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Must the performer's personality be destroyed in order to destroy the performance itself?
Can art change a human being? Can theater change the world? Must we stop being actors in order to become revolutionaries?
NO ONE IS INNOCENT is a dance project in the production of the Art Organization Protunapad.
I am Ante Gotovina. I learned by heart the names of civilians killed during and after the operation Storm, whose names and age are known. This is possible only in the theater.
The five year plan failed. The ten year plan failed. Planning in the broader sense failed. Ambitions for a better life failed. People are digging around in dumpsters. This small country is a big pile of trash! Everyone’s appalled but nobody’s doing anything about it.
DAMN HIS COUNTRY TRAITOR is a line from what used to be former Yugoslavia’s hymn, and the name of Oliver Frljić’s author project in the production of the Slovenian Youth Theater from Ljubljana. The dramaturgy of the play was executed by Borut Šeparović and Tomaž Toporišić. The play speaks of life and death, love and […]
Did we fight for the Croatia we have today? – A play reported on by global media outlets, CNN and Reuters, offered an answer to a question asking who exactly represents Croatia, what kind of country do we want and love, in which moment do we win, and when are we forced to admit defeat.
The play GENERATION 91-95 – CROATIAN HISTORY CLASS is an homage to the MONTAЖ$TROJ group, which started its activity 20 years ago in the Zagreb Youth Theater.
You will learn the rules. You will learn the spoken rules and the implied rules. You will learn the rules and their exceptions. Become an adjusted member of society.
Bahluli, Bilen, Budimir, Burić, Ćuk, Dedić, Džeba, Kovačić, Krasniqi, Mioč, Muzler, Penović, Pokrovac, Prša, Rodić, Sliško, Šakota, Šobot, Šiškić, Tači, Vrdoljak, Zahirović, Zečević. This list of names verifies that Zagreb has significantly more people linked with crime ending up in the crime coverage news than in prison. The out-of-theater adventure ZAGREB BY NIHGT begins exactly one minute before midnight and does not guarantee the viewers' safety.
What do an American woman recognizing herself in the Croatian identity, an Iraqi TV-reporter with the world's most expensive shoes, a controversial artist who ends up in the psychiatry ward due to his heroic exposure to danger and an embittered veteran in a desperate action to realize his denied rights have in common? To be more precise – what do Julienne Eden Bušić, Chris Burden, Muntadhar al-Zaid and Robert Kralj share? What is the connection between taboo, tajna (secret), taik, technology, television, territory, theater, theory, Tito, transition, tourism, trenutak (moment), tolerance and tactics? This shamelessly named performance offers that exact link: the T-factor. T-factor avoids definitions. T-factor acts much like pornography: you know it when you see it!
A dog stands alone in the middle of a big stage. Around him remote-controlled cars directed by boys in the audience are buzzing. In spite of the “traffic jam” around him, the dog is concentrating on a single point in the full audience: the place where his trainer sits, who will guide him with orders through the performance. Unnoticeable and in the audience, there is an actor who will lend his voice to the dog.