GENERATION 91-95 originated from the motifs found in the novel "Fuck a thousand dinars" by Boris Dežulović. The axis of the story is an absurd situation arising from the encounter of two groups of masked soldiers on a secret mission, the members of the Croatian Defense Council (HVO) and the BIH Army, in the summer of 1993 somewhere in the Bosnian backcountry. A screwball tragedy is unavoidable.
Twelve young men aged 14 to 18 take upon themselves the biographies of Dežulović’s twelve fictional characters and through them, enter into the war chronology of the 1990s and the time prior to that. In the space between the fiction of a novel on the one hand, and the fiction of the theater on the other, the only real element are those boys and young men born during the Homeland War – a generation that does not have a personal experience of the war, but that have had it institutionally mediated through family, the school and the media. In the second part of the play, the young men present themselves: by stating facts about the recent history of the Croatian state and the Homeland War, e.g. starting with the first killed Croatian defender Josip Jović, over the fall of Vukovar to the signing of the Dayton Agreement. In that, they portray all the shortcomings of a society that does not deal with its past, leaving to the younger generations a predominantly xenophobic potential as a legacy. Aside from enviable success at international theater festivals, GENERATION 91-95 also represents a kind of emancipatory process for all its protagonists, maturing in both performance and art, and in their social awareness.