SRPSKI:

Damian Suzu, glumac i reditelj predstave „Gospodin Semolina ili covek iz sna“

Buducnost ce biti slatka tajna

Na 5. TIBI gostovala je i glumacka trupa iz Francuske sa komadom „Gospodin Semolina ili covek iz sna“. Pre pocetka ove neobicne predstave, u garderobi smo zatekli Damiana Suzua, reditelja i jednog od aktera predstave. Dok je predano peglao kostime i proveravao da li je sve spremno za pravljenje poslastica koje su potrebne u predstavi, otkrio nam je da sa kolegama ima blago pozitivnu tremu, sto je uvek slucaj kada izvode ovaj komad.

- Na sceni i kuvamo, a s obzirom da i u privatnom zivotu nekada jelo ispadne dobro, a nekada lose, nikada ne znamo kako ce se nase kulinarske vestine zavrsiti na sceni. Zbog toga smo svi pomalo nervozni.

Sta lepo pripremate za publiku?
- Neka to ostane slatka tajna!

Hoce li publika biti u prilici da degustira vasu hranu?
- Kad god smo izvodili predstavu, publika je mogla da proba, medutim ovog puta to ne bismo uradili iz dva razloga: zelimo da kuhinja ostane magija, ako bi se nesto probalo, carolija bi nestala, a sa druge strane, u predstavi se desava nesto strasno pa degustacija hrane ne deluje kao dobra ideja.

Da li svi muskarci u trupi, osim sto dobro kuvaju, moraju da umeju i dobro da peglaju?
- Svi muskarci su u obavezi da rade sve (smeh)! A u Francuskoj zene vole kada muskarci obavljaju sve kucne poslove.
Slazete li se da se do srca najbolje stize dobrim zalogajem?
- Bas o tome pricamo i u predstavi, insistirajuci da se preko usta i stomaka dolazi do voljene osobe.
Da li je to i poenta vase predstave?
- U predstavi se govori o vise stvari, ali ono o cemu smo zeleli da gledaoci razmisljaju je pojava novog coveka, da li smo i koliko sposobni da u danasnje vreme napravimo bice koje moze da promeni strukturu sveta, pa da i snovi postanu java. Ukoliko to bice dode iz vasione kod nas na zemlju, navodimo gledaoce da se upitaju da li ce moci da opstane i na koji nacin. Namera nam je bila da skrenemo paznju na cinjenicu da su danas ljudi preoptereceni genetski modifikovanom hranom, koja ima previse masti, ugljenih hidrata, konzervansa... U nasoj predstavi se dosta govori na poetski i magicni nacin, ali sve to cinimo da bismo dospeli do srca gledalaca. Pomalo podsecamo na bajku „Ivica i Marica“, jer je i njihova kucica bila napravljena od slatkisa. Iz tog razloga i mi koristimo secer, koji sve podseca na period lepog detinjstva. Zar nas secerna pena i svilenkaste bombone ne asociraju na period detinjstva kada smo sa roditeljima isli na vasare? Nasom predstavom publiku pokusavamo da vratimo u to vreme i ono sto je bilo najlepse u njemu.

S obzirom da ste protivnik masne hrane, sta ste jeli kod nas?
- U hotelu sam jeo iskljucivo „lajt“ stvari, sa malo kalorija, ali na kraju sam obicno zavrsavao sa velikim parcetom kolaca.

ENGLISH:

Damien Soujou, the actor and the director of the play “Mr. Semolina or a Man from a Dream”

Future Will Be a Sweet Secret

The actors troup from France were the guests in the fifth Tiba with a play “Mr. Semolina or a Man from a Dream”. Before the beginning of this extraordinary performance, we found Damien Soujou, the director of the performance and one of its actors, in the dressing-room. While he ironed the costumes devotedly and made sure that everything was ready for making of the desserts which were necessary for the performance, he revealed to us that he and his colleagues have a slightly positive stage fright, which is always the case when they do this play.

- We cook on stage, and considering that in private life a dish sometimes turns out well and sometimes badly, we never know how our culinary skills will end up on stage. This is why we are all a bit nervous.

What nice things do you prepare for the audience?
- Let that stay a sweet secret!

Is the audience going to be in a position to taste your food?
- Every time we performed this play, audience was able to try the food, however this time we should not do it for two reasons: we want the cuisine to stay magical and because of that, if anything was tried out, the magic would disappear, and on the other hand, something horrific happens in the performance so the tasting would not seem a good idea.

Do all the men in the troup, apart from good cooking, have to know how to iron well?
- All the men have the obligation to do everything (laughter)! And in France, women like when men do all the house chores.

Do you agree that the easiest way to get to somebody’s heart is usually done with good food?
- This is exactly what we are talking about in the performance, insisting that to reach somebody’s heart one should start by mouth and stomach.

Is this the point of your performance?
- We mention several things in our play, but what we wanted for the audience to think about is the appearance of a new man, if we are, and how much we are able to create a creature that can change the world structure these days, to make dreams become reality. If such a creature comes from the space to the Earth, we incite the audience to wonder if this creature will be able to survive and in what way. Our intention was to divert attention to the fact that people are suffering from genetically modified food, that has too much fat, carbohydrates, preservers…In our show we talk in a poetical and magical way, but we do all of that to get to the audience’s hearts. We remind them of a fairy tale “Hansel and Gretel” because their small house was made of candies. This is the reason why we use sugar that reminds everyone of the beautiful childhood days. Don’t sugar foam and silky sweets give you associations of childhood period when you went with your parents to fairs? With this performance we try to make the audience come back to these times and what was best in them.

Since you are against food full of fat, what did you eat here?
- In the hotel I ate light food only, with few calories, but in the end it usually finished with a big piece of cake.

 

SRPSKI:

Saut Miler i Zakob Bredamour, glumci i lutkari u predstavi „Bizarijum - ulicni akvarijum“

Bica iz morskih dubina

U subotu uvece je na pocetak Tasmajdanskog parka „uplovio“ neobican brod na kome su se nalazili francuski glumci i lutkari Saut Miler i Zakob Bredamour. Oni su izveli predstavu - spektakl „Bizarijum - ulicni akvarijum“. Brod je plovio preko sedam mora, a okupljenim Beogradanima, koji su se zatekli u parku, kao i malisanima koji su dosli da pogledaju predstavu, je pokazao sta se sve nalazi u morskim dubinama i kakva bica zive u njima. Obilazeci stazu duz parka, neobicni brod je dosao do improvizovanog trga, gde su gledaoci mogli da vide ostatak cetrdesetominutne predstave.

- Predstava govori o putovanju, a zelja nam je bila da publiku uvedemo u realan svet, pa smo zbog toga brod pomerali sa jedne na drugu stranu ovog prelepog parka. Drago nam je sto su se prisutni ukljucili u samu predstavu, krenuli sa nama u avanturu i ucinili je spektakularnom - iznose utiske Saut i Zakob.

Zbog cega je „Bizarijum – ulicni akvarijum“ tek sada stigao na TIBU?
- Tri godine uzastopno smo dobijali poziv da dodemo na festival, ali nismo mogli da se uskladimo sa datumima. Srecom, ovog puta se sve podesilo kako treba i mi smo tu.

U unutrasnjosti broda imate ogromne zvucnike. Skrivate li jos nesto....
- To je tajna koju je publika otkrila. Deca su bila veoma iznenadena kada su iz broda izasle i ribe, i ljubicasti oktopod, i vodena kornjaca, i morska zvezda....

Da li su se deca i jednog trenutka uplasila?
- Ne, pre su se uplasili odrasli.

Tekst za predstavu je nastao pre tri godine, a vec drugu godinu igrate novu verziju. Na primer, prosle godine ste sa „Bizarijumom“ obisli desetak evropskih zemalja. Da li svuda deca reaguju na isti nacin?
- Reakcije variraju, ali uglavnom sva deca reaguju slicno. Ova predstava nije iskljucivo za decu, vec i za odrasle i bitno nam je da deca nju posmatraju iz ugla roditelja, ali i da roditelji predstavu vide iz ugla deteta. Jednostavno, mi smo deo trougla koji cine: deca, roditelji i „Bizarijum“.

U naslovu stoji „Ulicni akvarijum“. Znaci li to da brod uplovljava i u neku vodu?
- Bukvalno ne, ali publika uvek moze da zamisli vodu iako je beton svuda oko nas.

Vidi se da uzivate dok igrate predstavu...
- Sami sebi smo prvi gledaoci i zbog toga apsolutno treba da se zabavljamo.

Trenutno ste sa predstavom na mini turneji. Gde odlazite posle Beograda?
- U Norvesku, potom u Cesku, i u jos neke evropske zemlje. Nasa turneja ce trajati do oktobra. Tokom leta cemo obici i dvadesetak festivala i verujem da ce nas svuda publika dobro prihvatiti.

ENGLISH:

South Miller and Jacob Bredamour, actors and puppeteers in the performance “Bizarium – the Street Aquarium”

Creatures from the Depth of the Sea

On Saturday evening at the front part of Tasmajdan Park “sailed” an extraordinary ship and on the board were the French actors and puppeteers South Miller and Jacob Bredamour. They performed a play – spectacle “Bizarium – the Street Aquarium”. The ship sailed the seven seas, and showed the gathered Belgraders, who happened to be found there, and the youngsters who came to see the performance what was to be found in the sea depths and what kind of creatures live there. Moving along the park path, the strange ship came up to an improvised square, where the audience could see the rest of the forty-minute performance.

