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MEĐUNARODNI TEATARSKI FESTIVAL AUTORSKIH PROJEKATA
THE INTERNATIONAL THEATRE FESTIVAL OF AUTHORING PROJECTS
Friday/Petak 21.5.2010.
17,00 Teatar Sloga
GRADSKO KAZALIŠTE
ŽAR PTICA
Zagreb, Hrvatska
Bilo jednom jedno vrijeme
(Once there was a time) 50’
Autor i reditelj: Sunny Suninsky
21,00 Teatar Sloga
THE UNIQUE PHYSICAL
THEATRE OF ADAM DARIUS
AND KAZIMIR KOLESNIK
Helsinki, Finland
Smrt strašila
(Death of a Scarecrow) 68’
Concepts an Choreography
by Adam Darius
and Kazimir Kolesnik
Saturday/Subota 22.5.2010.
19,00 Teatar Sloga
MUNGU THEATRE GROUP / Tehran, Iran
Večeras je duga večera
(Tonight’s long dinner) 50’
Author / Director:
Homayun Ghanizadeh
Sunday/Nedjelja 23.5.2010.
21,00 Teatar Sloga
MODERN TIMES STAGE
COMPANY i OKC ABRAŠEVIĆ
Toronto - Kanada,
Mostar - Bosna i Hercegovina
Araš (Aurash) 50’
Autor / Author: Bahram Beyzai’e
Reditelj / Director: Soheil Parsa
Monday/Ponedjeljak 24.5.2010.
19,00 / 21,00 Teatar Sloga
PLESNI TEATAR IGEN
Celje, Slovenija
Dama s kamelijama
(The Lady of camellias) 55’
Authors: orig. Alexandre Dumas
ml. Igor Jelen
i Mirjana Blažević Lešić
Director: Igor Jelen
Tuesday/Utorak 25.5.2010.
19,00 Teatar Sloga
MA’AYAN DANOCH &
IVAN MIJACEVIC THEATRE
Tel Aviv - Izrael, Ptuj - Slovenija
Sjedeći na ogradi
(Sitting on a Fence) 40’
Authors / Directors: Ma’ayan Danoch & Ivan
Mijacevic
Wednesday/Srijeda 26.5.2010.
19,00 Teatar Sloga
PERM DRAMA THEATRE “U MOSTA”
Perm, Russia
Zvijer (The Beast) 130’
Authors: M. Gindin / V. Sinakevich
Director: Sergey Fedotov
Thursday/Četvrtak 27.5.2010.
19,00 Teatar Sloga
MISERO PROSPERO PROJECT
Budapest, Hungary
Ruske lutke
(Matruska /Russian Dolls) 60’
Authors: Daniela H. Faith
and Carlos Rodero
Director: Carlos Rodero
Friday/Petak 28.5.2010.
17,00 Teatar Sloga
ZACHES TEATRO / Florence, Italy
Šarm idiotizma
(The Charm of Idiocy) 25’
Author: Zaches Teatro,
Director: Luana Gramegna
21,00 Teatar Sloga
ANE LAN THEATER GROUP Klofta, Norway
Krug (Sirkel ) 45’
Author / Director: Ane Lan
Saturday/Subota 29.5.2010.
19,00 Teatar Sloga
LANÒNIMA IMPERIAL
Barcelona, Spain
Varijacije Al•leluia
(Variacions Al•leluia) 60’
Author / Director: Juan Carlos Garcia
Filmski program Teatarfesta
Saturday/Subota 22.5.2010.
18,00 Teatar Sloga
Into Thin Air
Author: Mohammadreza Farzad, 26’
Sunday/Nedjelja 23.5.2010.
18,00 Teatar Sloga
21 prijava na oglas za zaposlenje Farahnaz Sharifi /21 Employment Ads by Farahnaz Sharifi
Author: Farahnaz Sharifi, 30’
Sudbina Farahnaz Sharifi
/ Destiny by Farahnaz Sharifi,
Author: Farahnaz Sharifi, 45’
Friday/Petak 21.5.2010.
17,00 Teatar Sloga
Gradsko kazalište “Žar ptica”, Zagreb, Hrvatska
City theatre “Glowing bird”, Zagreb, Croatia
Bilo jednom jedno vrijeme
(Once there was a time) 50’
Autor/Reditelj, Author/Director:
Aleksandar Ivanov (Sunny Suninsky)
Igraju/Actors: Berislav Tomicic, Ana-Marija
Bokor, Gorana Marin, Zana Bumber
Mitja Smiljanic, Zoran Kelava, Tomislav Batancic /Gitara/, Marija Sekelez /Pripovijedačica/
Scenografija/Set: Miljenko Sekulić
Kostimografija/Costume: Danica Dedijer
Rasvjeta/Light design: Saša Mondečar
Muzika/Music: Damir Šimunović
Kontakt/Contact: Zlatko Cakic, Gradsko
kazalište “Žar ptica”, Bijenicka 97, 10000 Zagreb,
Hrvatska, Tel: +385 1 234 7227, +385 1 234 7855
[email protected], www.zar-ptica.hr
O predstavi / About the play
Bilo jednom jedno vrijeme
U ovoj priči, koja se zbila davno, tako davno
kada ničega – osim Vremena nije bilo, otkrićemo
vam tajnu kako su male sekunde postajale sve
veće i veće, i pretvarale se u minute, sate i dane...
I šta je sve snašlo dvanaest Mjeseci. Naime, dok
je jedne prekrio bijeli snijeg, drugi su se oblačili
u zelene ogrtače, a treći pak nisu mogli odoljeti
zovu mora i putovanja.... Zbunjeni mjeseci tada
nisu ni znali da su nastala godišnja doba.
Još mnogo iznenađenja skriva ova predstava,
a najveće je svakako ono kada je u priču ušao
Čovjek i poželio kupiti Vrijeme za sebe.
Predlažemo da ne propustite pogledati ovu
neobičnu bajku, poučnu i zabavnu istovremeno, s
jasnom porukom o trajanju i prolaznosti svega...
osim vremena, koje je jedino vječno.
Once there was a time
In this story, which happened long ago...so long,
there was nothing except Time…we will tell
you the secret how little Seconds became bigger and bigger, and turned into Minutes, Hours
and Days…And what happened to the twelve
Months: some were covered with snow, other
dressed in green coats, and some just could not
resist the calling of seas and travelling…The confused Months didn’t know then, that the seasons
have appeared.
Even more surprises are hidden in this play, but
the biggest for sure is when Man enters the story
and wishes to buy Time for himself.
We suggest not to miss this unusual fairy tale,
instructive and funny at the same time, with a
clear message about lasting and transiency of
everything…except time, for it’s forever.
O pozorištu / About the theatre
Osnovano kao privatno pozorište, registrovano
je 1981. god. kao trajna radna zajednica “Teatar
Žar ptica”. Smješteno u privatnom prostoru
jednog od osnivača i prvog direktora Tomice Milanovskog, u starom dijelu Vlaške ulice, kazalište
je svoju djelatnost obavljalo u dječjim vrtićima,
školama i gostujući u mnogim mjestima izvan Zagreba. U tom periodu pozorište je bilo putujuće.
1996. god. grad Zagreb dodjeljuje Teatru prostor kao priznanje za dotadašnji rad, pa tako
“Žar ptica” prošavši brojne etape umjetničkog i
organizacijskog rasta 1997. god. postaje Gradsko
kazalište “Žar ptica” na adresi Bijenička c. 97.
U junu 2000. godine za direktoricu kazališta
imenovana je dramska umjetnica Marija Sekelez.
U aprilu 2001. godine GK “Žar ptica” pokrenulo je
svoj festival: “Naj, naj, naj festival” kojim je okupilo značajan broj pozorišta iz Hrvatske. 2007.
god. postao međunarodni i po broju sudionika i
gledatelja postao respektabilan dječji Festival u
široj regiji.
It was founded as a private theatre, and registered
in 1981 as a permanent work group “Theatre
Glow of Birds”. The theatre is situated in the pri-
vate rooms of one of the founders and first director Tomica Milanovski, in the old part of Vlaska
Street. The theatre was performing in nursery
schools, elementary schools and as a guest in
many places outside Zagreb. During that time the
theatre was a travelling one.
In 1996, the city of Zagreb, gives the theatre a
space, as an acknowledgment for their work. This
way, in 1997, “Glow of Birds” becomes the city
theatre in Bijenicka Street.
In June 2000, the new director of the theatre
became Marija Sekelez.
In April 2001, the theatre founded its own festival
“Best, best, best festival” and gathered a certain
number of theaters from Croatia. In 2007, the
festival went international and, regarding the
number of participants and viewers, it became a
respected children’s festival in a wider region.
O autoru/režiseru / About the author/director
Aleksandar Ivanov, umjetničko ime Sunny Suninsky, rođen je 27. lipnja 1970. godine u Sofiji,
Bugarska.
Godine 1994. završio je studij lutkarstva i lutkarske režije u klasi Nikoline Giorgijeve i filmsku
režiju u klasi prof. L. Stojkova.
Do sada je režirao više predstava za djecu:
“Bremenski muzičari”, “Koliko je duga jedna
priča”, “Pas koji ne može lajati”, “Slova”, “Note”
i dr. Za odraslu publiku režirao je predstave:
“Izbacivači”, “Alkemičar”, “Večernji akt”, “Prosidba”, “Medvjed” (Čehov) i “Nitko ne zna da sam
pas” (inspirisano Internetom).
Režirao je i filmove: “Soljenka” i “Noćna smjena”.
Radi na TV u dječjem programu. Godine 1995.
osnovao je vlastiti “Edukativni teatar”.
