA: Well, now I really must have a drink… MARTIN: I know it’s not… But… I’ve thought about it for a EMA: This is not that film… what’s it called… The one with m asking you sincerely… MARTIN: No, I’ MARTIN: Here, you can see the X-rays, so don’t think EMA: I beg your pardon? MARTIN EMA: For your money you can say whatever want… MARTIN: This, what I am going to tell you, maybe it will EMA MARTIN: Perhaps you wouldn’t need to, especially not after EMA: So you wont not mind if I continue working after MARTIN: I mean that we don’t need to live together. Just EMA: Excuse me, but now I really don’t understand any- MARTIN: That’s just it … You don’t have to be my wife, MARTIN: No, no… It’s not that…

(Martin takes his medical diagnoses and documents (Short pause.) (Silence.) from a drawer.) what I said just like that… long time and I want you to know that haven’t said that actor and pretty actress with a big mouth… that… you and your sick daughter… You’d not need to my pension after death… You’d be better off with do not have much time left… The thing is that you’d get Although my mother goes on pilgrimages I know that that I have made all this up… Cancer and disease… that there are few things could shock me… I have heard all sorts of things in my time… Such stories seem to you… I don’t know, frivolous… But… I die … Here… Look. Here are all my papers… I marry you? … never contact you after that… er… There, if you want I can vouch in writing that will get married… After that we needn’t even see one anoth- thing… marry me… daughter-in-law… devout mother would want a woman her age for twenty years older than you. I ‘m not sure that your And why do you want me to be your wife? I’m almost me in the ass. Don’t even try to persuade me…

(anxiously, decisively) (unexpectedly)

: Would you like to marry me? (smiling) : I told you that couldn’t fuck

Are you joking, or… (she drinks)

EMA EMA: I know women who are in far worse sit- MARTIN: It would be a pity that my pension EMA MARTIN: I know that you don’t… talked to EMA: Strange that you ask me when I’ve EMA: Why then? MARTIN: No, that’s not the reason.

Suddenly, she looks towards the door.) posal. er the “background” of marriage pro- Ema is watching him and trying to discov- Pause. (Martin looks toward the glass door. (Martin is silent. where my first is … look for a new husband till I found out ried for the pension… I’ve decided not to One of them’s bound to want get mar- duce you to them, so can ask them… uation than me… If you want I can intro- expect… can progress faster than the doctors don’t wait long… Sometimes the illness You don’t have to decide now… but please better that someone who needs it gets it… didn’t help somebody after my death… It’s (Short pause.) years… whereabouts of her husband for over ten porting mother who hasn’t known the en them… But that you are a self-sup- husband  a murderer in prison to fright- always tell the clients that you have a your friend Ljerka… She told me that you I have a husband… told you that number for you… doctor Nikolić… I wrote down his phone If you still don’t believe me can ask a flat as the widow of disabled veteran… rent a room because you’d be entitled to out of pity? I saw a shadow…

(afraid) (slightly hurt) : There’s someone in the hall… : So you have chosen me

MARTIN MARIJA: An honest girl… She must love you very much if MARTIN: Yes… MARIJA: Now it’s too late… Its gone already … MARTIN: Well, now you have assured yourself that I’m fine MARIJA: What am I doing here?! And why didn’t you answer MARIJA MARTIN: She’s a little bit embarrassed… she’s very shy… MARTIN MARIJA: Ema who? MARTIN: Ema… MARIJA: Who is there? MARIJA MARIJA MARTIN MARTIN MARTIN EMA: And you told me that weren’t married?! MARIJA: Girlfriend?

jokingly) toward the door of room.) (Mother looks towards the door and then (Silence.) (Pause.) (Short pause.) (Ema is frightened and quickly moves to the next room. Suddenly a light is switched on in the hall. Ema rises Martin.) At that moment the door opens and Martin’s mother quickly.) she doesn’t mind… What do you say now? Who was know about your… illness? like to meet her and then I’ll leave you alone… Does she Marija enters.) you can rush back to your bus… taxi and rushed back… I thought that something had happened to you… took a You didn’t answer, and you’ve switched off your mobile… the phone… I called you twice from bus station… ever since her husband died… sleep at Dragica’s tonight … She’s been inviting me over calls? Come on, introduce us and then I‘ll leave … I’ll the first place?

(becoming aware of his nervousness) (relaxed) (worried)

(confused) (uneasily) (anxiously) (surprised) (confused) Aha, that is why you didn’t answer my phone : Why should she be embarrassed? I’d just : What’s happened?

: She is there… (it dawns upon her and wags finger : My girlfriend… : Go into this room…

: Stop… wait…

: Mum… What are you doing here? (laughing) Why didn’t you tell me that in :

What is it? (Walks

EMA MARIJA: You’re welcome… I am really glad to MARTIN MARIJA: Yes, yes… It was in the paper… MARTIN: Mum… MARIJA: All right, all right… not immediate- MARTIN: Mum, please… MARIJA: Happy birthday… EMA MARTIN MARTIN: No, no… Today is her birthday, MARIJA: I hope she’s not an alcoholic? MARTIN: It belongs to Ema… MARIJA: What ‘s this?

look like an innocent girl.) Marija notices the flask on table.) then holds out her hand to the mother.) Enters terrified Ema who does not really Ema does not come out. (Ema looks at Martin questioningly, and (The door of the room opens. (Silence. if you need one… pillow in the wardrobe, and a blanket too the door to room) turn to have some… friends have grandchildren, now is my even gladder that I didn’t leave … All my Ema… have met you… substances from the organism… and that helps in discharging certain A man fell in love while he was ill, I’ve even read that love can cure a man… nice girls who do not mind sickness … right? I’ve always told you that there are you probably want to go bed… have more space… I ‘m rambling on, and can go to a retirement home… so that you be in your way… You can have this flat… I ly… but you shouldn’t wait long… I’ll not so we celebrated a bit… My girlfriend Ema… you…

(entering the room) (holding out her hand)

(To Ema) (knocks at the door of room) (they shake hands)

: This is my mother…

(To Martin, confidentially) (smiling) : Thank you…

There is an extra (to Martin)

: Nice to meet (opens Now I’m 5_2011 : 49 You need not get up early… By the time I’ve finished MARIJA: You? What could you possibly have We were neither drunk, nor drugged… I guess we want- how much life I have left, immoral before having coffee with Dragica it’ll be lunch time … done to her? ed to punish that monster who was jeering at us even God… He would realise that this is yet (Martin goes into the room. Marija closes the door andMARTIN: Not to her, but to her husband… while he was hanging there… Afterwards we took him another deceit due to the fear of death… into the wood and buried him in an unmarked grave, like gets ready to leave . MARIJA: That’s really great… So, you know or… I can try to somehow help that unfor- he did with our boys… He was laughing and telling us tunate woman… But, bearing in mind the At that moment the phone rings. her husband… I’d really like to know what how he fertilised woods and fields with our dead friends. time I have left, I don’t have many Marija picks up the receiver.) he would have to say to this… MARTIN: He can’t say anything… After he had options… (Silence.) MARIJA: … Hello… Yes… Yes, she is here… Who? Yes… I do met me, he stopped talking… so I decided to propose to her… not know now… Can you call back tomorrow, please? MARIJA: I don’t understand how she can be in that businessMARIJA: What? Yes…(confused) How do you mean, exchange of cus- (Silence. after that? MARTIN: You heard me… door, knocks) tomers?affair dissolves Yes… (Marija’s quickly.) enthusiasm with Martin’s love Mother looks at her son intently.) MARTIN: I don’t know. It is difficult to get any information (Marija is silent.) from her… I think that her name is not Ema but Ruža… Hang on…(goes to the room MARTIN: Yes. I did exactly what you think When I die she’ll have my pension…That’s They say she remarried after a few years, but the hus- Somebody called Ljerka is phoning about I did… the only thing I can do for her… to make band found out what we did and left her, because he the exchange of customers… MARIJA: Because of her? I don’t under- amends in some way for what I did to couldn’t forgive her … She started drinking, so the social stand… Because of that whore? her… (Ema comes out of the room, approaches the phone. service took her children away, put them into Meanwhile, mother watches her suspiciously.) MARTIN: Not because of her, but because of a home, and then with foster parents… (Pause.) Davor… and the others… When we found EMA (holding the receiver to her ear): Yes… All right… No… I don’t know… I only know that for her everything startedMARTIN: I am only desperately trying to save their bodies, and when we saw what Please, I can’t talk now… All right, I ‘ll make it up to that evening when we… my soul when I cannot save the body… I they’d done to them… we simply went you… feel terrible about what happened to that (Silence.(in a ple Ljerka, please… I’ve told you mad… Some Serbian villagers told us who ading voice) woman… I cannot forgive myself… thatMarija I’ll givelooks you at theEma.) money… (hangs up) had done that to them, and who was the (Silence.) chetnik leader in that area, so we decided MARTIN: For some time I felt safe… I knew nobody would (Silence. to take revenge… We put on black woollen ever know … And everything was OK until I started to be Darkness.) caps over our faces; we entered the vil- MARIJA: Shame on you, woman… Making money out of afraid MARIJA: Did she say yes? lage that was under their control during some one else’s misfortune. As if he was not ill of grass… And when they told me I had cancer, the first the night, we found him in the house with MARTIN(shaking his head negatively): Her enough… The last thing he needs is to get a disease thing I thought about his wife… That chetnik was her husband… was that woman… friend  the one who phoned  told me from you… that she thinks that no new marriage can We hung him by his feet and left him like MARIJA: You should go with me to Međugorje and confess… MARTIN work until she finds the body of her first (appears at the door): Mum… that till he was dead… While he was hang- Everything will disappear then… ing she was… husband. I brought her here… MARTIN: I have… I have confessed… Several times… MARIJA: I know women like her… Going into other people’s MARIJA: Do you know where he was buried? (stops) MARTIN: Yes. I buried him. flats and looking for a chance to steal something… (Silence.) EMA: Watch it lady, be careful what you are saying… If you MARIJA: Oh, God… And the kids? MARTIN: Poor priests, they didn’t know what to say when really want to talk like that, I can tell you that I have MARTIN: Fortunately they were not there… (Martin takes his coat intending to leave I told them what I’d done… They told me that this was fucked in far richer flats than yours, and I was never They hid them with some relatives the flat.) such a sin that they could not simply grant me accused of stealing… because the front line was so near. MARIJA: Are you going to her? from her purse and hands it to Martin) indulgen ce and penitence… They were probably afraid… (produces a small visiting card MARTIN: No. To her husband… I haven’t been (Silence.) MARIJA: Afraid of what? Here is the there for a long time… address of the flat where I am working, come if you MARTIN: That husband of hers was a real MARTIN: I don’t know. Perhaps that  if they give me indul- (Martin exits. want… Goodbye. monster. While he was hanging he boast- gence  they will become partly guilty of this crime ed like Satan about how many of our guys themselves… The last one I saw gave me indulgence, Marija is left alone, she sits with a wor- (Ema takes her flask from the table and exits. he’d slaughtered… But the woman, she but I don’t believe in it. And when in two or three ried expression. Silence.) simply was not guilty of anything. And months the cancer definitely destroys me, I know what Silence. MARIJA: There are other women… You need not take the mum, I did nothing to stop them… lies in wait for me… Darkness.) first drunken streetwalker you find … Nothing… All the things that you and dad MARIJA: Don’t say that… MARTIN: The problem is that I caused her to become that… taught me, all that became a big nothing at that moment… ACT TWO MARIJA: What? MARIJA: But why? (Silence.) (Martin is alone in the room. He is sitting MARTIN: A drunken streetwalker… MARTIN: I don’t know. Today  I don’t know… MARTIN: I can do only two things… Confess and denounce at a table and drawing on a piece of (Short pause.) everyone who was with me, which would be, considering paper. A military map is in front