- The performance is about traveling, and our wish was to take the audience into the real world, that is why we moved the ship from one part of this beautiful park to the other. We are glad that the people who were present joined the performance, they set forth to an adventure with us and made it spectacular – South and Jacob bring out their impressions.

Why hasn’t “Bizarium – the Street Aquarium” come to the Tiba until now?
- We have received invitations to come to the Tiba for three years in a row, but we could not arrange the dates. Luckily, this time everything accorded the way it should and we are here.

There are huge speakers inside the ship. Do you hide anything else?
- This is the secret that the audience revealed. Children were very surprised when fish came out of the ship, and a purple octopus, and water tortoise and a star-fish…

Were children scared at one moment?
- No, the grown-ups were.

The text for the play was written three years ago, but this is the second year that you perform the new version. For example, last year you visited around ten European countries with “Bizarium”. Do children react the same everywhere?
- The reactions vary, but all the children usually react the same. This performance is not for children only, but for adults, too. And what is important to us, is that children observe it from parents’ point of view and for parents to see the performance from children’s angle. Simply, we are the part of the triangle that is made of: children, parents and “Bizarium”.

There is the title “Street Aquarium”. Does this mean that the ship sails into some sort of water?
- Literally not, but the audience may always imagine water, even though, there is concrete all around us.

It is evident that you enjoy performing this play….
- We are the very first spectators of this play and this is why we should absolutely enjoy it.

Right now you are on the tour with this performance. Where are you going to travel after Belgrade?
- To Norway, then the Czech Republic and some other European countries. Our tour is going to last until October. During the summer we are going to visit around twelve festivals and I believe that the audience will accept us well everywhere.

SRPSKI:
Prateci program TIBE

Prijateljstvo coveka i crva

U okviru prateceg programa, na Trgu Nikole Pasica „Gledaliste za otroke in mlade“ iz Ljubiljane odigralo je predstavu „Gospodin Pepi i crv Artur“. U ovoj edukativnoj prici o prijateljsvu izmedu usamljenog coveka i preplasenog crva pojavljuje se Iztok Valic u dvostrukoj roli. Predstavu za najmlade gledaoce rezirao je Ivica Simic, scenografiju je uradio Gorazd Ravnikar, a kostime Emina Kaliman.

ENGLISH:

Supporting Program of the Tiba

A Friendship between a Worm and a Man

Within the supporting program, in Nikola Pasic square, “Gledaliste za otroke in mlade” from Ljubljana performed a play “Mr. Pepi and Worm Arthur”. In this educational story about friendship between a lonely man and a frightened worm, Iztok Valic appears. This play for the youngest audience was directed by Ivica Simic, scenography was done by Gorazd Ravnikar, and the costumes were made by Emina Kaliman.

SRPSKI:

 

Rec clana zirija TIBE - dramaturg Jelena Mijovic

Pregrst dobrih predstava

- Ovogodisnja ponuda TIBE je bila raznolika. Na programu su se nasle predstave za malu decu, ali i za tinejdzere, cak je bilo vise predstava za stariju decu. Misljenja sam da su mozda i predstave za njih bile interesantnije nego za one najmlade. Jednom recju ovogodisnja TIBA je imala jako dobre predstave, ali je bilo i ponekih koje nista novo nisu donele, pa ne znam ni zbog cega su se nasle na repertoaru. U odnosu na proslu godinu, nije bilo spektakla. Misljenja sam da na 5. TIBI nije bilo nista sto bi se moglo okarakterisati kao nova pozorisna tendencija, prosto naslo se mnogo poznatih stilova, sredstava, zanrova i nacina na koji se obracaju deci. Medutim, neka od poznatih sredstava su usavrsena, dovedena do vrhunskog nivoa, tako da to doprinosi kvalitetu predstava, pa bi njih, kao veoma dobre, trebalo uvrstiti u repertoar festivala za odrasle - istice Jelena Mijovic.

Postoje komentari da je bilo previse predstava koje ne zavrsavaju hepiendom. Sta vi mislite o tome?
- Verovatno su deca navikla da gledaju predstave sa hepiendom, ali ja ne mislim da je vecina predstava imala tuzan kraj. Naprotiv, cak i ako su predstave bile malo tezeg sadrzaja, kao na primer „Na kraju kraljeva“, i ona ima hepiend jer glavna junakinja prezivljava, posto je spasavaju drugi ljudi. Sve zavisi iz kog se ugla gleda. Uopsteno, mislim da nije bilo previse predstava sa tuznim krajem.

ENGLISH:

A Word from the Tiba Jury – Dramaturge Jelena Mijovic,

Plenty of Good Performances

- This year’s Tiba presentation was various. The program consisted of performances for small children, but there were performances for teenagers, too. There, even, were more plays for older children. My opinion is that the plays for older children were more interesting than these for the young ones. In one word, this year’s Tiba had very good performances, but there were few that did not show anything new, and I do not know why they were on the repertoire. When compared to the last year, there was no extravaganza. I believe that in the fifth Tiba there were no performances that can be characterized as new theatre tendencies, simply there were many familiar styles, well-known means, genres and ways to address children. However, some of familiar means were perfected, brought to the top level, so that this contributes to the quality of the performances, and that is why they should be, as very good ones, included in the repertoire of the festival for adults – Jelena Mijovic points out.

Jelena Mijovic, Megumi Tomita, Mojica Kraft

There are commentaries that there were too many plays that did not have happy endings. What do you think about it?
- Children are, probably, used to watch performances with happy endings, but I do not think that the majority of the performances ended sadly. On the contrary, even if the performances had somewhat harder content, like for example “Na kraju krajeva” (“At the End of All Ends”), even this play ends happily because the main character survives, she is saved by other people. It all depends on the perspective. Generally, I think there were not so many performances with a sad ending.

SRPSKI:
U PRILOGU O NAGRADAMA 5.TIBA FESTIVALA I OBRAZLOZENJE ZIRIJA

SRPSKI:

Daniela Kos, PR Kazalista „Mala scena“ iz Zagreba

Prvi koraci u svet realnosti

U prepunoj sali Malog pozorista „Dusko Radovic“, Kazaliste “Mala scena“ iz Zagreba izvelo je predstavu „Kako je Tonkica kupovala hleb“.

- Selektor Igor Bojovic zapazio nas je pre dve godine u Ljubljani, kada smo ucestvovali na Festivalu „Zlatna Palicica“. Iz meni nepoznatih razloga, prosle godine nismo gostovali na Tibi sa ovom predstavom, ali ove godine smo sa radoscu prihvatili poziv da nastupimo sa „Tonkicom...“

Za koji uzrast je predstava idealna?
- Namenjena je prvenstveno deci predskolskog uzrasta i ucenicima nizih razreda osnovnih skola. Ali ta deca uvek dolaze na predstave u pratnji roditelja, koji takode uzivaju u „Tonkici...“. Komad je dosta dinamican i traje samo 45 minuta. Prica je interesantna i govori o deci koja sticu prva vazna zivotna iskustva. Sam naslov „Kako je Tonkica kupovala hleb“ otkriva ono o cemu predstava govori. Glavni lik je devojcica koja odlazi u malu avanturu - po prvi u prodavnicu da kupi hleb. To predstavlja veoma vaznu stvar u njenom zivotu, jer cim izade na ulicu vrebaju je milijarde opasnosti: od saobracaja do sumnjivih ljudi koje putem srece. Tom prilikom Tonkica se susrece i sa nekim ruznijim stvarima u zivotu i shvata da deca ne smeju svakome verovati. Na kraju, sve prolazi u najboljem redu.

Osamostaljivanje je vazan korak, posebno kod dece...
- Naravno, narocito kada deca pokusavaju da nacine svoje prve zivotne korake.

Da li su u predstavi scenografija i kostimi namerno zivopisni?
- Da. Sve prsti od veselih zivih boja, sto je jako atraktivno i vizuelno veoma dinamicno.
Muziku za predstavu je napisao popularni Koko Moskito...
- Da, Koko Moskito je u Hrvatskoj poznat kao jedan od osnivaca pop - rok benda “Dzings“.

Koliko je tesko napraviti decju predstavu u Hrvatskoj i da li je za nju potrebno puno para?
- Kao i za neke druge stvari u zivotu, pa tako i u slucaju pozorisnih predstava, ne treba uvek mnogo novaca da bi se napravio kvalitetniji proizvod. Prvo je potrebno imati dobru ideju, okupiti kreativne ljude, i kroz zajednicku saradnju, napraviti proizvod. Naravno, novac tu mnogo pomaze, jer daje materijalnu sigurnost. Ako na pocetku rada imate obezbeden novac, on nije garancija da ce projekat ispasti dobro, jer treba imati i pozitivnu vibraciju, a gledano decjim ocima treba proci i kroz proces kreativnosti. Iako su pare bitan faktor, najvaznije je dobra volja i prava ideja.