Za dosadašnji rad nagrađivan je na državnim i
međunarodnim festivalima (u SAD, Njemačkoj,
Austriji i Hrvatskoj), a dobio je i nagradu za
najbolju predstavu u Bugarskoj za 1995. godinu.
Predstava “San putujućeg glumca” nagrađena je
u Austriji, a predstavi “Herkules” dodijeljena je u
Varni (Bugarska) 2002. god. na međunarodnom
festivalu specijalna nagrada “Zlatni delfin”.
U Gradskom kazalištu “Žar ptica” režirao je do
sada tri predstave: “Čarobna flauta” (na festivalu
hrvatskog ASSITEJ-a nagrada za najbolju režiju,
a na SLUK-u u Osijeku nagrada za tekst/ideju),
“Čudesni svijet brojeva” ( Sluk Osijek - nagrada
za najbolju dramatizaciju, 09.03. 2010. god. putuje na Međunarodni festival u Kairo) i “Bilo
jednom jedno vrijeme”.
Aleksandar Ivanov (artistic name Sunny Suninsky), was born on June 27th 1970 in Sofia, Bulgaria. In 1994, he finished his puppetry studies
in the class of Nikolina Giorgijeva and his film
directing studies in the class of prof. L. Stojkov.
Until today, he directed many plays for children:
“Musicians of Bremen”, “How long is a story”,
“The dog that can’t bark”, “Letters”, “Notes” and
other. For the adult viewers he directed: “Bouncers”, “Alchemic”, “Evening nude”, “Proposal”, “The
bear” (Chekhov) and “Nobody knows I’m a dog”
(inspired by the internet). He also directed the
movies “Soljenka” and “Night shift”, and is working on television in the children’s program. In
1995 he founded his own “Educational theatre”.
For his work, he was awarded on national and
international festivals (in USA, Germany, Austria and Croatia), and he was given the award for
the best play in Bulgaria in 1995.
The play “Dream of the travelling actor” was
awarded in Austria, and the play “Hercules” was
given the special award “the Golden Dolphin”
on the international festival in Varna, Bulgaria,
in 2002.
In the city theatre “Glow of Birds”, he directed
three plays so far: “The magical flute” (award for
best directing on ASSITEJ and for best text/idea
on SLUK), “The wonderful world of numbers”
(award for best dramatization on SLUK), and
“Once there was a time”.
Friday/Petak 21.5.2010.
21,00 Teatar Sloga
Jedinstveni fizički teatar Adama Dariusa
i Kazimira Kolesnika, Helsinki, Finska
The unique physical theatre of Adam Darius
and Kazimir Kolesnik
Smrt strašila
(Death of a Scarecrow) 68’
Autori/Authors: Adam Darius, Kazimir Kolesnik
Koreografija / Choreography: Adam Darius,
Kazimir Kolesnik
Igraju/Actors: Adam Darius, Kazimir Kolesnik
Kontakt/Contact: Adam Darius Runeberginkatu
17 B 25, 00100 Helsinki, Finska (Finland)
Tel: +358 9 448 056
[email protected]
www.mimecentre.com
O predstavi / About the play
Proslavljeni dvojac Adam Darius i Kazimir
Kolesnik, obrađuje spektar tema od početno
dramatičnog do izvanredno komičnog.
Obogaćen sa nevjerovatnim brojem glasova,
zvucnih efekata i muzikom, ovaj jedinstveni
performans, vidjen širom svijeta od Indonezije
do Brazila, poznat je kao nezaboravna teatarska
“turneja sile” (tour de force). Nastupaju Adam
Darius, opisan u ruskoj Vikipedji kao jedan od
najboljih umjetnika mimike i Kazimir Kolesnik,
dvostruki dobitnik nagrade Noor Al Hussein u
Jordanu.
The celebrated duo performance of Adam Darius
and Kazimir Kolesnik embraces a spectrum of
themes veering from the startlingly dramatic to
the outrageously comic. Augmented by a stunning collage of voices, sound effects and music,
this unique performance, seen world-wide from
Indonesia to Brazil, has been acclaimed as an unforgettable theatrical tour de force. It stars both
Adam Darius, described by the Russian Wikipedia as one of history’s half dozen greatest mime
artists, and Kazimir Kolesnik, twice recipient of
the Noor Al Husssein Award in Jordan.
O pozorištu / About the theatre
Jedinstveno fizičko pozorište Adama Dariusa I
Kazimira Kolesnika
The unique physical theatre of Adam Darius and
Kazimir Kolesnik.
O autoru/režiseru / About the author/director
Adam Darius, vidjen u preko 80 zemalja, je
pokretni umjetnik i svjetski putnik. Takodjer,
on je autor 21 predstave i 13 knjiga. U svojim
djelima ima autobiografskog, filozofije, novele
i pozorišnih lekcija. Radio je, medju ostalim, sa
Jean-Louis Barrault, Ingmar Bergman, Placido
Domingo i Kate Bush, koju je podučio u oblasti
pokreta. Medju brojnim dostignućima, Adam
Darius je dobio nagradu Emmy (američke televizije), nagradu Premio Positano Leonide Massine u Italiji, nagradu Noor al Hussein u Jordanu
i medalju Luis Manuel Guiterrez iz Venecuele.
Kazimir Kolesnik je išao na turneje od Argentine
do Novog Zelanda i od Kube do Malezije. Medju
njegovim mnogim koreografskim dostignućima
su londonska produkcija Yukio Mishima, koja je
kasnije nastupala u Sloveniji, Finskoj i Portugalu
i „Zmija u polju“, koja je nastupala u Jordanu.
Takodjer, on predaje na fakultetu Lahti Circus
School u Finskoj, kao i u Circus Helsinki. Medju
njegovim brojnim nagradama su „du Rire“ trofeja
na Beirut festivalu u Libiji, dva puta nagrada
Noor al Hussein u Jordanu i nagrada Shetland
Island Dance and Mime.
Adam Darius, seen in over 80 countries, is the
world¹s most travelled movement artist. Additionally, he is author of 21 plays and 13 books,
encompassing autobiography, philosophy, novels and theatre training. He has worked with,
among others, Jean-Louis Barrault, Ingmar Berg-
man, Placido Domingo and Kate Bush, whom
he trained in movement. Among the numerous
honours accorded Adam Darius have been an
American Television Emmy, Italy¹s Premio Positano Leonide Massine, twice the Noor al Hussein Award from Jordan, and, most recently, the
Luis Manuel Gutierrez medal from Venezuela.
Kazimir Kolesnik has toured as far afield as Argentina to New Zealand and from Cuba to Malaysia. Among his many choreographic credits
are the London production of Yukio Mishima,
later seen in Slovenia, Finland and Portugal,
and A Snake in the Grass, seen in Jordan. Additionally, he is on the faculty of the Lahti Circus
School in Finland and as well teaches at Circus
Helsinki. Among his several honours have been
the Beirut Festival du Rire Trophy in Lebanon,
on two occasions the Noor Al Hussein Award
in Jordan, and the Shetland Island Dance and
Mime Award.
Sunday/Nedjelja 23.5.2010.
21,00 Teatar Sloga
Modern Times Scenska kompanija i OKC
Abrašević, Toronto - Kanada, Mostar - Bosna i
Hercegovina
Modern Times Stage Company i OKC Abrašević
Toronto - Canada, Mostar - Bosnia i Herzegovina
Araš (Aurash) 50’
Autor / Author: Bahram Beyzai’e
Reditelj / Director: Soheil Parsa
Igraju/Actors: Martina Kujundžić, Igor
Vidačković, Ivan Rozić
Kontakt/Contact: Martina Kujundzic Dzakovic,
Modern Times Stage Company, Toronto, Canada
I OKC Abrasevic, Alekse Santica 25, 88000 Mostar, BiH, Tel: +387 36 561 107
[email protected]
www.okcabrasevic.org
www.moderntimesstage.com
O predstavi / About the play
Araš je perzijski mit star više od hiljadu godina
(priča je u originalu bila o nacionalnom heroju
koji je izbavio svoj narod iz ropstva).
70-tih godina prošloga vijeka Bahram Beyza’ie,
istaknuti iranski pozorišni i filmski redatelj, ovu
je bajku preradio u kratku pripovijest.
Beyza’i’jeva adaptacija je oplemenila ovaj mit
snažnim humanističkim i pacifističkim temama.
U Beyza’i’jevoj verziji priče, Araš je konjušar,
naivan i naglašeno čovječan, protiv svoje volje
postaje igrač u poslijeratnim pregovorima
između svog naroda i osvajača. Na njemu je
zadaća da odredi sudbinu svog naroda tako što će
odapeti strijelu sa vrha planine.
1998. godine, Soheil Parsa i dramaturg Brian
Quirt preradili su ovu kratku pripovjetku u
savremenu scensku formu - spoj pripovjedačke
teatarske tradicije i fizičkog pokreta.
Na stilski način Araš u produkciji Modern
Times’a istražuje pripovjedački oblik teatra kakav postoji na Istoku, bazirajući se na japanskom
Noh teatru i Ta’ziyeh pripovjedačkom teatru
kakav postoji u Iranu. Svjetlo i zvuk igraju važnu
ulogu s ciljem oplemenjivanja neverbalnih elementa glumačke izvedbe.
Četiri glumca igraju svih 20 uloga u predstavi.
Slijedeći primjer istočnjačkog teatra, ne postoji
kompletna transformacija u uloge.
Aurash is a Persian myth over a thousand years
old (the original story was about a national hero
that saved his people from slavery). A recognized
Iranian theater and movie director Bahram
Beyza’ie adapted the fairytale into a short story
in the 70s.