50 CROATIAN THEATRE 5_2011 51 of him. Martin glances at the map and then draws (Short pause. MARTIN: I wanted the drawing to be as accurate as MLADEN: You don’t think that he’s alone in something on the paper. The front door bell sounds. Martin looks at him.) possible… that grave do you? Martin leaves the drawings and goes to open the door.)MARTIN: So that’s why you’re here? (Pause.) MARTIN: Oh my God! MARTIN(off, affectionately): Ooooh, Mladen… Come on in… MLADEN: The boys are very worried because MLADEN: I suppose that when she gets this letter you’ll MLADEN: The next day Pišta and the boys MLADEN: I say, it would not be right to pass by without of what you’re planning to do… help her with the excavation…(cynically) I mean, as a tracked down a few others who took part dropping on my old friend… MARTIN future husband … in the massacres with her husband… (continuing his thought): Sorry, but The earth was soft so we buried them MARTIN: I am really glad to see you… MARTIN: You must know me well enough to be sure that I didn’t know I had to ask the approval of there as well… MLADEN: Tell me first of all, how are you…? my wartime commander I’m not the kind of man who’d get someone into a mess, MARTIN: How many? MARTIN: Well… What can I say? There are good and bad to get married… and especially not you… MLADEN: I don’t know. I have to ask Pišta, days… MLADEN: Don’t be angry… You must know MLADEN (very close to Martin): And me? What about me? two or three. Why are you looking at me that in view of the situation in Croatia, MLADEN: The worst thing is to become You’ve not thought about me have you… as if they were innocent? Man, their everyone has reason to worry… a pessimist… It ‘s important to keep MARTIN: When I say I won’t squeal on anyone that includes hands were covered with blood up to their a positive attitude… MARTIN: Yes, I know… But, as far as I am you too… shoulders. One of them raped a twelve- concerned you can sleep peacefully… MARTIN: I see that you’re reading the same magazines as MLADEN: Oh, no… That’s just the problem. year old girl, my mum… MLADEN: Are you sure that… that prostitute… It doesn’t apply to me. Because, even if they don’t dis- and what could I do? Prevent her father MLADEN: Where is she? doesn’t know anything? cover that it was you who sent the anonymous letter  from killing him? He would have killed me MARTIN: At church… Would you like a beer? MARTIN: You think she would even talk to me the fact that they find the body will be evidence against if I had tried to stop him. Anyway, your MLADEN: Sure… Thanks… if she knew? me alone… future wife knows that there were several MLADEN: Pišta says that you’ll tell her where MARTIN: Why only against you? of us… If you say you did it along that we buried him? MLADEN: Because I was the commanding officer … And won’t satisfy her… She’ll start looking for (Martin goes to the kitchen and takes two beers fromMARTIN: I wont tell her but she’ll get an according to the fucking chain of command responsibili- us… the fridge.) anonymous letter with a drawing of the ty  that everyone refers to nowadays  It’s only me will MARTIN: I only know that this woman is inno- location of the grave… cent. Do you remember how the villagers MLADEN: I couldn’t believe it, when I heard… If you need get screwed… And I am not so stupid as to go to prison told us that that crazy husband of hers anything, I know some doctors… We can collect some maps on the table) for something that all of us did together… (he shows the used to beat her regularly? If she’d left money for you to go abroad… If the state we fought for MARTIN: And what do you want now? I ‘m working on that him, he’d probably have killed her… And has forgotten us, we shouldn’t let each other down… MLADEN: I’ve come to ask you not to dig up the graves, right now. then, we arrived on top of her misery … MARTIN: Thank you, but there is no need… Really, every- they’re long overgrown with grass… There, that’s it… body is doing their best, (Mladen goes to the table and looks at the What do you think how will our children feel when they doctors and nurses… And your family, how are they? map. read in the paper that their fathers have killed so-called Silence.) “innocent civilians”? We know that her husband was not (ironically)Sorry, lady, you’re only a col- (hands him a beer) MLADEN: And you think she won’t see the innocent, but what the fuck does that matter to what the lateral victim, or what do they call it! Fuck MLADEN: OK… I rarely see my elder daughter; she‘s always connection between your proposal and papers print today, everybody is innocent, It’s like we it, man, in a month or two I’m going to the at the university… that anonymous letter? fought a war against nursery kids… I don’t want to rot in man up there… And I have this need to My son’s a musician… He has his own band, I bought The Hague trying to prove that they were butchers while MARTIN: It won’t be the first time that some- leave with a good hand him an electric guitar, my wife’s coming out of the maternity clinic… body’s told her where her husband was of cards… Try to understand that it’s as and he’s strumming it all day long… MARTIN buried … She’s already paid for three simple as that. Can’t you understand that And the biggest news of all is that we are expecting false pieces of information… today I’m ashamed because of the things another child… MLADEN: But this time, as far as I can see, that happened… I’m ashamed, man. What MARTIN: Congratulations… the information is not going to be false… (interrupts him): OK, if you get accused I’ll say that I killed him alone… I,m sick, anyway, so The Hague can’t the fuck is with you? We’re a disgrace to MLADEN: Four months to go… A son… They saw it on the harm me. The doctors would prevent our people, and all I want is to decrease ultrasound scan. (pointing to the plan)I don’t remember my extradition… that disgrace. Nothing more. MARTIN these bushes in your drawing … At the end of the day, this is for our MLADEN: Everybody or just her husband… (rises his beer into the air): Let ‘s toast to anotherMARTIN: They have grown there since, I was friends that her husband killed and who heir… there… (Short pause.) are definitely not proud of what we did to MLADEN: When? that innocent woman in their name… (Mladen and Martin touch bottles and drink). MARTIN: How do you mean  everybody? MARTIN: Two days ago… MLADEN(in a slightly different tone): I hear that you have MLADEN: Well… do you mean all who were with him, or… some plans, too… I mean… regarding… marriage… (Mladen looks at him.) (Martin is watching him in shock.) (Short pause.)

52 CROATIAN THEATRE 5_2011 53 4CROATIAN THEATRE 54

MARTIN: Who guarantees that she’ll not end up dead in the MLADEN: As regards your mother, I promise that we’ll take MLADEN MLADEN: Just like whores, today nobody pays much atten- MARTIN: I don’t understand. MLADEN: About everything… Will an unknown customer kill MARTIN: About what? MLADEN: Because I think that since we’re old war friends MARTIN: Why are you telling me this? MLADEN: Actually, we could have done it without even MLADEN MLADEN: It’s simple. There wouldn’t be many questions if a MARTIN: Indirect? How do you mean indirect? MLADEN: That’s what the boys think… It’s too complicated MARTIN: Changed?

(Silence. (Silence. (Short pause.) (Short pause. Martin is looking at him, terrified.) Mladen takes a sip of beer.) Except if I don’t call with other news. don’t call… you’ll have nobody to discover the grave to… teen minutes I have to let them know what do… If an hour ago… and now they’re waiting for me in fif- Martin looks at Mladen silently.) street too? care of her like you would. ill … veteran kills himself… Especially when he’s terminally tion when some war her or not… we should give you the chance to decide. dig up graves. be the end of it, because then you’d have no reason to that some sick customer had killed her, and would telling you… Even you wouldn’t suspect us… You’d think dead whore were found in a street… posed an indirect way of handling the problem… so the boys have pro- and too risky to move the bodies, you knew how bad were. trust you any more… They say you’ve changed a lot since you that wouldn’t squeal on us, but the others don’t

(looking at his watch) (calm, but worried) : If it were up to me I ‘d trust

: The boys picked her up half

MLADEN MARTIN: No need, thanks. (Silence.) MLADEN MLADEN MLADEN: I will, thanks. MARIJA: I won’t disturb you… carry on talk- MLADEN: No, thanks… I am drinking beer… MARIJA: Would you like some coffee, or… MLADEN: Thanks for asking  they’re well. MARIJA: You’ve really got fat since you MLADEN: Well, I stopped by to see my old MARIJA: Oh, Mladen… What brings you here? MLADEN MLADEN: I’ll take these drawings and the MARTIN: Tell them that everything will be OK. MLADEN: Between you and her  we shall MARTIN: Then why don’t you simply kill me? MLADEN: I do. She’s no danger to us. It’s you

Silence.) unexpectedly.) es the talk) (Marija goes to her room. (At that moment mother Marija enters (on the phone) (A mobile phone sounds (Silence.) buried in one of the military graveyards… we can arrange that you be temporarily does not hear) people… I am glad that we settled this like decent Yes, I’ll be there… hurry… OK… Martin… I know we arranged to do it, but… ing… Say hello to your wife… retired... How are your wife and kids? war friend… map… You won’t need them any more… the decision to you… But, considering your illness, we’ll leave always pick her… You’re our friend… choice… who created a situation where we have no

(putting the empty beer bottle on (looks at his watch) (considerately, so that his mother (looks at the number) Vesna says hello… : If you don’t have a grave, Hello… Yes, I ‘m here with 

: I must go… off.)