ENGLISH:

Daniela Kos, PR of the Theatre „Mala Scena“ from Zagreb

The first steps into the world of reality

In the full auditory of the Children’s Theatre “Dusko Radovic“, The Theatre „Mala Scena“ from Zagreb performed a play „How Tonkica bought bread”

- The selector Igor Bojovic noticed us two years ago in Ljubljana, when we participated in the Festival “Zlatna Palcica”. For some unknown reasons to me, last year we were not guests in the Tiba with this performance, but this year we have accepted the invitation to perform “Tonkica…” with pleasure.

What age is the play ideal for?
- First of all it is intended for the pre-school children and the elementary school lower graders. But these children always come to performances accompanied by their parents, who also enjoy “Tonkica…”. The play is very dynamic and it lasts for 45 minutes only. The story is interesting and is about children who gain first important life experiences. The very title “How Tonkica bought bread” reveals what the performance is all about. The main character is a girl who has a little adventure – by going to a shop to buy bread. This represents an important fact in her life, because the moment she steps into the street billions of dangers lurk: from traffic to murky people who she meets on her way. In this occasion Tonkica faces some uglier facts of life and realizes that children must not trust everybody. In the end everything goes well.

Becoming independent is an important step, especially for children…
- Of course, especially when children try to make their first steps in life.

Are the stage design and the costumes graphical on purpose?
- Yes, Koko Moskito is famous in Croatia, as a founder of the rock band “Dzings“.

How difficult is to make a children's performance in Croatia and is it necessary to invest a lot of money in it?
- Just like for other things in life, it is the same for theatre performances, it is not necessary to invest a lot of money in order to make a product of greater quality. First of all it is necessary to have a good idea, gather creative people, and through mutual cooperation, make a product. Naturally, money does help there a lot, because it gives material security. If you have money provided at the beginning of your work, it is not a guarantee that the project will end up well, because positive vibration should be there, too, and seeing through children’s eyes, one should also go through the creativity process. Though, money is an important factor, good will and the right ideas are the most important.

SRPSKI:

Jug Radivojevic, reditelj predstave “Goli kralj“

Mudroscu do pobede

Na sceni Pozorista „Bosko Buha“ izvedena je predstava „Goli kralj“ Evgenija Svarca. U ovoj britkoj komediji, radenoj po motivima tri Andersenove bajke („Svinjar“, „Princeza na zrnu graska“ i „Carevo novo odelo“) igraju: Kalina Kovacevic, Ivan Jevtovic, Milan Kalinic, Dragan Vuji Boba Latinovic, Snezana Nenadovic, Zorica Jovanovic, Jelena Vukusic, Branislav Platisa, Nenad Nenadovic, Dejan Lutkic, Igor Damjanovic, Ivana Lokner, Aleksandra Simic... Rezija je poverena Jugu Radivojevicu.

Da li vas je iznenadio poziv da ucestvujete na ovogodisnjoj Tibi, s obzirom da je premijera bila pre dve i po godine?
- Svaki poziv na festival je veliko zadovoljstvo i potvrda da to sto smo radili, narocito kada je u pitanju jedna ozbilja selekcija, je vredno rezultata. Do sada smo sa predstavom „Goli kralj“ ucestvovali na tri festivala i to: na Medunarodnom u Banjaluci, gde smo bili apsolutni pobednici, onda na Kotorskom festivalu gde smo osvojili dve nagrade i na Danima komedije u Jagodini, sto je bilo veliko iznenadenje, s obzirom da smo kao predstava za decu, dobili cak dva „Curana“. Nasa predstava je do sada imala lep festivalski zivot, a posebno nam je drago sto smo i posle dve i po godine od premijere, dobili poziv da ucestvujemo na vaznom festivalu kao sto je Tiba.

Predstave se obicno dele za one najmlade i one nesto starije. Sa „Golim kraljem“ nema podela, jer vas podjednako voli da gleda i mlada i stara publika?
- Radio sam u nekoliko pozorista za decu i uvek sam se trudio da pravim predstave namenjene deci, ali da i starijima bude interesantno. Zbog toga uvek biram komad, koji bi i konceptualno i zanrovski mogao da bude pozoriste za sve uzraste. Smatram da je upravo „Goli kralj“ takva predstava. Komad sa jedne strane, ima pitku pricu koju najmladi mogu lako da prate i da nauce sta je dobro, kao i da ljubav uvek moze da pobedi nepravdu i bilo kakvu intrigu, a sa druge strane da dodirne i ozbiljnije teme, pa cak i neke koje se ticu politike.
Za muziku su se pobrinuli Kornelije i Aleksandra Kovac. Kako ste uspeli da spojite dva izuzetna umetnika na jednom projektu?
- To je bila interesantna ideja, jer su tada otac i kci prvi put zajedno radili neki projekat. Muziku za „Prvo carstvo“ je uradio vremesni, ali osvedoceno dobri Kornelije, a za „Drugo carstvo“ se pobrinula mlada i talentovana Aleksandra. Tacno je da je neobicno da dva kompozitora rade na jednoj predstavi, iz razloga sto su oni konceptualno veoma razliciti, ali se pokazalo da je njihov angazman bio pun pogodak.

Kakav je dalji zivot predstave?
- Ona je na Tibi imala svoje pedeseto izvodenje. Ocekujem da ce i dalje opstati na repertoaru pozorista „Bosko Buha“ i da mozda jednim laganim tempom docekamo i jubilarno - stoto izvodenje.

Nakon „Golog kralja“ niste radili nijednu novu predstavu za decu. Zbog cega?
- Sada zavrsavam napornu sezonu u kojoj je bilo puno posla. Ne izbegavam da radim predstave za decu, naprotiv, to izuzetno volim i do sada sam rezirao cak petnaestak predstava za najmlade, sto u Beogradu, sto sirom Srbije. Nadam se da ce mi se uskoro pruziti prilika da uradim jos neku.

ENGLISH:

Jug Radivojevic, director of the play “Naked King”

By Wisdom to Victory

A play by Eugene Schwarz, “The Naked King” was performed on the stage of the Theatre “Bosko Buha”. In this trenchant comedy done by the motives of the three Andersen’s fairy tales (“The Swineherd”, “The Princess and the Pea” and “ The Emperor’s New Clothes”) these performers act :
Kalina Kovacevic, Ivan Jevtovic, Milan Kalinic, Boba Latinovic, Snezana Nenadovic, Zorica Jovanovic, Jelena Vukusic, Branislav Platisa, Nenad Nenadovic, Dejan Lutkic, Igor Damjanovic, Ivana Lokner, Aleksandra Simic...Directon was entrusted to Jug Radivojevic.

Were you surprised by the invitation to participate in this year’s TIBA considering the fact that the premiere was performed two and a half years ago?
- Every invitation to a Festival is a great pleasure and a confirmation that what we have done, especially when one serious selection is in question, is worthy of the results. Up to now, we participated in three festivals with the play “The Naked King” and these were: The International Festival in Banja Luka, where we were the absolute winners, then The Kotor Festival where we won two awards and in The Comedy Days in Jagodina, which was a great surprise, considering the fact that, as a children’s play, we even won two “Curana”. Our play has had a splendid festival life, and we are especially glad, that even two and half years after the premiere, we received an invitation to participate in such an important festival as the Tiba is.

The plays are usually divided in these for the young, and those for somewhat older audience. With “The Naked King” there are no such divisions, because both the younger and the older audience like to watch your play?
- I have worked in several theatres for children and I have always strived to make performances dedicated to children, but at the same time interesting for adults. This is why I always choose a play, which may, both conceptually and in genre terms, be a theatre for all ages. I consider that “The Naked King” is such a play. The play, on the one hand, has an undemanding story which the young can easily follow and learn what is good, and that love can always win over injustice and any sort of intrigue, and on the other hand, it touches more serious themes, even some which concern politics.

Music was composed by Kornelije and Aleksandra Kovac. How did you manage to join these two remarkable artists in one project?
- That was an interesting idea, because the father and the daughter worked together on the same project for the first time. Music for “The First Kingdom” was done by the aged, but approved Kornelije, and for “The Second Kingdom” music was written by the young and talented Aleksandra. It is true, that it is extraordinary for two composers to work on the same performance, because the two of them are conceptually completely different, but it has been proved that their engagement was a full hit.

What is the future life of this performance going to be like?
- It was performed in the Tiba for the fiftieth time. I expect that it will stay on the repertoire of the Theatre “ Bosko Buha” and that, maybe, with one easy tempo we can reach the jubilean – the hundredth performance.
After “The Naked King” you have not worked on a single performance for children. What is the reason for that?
- I am concluding a strenuous season in which there was a lot of work to be done. I do not evade working on the performances for children, on the contrary, I like to do that very much, up to now, I have even directed around fifteen performances to the youngest audience, in Belgrade and throughout Serbia. I hope I will soon have the opportunity to direct another one.


Radionice (slikarska, madionicarska, zonglerska i origamijska)
u Tiba Gradu na Trgu Nikole Pasica /
Workshops (painting, conjuring, juggling, origami)
in Tiba Town, in Nikola Pasic square.