Beyza’i’e’s adaptation enriched this myth with
strong humanist and pacifistic elements.
In Beyza’i’je’s version of the story, Arash was a
hostler, naive and very humane, who becomes
involved in the after war negotiations between
his people and the conqueror, against his will.
His mission becomes to determine the faith of
his people, after he launches an arrow from the
top of a mountain.
Soheil Parsa and the dramaturge Brian Quirt
adapted this short sotry into a modern scenic
form in 1998 – a combination of the story-telling
theatric tradition and physical movement.
In a uniquely styled way in the Modern Times
production, Arash explores the story-telling
form of the theater as it exists in the East, basing itself on the Japanese Noh Theater and the
Ta’ziyeh story-telling theater of Iran. Lightening
and sound play a very important part in the goal
of enriching the nonverbal elements of acting
performance.
Four actors play all of the 20 roles of the play.
Following the example of the eastern theater,
there is no complete transformation into the
roles.
O pozorištu / About the theatre
Modern Times scenska kompanija je neprofitna
umjetnička kolaboracija, posvećena tome da
nudi alternativna teatarska iskustva. Kompanija
dopire do publike sa djelima koja su prelijepa sa
svojom jednostavnoscu, a iskrena sa istrazivanjem ljudskog duha. Modern Times producira
adaptirana, prevedena I originalna djela, kako
bi podstakli, iznenadili i ukljucili publiku u
Kanadi i sirom svijeta.
OKC Abrašević nastao je iz potrebe da se
pokrene i osigura prostor koji će ponuditi
građanima, a posebno mladima, mogućnost
za rad i kreativno izražavanje, kulturnu naobrazbu, široku društvenu raspravu, analizu i
kritiku sadašnjeg bh. i globaliziranog društva.
Abrašević je n(ar)astao iz borbe mladih Mostara
za krov nad glavom, za kuću čiji će temelji biti
stvaralačka i intelektualna sloboda, ravnopravnost, različitost, društvena odgovornost i
solidarnost. Naš cilj je potraga za alternativnim
vizijama i modelima organiziranja svijeta i
društva. Nastavit ćemo tražiti alternativna
rješenja postojećoj političkoj, ekonomskoj i kulturnoj stvarnosti koja često biva suprotna ljudskim potrebama i težnjama, razara ljudske odnose
i razbija društvenu koheziju.
Informisaćemo građane i raditi na: širenju slobodoumnih ideja, društvene pravednosti, jačanju
ljudskih prava, pluralizmu ideja i organiziranja,
oslobađanju svijeta i našeg okruženja od diskriminacije, dominacije, iskorištavanja i degradacije prirode.
Modern Times Stage Company is a not-for-profit
artistic collaborative devoted to offering culturally inclusive, alternative theatre experiences. The
company reaches out to audiences with works
that are beautiful in their simplicity and truthful
in their exploration of the human spirit. Modern
Times produces adapted, translated and original
works, to stimulate, surprise and engage audiences throughout Canada and the world.
OKC Abrašević (Youth Center Abrashevic) was
founded to form and secure a space which will
give the citizens, especially the youth, a possibility for work and creative expression, cultural
education, social discussion, analysis and critic
of the BH situation and global society. Abrašević
was raised out of the fight of Mostar youth for a
roof above their heads, a house whose foundation
will be creative and artistic freedom, equality,
diversity, social responsibility and solidarity. “Our
goal is looking for alternative visions and models
of world and society organization. We will keep
on looking for alternative solutions for the existing political, economic and cultural reality, which
is often the opposite of human needs and wishes,
destroys human relations and crushes social
cohesion. We will inform the citizens and work
on: expanding free-minded ideas social fairness,
strengthen human rights, pluralism of ideas
and organization, releasing the world and our
environment from discrimination, domination,
exploitation and degradation of nature.
O autoru/režiseru / About the author/director
Soheil Parsa je nagradjivani reziser, glumac,
pisac, dramaturg, koreograf i ucitelj, cija se profesionalna karijera proeteze unazad 29 godina
i na dva kontinenta. U rodnom Iranu, Soheil je
završio studije Pozorisnog performansa na Univerzitetu u Teheranu i tu je poceo obecavajucu
karijeru kao glumac i režiser. Kada je stigao u
Kanadu sa svojom porodicom 1984., Soheil je
zavrsio drugi BA pozorisnih studija na Univerzitetu York, a nakon toga je osnovao Modern
Times Scensku kompaniju kao jednu od najuzbudljivijih, kulturalno različitih, teatarskih
kompanija u Kanadi.
Soheil Parsa is an award-winning director, actor,
writer, dramaturge, choreographer and teacher,
whose professional theatre career spans twentynine years and two continents.
In his native Iran, Soheil completed studies in
Theatre Performance at the University of Tehran
and began a promising career as an actor and
director. Arriving in Canada with his family in
1984, Soheil completed a second Bachelor of Arts
in Theatre Studies at York University and then
went on to establish Modern Times Stage Company as one of the most exciting culturally-diverse
theatre companies in Canada.
Monday/Ponedjeljak 24.5.2010.
19,00 / 21,00 Teatar Sloga
PLESNI TEATAR IGEN, Celje, Slovenija
Dance theatre IGEN, Celje, Slovenia
Dama s kamelijama
(The Lady of camellias) 55’
Autor / Author: Original Aleksandar Dumas
mlađi, Igor Jelen, Mirjana Blazevic Lesic
Reditelj / Director: Igor Jelen
Koreografija / Choreography: Igor Jelen, Mojca
Majcen
Plesaci / Dancers: Mojca Majcen, Tomaz Koren
Pia Robida, Katja Verdev, Tara Jersic
Scenografija / Set Design: Tomo M Tomic, Muhamed Zeherovic
Kostimografija / Costume: Peter Thaler
Kontakt/Contact: Igor Jelen, Plesni teatar /
Dance theatre IGEN, Saranoviceva 2A, 3000
Celje, Slovenija, Tel: +386 41 745 583
[email protected], www.igen.si
O predstavi / About the play
Dama s kamelijama je savremena koreodrama
Plesnog teatra IGEN, “Dama sa Kamelijama”,
temelji se na reinterpretaciji istoimenog
književnog djela, Aleksandra Dime Sina (1848). I
ako se naša verzija “Dame sa kamelijama” oslanja
na roman, ona je u svojoj postavci originalna i
autentična. Saradnjom umjetnika iz Slovenije
(Celje), Holandije (Den Haag) i Bosne i Hercegovine (Sarajevo), stvorena je predstava puna
energije modernog pokreta i emocija koje aktiviraju sva osjetila na sceni. Predstava je kamernog
tipa, napravljena da primi 33 gledaoca koji su i
sami učesnici događanja na sceni.
Plesni teatar Igen, sa koregrafijom “12:22”
(kraćom verzijom “Dame”), bio je gost Ambasade
BIH u Den Haagu, na programu posvećenom
Aleksi Šantiću. U decembru ove godine
“12:22” izvedena je u finalu Internacionalnog
takmičenja koreografskih umjetnosti Sergheia
Diaghileva - Lodz Poljska, sa selektorima: Vladimir Malakhov (Njemačka), Oliver Patey (Francuska) i Larisa Barykina (Rusija).
The Lady With The Camellias the contemporary choreographed drama of the IGEN Dance
Theater, “The lady with the camellias”, is based
on the reinterpretation of the likewise named
literal work of Alexander Dima Sin (1848). Even
though our version of “the lady with the camellias” relies on the novel it is, in it’s structure,
original and authentic. Through the collabora-
tion of artists from Slovenia (Celje), the Netherlands (Den Haag) and Bosnia and Herzegovina
(Sarajevo), we created a play filled with energy,
modern movement and emotions that exhilarate
all the senses on stage.
The play is of a chamber type, created to gather
no more than 33 spectators that are active participants on stage.
The Igen Dance Theater, with the choreography
“12:22” (a shorther version of “The lady”), was a
guest of the embassy of Bosnia and Herzegovina
in Den Haagu, during a program dedicated to
Aleksa Šantić. In December of this year, “12:22”
was performed in the finale of the International
competition of choreographic art of Sergheia
Diaghileva - Lodz Polland, with the following
selectors: Vladimir Malakhov (Germany), Oliver
Patey (France) and Larisa Barykina (Russia).
O pozorištu / About the theatre
Plesni teatar IGEN (DTI) je osnovan 1980. Godine. Njegov osnivač i umjetnički director Igor
Jelen je posvetio svoj život plesu. Njegov osnovni
cilj bio je razviti moderni i savremeni ples u
bivsoj Jugoslaviji. IGEN je bila prva grupa i škola
u Sloveniji i Jugoslaviji koja je počela da šokira
ljude sa avangardnim idejama i performansima.
Kroz 27 godina plesa i podučavanja mladih
plesača, izrodila je mnogo profesionalnih plesača
i glumaca koj su značajno doprinijeli razvoju
savremenog plesa i kulture u Sloveniji i okolini.
Plesni teatar IGEN je profesionalni odjel Studija
Plesa u Celju. Intenzivno se fokusira na savremeni ekspresionistički umjetnički ples. Naš rad
sa omladinom I internacionalne nagrade koje
smo dobili su dokaz da promovisanje savremenog
plesa u Sloveniji nije bilo uzalud. PLESNI
TEATAR IGEN je slovenski kulturni ambasador
svijeta.
Dance Theater IGEN (DTI) was established in
1980. His founder and art director Igor Jelen
dedicated his life to dance. His main aim was to
develop modern and contemporary dance in former Yugoslavia.