: It’s my wife… (finish-

MARTIN: Mum handed it over to the police last year, afraid MLADEN: Hello… It’s me again… No, everything is OK but MLADEN MARTIN: And what about the gun? MLADEN MLADEN: Hello… It’s me… No, everything is OK… He only MARTIN: Tell them that I beg them… MLADEN: Fuck it now. I must ask the others. MARTIN: Can I do it somewhere else? Anywhere, just not MARTIN: Thank you… MARTIN: For enabling me to do that for this woman… This MARTIN

her hands.) glances towards the door of mother’s room.) leaves.) (Marija enters the room holding an open photo album in Silence.) Ema’s husband’s grave under his arm. (Mladen leaves carrying the map and sketch of (Mladen punches the number on his mobile again. He (Mladen stops and turns to Martin.) (Mladen looks at him in a baffled manner, and then (Mladen punches the number on his mobile.) (Silence.) I thought you have prepared that too… that I might kill myself. the table) here… Yes… OK… I cannot ask him to jump of the roof… His mother lives Tell Blaž to go fuck himself… The man is our friend and he hasn’t got a gun… Fuck it, I thought so too… Yes… Because of the mother… Yes... Good… asks whether he can do it outside his home… Yes… ment… Or to Maksimir… here… Because of my mum… I can go the Sava embank- er’s not alone. And then I’ll come back to the flat… so that your moth- OK. But, this is only because of you… mother didn’t go to pilgrimages in vain… is even more than I wanted… After all it seems that my tered… Now I must go… Bye… bridge… He has one from the war that’s not been regis- Pišta will wait for you at the tram stop on Adriatic

(after him)

(confused) (confusedly accepts to shake hands) : I’ll wait on the staircase till I hear shot… : Say hello to the boys…

: I thought you had one…

(holds out his hand)

(ends the call) In half an hour (ends the call) : For what?

The Lord is with you…” MARIJA: “Hail Mary, full of grace, MARTIN: I just felt like it… haven’t this MARIJA: You haven’t kissed me since MARTIN: I can kiss my own mother, sup- MARIJA: What’s come over you? MARTIN: I am going for a walk... MARIJA: Where are you going? MARIJA: I ‘m going to visit the reverend MARTIN: What will you do on Lošinj? MARIJA: I will go to bed early tonight because MARIJA MARTIN: I’d take him this one… It’s just right MARIJA: I like it. MARTIN: I don’t look myself on it … MARIJA: I like this one… MARTIN: Which one?

softly.) She lights a candle and starts praying Silence. Marija is left in the middle of room. fade out slowly. more he looks at his mother and gets out. (While the mother is praying lights (Martin goes towards the door… Once (Martin puts his jacket on.) the photo album) good in ages… Christmas, and now out of the blue… pose… mother on the cheek) EEG results were fine… they visited the doctor next time went to him with her picture, and when nosed with epilepsy, and then her mother Sudac… A girl from our parish was diag- I am going to Lošinj tomorrow … than I am… your health in vain… You’ll live to be older for a deceased notice … graph… get well… I’m not praying God will listen to my prayers and you’ll not to talk about that… Anyway, you’ll see. (revolted) : I have already asked you

I’ll take your photo-

(leafing through

novenas (kisses his 5_2011 for 55 Silence. MARIJA(to Mladen): Say hello to your wife… masks and were quiet, because they couldn’t disguise EMA: I know what he did that evening… Darkness with the light of a single candle. Thank her for the cakes she has sent for their voices… all but one man who could not keep quiet Goodbye… At that moment, Mladen’s voice sounds almost spec- the guests. at one moment… He said only: “Hold the whore!” I shallMARIJA: What did he do? never forget that voice. Only a while ago when the man trally from the darkness.) (Mladen and Pišta leave. (Ema looks at Marija.) at the funeral talked about the courage and honour of MLADEN(off) : Dear Martin. In this hour of great pain for Marija is alone in the flat. your son, I realised who he was and why your son EMA: You really want to know? all of us, it ‘s not easy to find the right words to express After several moments the front door bell proposed to me. (Marija is quiet.) what we, your friends and fellow soldiers feel. I only sounds off. Marija goes to open it.) EMA: He held me down while his friends did know that with you we are also burying a part of our- (Marija is quiet.) selves, our lives and souls, and nothing will fill the it … It was to him, that the one who was MARIJA(off) : Come in… Please. MARIJA: Why did you really come here? You could have emptiness except our will that one day all of us will be talking at the funeral, who said “Hold the whore”… together by the mercy of Him whose rosary we carriedEMA (off): I don’t want to disturb you… returned the money by post. EMA: I wanted to ask you what you thought about all this… round our necks during those difficult years for the MARIJA (off): You are not disturbing me… Ema leaves, and then stops again and MARIJA Croatian people. Before God we, your comrades-in- (Marija enters the room with Ema who is (insecure, confused): I? I have no words to express once more looks at Marija.) arms make a solemn promise that we shall never forget now dressed completely differently than how sorry I am because of what happened to you… EMA: Pray for you son, lady, pray… That is and that we will guard and protect the thing most in the first scene. There is no trace of the I pray to God that he forgives my son… And if I can help what he needs most of all now. sacred to us all  the free and independent homeland, extravagant clothes she had on then.) you in any way, please tell me... (Ema leaves. of Croatia, for which her best sons and daughters gave EMA the greatest gift of all  their lives. We know that the MARIJA(entering) : I’m really glad to see you. (unexpectedly): If this is true, would you like to witness Marija remains alone and in her thoughts, sacrifice was not in vain. May you rest in peace in the I wanted to find you and thank you for the in court? visibly shaken, and then she sits at the Croatian soil that you loved so much. telegram and for your presence at the (Short pause.) table and starts praying.) funeral… ( warmly)Would you like some MARIJA(worried) : About what? MARIJA: “Our Father, who art in heaven, coffee? EMA: About that… You should only repeat what your son Hallowed be Thy name (Silence broken only by the sound of earth falling on a EMA: No, thank you. I don’t want to keep told you. Thy kingdom come…” wooden coffin.) you… MARIJA: How do you know what he told me? (As the room gets darker Marija’s voice MARIJA: I ‘m sorry I reacted like I did that the EMA: I know that he told you everything… That’s why you’ve last time… becomes quieter. EPILOGUE become so nice to me all at once… I saw that by the way The candlel flickers in the darkness, and EMA: No, everything’s all right. I’d probably (When the light is switched on again, we see Marija you looked at me at the funeral. then somebody puts it out. react in the same way if I found my son entering the flat together with Mladen and Pišta. Near with a woman like that … Total darkness.) the candle that is still burning we now see Martin’s (Marija is silent.) I only wanted to give this back to you... photograph. Everybody is dressed in black. Silence.) EMA: Without your testimony not one of them will ever be THE END convicted, and I will never find my dead husband. The MARIJA: Come on in… Sit down… (hands an envelope to Marija)This is the fact that a whore remembers the tone of somebody’s MLADEN: No, thanks… You should have some rest now youmoney I got from him that evening… voice even after ten years is no evidence at all… need it. If you should need anything, please call us…MARIJA Me (handing back the envelope): Please, or Pišta. At any time, day or night. MARIJA: I know, but… Those are his friends… Mladen is keep it. expecting a child… MARIJA: Now I see why Martin was always saying that EMA:you No, no… this is your money. You proba- two were his the best friends he ever had… bly need it now more than I do… Since (Silence. MLADEN: I’ll never forgive myself for what has happened….there was nothing between us… Ema observes Marija. If I’d known this would happen I ‘d not have left himMARIJA Marija cannot look Ema in the eyes.) alone. (insists that Ema keeps the money): EMA (disappointed, prepares to leave): I thought so. If you MARIJA: Thank you for everything… I know that Martin would want you to keep ever change your mind, you know where you can find (to Pišta)If you want it… me. you can come one of these days to pick out something EMA (Marija(coldly) watches: I don’t her want puzzled.) anything from your from Martin’s clothes… there are some suits he only son or his friends. Goodbye.(leaving) (Ema starts to leave.) wore once or twice… Maybe they’ll fit. MARIJA: My son didn’t rape you. PIŠTA: There’s plenty of time… I’ll come by next week... MARIJA: Then, you knew about…? (Ema stops and looks at Marija.) MLADEN AND PIŠTA: Goodbye. See you tonight at the EMA EMA: How do you know? mass… (stops): No, I didn’t … That night when they came to our house, they all wore MARIJA: He told me.