5.TIBA Festival - zabava / party

SRPSKI:

Andrea Kramer, rediteljka predstave „Crvene, crvene cipele“

Zelja za bolje sutra

Na sceni „Bojan Stupica“ nemacki “Consol Theater“ izveo je predstavu „Crvene, crvene cipele“ engleskog pisca Carlsa Veja. U drami o devojcici Franveri, koja zarko zeli da postane plesacica, uloge tumace: Svenja Niekerken, Eva Horstmann, Fabian Sattler i Markus Kirschbaum. Dramu, koja je namenjena deci starijoj od deset godina, rezirala je Andrea Kramer.

Da li su crvene cipele metafora?
- Autor je iskoristio Andersenovu bajku i napravio pricu u koju je ubacio dete i situaciju u ratu. Crvene cipele su metafora iz razloga sto devojcica, glavni lik u predstavi, zarko zeli da postane plesacica. Franvera hoce da prozivi sve lepe i normalne stvari u zivotu. Sa druge strane, crvene cipele su metafora i krvavog rata i ranjenog srca.

Predstavu prati i etno muzika...
- Koristila sam sire balkanske motive, ali i neke finske motive u momentima gde se koristi harmonika. U predstavi devojcicu igra glumica, a ne plesacica, pa smo se trudili da napravimo tradicionalni ples, a ne umetnicku varijantu. Devojcica zeli da se kroz ples ukljuci u normalan svet, gde moze da funkcionise, pa se sve odvija u pravcu tog plesa.

Da li je Franvera na kraju price nasla normalan svet i postala plesacica?

- Na zalost, nije! Sam kraj nije dobar po nju, ali se citav komad bavi motivom nade i ta njena prica izbacuje nadu na povrsinu, iako kraj predstave nema srecan zavrsetak. Pokusali smo da uradimo pricu bez ikakvih politickih insinuacija, jednostavno u drugacijoj dimenziji - svet posmatran ocima deteta. Iz tog razloga nada se pojavljuje na povrsini, kao decje nevina. Trudili smo se da starijima porucimo da deca ne treba da budu dodirnuta ratnim strahotama.

U vasoj scenografiji preovladuje narandzasta boja. Da li ona predstavlja nadanje?
- Moram da napomenem da u prici postoje cetiri pripovedaca, koji stalno menjaju likove i detaljno pripovedaju o devojcici. Oni su na sceni, a pred kraj predstave nestaju. Na pocetku je scena prazna, da bi se kasnije pretvorila u dvoriste, a naradzasta boja je tu vise u funkciji da upozorava.

Trenutno pripremate novu predstavu. O cemu je rec?
- Radim na jednom klasicnom komadu za mlade, odnosno za tinejdzere. To je prica „Nejtan mudri“ koja govori o tri razlicite religije: hriscanstvu, islamu i judeizmu i njihovoj povezanosti. Komad je napisan daleke 1725. godine, a mi smo dramaturski malo izmenili tekst. Premijera se ocekuje novembra i bilo bi lepo da i beogradska publika vidi ovu predstavu.

ENGLESKI:

Andrea Kramer, director of The Red Red Shoes

Desire for a better tomorrow

On the Bojan Stupica Stage, the German Consol Theater performed The Red Red Shoes by the English writer Charles Way. In the drama about a little girl Franvera, who desperately wants to become a dancer, the characters are played by: Svenja Niekerken, Eva Horstmann, Fabian Sattler and Markus Kirschbaum. The drama, designed for children over 10, is directed by Andrea Kramer.

Are the red shoes a metaphor?
- The author made use of Andersen’s fairytale and made a story of a child in a war situation. The red shoes are a metaphor because the girl, lead character in the play, desperately wants to become a dancer. Franvera wants to experience all the nice and normal things in life. On the other hand, the red shoes are a metaphor both of a bloody war and a wounded heart.

The play is backed by ethno music...
- I used broad Balkan motifs, as well as some Finnish ones at moments where the accordion is played. In the play, the girl is played by an actress, not a dancer, so we tried to make a traditional dance, not an artistic variety. The girl desires, through dance, to get in touch with the normal world, where she can function, so everything flows in the direction of this dance.

At the end, does Franvera find the normal world and become a dancer?
- Unfortunately, no! The very ending is not a happy one. Although the entire play is dealing with the motif of hope and her story brings hope to the surface, the play does not have a happy ending. We tried to make a story without any political innuendos, simply in a different dimension – the world as perceived by a child. From that very reason, hope appears on the surface, innocent as a child. We tried to send a message to the adults that children are not meant to be touched by war horrors.

Your set design is mainly orange. Does the color represent hope?
- I have to pint out that the story has four storytellers, who constantly change characters and discuss the girl in detail. They are on stage, and right before the end of the play they all disappear. At the beginning the stage is empty, to be later turned into a backyard, and the orange color is mainly there to make a warning.

You are currently working on a new play. What is it about?
- I am working on a classical play for young people, i.e. teenagers. It is a story of Nathan the Wise which speaks of three different religions: Christianity, Islam, and Judaism, and the connections among them. The play was written in 1725, and we made some small dramaturgical alterations. The premiere is expected in November, and it would be nice for the Belgrade audience to have the chance to see this play as well.

SRPSKI:

Glumica Jelena Ilic u predstavi „Mali princ“

Prijateljstvo se najbolje vidi srcem

U petak, u Malom pozoristu „Dusko Radovic“, bice izvedena predstava „Mali princ“ rediteljke Anje Suse. Naslovnu ulogu tumaci Jelena Ilic, a osim nje u predstavi igraju i: Ivan Tomic, Dusica Sinobad, Nenad Radovic, Milos Samolov, Predrag Todorovic, Marijana Vicentijevic-Badovinac i Jelica Vucinic. Animacije lutaka poverene su Tatjani Stankovic i Jovani Cvetkovic.

Glumica Jelena Ilic otkriva da nije bilo nimalo lako docarati lik Malog princa.

- U pocetku sam se cak malo i uplasila, jer je trebalo kreirati, sto bi Anja Susa rekla, svojevrsnog Hamleta. Ali kroz proces priprema i uz pomoc rediteljke i ansambla, kao i moje maste i slobode koju sam dobila od Anje, cini mi se da smo napravili pravog, autenticnog Malog princa.

U cemu se ogleda razlika vaseg i Egziperijevog „Malog princa“?
- Kada uzmete da radite Egziperija, nema svrhe pitati se sta je tu razlicito. Ima puno slojeva i raznovrsnih tunela ili ulicica u koje mozete da skrenete, pa je Egziperi naprosto samo predlozak. Ono sto je nase i sto je nekakva nadogradnja ili prosto scenski prikaz, to je prica o prijateljstvu, odnosno pokazatelj da covek samo srcem najbolje vidi. Mada, kada se pogleda i autenticni Egziperi, sve je to od njega i poteklo.

Da li je u detinjstvu vasa omiljena knjiga bila „Mali princ“?
- Ne. Kada sam bila mala, neke stvari su mi bile dosta nejasne i apstraktne, ali sam znala da cu se nekada vratiti tim istim stvarima. Danas je „Mali princ“ jedno od mojih omiljenih stiva.

Prizeljkujete li neku nagradu na Tibi?
- Mislim da nije pametno igrati na festivalu zbog nagrada. Ako ona i usledi, onda je to divan motiv i podstrek za dalji rad. Ali igrati na festivalu sa velikom zeljom da se nagrada dobije je nesto sasvim - pogresno.

Sta cete obavezno pogledati na Tibi?
- Sigurno cu odgledati hrvatsku predstavu “Kako je Tonkica kupovala hleb“.

ENGLESKI:

Actor Jelena Ilic in the play The Little Prince

Friendship can best be seen by heart

On Friday, at the Dusko Radovic Theater, we will have the chance to see a performance of The Little Prince, directed by Anja Susa. The lead role is played by Jelena Ilic, who is backed by: Ivan Tomic, Dusica Sinobad, Nenad Radovic, Milos Samolov, Predrag Todorovic, Marijana Vicentijevic-Badovinac and Jelica Vucinic. Doll animations are put in charge of Tatjana Stankovic and Jovana Cvetkovic.
Actor Jelena Ilic reveals that it was not easy to bring the characted of the Little Prince to life.
- In the beginning I was a little scared, because it was necessary to create, in the words of Anja Susa, somewhat of a Hamlet. But through the preparations process and assistance of the director and the entire crew, as well as my imagination and freedom given to me by Anja, it seems that we were able to make a true, authentic Little Prince.

Where lies the difference between your and Exupery’s The Little Prince?
- When you are doing Exupery, there is no pint in asking what is different. There are many layers and various tunnels and alleys where you can make a turn, and Exupery simply becomes a starting point. What is our upgrade or simply a stage representation is a story of friendship, i.e. an indicator that a man can best see by heart. Though, when you see the authentic Exupery, all did start from him.

Is your favorite childhood book The Little Prince?
- No. When I was a little girl, some things were quite unclear and abstract, but I knew that some day I would get back to those very things. Today The Little Prince is one my favorite books.

Are you hoping for an award on TIBA?
- I don’t think it is smart to take part in festivals because of awards. If it does happen, then it’s a wonderful motivation and stimulation for further work. But to take part in a festival with a big desire for an award – is quite wrong.

Which play will you definitely see at TIBA?
- I will surely go to see the Croatian play How Tonkica Used to Buy Bread.