IGEN was the first group and school in Slovenia
and Yugoslavia, which started »shocking people«
with avant-garde ideas and performances. Within
27 years of dancing and teaching young dancers, it
raised many professional dancers and actors, who
contributed significant part to development of
contemporary dance and culture in Slovenia and
broader environment.
Dance Theater IGEN is a professional unit of
Studio for Dance Celje. It intensively focuses on
contemporary expressional artistic dance. Our
work with youth and international prizes we won
are a proof that efforts of IGEN in promoting
contemporary dance of Slovenia were not in vain.
DANCE THEATRE IGEN is slovenian world
cultural ambassador.
O autoru/režiseru / About the author/director
Igor Jelen (režiser, koreograf), umjetnički direktor Studija plesa Celje, Plesni teatar IGEN. Slovenska vlada mu je dala status nezavisnog umjetnika (plesni koreograf), što se daje samo najboljim
umjetnicima u tom polju umjetnosti. Od 1990.
Do 1998 je radio u Ministarstvu kulture.
Njegova djela su izvođena u cijelom svijetu, u
preko 50 država.
Igor Jelen je jedan od prvih savremenih plesača
u Sloveniji. Obrazovan je u plesnoj školi Laban
u Londonu. Kreirajući jednu uspješnu koreografiju za drugom, prezentovao ih je na mnogim
internacionalnim festivalima širom svijeta.
Igor Jelen —“Iggy”— je osnivač i umjetnički
direktor IGEN-a, jednog od najstarijih plesnih
teatara i škola u Sloveniji. Kao “ambasador slovenske kulture” plesao je pred predsjednicima,
ministrima i parlamentarcima, kraljem Maroka
i na brojnim prestižnim manifestacijama i fesivalima širom svijeta. Radio je koreografije za
Narodno pozorište u Sarajevu, BiH i Slovenski
teatar u Trstu, Italija. Nagrade: druga nagrada
na Isadora Duncan takmicenju u Pragu 2005.,
druga nagrada i specijalna nagrada publike na
Plesnoj plaformi Tokija 2001., specijalne nagrade
na plesnom takmičenju u Moskvi 1999., zlatna
medalja UBUS takmicenja u Beogradu, Alpe
Adria Udine, zlatna medalja i specijalna nagrada
za umjetnička dostignuća u 1998 godini.
Igor Jelen (director, choreographer), art director
of Studio for dance Celje, Dance Theater IGEN.
He was given by the Slovenian government the
status of independent artist (dance choreographer), which is given only to the best artist in the
particularly field of art in Slovenia. From 1990 to
1998 he worked in Ministry of Culture. His works
were performed all over the world in more than
50 countries. Igor Jelen is one of the first contemporary dancers in Slovenia. He was educated at
the Laban Dance School in London. Creating one
successful choreography after the other, he has
presented them on many international festivals
around the world. Igor Jelen —“Iggy”— is the
founder and artistic director of Igen, one of the
oldest dance theatres and schools in Slovenia.
As an “ambassador of Slovenian culture,” he has
danced before presidents, ministers and parliaments, the King of Morocco, and at numerous
prestigious venues and festivals around the world.
He has choreographed for the National Theatre in
Sarajevo, Bosnia and Herzegovina and Slovenian
Theatre in Trieste Italy. Awards: second award
at the Isadora Duncan Competition in Prague in
2005, second award and special award of the audience at the Tokyo’s Dance Platform in 2001, special awards at the Moscow’s Dance Competition
in 1999, gold medal UBUS competition Belgrade,
Alpe Adria Udine, gold medal and special award
for artistic achievements in 1998, Bagnolet.
Tuesday/Utorak 25.5.2010.
19,00 Teatar Sloga
Ma’ayan Danoch (Slobodni profesionalni
umjetnik), Tel Aviv, Izrael
Ma’ayan Danoch (Freelancer professional
artist), Tel Aviv, Izrael
Sjedeći na ogradi
(Sitting on a Fence) 40’
Autori, Reditelji , Koreografi /
Authors, Directors, Choreography: Ma’ayan
Danoch, Ivan Mijacevic
Plesač / Dancer: Ma’ayan Danoch
Kontakt/Contact: Ma’ayan Danoch, De’uel 16,
Tel Aviv, Izrael I Ivan Miacevic, Cankarjeva 6,
2250 Ptuj, Slovenija, Tel: +386 30 385 547
[email protected]
O predstavi / About the play
Plesni performans “Sjedeći na ogradi” stvara
vezu između izvođača i publike. Želeći da
bude shvaćena kao društveno okupljanje, dijeli
privatne i javne situacije, pokreće senzacije,
osjećanja i emocije. “Sjedeći na ogradi” pomućuje
rigorozne granice konvencionalnog, ali ipak
prikazuje nevidljivu ogradu koju svako od nas
nosi u sebi.
The dance performance Sitting on a Fence creates an interface between the performer and the
public. Wishing it would be perceived as a social
gathering it shares private and public situations,
and arouses sensations, feelings and emotions.
Sitting on a Fence blurs the rigorous borders of
the conventional, yet illustrates the invisible
fence each of us carries within.
O pozorištu / About the theatre
Ma’ayan Danoch I Ivan Miačević su slobodni
profesionalni umjetnici bez pripadajuceg pozorista u fizičkom smislu.
Ma’ayan Danoch and Ivan Miacevic are freelancers professional artists with no theatre in a physical way.
O autorima/koreografima /
About the author/choerographer
Ma’ayan Danoch (IL) je diplomirala performans
i koreografiju na Salzburškoj Eksperimentalnoj
Akademiji plesa 2008. godine. Sarađivala je kao
izvođač sa raznim umjetnicimai teoretičarima
kao što su Ivan Mijačević, Zsolt Pálfalusi, Rok
Vevar, Sinja Ožbolt, Snježana Premuš, Miha
Horvat, Oleg Soulimenko te nastupala širom
Evrope. Njeni posljednji radovi uključuju “SJEDECI NA OGRADI”, “SVE NE IKAD NESTO”
(2009) i “NABROJANO CETVERO” (2010).
Izmedju ostalog Ma’ayan poducava ples u okviru PTL-a (Plesni teatar Ljubljana), SEAD-a
(Salzburska Eksperimentalna Akademija Plesa) i
PIM-a (Plesana Komora Maribor).
Ivan Mijačević, rođen 1979. u Ptuju, Slovenija
bavi se muzikom i plesom. Studirao je muzičku
pedagogiju na Univerzitetu Maribor, a koreografiju i performans na Salzburškoj Eksperimentalnoj Akademiji Plesa (SEAD). 2001. Mijačević je
dobio prvu nagradu na slovenskom nacionalnom
takmičenju mladih plesača, Plesni Opus 1. 2005.
je napravio pokret Transgeneracije 05, festivalski
nagrađivani performans, D Tajm Mašin, a dobio
je i DanceWeb Europe stipendiju. 2007. je nastupao u Skoro, pobjednik na 8. Platforma mladih
koreografa festivalu. 2008. je napisao muziku za
performanse Price Tijela 4 – Kreci se kao, koji je
dobio nagradu publike na Gibanica 09 festivalu.
Od 2007. je podučavao odnos muzika-ples u
Sloveniji (Carmina Slovenica, ZPŠM), Austriji
(SEAD) I Njemackoj (postdiplomski studij plesa
Hochschule für Musik und Darstellende Kunst
Frankfurt am Main).
Ma’ayan Danoch (IL) graduated from the Salzburg Experimental Academy of Dance in 2008,
majored in performance and choreography. She
collaborated as a performer with various artists
and theoreticians such as Ivan Mijačević, Zsolt
Pálfalusi, Rok Vevar, Sinja Ožbolt, Snježana
Premuš, Miha Horvat, Oleg Soulimenko and
performed throughout Europe. Her recent works
include Sitting on a Fence, All No Ever Some
(2009) and Enumerated Four (2010). Additionally
Ma’ayan is engaged with teaching dance in the
frame of PTL (Dance Theater Ljubljana), SEAD
(Salzburg Experimental Academy of Dance), PIM
(Dance Chamber Maribor, among others.
Ivan Mijačević, born in 1979 in Ptuj, SFRJ, works
in the fields of music and dance. He studied music pedagogy at the University of Maribor and
choreography and performance at the Salzburg
Experimental Academy of Dance (SEAD). In 2001
Mijačević won the first prize in the Slovenian
national competition for young dancers, Plesni
Opus 1. In 2005 he created movement for the
Transgeneracije 05 festival wining performance,
D Tajm Mašin, and has received the DanceWeb
Europe scholarship. In 2007 he performed in
Almost, the winner of the 8. Platforma mladih
koreografa festival. In 2008 he wrote music for
performance Stories of the Body 4 – Move As,
that won the audience award at the Gibanica 09
festival. Since 2007 he has taught music-dance
relations in Slovenia (Carmina Slovenica, ZPŠM),
Austria (SEAD) and Germany (the postgraduate
department of dance at Hochschule für Musik
und Darstellende Kunst Frankfurt am Main).
Wednesday/Srijeda 26.5.2010.
19,00 Teatar Sloga
PERM DRAMA THEATRE “U MOSTA”
Perm, Russia
Zvijer (The Beast) 130’
Autori / Authors: M. Gindin, V. Sinakevich
Reditelj / Director: Sergey Fedotov
Igraju / Actors: Dmitry G. Diamonds, Ilya Baboshin, Marina Baboshin, Vladimir Ilyin, Pavel
Korovin, Oksana Lekontseva, Sergey Melnikov
Molyanov Andrey Mikhailovich, Victoria V
Proskurina, Maria Petrovna Sigal
Kontakt/Contact: Anastasia Moskaleva, Perm
drama theatre “U mosta”, Kuibisheva 11, 614001
Perm, Rusija/Russia, Tel: +342 237 52 42
[email protected], www.teatr-umosta.ru
O predstavi / About the play
Zvijer je legendarni performans teatra “U Mosta”
u kojem igraju samo studenti, pa zbog toga svake
godine ovaj performans postaje nov. To je priča
o porodici koja je preživjela atomsku eksploziju.