56 CROATIAN THEATRE 5_2011 57 iinfo

CROATIAN ITI CENTRE The Croatian Centre ITI was founded in 1994 as a non-profit professional and volunteer organisation. Sanja Nikčević wasThanks to the Croatian ITI much information elected as the first President at the founding assembly. on Croatian theatre and drama has found its Željka Turčinović has been the head of the Centre since 2001.way to world theatre publications and maga- Throughout the years, the Centre has grown from a smallzines. EXECUTIVE AND SUPERVISORY BOARD organisation of theatre enthusiasts into a programmer ofSince 2003 the organisation’s office has been Executive Board theatre projects (International Drama Colony, Motovun located in a representative space of Villa Arko Relja Bašić, actor and director, UNESCO Artist for Peace in Zagreb’s historical Upper Town, in Basari- Marija Sekelez, actress and artistic director of From Text to Performance, Croatian Theatre Showcase, če kova Street 24. Bird of Fire Theatre, Foreign Drama, and Theatre Days) and promoter of Croatian We share the space with the Croatian Writers’ Ozren Prohić, director and artistic director of the Opera, theatre and drama on the international level. The Centre Association and P.E.N. while the villa’s attic Croatian National Theatre “Ivan pl. Zajc”, Rijeka publishes a series of publications in English (Croatian houses the atelier of Zlatko Bourek. Zoran Mužić, director Theatre, Theatres in Croatia, and Shortcut to Croatian Dance) Želimir Mesarić, director as part of its promotion of theatre and dance. MISSION • Carrying out international cooperation and Supervisory Board The Croatian ITI strives to be equally present on the interna- promotion of Croatian theatre, drama, and Katja Šimunić (President), dance researcher tional scene by organising round table discussions, sym- dance; Urša Raukar, actress posia, and meetings that raise burning issues of our theatre • Translating Croatian playwrights and intro- Villa Arko, Croatian Centre of ITI, Basaričekova 24 Dubravka Vrgoč, theatre critic and artistic director every-day life in the international context. It is also the pub- ducing their texts through public readings; of Zagreb Youth Theatre lisher of the theatrological and drama series Mansioni, and • Inviting foreign selectors, programmers, Hrvoje Ivanković, theatre critic and dramaturge two magazines: di rectors, translators and theatre profes- Radovan Marčić, director Theatre(for theatre) andMovements (for sionals to Croatia and enabling them to see dance art). the best theatre and dance productions; • Striving for the visibility of Croatian theatre THE CENTRE’S STRUCTURE Members of the Centre take part in many international meet- and playwrights on the European and world Members of the Centre may be individual and ings while being actively involved in the highest bodies of the theatre map and making them sought after; collective (theatres, associations, organisations, ITI organisation. • Publishing promotional publications and festivals, dance companies…). magazines on Croatian theatre, drama, and Željka Turčinović  EXCOM, Executive Council of World ITI; dance in world languages; Željka Turčinović, dramaturge and Editor of Cro- International Dance Committee • Instigating the exchange of writers on the atian Radio’s Drama Programme is the President Jasen Boko, President of the Playwrights’ Forum basis of reciprocity (mutual cooperation) so of the Centre; Matko Botić, drama turge and thea - Želimir Mesarić, Theatre Education and Training Committee that both theatre milieus present their best tro logist, is the Expert Councillor; and Dubravka Lary Zappia, Vice-President of the Dramatic Theatre Com- writers and pieces; Čukman is the Administrative Assistant. mittee • Being active, transparent, and of service both internationally and nationally.

58 CROATIAN THEATRE 5_2011 59 Sessionfor a stand-up dancer, Liberdance, Interface, Zagreb Dance Company, choreographer Snježana Abramović Milković, choreographer Rajko Pavlić (Photo by Nikola Krajina) (Photo by Jasenko Rasol)

DANCE COMMITTEE The Centre has a Dance Committee, established in July 2000, with Executive Secretary Maja urinović and Honorary President Milana Broš. The Dance Committee presents a stronghold and logistical support to dance companies and projects as a source of information and an outlet for joining dance touring networks. The Committee has supported tours of our ensembles to Mexico (Liberdance), Peru (Contemporary Dance Studio) and Cyprus (Dance Theatre Tala). The Dance Committee is the initiator of the dance art magazine Movements, various promotional publications, and the book series Movementswhich features dance theory through the Dance Studies edition and dance critique through the Small Hall edition.

60 CROATIAN THEATRE PROGRAMMES REALISED IN 2010 AND 2011

International Drama Colony FROM TEXT TO PERFORMANCE,presented in the form of a stage reading, with- is desirable and almost obligatory for the author to Grožnjan, Istria; Croatia out costumes or sets. Actors hold the script in be present and to participate in the workshop and 11-18 July 2010 their hands, the characters and their mutual work on the text, depending on the wishes and relations are defined and elaborated, and the directions from directors and actors. This year for the first time we were not an international overall work may be labelled as a “workshop” Below are the titles and participants of the 12 colony as we were unable to invite partners from other coun- th in which the process is more important than tries due to the economic crisis and lack of financial means. Colony in Grožnjan. the end result of working on the text on the We hope that the year 2010 will remain a solitary example in path from literary to theatre text. Participants the history of the Colony because this programme has PROGRAM proven to be an excellent model of international collabora-of the Colony are professional actors and Ivana Karačonji tion on the level of promotion of foreign drama writers directors,in as well as students of acting from ON MONDAYS, ROOM 303 Croatia, and at the same time, a work-in-progress workshopartistic and drama schools in Croatia. Director: Nora Krstulović for young and still not established Croatian playwrights. One of the goals of the Colony is to establish Dramaturge: Maja Sviben Apart from that, this year we also changed the location of thereciprocity, i.e., the exchange of writers and Actors: Lada Bonacci, Marcus Fernando Colony manifestation for the first time. Instead of Motovun,directors. By taking part in the Colony, foreign Band: Nenad Sinkauz, Alen Sinkauz, we chose another, equally unique medieval Istrian town,partners strive to enable the presentation of a Vedran Peternel Grožnjan, known as the town of artists. The reasons for thisCroatian author and his/her play in his/her change were again of a financial nature. Namely, the Hotelcountry under the same conditions that the Nina Horvat Kaštel where the Colony used to stay and work wasCroatian Centre ITI has provided for staging UNTIL DEATH DO US PART redesigned and has now become an exclusive hotel withthe a foreign play in Croatia. This type of reci- Director: Filip Povrženić wellness centre, thus becoming unaffordable to us. So muchprocity to date has been realised with the USA, Actors: Maja Katić, Jelena Hadži-Manev, about actual changes! the Czech Republic, Slovakia, Mexico, India, Petra Te žak, Sanja Milardović, Sven Jakir, The International Drama Colony Greece, Chile, and Belgium. As with the previous ones, the 12 Damir Poljičak, Mladen Kovačić, Dado Ćosić From Text to Performance (the first was held in 1999) is organised by the Croatian th Colony last- Centre ITI in cooperation with national centres or theatreed for seven days and the last day was institutes. Throughout this time the Colony has grown intoreserved an for public presentations of “drama intriguing, useful, and relevant programme for presentingworkshops” on the splendid ambient “stages” local and foreign playwrights. of medieval Grožnjan. As mentioned above, The main idea and goal behind the launching of the Colonythis year we did not have a foreign partner, but was the assessment of new foreign and domestic dramaticinstead presented two young Croatian female texts in affordable economic conditions, as well as the estab-dramatists: Ivana Karačonji and Nina Horvat, lishment of cooperation between Croatia and other countriesboth graduates of dramaturgy from the through an exchange of playwrights and plays. Academy of Dramatic Art in Zagreb. Since the The main task of the Colony is to work on staging textsColony and is focused on the process of trans- assessing their scenic qualities. The results of this workforming are a literary text into a theatrical one, it

62 CROATIAN THEATRE 5_2011 63 6th CROATIAN THEATRE SHOWCASE, PROMOTION OF CROATIAN DRAMATISTS IN THE WORLD CROATIAN DRAMATIST MATE MATIŠIĆ 3-7 November, 2010 On 23 March 2010, the promotion of the book “4 Croatian Plays”IN ISTANBUL The Croatian Theatre Showcase was first initiated by Russian publisher Three Squares from Moscow was held inAlso thanks to participation in the in 2005 as a review of the best Croatian theatre per- is a rosethe Theatre is a rose Centre Meyerhold. The book includes plays by LadaCroatian Theatre Showcase, Fusun Kaštelan ( Gunersel, a translator from Turkey, formances in our selection and presented to for- Before Sleep), Tomislav Zajec Dorothy( Gale), without a Body eign theatre professionals over a five-day period. translated the drama piece Dubravko Mihanović ( The Frog) and Ivana SajkoRose ( is a rose A Woman Since Croatia as a theatre country is still fairly ), translated into Russian by Larisa Saveljeva. by Mate Matišić into unknown on an international scale, we felt there She was a guest of the Croatian Theatre Showcase in Zagreb inTurkish and offered it to the Istanbul was a need for such a manifestation that could be 2008 where she was introduced to contemporary Croatian plays,State Theatre. This offer resulted in the handled by us production-wise. Although the phe- and the choice of plays was entirely her own. A public reading ofstaging of Matišić’s play in the above nomenon of showcase is quite well-known in the texts by Tomislav Zajec and Dubravko Mihanović was organizedmentioned theatre which had its opening world, it is mostly organised in theatrically at the promotion in Moscow, and the Embassy of the Republic ofnight on 23 October 2010. The play was unknown countries with small languages (Sweden, Croatia in Moscow covered the costs of the organization. directed by Kazim Aksar. It was received Lithuania, Czech Republic, Slovakia, Romania, extremely well by the audience, as well Russia, etc.). The name is a synonym for a window, as by professional critics. The principal a display in which merchandise is being shown  in actor Reha Ozcan was nominated for the our case, theatre performances. One of the impor- prestigious actor’s award, the Afife Jale tant goals is to invite theatre critics, festival pro- Theatre Award, which is the Turkish the- grammers, directors of theatres, theatrologists, atre equivalent to the Oscar. translators, and writers who would become acquainted with Croatian theatre through watching selected performances and write about them, invite them to festivals, translate our texts and include them in repertoires of foreign theatre houses. Apart from the performances, we organise conver- sations with authorial teams and actors, play- wrights and all those from the theatre world that show an interest in presenting their work to our guests. We offer Croatian dramatic texts to be translated into foreign languages and establish a network of collaborators who could or would want to promote our theatre at home. All the selected performances are presented with English subtitles.