SRPSKI:

Sanja Krsmanovic-Tasic, clan borda ASSITEJ - a nacionalnog centra Srbije

Okrugli stolovi su uvek neophodni

Na Trgu Nikole Pasica, sinoc je u okviru prateceg programa, odrzan Okrugli sto ASSITEJ-a sa temom „Od spektakla do problemskog pozorista“. Moderator pomenutog projekta je bila glumica „Dah teatra“ i clan borda ASSITEJ-a nacionalnog centra Srbije, Sanja Krsmanovic-Tasic.

- Sastanak je bio vrlo dinamican i zanimljiv, a njegova tema je bila samo pocetni impuls da medusobno podelimo svoja iskustva, zapazanja, poredenja... Dragocenost svakog okruglog stola i svakog medunarodnog festivala je upravo u ovakvim susretima. Sa jedne strane veoma je vazno da se pogledaju predstave, umetnicka dela autora, ali ono sto je jos vaznije je da se i ti autori medusobno sretnu i razmene svoja iskustva, lepe trenutke, ali i probleme na koje nailaze. Mi iz ASSITEJ-a Srbije ucimo jako puno iz ovakvih razgovora, jer dobijamo more informacija kako mozemo jos vise da povecamo kvalitet i razvijemo atmosferu, umetnicki i kreativni duh u pozoristima za decu i omladinu, koja su kod nas jako dobra i imaju dugu tradiciju. Potrebno je jos da se osavremenjuju i mozda da se malo vise pozabave teatrom problema, odnosno nekim temama u predstavama koje se bave tinejdzerskim periodima – prica Sanja Krsmanovic-Tasic.

Da li se i nasa pozorista susrecu sa istim problemima kao i inostrana?
- Kako da ne! Svuda postoji problem interneta, kompjutera, trovanje medijima, nedostatak ljudskog kontakta, ali su prisutne i bazicne teme: usamljenost, smrt, izolacija, bolest, invaliditet... To su neki ljudski problemi o kojima moramo progovoriti. Deci treba pokazati da su sve teskoce sa kojima se susrecu u zivotu, samo prepreke koje se uvek mogu prevazici.

ENGLESKI:

Sanja Krsmanovic-Tasic, member of the Board of ASSITEJ National Center Serbia

Roundtables are always necessary

At the Nikole Pasica Square, last night within the associated program, we held an ASSITEJ Roundtable, with the topic of “From Spectacle to Problem Theater”. The moderator of the mentioned project was an actress of the Dah Theater and member of the Board of ASSITEJ National Center Serbia, Sanja Krsmanovic-Tasic.

- The meeting was both very dynamic and very interesting, and its main topic was just an impulse for an exchange of experiences, perceptions, comparisons… The value of every such meeting and every international festival lies in these very meetings. On the one hand it is very important to see the plays, author’s art works, but what is more important is to have the authors meet and exchange experiences, precious moments, as well as problems they encounter. ASSITEJ Serbia learns a lot from such meetings, we get information on how we can improve the quality and develop the atmosphere, the artistic and creative spirit in theaters for children and young people, which are very good here and have long traditions. They just need to modernize some more, and maybe deal more with the problem theater, i.e. subject matters in plays that deal with teenage years – says Sanja Krsmanovic-Tasic.

Do our theaters meet with the same problems as foreign ones?
- Certainly! There are problems of the Internet, computers, media overload, lack of human contact, as well as the basic topics, present everywhere: loneliness, death, isolation, illness, disability… These are some human problems, which we have to discuss. Children need to be given an indicator of how all difficulties they meet in life are just obstacles that they are able to overcome.

Asger Gomez Frokov i Stin Hakon

Play Ditto & Mitto

Asger Gomez Frokov i Stin Hakon

Play Ditto & Mitto

predstava Matematika

play Mathematics

SRPSKI:

Asger Gomez Frokov i Stin Hakon - autori, reditelji i glumci predstave „Dito i Mito“

Poetska prica za najmlade

„Asguer Zap Showteater“ iz Danske izveo je predstavu „Dito i Mito“ na Novoj sceni Beogradskog dramskog pozorista. Tekst su zajednicki napisali: Asger Gomez Frokov i Pale Stin Nielsen, dok je za dramatizaciju i reziju bio zaduzen Stin Hakon. Klovnove Dita i Mita tumace Asger Gomez Frokov i Stin Hakon.
- U nasoj predstavi druze se dva pomalo cudna prijatelja, Dito i Mito. Izmedu njih je jasno podeljena granica, sta je „moje“, a sta je „tvoje“. Predstava traje 45 minuta i namenjena je deci starijoj od tri godine. Kada malisani gledaju predstavu obicno se prepoznaju u pojedinim situacijama. Jednostavno, znaju sta je njihovo, a sta pripada njihovim drugarima. Medutim, i odrasli mogu da se prepoznaju u pojedinim situacijima, jer smo svi okruzeni ljubomorom i pohlepnoscu – otkrivaju sadrzaj pomenute predstave njeni akteri Asger i Stin.

Moze li se i drugacije gledati na ovu predstavu?
- Pocetna ideja je bila drugacija i delovala je previse naivno, ali se nadamo da su deca shvatila ono sto nam je bila namera kada smo je realizovali. Vazno je samo odrediti crtu izmedu „moga“ i „tvoga“.

Dito i Mito nisu obicni klovnovi...
- Na pocetku su oni tradiconalni klovnovi, koji deset godina obavljaju taj posao. Ali odjednom su dobili ideju da naprave nesto novo, specijalno i prihvatljivo za one koji ih gledaju. Na kraju predstave decji aplauz potvrduje da su oni u tome i uspeli.

Kako publika po zavrsetku predstave kometarise vasu pricu?
- Uglavnom iz sale izlaze vrlo zadovoljni i srecni. Culi smo da kasnije deca igraju igru koju i mi imamo u predstavi. Zanimljivo je da od publike dobijamo vise komentara dok traje predstava, a to se najvise ogleda u tacnim odgovorima na pitanja koja im postavljamo tokom predstave. Na sceni mi ipak ne pricamo, vec sve cinimo mimikom, ali je zato prica dozvoljena publici.

Planirate li novi projekat?
- Imamo mnogo ideja, ali glavni problem nam je manjak novca. Iz tog razloga ne planiramo nista novo.

U Beogradu ostajete do nedelje...
- Da. Zelimo da pogledamo predstave nasih kolega na Tibi, ali i da odemo na koncert Marije Serifovic, pobednice ovogodisnje Evrovizije.

ENGLESKI:

Asger Gomez Frokov & Steen Haakon - authors, directors and actors of Ditto & Mitto

A poetic story for the youngest audience

“Asguer Zap Showteater” from Denmark presented their performance Ditto & Mitto at the New Stage of the Belgrade Drama Theater. The text was written by: Asger Gomez Frokov and Palle Steen Nielsen, while the dramatization and direction was under charge of Steen Haakon. Ditto and Mitto the clowns are played by Asger Gomez Frokov and Steen Haakon.
- Our play speaks of the friendship between two slightly odd friends, Ditto and Mitto. They have made a clear division between what is “mine” and what is “yours”. The play lasts for 45 minutes and is designed for children older than 3. When the kids watch the play, they usually recognize themselves in specific situations. Simply, they know what is theirs, and what belongs to their friends. However, the adults can also find themselves in certain situations, as we are all surrounded by jealousy and greed – the plays actors Asger and Steen reveal to us.

Can the play be seen differently?
- The initial idea was different and it seemed too naive, but we hope that children understood our intention. All that is important s to make a clear distinction between “mine” and “yours”.

Ditto and Mitto are no ordinary clowns…
- At the beginning they are traditional clowns, doing their job for the past ten years. But they suddenly thought of an idea to create something new, special and acceptable for those who come to see them. At the end of each performance, the children’ applause confirms that they have succeeded.

At the end of a performance, how does the audience comment on your story?
- They usually leave the auditorium pleased and happy. We even heard that children play a game that we play in the show. It is interesting that we get most comments during the play, in the form of correct answers to questions we ask during the show. On stage we do not talk, we do everything through mime, but the audience is allowed to talk.

Are you making plans for a new project?
- We have many ideas, but our major problem is lack of financial resources. So for now we are not planning anything new.

You will stay in Belgrade till Sunday…
- Yes. We want to see other plays on TIBA, but also go to the concert of Marija Serifovic, this year’s Eurovision song contest.

SRPSKI:

Arturo Sid, glumac i autor predstave „Dubre, kakva lepota“

Muzika je univerzalni lek

Veceras je na Trgu Nikole Pasica odigrana predstava „Dubre, kakva lepota“. Nju su izveli dvojica Spanaca Arturo Sid i Antonio Fabris. Autor komada Arturo Sid istice da su gledaoci imali priliku da vide jednostavnu muzicku predstavu sa dvojicom glumaca na improvizovanoj sceni.

- Predstava je karakteristicna po tome sto dubre peva i svira. Na primer, zanimljiva kanta za otpatke proizvodi zvuke. Ideja projekta je da je muzika svuda oko nas i da ne moramo da imamo instrumente da bi uzivali u njoj, vec mozemo prozvoditi muziku i na drugim stvarima. S muzikom se moze komunicirati, putovati, mastati, ali uz nju se moze i lepo odmoriti.

Kom uzrastu je namenjena predstava?
- Ovaj pedesetominutni projekat namenjen je deci izmedu pet i devet godina, ali mogu ga gledati i odrasli.