Akteri pokušavaju naći preostale ljude na planeti. Eksperimentalni aspekti performansa se
vežu za rad u tradiciji pozorista snage, atmosfere
i groteske, kako bi se stvorila stilistika “šok
teatra”, komedije i filozofske parable.
The Beast a legendary performance of the theatre
“u mosta” where only young students play that
is why every year this performance becomes
absolutely new. It is a story about family which
has stayed alive after great atomic explosion.
Characters try to find other people on the earth.
The experimental aspects of the performance
are closely associated with working in traditions
of theatre of power, atmosphere and grotesque
in order to create the stylistics of shock theatre,
comedy and philosophical parable.
O pozorištu / About the theatre
Permski teatar «U Mosta» («Kraj mosta») /
Пермский театр «У Моста»
-“U Mosta” je najmisterioznije pozorište u Rusiji.
-“U Mosta” je autorski teatar. Neprikosnovena
ideja Sergeja Fedotova (umjetnički direktor
pozorišta, cijenjeni glumac Rusije, dobitnik nacionalne nagrade Češke) da stvori teatar mistike,
svijesti i improvizacije, je dobila svoju sretnu
realizaciju.
-“U Mosta” je naziv pozorišta, jer je ono zaista
smješteno u blizini mosta. Ovo pozorište je
zapravo znak koji izražava artistički koncept.
Fedotovljeva produkcija je ustvari tzv. most
između stvarnog i drugog svijeta, rutine i misterioznog, svijesti i podsvijesti.
-“U Mosta” je otkrivač irskog scenariste Martina
McDonagha u Rusiji. Performans “Usamljni
zapad” je prezentovan u Moskvi na festivalu
“Zlatna maska”, medju najboljim predstavama
Rusije 2008 godine.
-Pozorište je učestvovalo na 77 festivala. Za performans “psece srce”, autora M. Bulgakova, koje
je prikazano u Ceskom teatru “Arena” (Ostrava),
Sergej Fedotov je proglašen najboljim producentom Češke 2004. te tako postao prvi stranac u
historiji nacionalne nagrade. U martu 2006.,
ministar kulture Češke je dodijelio Fedotovu
nagradu lista “Praške novosti” za izvanredni
doprinos Češkoj kulturi.
Autorski teatar “Kraj Mosta”, osnovan 1988.
zahvaljujući nevjerovatnoj energiji Sergeja Fedotova, je prirodno razdrmao pozorišnu situaciju
Perma sa svijetlim I neobičnim performansima.
Nekolicina ljudi nije vidjela proslavljenu “Pannochka” (Majstorova kćerka), koja je putovala
kroz gotovo cijelu Rusiju. Performans se prikazuje vec skoro 18 godina, imao je preko 2500
izvođenja i još je magičan i atraktivan. Posebno
nakon sto je ovaj produkcijski teatar prozvan
misterioznim I priznat kao otkrivac drugog svijeta na sceni.
Jedinstvenost umjetničkog sistema teatra “U
mosta” je zasnovana, prije svega, na kombinaciji
škola Mihaila Čehova, Ježia Grotovskog i estetike Antonina Artoa, sto su sistemi koji ciljaju
na razvoj psiho-fizike glumaca, dakle njegovoj
mogućnosti da radi sa unutrašnjom energijom.
Perm theatre «U Mosta» («By The Bridge») /
Пермский театр «У Моста»
-“U Mosta” is the most mysterious theatre in
Russia.
-“U Mosta” is the author theatre. Unprecedented idea of Sergey Fedotov (Artistic Theatre
Director, Honourable Actor of Russia, National
Award Winner of Czech) to create a theatre of
mystics, conscience and improvisation has got
its happy implementation.
-“U Mosta”, this name of the theatre was given
for the reason that it is actually situated near the
bridge, but gradually this composition Theatre
«U Mosta» turns out to be a sign, expressing its
artistic concept. Production of Fedotov, in fact, is
so-called Bridge between real and the otherworld,
routine and mysterious, conscience and subconscience.
-“U Mosta” is the discoverer of the Irish play writer Martin McDonagh in Russia. Performance
“Lonesome West” was presented in Moscow on
the festival “Golden Mask” among the best shows
of Russia in 2008.
-Theatre took part in 77 festivals. For the performance “Dog’s Heart”, written by M. Bulgakov,
shown in Czech theatre “Arena” (city Ostrava),
Sergey Fedotov was approved the best producer of
Czech in 2004 and became the first foreigner in
the history of the national Prize, who was awarded this high decoration. In March 2006 minister
of culture of Czech entrusted Sergey Fedotov
prize of the newspaper “Prague News” for the
outstanding contribute in Czech culture.
Author theatre «U Mosta», created in 1988 thanks
to incredible energy of Sergey Fedotov, and naturally exploded the theatre situation of Perm with
bright and unusual performances. Few people
rest who haven’t seen celebrated “Pannochka”
(“Master’s Daughter”), that travelled almost
around whole Russia and many countries of Russia. Performance is being shown for 18 years now,
it has resisted more than 2500 shows and it’s still
magical and attractive. Particularly after this
production theatre was called mysterious and was
admitted to be called the discoverer of infernal,
other world on the stage.
The uniqueness of the artistic system of the theatre “U Mosta” is based, first of all, on the combination of schools of Mikhail Chekhov, Yezhi
Grotovskiy and aesthetics of Antonen Arto, that
are the systems, aimed at development of psychophysics of the actor, his ability to work with the
internal energy.
O režiseru / About the director
Sergei Fedotov
Thursday/Četvrtak 27.5.2010.
19,00 Teatar Sloga
MISERO PROSPERO PROJECT
Budapest, Hungary
Ruske lutke
(Matruska /Russian Dolls) 60’
Autori / Authors: Daniela H Faith,
Carlos Rodero
Reditelj / Director: Carlos Rodero
Igraju / Actors: Daniela H Faith, Carlos Rodero
Scenografija i Kostimografija / Costume And Set:
Tamara Barnoff
Svjetlo / Light: Nagy Viktoria
Muzika/ Music: Gergely Attila
Kontakt/Contact: Vivien Boronyak, Misero
Prospero Project, Sziv u.18, 1063 Budimpesta,
Mađarska/ Budapest, Hungary
Tel: +36 70 207 20 04
[email protected]
www.miseroprospero.org
O predstavi / About the play
Matruška (Ruske lutke) je savremena plesna
predstava koja govori o problemima i potrebama savremenih žena iz različitih aspekata.
Matruška je metafora za bezbrojne segmente
ženske intime. To je također kolekcija različitih
aspekata i identiteta koje koegzistiraju u istoj
osobi. Matruška prikazuje ženu, koja nastoji
da se bori protiv svoje buducnosti dok se vodi
kroz očajničku potrebu da otkrije svoj identitet.
Suprotno linearnoj strukturi, pokazuje se dramaturgija koja je napravljena od serije epizoda
i fragmenata (slično impresionističkoj strukturi), što rezultira naznakom beskraja. Epizode
se rađaju iz dnevnih aktivnosti, privatnih i
društvenih, te vode do prepreke fizičkih I emocionalnih radnji pokazujući sliku provokativnog
eklekticizma. Ženska tačka gledišta, vjerujemo,
nudi nam idealnu sliku stvari koje utiču na
sve nas: nesigurnost, frustracija I apsurd svakodnevnice, nasilje, strah spoznaje, emocionalna
nestabilnost, život kao takav…To su teme koje se
pokazuju kroz razne identitete i fragmente, koje
prezentuju 3 plesačice.
Matruska (Russian Dolls) is a contemporary dance
play discussing the issues and needs of contemporary women from different angles. Matruska
(the Russian doll) is a metaphor for the countless
intimate drawers that we find in the feminine
sphere. It is, as well, a collection of different aspects and identities that coexist inside the same
person. Matruska shows a woman, who seeks to
engage in a posthumous flight to rise up towards
her future whilst guiding herself through a desperate need to find and reveal her own identity.
In opposition to a linear structure, we employ
a dramaturgy that is made up of a series of episodes or fragments (similar to an impressionist
structure), resulting in the notion of infinity.
The episodes are born from daily activities, both
private and social, and lead to a barrage of physical and emotional actions ensuing an image of a
provocative eclecticism. The feminine point of
view, we believe, provides us an ideal take on matters affecting us all; uncertainty, the frustration
and absurdity of the everyday routine, violence,
the fear of getting to know ourselves, emotional
instability, and life itself are discussed through
various identities and fragments, represented by
three female dancers.
O pozorištu / About the theatre
MISERO PROSPERO Project je španskomađarska kompanija plesnog teatra, koja se nalazi
u Budimpešti, Mađarska, sa autorom i reziserom
Carlosom Roderom iz Španije, i savremenom
plesačicom i koreografom Danielom H. Faith koja
ima meksičke i madjarske korijene. Od kraja 2007.,
produciraju predstave, uključujući plesne komade, pozorišne komade, muziku, cirkus i druge
discipline povezane sa scenskim biznisom, a sve
sa umjetničkim i profesionalnim integritetom i
posebnom željom da se nađu i stvore novi jezici
za scenu. Radeći zajedno sa grupom talentovanih
saradnika (plesača, glumaca i glumica, tehničara
svjetla i zvuka, kostimografima), ciljaju na prihvatanje i realizaciju novog jezika umjetnosti
performansa i pozorišne ekspresije stvarajući
pozorišnu dramaturgiju koja kombinuje dramske
elemente, tehniku, i kulturni diverzitet dva principa koja pokazuju osnivači. Jezik njihovog teatra
lijepo plovi na granici između plesnog teatra,
fizičkog teatra, primijenjenih umjetnosti, pantomime i muzike.