64 CROATIAN THEATRE 5_2011 65 DANCE COMMITTEE ACTIVITIES WITHIN THE CROATIAN2nd SYMPOSIUM ON THE WORK OF MILKO International Drama Colony FROM TEXT TO PERFORMANCE, CENTRE ITI ŠPAREMBLEK (1928) Grožnjan, Istria, Croatia 11-18 July 2011 Promotion of the magazine for dance art Movements andZagreb, 28 November 2010 the book series Movements in Belgrade on 7 November PROGRAM 2010 Milko Šparemblek is the most significant Cro- Olja Lozica (Croatia) atian choreographer and dancer, an intellec- Jordan Cvetanović (Serbia) As part of celebrating fifteen years of publishing the Serbian SCRATCHES tual with an international and national career. THERAPY dance magazine Director: Boris Liješević Orchestra, organized by its editor-in-chiefThe theme of this year’s symposium was the Director: Anja Maksić Japundžić Actors: Žarko Potočnjak, Mirna Medaković, Dunja Fajdić, Mia Ivana Milovanović, a promotion of the magazine and booktelevision ballet Actors: Kristijan Potočki, Tomislav Krstanović, Krajcar, Goran Smoljanović, Danijel Radečić series Movementswas held at “Bitef” Theatre on Sunday, 7 A gesture for Tin(a choreoact Petra Težak, Amanda Prenkaj, Petar Cvirin November 2010. Promoters on behalf of the publisher,in 13 episodes), and the participants were Croatian Centre ITI, were dance critics and theoreticiansmostly younger scholars in the fields of litera- Maja urinović and Katja Šimunić from Zagreb. ture, theatrology, puppetry and visual arts Maja urinović spoke about the beginnings of setting frominto Zagreb and Osijek. As guests in dance motion the Croatian magazine art, they agreed to cross the usual genre and Movementsin 2002 and pre-media boundaries and approach the directori- sented the twelve issues published to date. She describedal and choreographic work of Milko Šparem- the intentions and accomplishments of the recently initiatedblek from their positions. bookDance series Movements. Katja Šimunić presented in detail Poetics of Contemporary by Laurence Louppe, the primary publication within the Dance Studies edition of the Movements book series. She also presented the context in which the Croatian Centre ITI publishing activities improve Croatian dance theory and Morningpractice. After, The the promotion Night Before was attended by an extremely large number of Belgrade’s dance, theatre, and music experts. The promotion was followed by the performance The , which was choreographed and performed by Maša Kolar and Zoran Marković and pro- duced by the Sisak Culture Centre ‘The Crystal Cube of Brightness’.

66 CROATIAN THEATRE 5_2011 67 PUBLICATIONS, MAGAZINES, BOOKS

Publisher: Croatian Centre ITI Magazine for Dance Art MOVEMENTS (KRETANJA) Editor-in-Chief: Iva Nerina Sibila The Croatian Centre ITI has a rich publishing record both in Croatian and English. Issues are published once a year and play the role of promoters of Croatian drama, theatre, and dance. This year we have published the following titles:

CROATIAN THEATRE 3/4 Editors: Tajana Gašparović, Hrvoje Ivanković, Željka Turčinović This publication is issued once a year in the English language and serves for the promotion of Croatian theatre and drama. It is distributed free of charge and sent to relevant international addresses that deal with theatre and drama. Texts are written by eminent Croatian theatre critics and theatrologists. In this issue, we write about the young generation of directors in Croatia, present a successful community the- atre with an international perception  Zagreb Youth Theatre (ZKM), introduce the explorative performative group Shadow Casters, present a portrait of the interesting theatre actor and director Saša Anočić who suc- cessfully combines commercial and artistic theatre in his performances, and feature an interview with Borut Šeparović who investigates the sensitive social and political phenomena of the time we live in through theatre. We publish the play The Play about Mirjana and Those around byHer young Croatian playwright Ivo Martinič THE “MANSIONI” SERIES PUBLISHED (1994-2011) (1984), which was performed in Slovenia, Serbia, and Croatia in intervals of six months. Finally, we provide a sur- vey of activities of the Croatian Centre ITI, as well as the addresses and contacts of all theatre institutions, asso- In the seventeen years of its existence, we haveTHEATROLOGY ciations, and institutes in Croatia. published 50 books with an ample scope ofMarvin Carlson:Theories of the Theatre(1996) 1 interests connected to theatrological studies,Boris Senker: Croatian Dramatists in their Theatre(1996) dramatic texts, theatre travelogues, essays, and Nikola uretić: Theatre Travelogues and Mile (1996) Magazine for Theatre Art THEATRE (KAZALIŠTE) biographical writings. The series Mansioni has Marvin Carlson: Theories of the Theatre(1997) 2 Editor-in-Chief: Željka Turčinović profiled and established itself as one of the Marvin Carlson: stones most important Croatian theatrological series. Theories of the Theatre(1997) 3 The publications in this series feature Manfredboth Pfister: Drama(1998) domestic and foreign authors; beside booksurđa in Škavić: The Glossary of Croatian Theatre(1999) Croatian, translations of plays by CroatianAntonin Artaud: The Theatre and its Double(2000) dramatists are published in foreign languagesVinko Grubišić: Artaud(2000) with the aim of promoting Croatian dramaAcija Alfirević: The Australian New Wave(2000) abroad. Sibila Petlevski: Symptoms of Dramatic Postmodernity The Editor-in-Chief is Željka Turčinović with (2000) guest-editors being invited for individual edi- Peter Szondi:The Theory of Modern Drama 1880-1950(2001) tions. Antonija Bogner-Šaban: The Return to No-Return(2001) Adriana Car-Mihec: The Diary of Three Genres(2003) Sanjathe Nikčević: Puritans Affirmative American Drama or Long Live (2003)

68 CROATIAN THEATRE 5_2011 69 Peter Brook:Threads of Time(2003) Franciska Ćurković-Major:New Hungarian Drama(2005) Edition: DANCE STUDIES Sanja Ivić: Sturgeons of Second-Rate Fresh (2004) Ivica Buljan: The Anthology of New French Drama(2006) Laurence Louppe: Mikhail Chekhov: To the Actor  On the Techni The Anthology of New Czech Drama(edited by Kamila POETICS OF CONTEM- PORARY DANCE (2009) (2004) ness Černa, 2009) Branko Hećimović:In Theatre’s Embrace(2004) que of Acting Gordana Muzaferija: The Theatre Plays of Miro Gavran(2005) TRANSLATIONS OF CROATIAN PLAYS Joseph R. Roach: Tomislav Bakarić: The Players’ Passion(2005) La muerte de Stjepan Radić(The DarkoArts Lukić: The Production and Marketing of Performing Death of Stjepan Radić  Spanish, 1998) (2006) MajaAlma Gregl: Mahler The Loves of Alma Mahler/Die Lieben der Mirella Schino: The Theatre of Eleonora Duse(2007) (Croatian/German, 1999) Sibila Petlevski: Edition: SMALL HALL Drama and Time(2007) Mislav Brumec: Smrt Ligeje/Death of Ligeia(Croatian/ Tuga Tarle: Miljenko Foretić: Theatre in Dubrovnik(2008) English, 2000) Darko Lukić: DANCE REVIEWS (2009) Arts The Production and Marketing of Performing Tomislav Durbešić: Drames Choisis(Selected Plays  , 2nd Issue (2010) French, 2002) Special Editions Darko Lukić: Theatre, Culture, Transition(2011) Different Voices  Eight Contemporary Croatian Plays (English, edited by Boris Senker, 2003) PLAYS Marin Carić, monography, Lada Kaštelan:Prije sna/Before Sleep(2007) editor: Hrvoje Ivanković Author Group GONG: Repeated Prophecy of Cracks(1994) Miro Gavran: Droll Pieces(1996) Davor Špišić: Foreplays(1996) Borislav Vujčić: White Tragedies(1997) Davor Špišić: Paradise with No Closing Time(2001) The Movements series was launched in 2009 as a natu- Ivan Vidić: Plays(2002) ANTHOLOGIES ral continuation of the publishing activities of the maga- Mate Matišić: Post Mortem Trilogy(2006) zine DissidentIrena Lukšić: Drama The Anthology of Russian Feđa Šehović: Comedies and Dramas(2009) Movements. It is presented in two sub-editions: (1998) Elvis Bošnjak: The River Takes Us and Other Plays(2011) Dance Studies featuring dance theory and Small HallPersistence of Act, Ian Brown: Scottish DramaThe Anthology of Contemporary featuring theatre critique and dance. Essays in Honour of (1999) Macedonian Drama Nikola Batušić, Borislav Pavlovski: The Anthology of New The Editor-in-Chief of the series is Iva Nerina Sibila andeditors: Marin Blažević, (2000) guest editors are invited to contribute to individual publi-Sibila Petlevski, Boris Austrian Drama Sead Muhamedagić: The Anthology of New cations as needed. Senker, Željka Turčinović (2002) Contemporary Italian Drama-selected authors (edited by Mario Mattia Giorgetti, 2003)