Koliko je naporno da glumci non-stop pevaju, igraju, sviraju, glume i animiraju publiku?
- Dosta je napeto, jer je decja publika nepredvidiva i nikada se ne zna kako ce reagovati. Zbog toga, svaki put izvedemo i dvoje dece, koja nam se pridruzuju na sceni.

Dolazite iz Granade (Andaluzija). Kako vam se cini Beograd?
- U Spaniji se veoma malo zna o Beogradu i Srbiji. Jednostavno nemamo informacija o vasoj zemlji, pa smo se mi potrudili da putem interneta saznamo vise o gradu u koji dolazimo. Tako cemo obavezno obici na Kalemegdan da vidimo Tvrdavu i spomenike. Smatramo da je Beograd pun zivota i to je ono sto kolega i ja zelimo da upoznamo.

Kako vam se cini srpska hrana?
- Culi smo da postoji uticaj razlicitih zemalja na srpsku kuhinju, posebno turski, ali i da se u vasoj zemlji dosta jede meso. Zbog toga cemo se potruditi da probamo sto vise vasih specijaliteta.

ENGLESKI:

Arturo Sid, actor and author of Garbage, What a Beauty

Music is a universal medicine

Tonight, at the Nikole Pasica Square, we had the opportunity to see the play called Garbage, What a Beauty. It was performed by to Spaniards Arturo Sid and Antonio Fabris. The play’s author Arturo Sid points out that the audience had the chance to see a simple musical with two actors on an improvised stage.

- They play is interesting for the fact that garbage both sings and plays music in it. For example, an interesting trash can makes sounds. The idea of the project is that music is all around us, and that we do not always have to have instruments to enjoy the music, but that we can make it with other objects as well. With music we can communicate, travel, daydream, and of course relax.
Which age of children does the play address?
- This fifty-minute project is designed for children between the ages of five and nine, though adults can enjoy it as well.

How strenuous is it for actors to sing, dance, play music, act and animate the audience the entire time?
- It is rather tense, because children are an unpredictable audience and you never know how they will react. Because of that, we always pick two kids to join us on stage.

You come from Granada (Andalusia). What do you think of Belgrade?
- In Spain, very little is known of Belgrade and Serbia. We simply do not have information about your country, so we use the Internet to learn more about the city that we are coming to. We will definitely visit Kalemegdan, and its fortress and monuments. We think that Belgrade is full of life, and that is something my colleague and I want to get to know.

What do you think of Serbian food?
- We heard that there are influences of various countries, especially Turkey, but also that you eat a lot of meat. We will try to taste as many of your specialties as possible.

SRPSKI:

Prateci program na Trgu Nikole Pasica

I zabava i ucenje

Sinoc je u okviru prateceg programa izvedena hrvatska predstava „Matematika“ autora i reditelja Zijaha Sokolovica. Glumci Kresimir Mikic i Drazen Sivak su pokusali da publici priblize po nekima najveci bauk - matematiku. Kroz igru iz neobicnog ugla, matematika je mladima pomogla da odrastu i pokazala da je sastavni deo naseg zivota.

ENGLESKI:

Associated program at the Nikole Pasica Square

Fun and Games, with Learning on the side

Last night, within the associated program activities, we had the opportunity to see a performance of the Croatian play “Mathematics” written and directed by Zijah Sokolovic. Actors Kresimir Mikic and Drazen Sivak tried to bring closer to the audience something than many perceive as the biggest nightmare – mathematics. Through fun and games, from an interesting angle, mathematics has helped young people to grow up and has proven that it is and always will be a part of our everyday life.

Nenad Nenadovic

Nenad Nenadovic

Milena Pavlovic-Cucilovic

Milena Pavlovic-Cucilovic

SRPSKI:

Nenad Nenadovic, umetnicki direktor TIBE

Odrastanje uz pozorisnu igru

Umetnicki direktor „Internacionalne Teatarske Beogradske Avanture“, Nenad Nenadovic, istice da je ponosan sto je ovogodisnja decja manifestacija drugacija od prethodnih, jer je po prvi put osmisljen Tiba Grad. O tome, ali i o buducnosti ovog festivala Nenadovic kaze:
- Trudimo se da bude drugacije, odnosno uvek nudimo nesto novo. Ove godine smo zamislili da novina bude Tiba Grad. Namera nam je bila da deca vise ne budu samo pasivna publika koja dolazi u pozoriste, odgleda predstavu, oceni je i ode kuci, nego smo se dogovorili da ucinimo nesto vise i da ljudi koji rade Tibu dodu medu svoju publiku. Zato je stvoren Tiba Grad, u kome ce se svakodnevno druziti deca, ali i slucajni prolaznici, koji mogu pored zabave da spoznaju i neke svoje skrivene talente. Tako Tiba Grad postaje mesto susretanja, druzenja, a sve to je upriliceno kroz nekoliko radionica. Nadam se da ce to postati tradicija i da ce vec sledece godine biti oplemenjen novim sadrzajima, koje ce ponuditi svim zainteresovanima.
Juce ste u Tiba Gradu odrzali i javni cas glume...
- Da. Sve je pocelo bozanstveno, sa puno dece, i sve je funkcionisalo besprekorno do 17.30 h, kada je poceo pljusak i kada smo svi bili poplavljeni. Odjednom se cas glume pretvorio u cas ronjenja, pa je tako prvi cas zavrsen u „vodenom stilu“. (smeh)
Festival ce biti zatvoren neobicnom predstavom „Bizarijum - ulicni akvarijum“. O cemu je rec?
- Radi se o predstavi kanadske trupe, koju vec cetiri godine pokusavamo da dovedemo u Beograd. Medutim, oni su dosta zauzeti, a s obzirom da zive na drugom kontinentu, nije ih bilo jednostavno dovesti kod nas. Ove godine su se ipak poklopile sve kockice, a i troskovi gostovanja su bili manji. Oni su se nasli u blizini, pa cemo biti u prilici da pogledamo taj cuveni „Bizarijum“. Videcemo predstavu o kojoj ja znam jedino iz price selektora Bojovica, koju je on gledao na dva razlicita festivala, i oba puta Kanadani su je izvodili drugacije. To znaci da se ova predstava prilagodava mestu gde se igra. Kod nas ce biti izvedena u Tasmajdanskom parku. Ne bih bas sve da otkrijem u vezi nje, ali sam cuo da u njoj ima lepih stvari, koje se desavaju kako u parku, tako i na ulici. Bice to prava „bitefovska“ predstava za decu.
Vecina ovogodisnjih predstava se tuzno zavrsava. Zar to nije neobicno kada su decje predstave u pitanju?
- Kada sam bio na nekoliko evropskih festivala, shvatio sam da ljudi ne zele da ulepsavaju stvarnost. Sa jedne strane moram da priznam da je to mozda dobro, a sa druge, svi bi mi zeleli da nam deca budu sto duze u „diznijevim varijantama“, tacnije da zive u bajkama. Ne znam sta je od te dve mogucnosti pravilnije. Secam se da sam gledao predstave u kojima su prikazani susreti dece sa smrcu, roditeljski razvodi, maltretiranja u porodici, gde su dati psiholoski portreti dece koja kroz sve to moraju da produ. Evropljani prosto ne zele da ulepsavaju stvarnost, niti da svaku pricu iz zivota zavrsavaju hepiendom. Cini mi se da je to pozorisna tendencija ne samo u Evropi, vec i u svetu.

Kako vidite Tibu za desetak godina?
- Mislim da ce sve manje biti klasicnih predstava za decu, onakvih na kakve smo mi navikli kada smo bili mali. Sve manje ce biti bajki, a sve vise predstava za najmlade koje se priblizavaju svojevrsnoj animaciji. Pozoriste polako prati korak scenskog problema, tj. akcenat se stavlja na probleme koje cekaju decu kada pocnu da odrastaju. Cini mi se da ce sve vise biti pozorisnih festivala za mlade, a sve manje za decu. Takode, vise nece biti klasicnih bajki ili ce ih biti veoma malo, zbog toga sto se i bajke danas igraju na novi nacin - bez teksta ili pomocu drugih sredstava. Mislim da sve to nece zaobici ni Tibu.

ENGLESKI:

Nenad Nenadovic, TIBA Art Director

Growing up with theater

Art Director of the “Theater International Belgrade Adventure”, Nenad Nenadovic, points out how proud he is that this year’s festival is different from the previous ones, as for the first time there is the TIBA City. About this, as well as the future of the Festival, Mr. Nenadovic says:
- We are trying to make things different, to offer something new every time. This year we thought of Tiba City. Our idea was to have the kids no longer as just passive audience, who come to theater, see a play, make a comment and go home, and we agreed to do something more and to have the people who work on TIBA come among their audience. That’s why we made Tiba City, in which kids will hang out every day, together with other passersby, who can, besides having fun, also discover their hidden talents. Thus Tiba City becomes the place of getting together, making friends, having fun, all through just a couple of workshops. I truly hope that this will become a tradition, and that as early as next year we will have new contents to offer to all who are interested.