MISERO PROSPERO Project is a Spanish-Hungarian dance-theater company based in Budapest,
Hungary with the stage director and writer Carlos
Rodero from Spain and the contemporary dancer
and choreographer Daniela H. Faith of Mexican
and Hungarian origins. In effect from the end of
2007, we produce stage productions, including
pieces of dance, theatre, music, circus, cabaret
and other disciplines related to show business,
with artistic and professional integrity and with
a special interest in finding and creating new
languages for the stage. Working together with a
team of talented collaborators (dancers, actors and
actresses, technicians of light and sound, costume
designers), we aim at embracing and realizing a
new language of performance art and theatrical
expression by creating a theatrical dramaturgy
that combines drama elements, techniques, and
cultural diversity of the two principles the creators represent. Our language beautifully navigates on the borders of dance-theater, physical
theatre, applied arts, pantomime, and music.
O režiseru / About the director
Reditelj i scenarista Carlos Rodero je stvorio
neovisnu teatarku kompaniju MOO TEATAR
1988. Od 1988. Do 1993, je napisao i režirao
kratke radikalne i eksperimentalne komade
za kompaniju. Završio je svoj scenski studij na
prestižnom višem univerzitetu dramskih umjetnosti u Barceloni, gdje je studirao dramaturgiju
i režiju. Krajem 2000. se preselio u Budimpeštu
gdje je učestvovao u stvaranju lutkarske kompanije Baobab i režirao je svoj prvi profesionalni rad
u Mađarskoj (koji je sam napisao) koji se zvao Tri
Želje – predstava za lutkare i glumce, prikazan u
Kolibri teatru. Rodero je 2006. kreirao Nezavisnu
Teatarsku Kompaniju PROSPERO. Za njih je
napisao i režirao Izvandrednu Petoricu koju je na
mađarski preveo Karsai Gábor. Predstava je potom izvedena na internacionalnim danima Pécsa
sa podrškom Odjela za kulturu Spanjoske ambasade u Budimpešti. Od tada je izvedena u glavnom
gradu, u Tivoli Teatru i u Narodnom Pozorištu
pred mnogo gledalaca. Krajem 2007., u saradnji sa
Danielom H. Faith, Rodero je kreirao asocijaciju
poznatu kao MISERO PROSPERO koja je inkorporirala Prospero teatarsku kompaniju.
Koreografkinja i plesačica Daniela H. Faith
počela je sa studijem plesa u Madjarskoj, a nastavila u New York-u na Alvin Ailey plesnom centru,
Broadway plesnom centru, Dance Space-u, Movement Resource-u, izmedju ostalog. Diplomirala je
koreografiju na Meksickom nacionalnom centru
umjetnosti 2001. godine. Tokom godina je radila
sa mnogim latinoameričkim koreografima kao sto
su Marco Antonio Silva, Serafin Aponte, Costa
Rican Marcela Aguilar, Rossana Filomarino, a
pocela je i sa sopstvenim samostalnim radom.
2005. je dobila Young Creators Grant od meksickog nacionalnog fonda za umjetnost (FONCA),
za njen solo performans: Aguafuerte.
Stage director and playwrights Carlos Rodero
created the independent theatre company MOO
TEATRE in 1988. From 1988 to 1993 he wrote and
directed a series of brief radical and experimental
pieces for the company. He concluded his theater
studies at the prestigious The Higher University
of Dramatic Arts of Barcelona, where he studied
Dramaturgy and Stage Directing. At the end of
2000 he moved to Budapest Hungary, where he
collaborated in the creation of the puppet company Baobab and directed his first professional
work in Hungarian (written by himself) called
Three Wishes - a play for puppets and actors, put
on in the Kolibri Theater In 2006 Rodero created
the Independent Theatre Company PROSPERO.
He wrote and directed the play The Marvelous
Five with them and it was translated into Hungarian by Karsai Gábor. The play was then performed
at the International Days of Pécs with the support
of the Culture Department of the Spanish Embassy in Budapest. Since, it was performed in the
capital at the Tivoli Theatre and at the National
Theatre to great public and critical acclaim. At
the end of 2007, in collaboration with Daniela H.
Faith, Rodero created the association known as
MISERO PROSPERO which incorporated the
Prospero Theatre Company.
Choreographer and dancer Daniela H. Faith started her dance studies in Hungary and continued in
New York City at the Alvin Ailey Dance Centre,
Broadway Dance Centre, Dance Space, Movement
Resource, among others. She graduated from the
Mexican National Center of Arts in choreography
in 2001. Over the years, she has worked with several Latin-American choreographers like Marco
Antonio Silva, Serafin Aponte, with the Costa
Rican Marcela Aguilar, the Italian Rossana Filomarino, as well as started her own work. In 2005
she received the Young Creators Grant from the
Mexican National Found for the Arts (FONCA),
for her solo performance: Aguafuerte.
Friday/Petak 28.5.2010.
17,00 Teatar Sloga
Zaches Teatro, Firenca, Italija
Zaches Teatro, Florence, Italy
Šarm idiotizma
(The Charm of Idiocy) 25’
Autor/Author: Zaches Teatro
Reditelj/Director: Luana Gramegna
Dramaturg/Dramaturgy: Zelda Markus
Igraju/Actors: Luana Gramegna, Chiara Innocenti, Enrica Zampetti
Muzika/Music: Stefano Ciardi
Kontakt/Contact: Enrica Zampetti, Zaches
Teatro, Via dell’Arigo 14, 50018 Firenca, Italija
Tel: +39 328 019 5771
[email protected], www.zaches.it
O predstavi / About the play
Sta te impresionira na Goyinim crnim slikama?
Sta ti ostaje na umu kada ste sami? Koju vrstu
okusa mozes osjetiti? Istrazivanje atmosfere koja
vlada Crnim Slikama Goye, ponovljena u sceni
kroz svjetlo, zvuk i pokret. Rad na percepciji
izazvanoj gasenjem cula. Ono sto je Goya dozivio
zbog bolesti koja je uzrokovala gluhocu, a tokom
koje je stvorio Crne Slike. Tijela su stavljena na
vidjelo kroz oduzimanje, istrgani iz mraka, tisine
i nepokretnosti.
Sarm Goye I Crnih Slika je sarm idiotizma. Idiotizma u smislu vizije svijeta kao licnog univerzuma, ili bolje kao privatni I nedostizni univerzum,
I zbog toga neshvacen, vizija osobe smatrana van
normalnog, izvan drustva, cudna, idiot.
Idiotizam Goyinih Crnih Slika je podebljana
njegovom gluhocom, koja ga je natjerala da ide
duboko sebe. Ova intimna dimenzija covjeka,
Goya prevodi u prostor koji nije definiran I
opisan, to je neki ne-prostor koji bjezi u zonu
sumraka, u mracne zone iz kojih dolaze tijela
koja djeluju kao da su od cvrste mase, posto su
napravljeni od same tame. Svako se mora navici
na tamu kako bi vidio dublje, I primjecuje prisustva koja ne mozes uvatiti na prvi pogled. Svjetlo
nije difuzno, svijetlo, nikada ne pokazuje tijela
kakva jesu, vec ih prelijeva na tami. Ova obskurnost ima zvuk. Slike su zvucne, naslikane od
gluhog idiota.
What does impress you in the Goya’s Pinturas
Negras? What does remain in your mind when
you detach yourself? Which kind of flavour can
you taste? research on the atmospheres which
resides the Black Paintings of Goya, restored in
the scene through light, sound and movement. A
work on the perception forced by disabling the
senses. What Goya experienced due to an illness
that gradually led him to deafness, during which
he created the Black Paintings. The bodies are
given to the sight through subtraction, teared
out from the darkness, silence and immobility.
The charm for Goya and for the Black Paintings
is the charm for idiocy, idiocy meaning: the vision of the world as a personal universe, or better
as a private and elusive universe and for this reason misunderstaken, a vision of a person considerated out of normality, out of society, strange,
an idiot. The idiocy of Goya of the Black Paintings is thickened by his deafness, that forced him
to go deep into himself and his torments. This
intimate dimension of the man, Goya translates
it into a Space that is not de-fined that is not
de-scribed, it’s a kind of a no-space, that escapes
into twilight zones, in dark zones from where
bodies seem to come out as from a dense mass, as
they were created from the darkness itself.
Everyone has to get used to darkness in order to
see more in deepness, and perceives presences
that one can not catch at the first look. Light is
never diffused, bright, it never reveals the bodies
as they are, instead it glosses them over darkness.
And this obscurity has a sound. The Paintings
are sonorous, painted by a deaf idiot.
O pozorištu / About the theatre
Zaches teatar je osnovan 2006. Da bi radio I
istrazivao u polju razlicith pozorisnih jezika.
Rad grupe se fokusira na lutkarstvu, vizualna
pozorisna ekspresivna znacenja I pokret, na koje
su uticali principi pozorisne biomehanike, savremenog plesa I zive elektoronike.