70 CROATIAN THEATRE 5_2011 71 infoaddresses ASSOCIATION OF CROATIAN WRITERS CITY OFFICE OF EDUCATION, CULTURE (Društvo hrvatskih književnika) AND SPORT √ DEPARTMENT OF CULTURE Trg bana Jelačića 7/I, 10000 Zagreb, Croatia (Gradski ured za obrazovanje, kulturu i šport  Tel: +385 1 4816 931, Fax: +385 1 4816 959 Sektor za kulturu) E-mail: [email protected] Ilica 25, 10000 Zagreb, Croatia Web page: www.dhk.hr Tel: +385 1 6100 505; Fax: +385 1 6100 503 President: Božidar Petrač E-mail: [email protected] Web page: www.zagreb.hr CROATIAN ASSOCIATION OF LITERARY TRANSLATORS Head of Office: Ivica Lovrić (Društvo hrvatskih književnih prevodilaca) Ilica 42/II, 10000 Zagreb, Croatia NATIONAL AND UNIVERSITY LIBRARY UNESCO THEATRE ASSOCIATIONS CULTURAL ASSOCIATIONS Tel/Fax: +385 1 4847 565 (Nacionalna i sveučilišna knjižnica) E-mail: [email protected] Hrvatske bratske zajednice br. 4, CROATIAN CENTRE OF ITI CROATIAN CENTRE OF P.E.N. Web page: www.dhkp.hr 10000 Zagreb, Croatia President: Lara Hölbling Matković Tel: +385 1 6164 111; Fax: +385 1 6164 186 (Hrvatski centar ITI) (Hrvatski centar P.E.N.) E-mail: [email protected] International Theatre Institute Basaričekova 24, 10000 Zagreb, Croatia ASSOCIATION OF DANCE ARTISTS OF CROATIA Tel: +385 1 4880 014; Fax: +385 1 4880 015 Web page: www.nsk.hr Institut Internationale du Théâtre (Udruga plesnih umjetnika Hrvatske) Director: Dunja Seiter-Šverko Međunarodni kazališni institut E-mail: [email protected] Šenoina 26, 10000 Zagreb, Croatia Web page: www.pen.hr Tel: +385 1 4813 786 DEPARTMENT OF CROATIAN THEATRE HISTORY Basaričekova 24, 10000 Zagreb, Croatia President: Nadežda Čačinovič Tel: +385 1 4920 667; Fax: +385 1 4920 668 E-mail: [email protected] INSTITUTE FOR THE HISTORY OF CROATIAN LIT- E-mail: [email protected] CROATIAN ASSOCIATION OF DRAMATIC ARTISTS Web page: www.upuh.hr ERATURE, THEATRE AND MUSIC OF THE CROAT- Web page: www.hciti.hr (Hrvatsko društvo dramskih umjetnika) President: Snježana Abramović Milković IAN ACADEMY OF SCIENCES AND ARTS (HAZU) President: Željka Turčinović Amruševa 19/III, 10000 Zagreb, Croatia CROATIAN WRITERS SOCIETY Tel: +385 1 4920 717, Fax: +385 1 4920 718 (Hrvatsko društvo pisaca) CROATIAN CENTRE OF ASSITEJ E-mail: [email protected] Basaričekova 24, 10000 Zagreb, Croatia (Odsjek za povijest hrvatskog kazališta Zavoda za po- (Hrvatski centar ASSITEJ) Web page: www.hddu.hr Tel: +385 1 4876 463; Fax: +385 1 4870 186 vijest hrvatske književnosti, kazališta i glazbe, HAZU) President: Goran Grgić International Association of Theatre for Children and Young People E-mail: [email protected] Opatička 18, 10000 Zagreb, Croatia Association Internationale du Théâtre Pour L’enfance et la Jeunesse Web page: www.hdpisaca.org Tel: +385 1 4895 333; Fax: +385 1 4895 302 Međunarodna udruga profesionalnih kazališta za djecu i mlade President: Nikola Petković E-mail: [email protected] CROATIAN INSTITUTE FOR MOVEMENT AND DANCE Web page: www.hazu.hr c/o HDDU, Amruševa 19/III,10000 Zagreb, Croatia Hrvatski institut za pokret i ples (HIPP) CENTRE FOR DRAMATIC ART Head of Department: Branko Hećimović Tel/Fax: +385 1 4813 252 Bijankinijeva 5, 10000 Zagreb, Croatia (Centar za dramsku umjetnost) E-mail: [email protected] Tel. +385 1 4621 969; 4621 967; Fax: +385 1 4641 154 Andrijevićeva 28, 10000 Zagreb, Croatia MATRIX CROATICA Web page: www.assitej.hr E-mail: [email protected] Tel: +385 1 4846 176; Fax: +385 1 4846 180 (Matica hrvatska) President: Romano Bogdan Web-page: www.danceincroatia.com E-mail: [email protected] Ulica Matice hrvatske 2, 10000 Zagreb, Croatia Founding Artistic Director: Mirna Žagar Web page: www.cdu.hr Tel: +385 1 4878 360; Fax: +385 1 4819 319 CROATIAN CENTRE OF UNIMA Executive Board President: Goran Sergej Pristaš E-mail: [email protected] (Hrvatski centar UNIMA) ZAGREB DANCE CENTER Web page: www.matica.hr (Zagrebački plesni centar) President: Igor Zidić International Puppeteers Union Ilica 10, 10000 Zagreb, Croatia Union Internationale de la Marionnette Tel: +385 1 4621 967; Fax: +385 1 4641 154 FACULTY OF PHILOSOPHY Međunarodna udruga lutkara E-mail: [email protected] Additional Study in Theatrology √ Department of Amruševa 19/III, 10000 Zagreb, Croatia Web page: www.plesnicentar.info Comparative Literature Tel/Fax: +385 1 4813 252 Founding Artistic Director: Mirna Žagar CULTURAL, SCIENTIFIC AND EDUCATIONAL (Filozofski fakultet, dodatni studij teatrologije E-mail: [email protected] INSTITUTIONS √ Odsjek za komparativnu književnost) Web page: www.unima.hr CROATIAN ASSOCIATION OF THEATRE CRITICS I. Lučića 3, 10000 Zagreb, Croatia President: Zvonko Festini AND THEATROLOGISTS MINISTRY OF CULTURE OF THE REPUBLIC OF CROATIA Tel: +385 1 6120 111; Fax: +385 1 6156 879 (Hrvatsko društvo kazališnih kritičara i teatrologa) (Ministarstvo kulture RH) E-mail: [email protected] c/o HDDU, Amruševa 19/III, 10000 Zagreb, Croatia Runjaninova 2, 10000 Zagreb, Croatia Web page: www.ffzg.hr Tel: +385 1 4920 717, Fax: +385 1 4920 718 Tel: +385 1 4866 308; Fax: +385 1 4816 755 Head of Studies: Boris Senker E-mail: [email protected] Web page: www.min-kulture.hr Dean: Damir Boras President: Sanja Nikčević Minister of Culture: Jasen Mesić

72 CROATIAN THEATRE 5_2011 73 ACADEMY OF DRAMATIC ARTS CROATIAN THEATRE BRITISH COUNCIL CITY COMEDY THEATRE (Akademija dramske umjetnosti) (Hrvatsko glumište) (Britanski savjet) (Zagrebačko gradsko kazalište Komedija) Trg maršala Tita 5, 10000 Zagreb, Croatia Publisher: Croatian Association of Dramatic Artists Ilica 12, 10000 Zagreb, Croatia Kaptol 9, 10000 Zagreb, Croatia Tel: +385 1 4828 506; Fax: +385 1 4828 508 Amruševa 19, 10000 Zagreb, Croatia Tel: +385 1 4899 508; Fax: +385 1 4833 955 Tel/Fax: +385 1 4812 179 E-mail: [email protected] Tel: +385 1 4920 717 E-mail: [email protected] E-mail: [email protected] Web page: www.adu.hr E-mail: [email protected] Web page: www.britishcouncil.org/croatia Web page: www.komedija.hr Dean: Enes Midžić Web page: www.hddu.hr Director: Les Dangerfield Manager: Niko Pavlović Editor-in-Chief: Zlatko Vidačković CROATIAN COPYRIGHT AGENCY FRENCH CULTURAL INSTITUTE KEREMPUH SATIRICAL THEATRE (Hrvatska autorska agencija, Centar za intelektualno vlasništvo) FRACTION, Magazine for Performing Arts (Francuski institut) (Satiričko kazalište Kerempuh) Ribnjak 40, 10000 Zagreb, Croatia (Frakcija, magazin za izvedbene umjetnosti) Institut Français Ilica 31, 10000 Zagreb, Croatia Tel: +385 1 4811 055; Fax: +385 1 4817 122 Publisher: CDU Hebrangova 2, 10000 Zagreb, Croatia Tel: +385 1 4833 354; Fax: +385 1 4833 348 E-mail: [email protected] Andrijevićeva 28, 10000 Zagreb, Croatia Tel: +385 1 4893 650, Fax: +385 1 4893 673 E-mail: [email protected] Web page: www.haa.hr Tel: +385 1 4846 176; Fax: +385 1 4846 180 E-mail: [email protected] Web page:www.kazalistekerempuh.hr Theatre Copyrights Administrator: Djurdjica Paić E-mail: [email protected] Web page: http://ifz.hr Manager: Duško Ljuština Director: Jean-Marc Cassam-Chenai CULTURELINK NETWORK Web page: www.cdu.hr/frakcija ZAGREB YOUTH THEATRE (Mreža Culturelink) Editor-in-Chief: Ivana Ivković GOETHE INSTITUTE (Zagrebačko kazalište mladih) Lj. F. Vukotinovića 2, P.O. Box 303, 10000 Zagreb, Croatia (Goethe institut) LUKA, Magazine for Puppet Theatre Teslina 7, 10000 Zagreb, Croatia Tel: +385 1 4877 460; Fax: +385 1 4828 361 Ulica grada Vukovara 64, 10000 Zagreb, Croatia (Luka, revija za lutkarsko kazalište) Tel: +385 1 4874 560; Fax: +385 1 4872 551 E-mail: [email protected] Tel: +385 1 6195 000 Fax: +385 1 6274 355 Publisher: Zagreb Puppet Theatre E-mail: [email protected] Web page:www.culturelink.org E-mail: [email protected] Trg kralja Tomislava 19, 10000 Zagreb, Croatia Web page: www.zekaem.hr Co-ordinator: Biserka Cvjetičanin Web page: www.goethe.de/zagreb Tel: +385 1 4878 443 Fax: +385 1 4878 466 Manager: Dubravka Vrgoč Director: Katrin Ostwald-Richter ARTS ACADEMY UNIVERSITY OF SPLIT E-mail: [email protected] (Umjetnička akademija Sveučilišta u Splitu) Web page: www.zkl.hr ITALIAN CULTURAL INSTITUTE ZAGREB PUPPET THEATRE Zagrebačka 3, 21000 Split, Croatia Editor-in-Chief: Petra Mrduljaš (Talijanski institut za kulturu) (Zagrebačko kazalište lutaka) Tel: +385 21 360 178; Fax: +385 21 344 043 Trg kralja Tomislava 19, 10000 Zagreb, Croatia E-mail: [email protected] MOVEMENTS, Magazine for Dance Art Istituto Italiano di cultura Tel: +385 1 4878 444; Fax: +385 1 4878 465 Web page: www.umas.hr (Kretanja, časopis za plesnu umjetnost) Preobraženska 4, 10000 Zagreb, Croatia E-mail: [email protected] Dean: Branko Matulić Publisher: Croatian Centre of ITI Tel: +385 1 4830 208; Fax: +385 1 4830 207 Web page: www.zkl.hr Basaričekova 24, 10 000 Zagreb, Croatia E-mail: [email protected] Manager: Nikola Ćubela UNIVERSITY JOSIP JURAJ STROSSMAYER OF OSIJEK Tel: +385 1 4920 667; Fax: +385 1 4920 668 Web page: www.iiczagabria.esteri.it ARTS ACADEMY OF OSIJEK E-mail: [email protected] Director: Virginia Piombo CHERRY CITY THEATRE (Sveučilište Josipa Jurja Strossmayera u Osijeku, Web page: www.hciti.hr (Gradsko kazalište Trešnja) Umjetnička akademija Osijek) Editor-in-Chief: Iva Nerina Sibila Mošćenićka 1, 10000 Zagreb, Croatia Kralja Petra Svačića bb, 31000 Osijek, Croatia THEATRES Tel: +385 1 3638 010 Fax: +385 1 3638 380 Tel: +385 31 253 333; Fax: +385 31 253 353 E-mail: [email protected] ZAGREB E-mail: [email protected] Web page: www.kazaliste-tresnja.hr Web page: www.uaos.hr CROATIAN NATIONAL THEATRE IN ZAGREB Manager: Saša Anočić Dean: Helena Sablić Tomić (Drama, Opera, Ballet) INTERNATIONAL CULTURAL CENTRES (Hrvatsko narodno kazalište u Zagrebu; drama, opera, balet) BIRD OF FIRE THEATRE Trg maršala Tita 15, 10000 Zagreb, Croatia (Gradsko kazalište Žar ptica) AUSTRIAN CULTURAL FORUM Tel: +385 1 4888 413; Fax: +385 1 4888 417 Bijenička 97, 10000 Zagreb, Croatia (Austrijski kulturni forum) E-mail: [email protected] Tel: +385 1 2347 227 Fax: +385 1 2347 855 Web page: www.hnk.hr E-mail: [email protected] Österreichisches Kulturforum Agram Artistic Director of Drama: Sanja Ivić Web page: www.zar-ptica.hr THEATRE MAGAZINES Gundulićeva 3, 10000 Zagreb, Croatia Manager: Ana Lederer Manager: Marija Sekelez Tel: +385 1 4881 250; Fax: +385 1 4830 739 THEATRE E-mail: [email protected] GAVELLA DRAMA THEATRE (Kazalište) Web page: www.kulturforum-zagreb.org (Gradsko dramsko kazalište Gavella) Publisher: Croatian Centre of ITI Director: Georg Christian Lack Frankopanska 8-10, 10000 Zagreb, Croatia Basaričekova 24, 10000 Zagreb, Croatia Tel: +385 1 4849 222; Fax: +385 1 4848 540 Tel: +385 1 4920 667; Fax: +385 1 4920 668 E-mail: [email protected] E-mail: [email protected] Web page: www.gavella.hr Web page: www.hciti.hr Manager: Darko Stazić Editor-in-Chief: Željka Turčinović