Yesterday at Tiba City you held a public Acting Lesson...
- Yes. It all started wonderfully, with lots of children, and it all functioned great up until 5.30 p.m., when it started to rain and we were all wet. The Acting Lesson became a Diving Lesson, and the first class was finished in “water style”. (laughs)
The Festival will be officially closed by an unusual performance Bizzarium – Street Aquarium. What is it about?
- It is performed by a Canadian theater company, who we have been trying to get to come to Belgrade for the past four years. However, they have been very busy, and having in mind that they live on another continent, it wasn’t easy to get them to come. This year, everything came in place, and tour costs are a bit lower. They were close by, and we will thus have the opportunity to see the famous Bizzarium. We will see a performance of which I know only from the stories of selector Bojovic, who saw it at two different festivals, and both times the Canadians performed it differently. That means that the performance is adjusted according to the place where it is played. Here it will be performed at the Tasmajdan Park. I wouldn’t want to disclose everything, but I heard there are lots of neat things happening in the park as well as in the street. It will be a true Bitef-like performance for children.
Most of this year’s performances have a sad ending. Is that not strange when we are talking about plays for children?
- Having taken pat in several European festivals, I realized that people do not want to beautify reality. On the one hand I have to admit that perhaps it is good, but on the other, we all want our children to spend more time in “the Disney world”, i.e. to live in fairytales. I honestly don’t know which of the alternatives is more adequate. I remember watching plays that covered children’s encounters with death, parents’ divorces, family violence…, plays that gave psychological profiles of children having to go through all that. Europeans simply do not want to beautify reality, nor to make all life stories with a happy ending. It seems that this is a theater tendency not only in Europe, but in the world as well.
How do you see TIBA in ten years?
- I think thee will be fewer and fewer classic plays for children, as we know them, as we have when we were children. There will be fewer fairytales, and more plays for the youngest audience, turning into a sort of animation. Theater slowly follows the footsteps of a stage problem, i.e. the accent is placed on problems awaiting the children when they start to grow up. It seems that there will be more festivals for young people, and fewer for children. Also, there will no longer be classic fairytales, or they will be reduced to a minimum, because even the fairytales are played in a different way – without words or using different props. I also think that none of this will manage to go past TIBA.

SRPSKI:

Milena Pavlovic-Cucilovic, rediteljka predstave „Pera Pan“

Iz sveta maste u svet kompjutera

U sredu, u „Pozoristancu Puz“, bice izvedena predstava „Pera Pan“ rediteljke Milene Pavlovic - Cucilovic. Uloge tumace: Milos Samolov, Radmila Tomovic, Milan Cucilovic, Mladen Andrejevic, Sandra Ilic, Vanja Kapetanovic, Aleksandar Vujanovic i Predrag Filipovic. Rediteljka objasnjava koliko prica o Peri Panu ima slicnosti sa bajkom o Petru Panu, odnosno da li je ona bila osnov za ovu pricu.
- Piscu Vuku Pavlovicu „Petar Pan“ jeste bio osnov za dramu: likovi, neke svima poznate cinjenice i dogadaji, zelja za avanturom i potraga za odgovorom na pitanje „U cemu je tajna letenja“ su osnovni motivi i ove predstave. Ali i pored toga, nas „Pera Pan“ je prica za sebe koju bi mogao svako da razume bez ikakvog prethodnog znanja o Panu. Sta se dogodi kada odrasli i deca udu u kompjuter i pritom zamene uloge, tako da odrasli podetinje, pa deca moraju da vode brigu o njima i tako, hteli ili ne, naprasno odrastu? Nasa tema je sazrevanje, ali stavljeno u savremene okvire, pa se Pera suocava sa problemima sadasnjice kroz sukob sa roditeljima, odnos prema skoli i nedoumici da li je tolika ljubav prema kompjuteru beg ili prava stvar kojoj se treba posvetiti.
Dok je Petar Pan neustrasiv decak, Pera Pan je strasljiv. Da li ipak na kraju postaje hrabar?
- Nas junak prolazi kroz razne peripetije: od jednog plasljivka, uz mnogo vere, prerasta u hrabrog decaka. Postaje svestan svojih mana, kao i cinjenice da ne moze sve u zivotu da resi sam.
Ima li razlike izmedu rada na predstavi za odrasle i rada na predstavi za decu?
- Deca su iskrenija i cistija nego odrasli. Kod njih ne moze sve da prode. Za mene je ovo najtezi poduhvat po pitanju rezije, jer su u pitanju deca. Mogucnost da se razmasete i razigrate u svetu maste je neizmerna, ali je zbog toga odgovornost veca.
Kako je vase dete reagovalo gledajuci predstavu?
- Moje dete ne ide u pozoriste, jer se boji mraka. Uzivala je samo u predstavama pozorista „Puz“ proslog leta u Kotoru, jer su se izvodile na otvorenom.
Da li imate u planu novu decju predstavu i kakva je dalja sudbina „Pere Pana“?
- Ne znam da li cu raditi nesto novo za decu. Sto se „Pere Pana“ tice ucestvovali smo na „Zvezdaristu“ i ovog leta idemo u Kotor na Decji festival.

ENGLESKI:

Milena Pavlovic-Cucilovic, director of Pera Pan

From the world of fairytale to the world of computers

On Wednesday, at the Pozoristance Puz Theater, the play to be performed is Pera Pan, directed by Milena Pavlovic-Cucilovic. The play casts: Milos Samolov, Radmila Tomovic, Milan Cucilovic, Mladen Andrejevic, Sandra Ilic, Vanja Kapetanovic, Aleksandar Vujanovic and Predrag Filipovic. The director explains how the story of Pera Pan is similar to the Peter Pan fairytale, i.e. if the fairytale was the starting point for this story.
- The story writer Vuk Pavlovic did start from Peter Pan when making this drama: characters, some well-known facts and events, the desire for adventure and search for an answer to the question of “the secret of flying” are the basic motifs of the play. But, besides all this, our Pera Pan is a story for itself that everyone can understand even without the previous knowledge of the Pan. What happens when the adults and the children get inside a computer and switch roles, so that the adults behave as children, and the children have to take care of them and thus, whether they want to or not, have to grow up? Our main subject matter is the growing-up process, placed in modern frames, so Pera deals with problems of today through the conflict with parents, relation towards the school and dilemma if his love for the computer is just an escape or the right thing to be completely devoted to.
While Peter Pan is a fearless boy, Pera Pan is fearful. Does he become brave at the end?
- Our hero goes through various twists and turns: from a sheepish boy, with lots of faith, develops into a brave young man. He becomes aware of his flaws, as well as the fact that he cannot deal with everything alone.
Is there a difference between work on a play for grownups and work on a play for children?
- Children are more honest and pure than adults. There is nothing that can pass by them. For me, this is the most difficult undertaking as far as directing is concerned, because we are dealing with children. The possibility to spread wings and play around in the world of imagination is enormous, but the responsibility is therefore much bigger.
How did your kid respond to the play?
- My kid does not go to theater, because she is afraid of the dark. She only enjoyed the plays of the Puz Theater last summer in Kotor, because they were performed out in the open.
Are you making plans for a new play for children and what is further planned for Pera Pan?
- I don’t know if I will make anything new for children. As for Pera Pan, we took part in “Zvezdariste” and we are going to the Kotor Festival in the summer.

SRPSKI:
Estonska predstava „Kalevipoeg“ odigrana u pozoristu „Bosko Buha“

ENGLESKI:
Estonian play Kalevipoeg performed at the Bosko Buha Theater

Iva Moberg

SRPSKI:
Svecano otvaranje 5. Teatarskih Internacionalnih Beogradskih Avantura

ENGLESKI:
Gala Opening of the 5th Theater International Belgrade Adventure

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SRPSKI:

Iva Moberg, glumica predstave „Na kraju krajeva“

Ratne strahote gledane ocima deteta

Prva predstava koja je otvorila 5. Tibu bila je „Na kraju krajeva“ u izvodenju „Internacionalne grupe“ (Norveska, Ceska, Poljska, Francuska i Engleska). Odigrana je na sceni pozorista „Bosko Buha“.
Glavna licnost u drami je sestogodisnja Agata, koja sa ocem odlazi na zeleznicku stanicu. Svi oko nje su srecni, ali ona ima cudan osecaj da poslednji put vidi oca. U vozu, umorna i gladna, nervozno i odsutno zvace papirnu oznaku sa imenom koju nosi oko vrata, i tako „grickajuci“ svoje ime i adresu, gubi mogucnost da se ikada vrati kuci.
Komad je izvela petoclana grupa koju cine: Iva Moberg (CZ), Kjell Moberg (N), Barbora Latalova (CZ), Tomas Mechacek (CZ), David Pagan (GB), Robert Orr (GB), a reziju je potpisao Aleks Birn.
Drama je inspirisana istinitom pricom. Ima li ona srecni zavrsetak?
- Nema, ali istorija je takva.

Kako su deca prihvatila tuznu predstavu?
- Sve nase predstave su zasnovane na istinim dogadajima, koje smo mi, igrajuci, pokusali da improvizujemo. Ova prica se zaista dogodila za vreme Drugog svetskog rata. Inace, namenjena je deci malo starijeg uzrasta, nikako onoj mladoj od dvanaest godina. Imam petogodisnju kcerku i ne bih volela da ona sada gleda ovu predstavu. Inace, nasa grupa je komad „Na kraju krajeva“ dosta izvodila u skolama i na festivalima, a svuda nas je publika lepo prihvatala.