2006. je prezentovao “Jedna rolna” sto je inspirisano od dvije nijeme komedije, a rezirao ju je
Aleksej Merkusev (clan ruske Derevo kompanije)
I Luana Gramenga. Predstava je nominovana na
takmicenju “Beckett & Puppet” , centra pozorista
animacija u Goriciji, Italija. Prezentovano je na
italijanskim I internacionalnim festivalima savremenog teatra kao sto su Incanti Festival, Volterra
Teatro Festival, Kilowatt Festival, Performing
Arts Peer Festival u Lahore (Pakistan).
2007. je Zaches teatar prezentovao Faustus! Faustus! Na Zoom Festivalu (novi eksperimentalni
teatar u Italiji), u saradnji sa Teatro Studio iz
Scandiccija. Predstava je dobila odlicne kritike
italijanskih novinara, a 2008. Je prezentovan na
mnogim domacim I internacionalnim festivalima:
Metamorfosi Cascina, Castelmaggiore Bologna,
C.R.T Milano, Incontri Teatrali of Lugano (Svicarska), Arena festival (Njemacka), II Press/Play
International Artist Broadcast (muzej savremene
umjetnosti u detroitu). Rad je dobio na tamicenju
Movin’Up GAI (mladi ialijanski umjetnici), koja
je dala grupi mogucnost da ucestvuje na ManInFestu u Rumuniji.
2007. grupa je pozvana od strane ETI-ja (Italijanski Teatarski Institut) u Rim da diskutuju o svom
radu I istrazivanju, sto je takodjer spomenuto u
knjizi Studije I scene izmedju Samuela Becketta I
vizualnog teatra.
2009. Zaches Teatro je predstavio presented Sarm
Idiotizma, prvi dio Trilogije Vizije, serije od tri
djela o poremecenoj percepciji uma. Odabrani
kao jedan od 10 projekata finalista na Equilibrio
Award 2009 Giorgia Barberia Corsettija u Auditoriumu Parco della Musica Rima, Sarm Idiotizma
je predstavljen na Kilowatt Festivalu, Festivalu
Ipercorpo, Eruzioni Festivalu i Festivalu Anticorpi gdje je pobijedio na EXPLO’ 2009 za Savremeni
Ples Italije, Teatru Fondamenta Nuove u Veneciji,
Arteballetto of Reggio Emilia, PIM u Milanu.
2010. pocinje rad na drugom dijelu Triloigje
Vizije: T.O.M.M.A.D. – Bijelo Zlo. Odabrana kao
jedan od 8 projekata finalista na Equilibrio Award
2010 (drugi put zaredom), rezirana od strane Sidi
Larbi Chercaoui-a u Auditoriumu Rima. Izabrana
kao jedna od 3 finalista za nagradu Award Prospettiva Danza 2010 Italije.
Zaches Teatro was established in 2006 to work
and research on the blend of different theatrical
languages. The work of the group focuses on puppet’s theatre, visual theatrical expressive means
and movement, highly influenced by the principles of theatrical biomechanics, contemporary
dance and live electronics.
In 2006 presented One reel inspired by two reel
silent comic movies, directed by Aleksej Merkushev (member of Russian Derevo company) and
Luana Gramegna. The play was nominated in the
“Beckett & Puppet” contest, of C.T.A. (Centre
of Animation Theatre) in Gorizia (Italy). It was
presented in Italian and International contemporary theatre festivals, as Incanti Festival, Volterra
Teatro Festival, Kilowatt Festival, Performing
Arts Peer Festival of Lahore (Pakistan).
In 2007 Zaches Teatro presented Faustus! Faustus!
at the Zoom Festival (New experimental Theatre
in Italy), in collaboration with Teatro Studio of
Scandicci. The play received excellent reviews
from Italian press critics, in 2008 was presented
in many national and international festivals:
Metamorfosi Cascina, Castelmaggiore Bologna,
C.R.T Milano, Incontri Teatrali of Lugano (Switzerland), Arena festival (Germany), II Press/Play
International Artist Broadcast (Contemporary
Art Museum of Detroit). The work won the
Movin’Up competition of GAI (Young Italian
Artists), which gave the group the possibility of
participating in the ManInFest in Romania.
In 2007, the group was invited by ETI (Italian
Theatrical Institute) in Rome to discuss its work
and research, it was also mentioned in the book
Studies and scenes between Samuel Beckett and
visual theatre.
In 2009 Zaches Teatro presented The Charm of
Idiocy, the first part of The Trilogy of Vision, a
series of three works about the distorted perception of mind. Selected as one of the 10 finalist
projects of the Equilibrio Award 2009 of Giorgio
Barberio Corsetti in the Equilibrio Festival 2009
at the Auditorium Parco della Musica of Rome,
The Charm of Idiocy is present at Kilowatt Festival, Festival Ipercorpo, Eruzioni Festival, Festival
Anticorpi where won the EXPLO’ 2009 for Contemporary Dance of Italy, Teatro Fondamenta
Nuove of Venice, Arteballetto of Reggio Emilia,
PIM of Milan.
In 2010 starts the work for the second part of The
Trilogy of Vision: T.O.M.M.A.D. - Mal Bianco.
Selected as one of the 8 finalist projects of the
Equilibrio Award 2010 (for the second consecutive
time), directed by Sidi Larbi Chercaoui at the Auditorium of Rome. Selected as one of the 3 finalist
for the Award Prospettiva Danza 2010 of Italy.
O reziseru/koreografu
/ About the director/choreographer
Luana Gramegna je studirala klasicni balet na
“Royal” akademiji plesa u Grckoj od 1989 do
1995. 1997. se preselila u Italiju gdje je zapocela
trening za ples I pozoriste, a 2000. je dobila
diplomu scenskih umjetnosti na Akademiji za ples
I dramu “Lenz Rifrazioni” u Parmi. Diplomirala
je u oblasti ruske knjizevnosti 2005., sa tezom o
Mejercholdovom pozorisnom biomehanikom na
Fakultetu umjetnosti u Firenci. Sa Nikolajem
Karpovom je prosirila znanja I pridruzila se njegovoj grupi glumaca. Od 2009. Radi sa Virgiliem
Sieni na Akademiji umjetnosti gestikulacije. 2007.
je osnovala plesnu pozorisnu kompaniju Zaches
Teatro u kojoj je reziser i izvodjac.
Luana Gramegna studied classical ballet at the
Royal Academy of Dancing in Greece from 1989
to 1995. In 1997 she moved to Italy where she
began her dance and theatre training, and in 2000
she obtained the diploma of performing arts at
the Dance and Drama Lenz Rifrazioni Academy
of Parma. She graduated in Russian literature
in 2005 with a thesis on Mejerchold’s theatrical
biomechanics at the Faculty of Arts in Florence.
With the master Nikolaj Karpov, she improved
her studies and joined his group of actors. Since
2009 she has been working with Virgilio Sieni
at the Academy of the art of gesture. In 2007
she founded the dance theatre company Zaches
Teatro in which she is director and performer.
Friday/Petak 28.5.2010.
21,00 Teatar Sloga
ANE LAN THEATER GROUP
Klofta, Norway
Krug (Sirkel ) 45’
Autor / Author: Ane Lan
Reditelj / Director: Ane Lan
Igraju / Actors: Beata Kretovicova Iden, Rikke
Lundgreen, Anne Kathrine Fallmyr, Ane Lan
Muzika/ Music: Ane Lan
Scenografija / Set Design: Odd I. Reierstad
Svjetlo / Light: Nagy Viktoria
Kostimografija / Costume: Ane Lan
Aurora E. Sandlilje
Kontakt/Contact: Ane Lan, “Ane Lan”, 2040
Klofta, Norveska (Norway), Tel: +47 909 528 96
[email protected], www.anelan.com
O predstavi / About the play
Kroz eklektični koncertni performans “Sirkel”,
Ane Lan i njegovi muzičari/performeri saradnici,
prikazuju 5 etapa ljudske psihe u vezi sa teorijom
Jungianske psihoanalitičke tradicije, podvučeno
sa čudnim vokalnim harmonijama, akustičnim
vezama i slikama koje su inspirisane renesansom.
Ciljajući na uobičajenu podsvijest i stanje
unutrašnje svijesti, performans kroz čudnu
prisutnost pokazuje mentalni izazov i
uznemiravajuća pitanja psihološke baze našeg
trenutnog razvoja komunikacione tehnologije.
Through the eclectic concert performance
“Sirkel”, Ane Lan and his accompanying musicians/performers are envisioning 5 stages of the
human psyche related to theories in Jungian
psychoanalysis tradition, underlined by strange
vocal harmonies, acoustic strings, and images
inspired by renaissance paintings.
Addressing the common sub consciousness and
states of inner awareness, the performance,
through its mere awkward presence, presents
mentally challenging and disturbing questions
of the psychological basis of our current development of communication technology.
O pozorištu / About the theatre
Ane Lan
Ane Lan
O režiseru / About the director
Ane Lan je umjetničko ime Eivinda Reierstada,
rođenog 1972. u Oslu. Studirao je na Nacionalnom koledžu umjetnosti i dizajna u Oslu od 1996.
do 2002., a prethodno je završio studij etnologije
na Univerzitetu u Oslu (1991-1993). Rad videa i
performansa, pokrenut od norveškog umjetnika
Ane Lan, je baziran na živim portretima, kratkim
performansima koje interpretiraju lokalno i lično
stanje prošlosti; unutrašnji život običnog čovjeka
koji, izvan proporcije univerzalne dimenzije,
stoji na bolnoj rezignaciji. Postavka, alternativni
pop, naivno, obično, ili kao kuća za lutke, je
samo naizgled ironično. Kontrast boja pokazuje
izvanrednost koju Ane Lan etapira sa značenjem
teatralnosti. Njegovi pitomi karakteri stvaraju
portrete tišine, izvanrednosti, nekompatibilnosti,
ali i političke verdikcije. Nevinost zaluđena
melanholijom je namijenjena kao drugo stanje
percepcije svijeta.