74 CROATIAN THEATRE 5_2011 75 &TD THEATRE KUFER OSIJEK RIJEKA CITY PUPPET THEATRE (Teatar &TD) Tuškanac 24, 10000 Zagreb, Croatia CROATIAN NATIONAL THEATRE IN OSIJEK (Gradsko kazalište lutaka, Rijeka) Savska 25, 10000 Zagreb, Croatia E-mail: [email protected] (Drama, Opera) Blaža Polića 6, 51000 Rijeka, Croatia Tel: +385 1 4593 603; Fax: +385 1 4843 502 Artistic directors: Franka Perković and Dora (Hrvatsko narodno kazalište u Osijeku, drama, opera) Tel: +385 51 325 680; Fax: +385 51 325 691 E-mail: [email protected] Ruždjak Podolski Županijska 9, 31000 Osijek, Croatia E-mail: [email protected] Web page: www.sczg.hr Tel: +385 31 220 700; Fax: +385 31 220 734 Web page: www.gkl-rijeka.hr Artistic Director: Nataša Rajković KNAP Artistic director: Zrinka Kolak Fabijan Cultural centre Peščenica E-mail: [email protected] EXIT THEATRE Ivanićgradska 41a, 10000 Zagreb, Croatia Web page: www.hnk-osijek.hr HKD THEATRE (Teatar Exit) Tel: +385 1 2303 122; Fax: +385 1 2317 354 Manager: Božidar Šnajder (HKD teatar) Ilica 208, 10000 Zagreb, Croatia E-mail: [email protected] CHILDREN’S THEATRE BRANKO MIHALJEVIĆ Strossmayerova 1, 51000 Rijeka, Croatia Tel: +385 1 3707 626; Fax: +385 1 3704 120 Web page: www.knap.hr (Dječje kazalište Branka Mihaljevića u Osijeku) Tel: +385 51 377 327; Fax: +385 51 377 328 E-mail: [email protected] Manager: Tomislav Štriga Trg bana Jelačića 19, 31000 Osijek, Croatia E-mail: [email protected] Web page: www.teatarexit.hr Tel: +385 31 501 485 Fax: +385 31 501 488 Web page: www.hkd-teatar.com Manager: Matko Raguž THEATRE RUGANTINO Artistic director: Nenad Šegvić Ivana Rangera 2, 10000 Zagreb, Croatia E-mail: [email protected] SMALL STAGE THEATRE Tel: +385 1 5554 035; Fax: +385 1 4550 272 Web page: www.djecje-kazaliste.hr SPLIT Manager: Jasminka Mesarić (Kazalište Mala scena) E-mail: [email protected] CROATIAN NATIONAL THEATRE IN SPLIT Medveščak 2, 10000 Zagreb, Croatia Web page: www.rugantino.hr POŽEGA (Drama, Opera, Ballet) Tel/Fax/Sec: +385 1 4683 352 Manager: Gordana Gadžić (Hrvatsko narodno kazalište Split- drama, E-mail: [email protected] POŽEGA CITY THEATRE opera, balet) Web page: www.mala-scena.hr THEATRE GAVRAN (Gradsko kazalište Požega) Trg Gaje Bulata 1, 21000 Split, Croatia Manager: Vitomira Lončar Dugi dol 58c, 10000 Zagreb, Croatia Trg Sv. Trojstva 20, 34000 Požega, Croatia Tel/Fax: +385 1 2346 068 Tel/Fax: +385 34 273 161 Tel: +385 21 344 999; Fax: +385 21 306 911 HISTRION ACTING COMPANY E-mail: [email protected] E-mail: [email protected] E-mail: [email protected] (Glumačka družina Histrion) Web page: www.teatar-gavran.hr Web page: www.gkp.hr Web page: www.hnk-split.hr Ilica 90, 10000 Zagreb, Croatia Artistic Director: Miro Gavran Manager: Tomislav Čmelar Director of Drama: Ante Čedo Martinić Tel: +385 1 5496 387; Fax: +385 1 5496 397 Manager: Duško Mucalo DUBROVNIK PULA E-mail: [email protected] SPLIT CITY YOUTH THEATRE Web page: www.histrion.hr MARIN DRŽIĆ THEATRE ISTRIAN NATIONAL THEATRE (Gradsko kazalište mladih Split) Manager: Zlatko Vitez (Kazalište Marina Držića) (Istarsko narodno kazalište) Trg Republike 1/I, 21000 Split, Croatia Kovačka 1, 20000 Dubrovnik, Croatia Matka Laginje 5, 52100 Pula, Croatia I. B. MAŽURANIĆ PUPPET SCENE Tel: +385 21 344 979; Fax: +385 21 321 258 Tel: +385 20 321 420; Fax: +385 20 321 071 Tel: +385 52 212 677; Fax: +385 52 214 303 (Lutkarska scena I. B. Mažuranić) E-mail: [email protected] E-mail: [email protected] E-mail: [email protected] Vlaška 106, 10000 Zagreb, Croatia Web page: www.gkm.hr Web page: www.kazaliste-dubrovnik.hr Web page: www.ink.hr Tel/Fax: +385 1 4640 953 Manager: Ljubica Srhoj Manager: Jasna Jukić Manager: Gordana Jeromela Kaić E-mail: [email protected] SPLIT CITY PUPPET THEATRE Web page: www.scena-ibm.hr KARLOVAC RIJEKA (Gradsko kazalište lutaka Split) Manager: Saša Gregurić CITY THEATRE ZORA’S HOUSE CROATIAN NATIONAL THEATRE “IVAN PL. ZAJC” Tončićeva 1, 21000 Split, Croatia CHILDREN’S THEATRE DUBRAVA (Gradsko kazalište Zorin dom) (Drama, Opera, Ballet, Italian Drama) Tel: +385 21 395 958; Fax: +385 21 394 714 (Dječje kazalište Dubrava) Domobranska 1, 47000 Karlovac, Croatia (Hrvatsko narodno kazalište Ivana pl. Zajca, drama, opera, balet,E-mail: [email protected] Cerska 1, 10000 Zagreb, Croatia Tel/Fax: +385 47 614 950 talijanska drama) Web page: www.gkl-split.hr Tel: +385 1 2050 030 Fax: +385 1 2910 487 E-mail: [email protected] Uljarska ulica 1, 51000 Rijeka, Croatia Manager: Zdenka Mišura E-mail: [email protected] Web page: www.zorin-dom.hr Tel: +385 51 355 924; Fax +385 51 355 923 Web page: www.kazalistedubrava.hr Manager: Zvonimir Ilijić E-mail: [email protected] Manager: Leo Vukelić [email protected] Web page: www.hnk-zajc.hr Director of Drama: Damir Orlić Manager: Nada Matošević Orešković