Ane Lan is the artist name of Eivind Reierstad,
born 1972 in Oslo. He studied at the National College of art and design in Oslo from 1996 to 2002,
and before that he finished ethnology studies at
the University of Oslo (1991-1993). The Video and
Performance work conceived by Norwegian artist
Ane Lan is based on living portraits, short performances that interpret the domestic and personal
condition of History; the interior life of common
men that, being out of proportion with the universal dimension, rests in painful resignation. The
setting, alternately pop, naïf, ordinary, or looking
like a doll-house, is only apparently ironic. The
harsh contrast of colors signifies the extraneousness which Ane Lan stages by means of theatricality. His docile characters create portraits of
silence, of extraneousness, of incongruity, but
also of an icy political verdict. Innocence veined
in melancholy is intended as an otherness state of
perception of the world.
Saturday/Subota 29.5.2010.
19,00 Teatar Sloga
LANÒNIMA IMPERIAL
Barcelona, Spain
Varijacije Al-leluia
(Variacions Al-leluia) 60’
Autor / Author: Juan Carlos Garcia
Reditelj / Director: Juan Carlos Garcia
Igraju / Actors: Inma Asensio, Yester Mulens,
Miquel Garcia, Murfila
Muzika/ Music: Oriol Rosell Murfila, Marc Thio
/ton/
Scenografija / Set Design: Jose Menchero
Kostimografija / Costume: Jose Menchero, Juan
Carlos Garcia
Kontakt/Contact: Albert Bonjoch, Lanonima
Imperial, Joaquin Costa 24, 08001 Barcelona,
Španija/ Spain, Tel: +34 93 443 9999
[email protected]
www.lanonima.com
O predstavi / About the play
Varijacije Al-leluia
Kreacija Juan Carlosa Garcíe i kompanije
Lanònima Imperial, Varijacije Al•leluia je inovativna rock and roll džepna opera gdje je pokret
središnja tačka događanja uz vrlo agilan ples.
Jednostavnost teksta je poput dječije igre – kao
horor priče za djecu – i govori nam o prisustvu groznih bića I straha. Predstava je puna
enigmantičnih scena, svijetlo-tamnih atmosfera
i posrnulih anđela. Varijacije Al•leluia želi da
pokaže da hrabrost počiva na strahu. U pravilima
ove igre, duhovi čine dijelove koji donose spasenje i smiješani su u čudne figure i bića koji uzajamno djeluju uz ritmično stenjanje i uzdahe. Sve
savršeno uobličeno od strane tri izvrsna plesača i
u društvu Mürfile, pjevača i gitariste, čije prisustvo predstavlja slatko-zlu ličnost.
Variations of Al-leluia Ane
Created by Juan Carlos García and the company
Lanònima Imperial, Variacions Al-leluia is an
innovative rock and roll pocket opera where motion is the focal point of the events, with a very
physical and agile dance. The simple text is regarded as a children’s game –like in horror stories
for children- that tells us about the presence of
terrible beings and about fear. The show is full of
enigmatic scenes, chiaroscuro atmospheres and
fallen angels. Variacions Al-leluia wants to show
that courage thrives in fear. In this game’s rules,
the pieces are ghosts, who bring salvation and
are tangled in strange figures and arcane beings
that interact among rhythmic mumblings and
gasps. All perfectly performed by three excellent
dancers and accompanied by Mürfila, singer
and guitarist, whose presence represents an inbetween sweet and evil character.
O pozorištu / About the theatre
Osnovana 1986. od Juan Carlosa Garcíe, kompanija Lanònima Imperial je jedna od vodećih
na španskoj plesnoj sceni. Njen stil je obilježila
emotivnost, plesačev fizički prikaz i stvaranje
određene atmosfere kroz kombinaciju simfonije pokreta i impresivnog scenskog dizajna.
Lanònima Imperial također uživa pozamašnu
međunarodnu reputaciju nastupima u više od
17 evropskih zemalja, kao i u Meksiku, Kanadi,
Brazilu, Ekvadoru Boliviji, Venecueli, Singapuru i
Izraelu. Kompanija je producirala i koproducirala
spektakle za važne festivale, teatre i umjetničke
centre kao sto su Vooruit Centar u Ghent-u (Belgija), Theater im Pfalzbau u Ludwigshafen/Rheinland (Njemacka), Holandski Plesni Festival u
Amsterdamu (Holandija), Oriente-Occidente Festival u Roveretu (Italija), Nacionalni Teatar Katalonije i Mercat de les Flors – dva najznačajnija
takva centra u Barceloni - Madrid en Danza
Festival u organizaciiji Gradske uprave Madrida,
Tàrrega Teatar Fair i Grec Festival u Barceloni.
Founded in 1986 by Juan Carlos García, Lanònima Imperial is one of the leading companies
on the Spanish dance scene. Its style marked by
emotionality, dancer’s physical display, and the
creation of particular atmospheres through the
combination of symphonic movement and impressive stage design is recognized and well accepted
by local audiences. Lanònima Imperial also enjoys
a considerable international reputation, having
performed in more than 17 European countries as
well as in Mexico, Canada, Brazil, Equator, Bolivia, Venezuela, Singapore and Israel. The company has produced and co-produced spectacles
for important festivals, theatres and art centers
such as the Vooruit Centre in Ghent (Belgium),
the Theater im Pfalzbau of Ludwigshafen/Rheinland (Germany), the Holland Dance Festival
in Amsterdam (Holland), the Oriente-Occidente
Festival in Rovereto (Italy), the Teatre Nacional
de Catalunya and Mercat de les Flors - two of
most relevant venues in Barcelona - , the Madrid
en Danza Festival organized by Madrid’s community government, the Tàrrega Theatre Fair and
the Grec Festival in Barcelona.
O režiseru / About the director
Koreograf, režiser i fotograf, Juan Carlos Garcia se
smatra predvodnikom španskog modernog plesa.
Njegov veliki scenski repertoar se ističe konstantnim eksperimentiranjem i inovacijama. U
njegovim djelima, pokret je osnova “mizanscena”
koji uvijek koristi vizuelne, muzičke i dramske
elemente.
Plesni eksperti definiraju Garcijin rad kao
formalne teoreme, i ističu visoki nivo tehnike
plesača. Prepoznat je, od strane kritičara, kao
jedan od najbrilijantnijih koreografa svoje gen-
eracije. Nagrađen je mnogim nagradama, kako
nacionalnim tako i internacionalnim, za svoja
dostignuća evolucije koreografije. Za njegov
čvrsto fizički stil, njegovo konstantno istraživanje
pokreta i kvaliteta plesača, dobio je: nagradu za
ples Barcelone, Velika nagrada Zagreba, Susan
Dellal (Tel Aviv, Israel) žirija i publike, nacionalna
nagrada za ples Katalonije.
Choreographer, director and photographer, Juan
Carlos Garcia is considered as one of the leading
exponents of Spanish Modern Dance. His extensive repertoire stands out for his constant experimentation and renovation of contemporary scene.
In his works, the movement is the backbone of a
mise en scene which is always questioning the use
of visual, musical and dramaturgy elements.
The dance specialists define Garcia’s work as
formal theorems, and emphasize the high technical level of his dancers. He has been recognized
by the critics as one of the most brilliant choreographers of his generation. He has been awarded
many prizes both national and international for
his achievements of evolutionary choreography.
For his strongly physical style, his constant research in the movement and the quality of his
dancers, he has obtained: Dance Prize of City of
Barcelona, The Great Prize City of Zagreb, Susan
Dellal (Tel Aviv, Israel) of jury and audience, National Dance Prize of Catalonia.
Saturday/Subota 22.5.2010.
18,00 Teatar Sloga
Into Thin Air
Author: Mohammadreza Farzad, 26’
Sunday/Nedjelja 23.5.2010.
18,00 Teatar Sloga
21 prijava na oglas za zaposlenje Farahnaz Sharifi /21 Employment Ads by Farahnaz Sharifi
Author: Farahnaz Sharifi, 30’
Sudbina Farahnaz Sharifi
/ Destiny by Farahnaz Sharifi,
Author: Farahnaz Sharifi, 45’
Generalni producent / General production:
UDRUŽENJE GRAĐANA TEATARFEST
(UG TF)
CIVIL ASOCIATION TEATARFEST (UG TF)
A. Pruščakova 12 / 1, BA -71000 Sarajevo
W. www.tf.com.ba
email: [email protected]
T. +387 (033) 442 958
Smještaj gostiju:
Konatakti / Contact:
Alma Telibećirević
producent Teatarfesta / producer of Teatarfest
T. +387 61 299 469, E. [email protected]
HOTEL SERAJ
Safvet Bega Bašagića 12, Sarajevo
T.: +387 (0) 33 573 530
email: [email protected]
www.pansionseraj.ba
Belma Arnautović, press
+387 (0) 61 838 890
mail: [email protected]
Tehnička podrška / Technical department:
Irhad Hodžić
[email protected]
Vizuelni identitet / Visual identity:
Aleksandra Nina Knežević
email: [email protected]
www.ninadesign.co.ba
Webmaster
Damir Hajdarbašić
email: [email protected]
Video montaža / Video editing:
Denis Hajdarbašić
email: [email protected]
Štampa / Print:
V Graf – Repro and design studio d.o.o.
direktor / director: Vladimir Brajković
email: [email protected]
www.vgraf.ba
KALI GRAF
direktor / director: Hajdar Plakalo
email: [email protected]
Plakatne površine:
Metromedia d.o.o.
Radićeva br.8
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