76 CROATIAN THEATRE 5_2011 77 ŠIBENIK CROATIAN THEATRES ABROAD DAYS OF SATIRE, ZAGREB DREAMTIME ZADAR ŠIBENIK THEATRE (Festival of Annual Satire Production in Croatia) International Festival of Contemporary Theatre (Šibensko kazalište) BOSNIA AND HERZEGOVINA (Dani satire √ Zagreb: Festival godišnje satiričke produkcije (Zadar snova) u Hrvatskoj) Nikole Matafara 2a, 23000 Zadar, Croatia Ulica kralja Zvonimira 1, 22000 Šibenik, Croatia CROATIAN NATIONAL THEATRE IN MOSTAR Ilica 31, 10000 Zagreb, Croatia Tel: / Fax: +385 23 254 177 Tel: +385 22 213 123; Fax: +385 22 212 134 (Hrvatsko narodno kazalište u Mostaru) Tel: +385 1 4833 354; Fax: +385 1 4833 348 E-mail: [email protected] E-mail: [email protected] Trg hrvatskih velikana bb, 88000 Mostar, E-mail: [email protected] Web: www.zadarsnova.hr Web page: www.sibensko-kazaliste.hr Bosnia and Herzegovina Web: www.kazalistekerempuh.hr Artistic Director: Kristijan Mičić Tel/Fax: +387 36 310 506 Manager: Duško Ljuština Time Held: August VARAŽDIN Web page: www.hnk.ba Time Held: June CROATIAN NATIONAL THEATRE IN VARAŽDIN Manager: Ivan Ovčar THEATRE SUMMER, ZADAR (Hrvatsko narodno kazalište u Varaždinu) EUROKAZ, ZAGREB (Festival of New Theatre) (Zadarsko ljeto, Zadar) HUNGARY Cesarčeva 1, 42000 Varaždin, Croatia Eurokaz, Zagreb (Festival novog kazališta) Široka ulica 8, 23000 Zadar, Croatia Tel: +385 42 214 688 Fax: +385 42 211 218 CROATIAN THEATRE IN PECS Dežmanov prolaz 3, 10000 Zagreb, Croatia Tel: +385 23 314 586; Fax: +385 23 314 590 E-mail: [email protected] (Hrvatsko kazalište u Pečuhu) Tel: +385 1 4847 856; Fax: +385 1 4854 424 E-mail: [email protected] Web page: www.hnkvz.hr Anna 17, H-7621 Pecs, Hungary E-mail: [email protected] Web: www.hnk-zadar.hr Manager: Jasna Jakovljević Tel: +36 72 514 300; Fax: +36 72 210 197 Web: www.eurokaz.hr Manager: Renato Švorinić E-mail: [email protected] Artistic Director: Gordana Vnuk Time Held: June & August VIROVITICA Web page: www.horvatszinhaz.hu Time Held: June VIROVITICA THEATRE Manager: Slaven Vidaković WORLD THEATRE FESTIVAL (Kazalište Virovitica) GOLDEN LION (Festival svjetskog kazališta) Trg Ljudevita Patačića 2, 33000 Virovitica, Croatia (International festival of chamber theatre) Teslina 7, 10000 Zagreb, Croatia Tel/Fax: +385 33 721 330; 725 220 (Međunarodni festival komornog teatra Zlatni lav) Tel: +385 1 4872 554; Fax: +385 1 4872 582 E-mail: [email protected] FESTIVALS Trgovačka 6, 52470 Umag, Croatia E-mail: [email protected] Web page: www.kazalistevirovitica.hr Tel: +385 52 743 447; Fax: +385 52 743 474 Web: www.zagrebtheatrefestival.hr Manager: Miran Hajoš MARUL’S DAYS, SPLIT (Festival of Croatian Drama) E-mail: [email protected] Artistic Directors: Dubravka Vrgoč, Ivica Buljan (Marulićevi dani, Split: Festival hrvatske drame) Web: www.zlatni-lav.hr Time Held: September ZADAR Trg Gaje Bulata 1, 21000 Split, Croatia Director: Damir Zlatar Frey CHILDREN ZADAR PUPPET THEATRE Tel: +385 21 344 999; Fax: +385 21 306 911 Time Held: July (Kazalište lutaka Zadar) E-mail: [email protected] DUBROVNIK SUMMER FESTIVAL (Drama, Music) INTERNATIONAL FESTIVAL “THE VERY BEST” Sokolska 1, 23000 Zadar, Croatia Web: www.hnk-split.hr (Dubrovačke ljetne igre - drama, glazba) (Naj naj naj festival) Tel: +385 23 212 754; Fax: +385 23 311 122 Manager: Duško Mucalo Od Sigurate 1, 20000 Dubrovnik, Croatia Bijenička 97, 10000 Zagreb, Croatia E-mail: [email protected] Time Held: April Tel: +385 20 326 100; Fax: +385 20 323 365 Tel: +385 1 2347 228; Fax: +385 1 2347 855 Web page: www.klz.hr FESTIVAL RIJEKA E-mail: [email protected] E-mail: [email protected] Manager: Iris Pavić Tumpa (Međunarodni festival malih scena √ Rijeka) Web: www.dubrovnik-festival.hr Web: www.zar-ptica.hr Artistic Director: Marija Sekelez CROATIAN NATIONAL THEATRE IN ZADAR HKD Teatar, Korzo 16/2, 51000 Rijeka, Croatia Artistic Director of Drama: Dora Ruždjak Podolski Time Held: April (Hrvatsko narodno kazalište u Zadru) Tel: +385 51 377 327; Fax: +385 51 377 328 Intendant: Ivica Prlender E-mail: [email protected] Time Held: July & August Široka ulica 8, 23000 Zadar, Croatia SLUK, OSIJEK, Meeting of Croatian Tel: +385 23 314 586; Fax: +385 23 314 590 Web: www.theatrefestival-rijeka.hr SPLIT SUMMER FESTIVAL Puppeteers and Puppet Theatres E-mail: [email protected] Manager: Nenad Šegvić (Drama, Opera, Ballet and Concert Programmes) (SLUK, Osijek, Susret lutkara i lutkarskih kazališta Web page: www.hnk-zadar.hr Time Held: May (Splitsko ljeto √ dramski, operni, baletni i koncertni program) Hrvatske) Manager: Renato Švorinić ACTOR’S FESTIVAL, VINKOVCI HNK, Trg Gaje Bulata 1, 21000 Split, Croatia Trg bana Jelačića 19, 31000 Osijek, Croatia (Festival glumca, Vinkovci) Tel: +385 21 344 999; Fax: +385 21 306 911 Tel: +385 31 501 485; Fax: +385 31 501 488 c/o HDDU, Amruševa 19, 10000 Zagreb, Croatia E-mail: [email protected] E-mail: [email protected] Tel: +385 1 4920 717 Fax: +385 1 4920 718 Web: www.splitsko-ljeto.hr Web: www.djecje-kazaliste.hr E-mail: [email protected] Manager: Nikša Bareza Manager: Jasminka Mesarić Web: www.festivalglumca.hr Artistic Director of Drama: Senka Bulić Time Held: biannually / April & May Time Held: May Time Held: July & August

78 CROATIAN THEATRE 5_2011 79 ŠIBENIK INTERNATIONAL CHILDREN’S FESTIVAL CROATIAN THEATRE 5_2011 (Međunarodni dječji festival Šibenik) Kralja Zvonimira 1, 22000 Šibenik, Croatia A publication on Croatian drama and theatre Tel: +385 22 213 123 Fax: +385 22 212 134 E-mail: [email protected] Web: www.mdf-sibenik.com Publisher: Croatian Centre of ITI Festival Director: Jasenka Ramljak Time Held: June & July For the Publisher: Željka Turčinović Address: Basaričekova 24, 10 000 Zagreb, Croatia INTERNATIONAL PUPPET THEATRE FESTIVAL (PIF), ZAGREB (PIF, Zagreb, Međunarodni festival kazališta lutaka) Tel. +385 1 4920 667; Fax. +385 1 4920 668 MCUK, B. Magovca 17, 10010 Zagreb, Croatia E-mail: [email protected] Tel: +385 1 6601 626 Fax: +385 1 6601 619 www.hciti.hr E-mail: [email protected] Web: www.public.carnet.hr/pif-festival/ Director: Josip Forjan Time Held: September Editorial Board: Matko Botić, Hrvoje Ivanković, Željka Turčinović DANCE Art Director: CONTEMPORARY DANCE WEEK, ZAGREB Bernard Bunić (Tjedan suvremenog pleas, Zagreb) Translated into English by: HIPP, Biankinijeva 5, 10000 Zagreb, Croatia Tel: +385 1 4641 154; Fax: +385 1 4621 969 Lidija Zoldoš E-mail: [email protected] English language editing: Web: www.danceweekfestival.com Artistic Director: Mirna Žagar Susan Jakopec Time Held: May Design & Layout: AXIS-DESIGN d.o.o. Zagreb FESTIVAL OF DANCE AND NON-VERBAL THEATRE, SVETIVINČENAT (Festival plesa i neverbalnog teatra, Svetivinčenat) Print: Edok, Samobor ZPA, Hebrangova 36, 10000 Zagreb, Croatia E-mail: [email protected] Web: www.svetvincenatfestival.com Artistic Director: Snježana Abramović Milković Time Held: July Published with the support of: Ministry of Culture of the Republic of Croatia City Office of Education, Culture and Sport √ Department of Culture, Zagreb PUF INTERNATIONAL THEATRE FESTIVAL, PULA, POREČ (PUF - Pula, Poreč; Međunarodni kazališni festival mladih) INAT Pula, Sergijevaca 32, 52100 Pula, Croatia Tel/Fax: +385 52 223 915 E-mail: [email protected] Web: www.kazaliste-dr-inat.hr Artistic Director: Branko Sušac Time Held: July

INTERNATIONAL YOUTH THEATRE FESTIVAL (MKFM) PULA Front page:Alabama, Gavella Drama Theatre, Photo by: Sandra Vitaljić (MKFM, Pula; Međunarodni kazališni festival mladih) INK Pula, Matka Laginje 5, 52100 Pula, Croatia Tel: +385 52 218 890 Fax: +385 52 214 303 E-mail: [email protected] Web: www.ink.hr Manager: Gordana Jeromela Kaić Time Held: June & August

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