Na kom jeziku igrate predstavu?
- U nasoj predstavi su zastupljeni mnogi jezici: engleski, nemacki, norveski, a u Beogradu i srpski.

Koji su sledeci planovi vase grupe?
- Posle Tibe odlazimo u Norvesku gde cemo izvesti najnoviju predstavu „Moj zivot sa psima“. To je takode istinita prica koja se desila 1999. godine u Moskvi. Glavni junak je cetvorogodisnji malisan koji je ziveo sa majkom alkoholicarkom. Jednom prilikom je pobegao od kuce, postao prosjak i poceo da zivi sa psima lutalicama. Medutim, posle dve godine vlasti su ga pronasle i poslale u Dom za nezbrinutu decu. Sa tom predstavom potom odlazimo i u Cesku, a na leto cemo boraviti na festivalu u Edinburgu, gde cemo izvesti predstavu „Na kraju krajeva“.

Nekako vam se trudnoce (dve) poklapaju sa Tibom. Da li cete uskoro postati i po treci put majka?
- Jos nisam trudna, ali suprug i ja planiramo trece dete. (smeh). Na svako putovanje vodimo i decu, ali smo uvideli da bi sa trecom prinovom morali da pauziramo. Medutim, nikada se ne zna...

ENGLESKI:

Iva Moberg, actor in the play End of Everything Ever

War horrors seen through the eyes of a child

The first play that opened the 5th TIBA was The End of Everything Ever, performed by the New International Encounter (Norway, the Czech Republic, Poland, France and England). It was played on the stage of the Bosko Buha Theater.
The main character is a six-year-old girl Agata, who is going to the railway station with her father. Everyone around her is happy, only she has the strange feeling that she will never see her father again. On the train tired and hungry she absent-mindedly chews on the paper name tag tied around her neck and very slowly consumes her name and address erasing any chance of getting back home again.
The play is performed by a five-piece band: Iva Moberg (CZ), Kjell Moberg (N), Barbora Latalova (CZ), Tomas Mechacek (CZ), David Pagan (GB), Robert Orr (GB), and directed by Alex Byrne.
The drama is based on a true story. Does it have a happy ending?
- No, it doesn’t, that’s history.

How have the children accepted a sad play?
- All our plays are based on true events, which we try to improvise by acting. This story actually occurred during the Second World War. It is designed for older children, by no means younger than twelve. I have a five-year-old daughter, and I wouldn’t want her to see this play now. Anyway, our company performed the play End of Everything Ever in schools and festivals, and was wonderfully greeted everywhere.

Which language is used in the play?
- Many languages: English, German, Norwegian, and in Belgrade – even Serbian.

What are the next steps of your company?
- After TIBA we leave for Norway, where we will perform our latest play My Life with the Dogs. That is also a true story that occurred in Moscow in 1999. The main character is a four-year-old boy, who lived with his mother who was an alcoholic. At one point he ran away from home, became a beggar and started living with stray dogs. However, two years later the authorities found him and sent him to a Home for abandoned children. With this play we later leave for the Czech Republic With The End of Everything Ever we will also take part in the Edinburgh Festival in the summer.

Somehow your pregnancies (two of them) coincided with TIBA. Will you become a mother for the third time?
- I am not pregnant yet, but my husband and I do plan to have a third child (laughs). We take our children on every journey, but we realized that with the third child we would have to take a break. But, you never know…

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SRPSKI:

Tina Reban, direktorka „Vat teatra“ iz Estonije

Kalev na krilima orla

Gledaoci pozorisa „Bosko Buha“, bice u prilici da u utorak u 18 casova, vide estonsku predstavu „Kalevipoeg“. Ona je zajednicki projekat pozorista „Vat teatra“ i „Teatarske grupe Markus Zoner“. „Kalevipoeg“ je raden na osnovu dela Franca Krecvalda „The Cool Estonian Epos“. Drama govori o Davolu koji zeli da zavlada predivnom zemljom na Severu. Bogovi se tome opiru i u pomoc salju Kaleva, koji se na krilima orla, suprostavlja Davolu. On uspeva da spase Estoniju od moguce propasti...
U predstavi svajcarskog reditelja Markusa Zonera igraju: Katarina Lauk, Tanel Saar, Janek Sarapson i Margo Teder.
- Ovo je izvanredna predstava iz Estonije koja je vise bazirana na vizuelnoj, nego na tekstualnoj osnovi. Govori o heroju koji je istovremeno covek, ali i kralj i koji pokusava da u sebi objedini vlast i humanost - otkriva Tina Reban, direktorka „Vat teatra“.

Sta je poenta predstave?
- Sudbina i odgovornost, odnosno pokusaj da se deci objasni kako dobrota savladuje zlo. Glavni junak postaje vladar iako mu to nije bila prvobitna namera.

Da li je najmladim gledaocima tesko da prate predstavu?
- Predstava je prvenstveno namenjena starijoj deci - tinejdzerima.

Prvi put boravite u Beogradu. Kakvi su vam utisci?
- Tek smo stigli i jos nismo bili u prilici da prosetamo gradom.

Da li vas je iznenadio poziv za ovaj festival?
- Trebalo je da gostujemo jos prosle godine, ali je jedan glumac imao nezgodu. Odavno smo zeleli da obidemo neku od zemalja stare Evrope, a posebno nam je drago sto sad gostujemo u zemlji, pobednici ovogodisnje Evrovizije.

ENGLESKI:

Tina Reban, General Manager of the Vat Theater from Estonia

Kalev on an Eagle’s Wings

On Tuesday at 18:00 o’clock, the audience of the Bosko Buha Theater will have the opportunity to see an Estonian play Kalevipoeg. This is a joint project of the Vat Theater and the Markus Zohner Theater Compagnie. Kalevipoeg is based on Franz Kreutzwald’s The Cool Estonian Epos. The drama is about the Devil who wants to conquer a beautiful northern country. Gods are resistant and they send Kalev who, carried on an eagle’s wings, confronts the Devil. He manages to save Estonia from potential doom...
The play, directed by the Swiss director Markus Zohner, casts: Katarina Lauk, Tanel Saar, Janek Sarapson and Margo Teder.
- This is an excellent play from Estonia, based more on visual than on literary grounds. It speaks of a hero who is at the same time both a man and a king, and who tries to unite power and humanity – reveals Tina Reban, General Manager of the Vat Theater.

What is the play’s general message?
- Faith and responsibility, i.e. an attempt to explain to the children how good wins over evil. The main character becomes a sovereign, though it was not his initial intention.

Is it difficult for the youngest viewers to understand the play?
- The play is ultimately designed for older kids - teenagers.

This is your first time in Belgrade. What are your impressions?
- We have only just arrived and have not yet had the chance to walk around the city.

Were you surprised by the invitation to this Festival?
- We were supposed to come last year, but one of our actors had an accident. We have long wanted to come to one of old European countries and we are especially glad that we are now visiting a country that won this year’s Eurosong contest.

 

 

SRPSKI:
Peta TIBA donece sigurno dosta nove energije u zivot teatra za decu Beograda. Ucescem pozorisnih trupa iz Kanade, Estonije, Nemacke, Slovenije, Danske, Hrvatske, Norveske, Ceske, Francuske, Engleske, Poljske, Spanije i Srbije predstavice se zaista razni teatarski pravci od problemskog pozorista do bajke – donoseci jednu zajednicku misao: Trendovi u pozoristu vise ne postoje i razlicitosti su ogromne i svi modeli teatra autoru su na raspolaganju. Potrebno je samo kazati pravu ideju na zanimljiv nacin i poverenje dece (publike) je kupljeno. Nadamo se da smo ovim izborom upravo pogodili pravu stvar, da cemo zagolicati decju mastu a beogradskoj publici predstaviti najbolja ostvarenja evropskog teatra za decu.

Dobrodosli!
Bosko Djordevic
Direktor Festivala

ENGLESKI:
The 5th TIBA is sure to bring plenty of fresh energy into the life of theater for children of Belgrade. With participation of theater groups from Canada, Estonia, Germany, Slovenia, Denmark, Croatia, Norway, the Czech Republic, France, England, Poland, Spain and Serbia, we are to be presented with truly diverse theater styles, from subject theater to fairytale – bringing one common idea. We no longer have trends in theater, diversities are huge, and all theater styles are made available. We just need to communicate a true idea in an interesting way, and the trust of children (audience) is begotten. We truly hope that we have made the right selection, that we will titillate the children's imagination, and present to the Belgrade audience the best performances of European theater for children.
Wellcome!
Bosko Djordevic
Festival Director
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SRPSKI:

Rediteljka Bojana Lazic o svecanom otvaranju TIBE

Pozorisna avantura u Beogradu

Teatarska Internacionalna Beogradska Avantura, peta po redu, pocinje u ponedeljak 4. juna na Trgu Nikole Pasica i trajace do 10. juna. Slogan ovogodisnje manifestacije je „Pozorisna avantura“.
Svecano otvaranje ce zapoceti programom koji je zamisljen kao svojevrsni ulicni karneval upotpunjen neobicnim performansom. Za to je zaduzena mlada rediteljka Bojana Lazic.
- Program pocinje sutra, tacno u podne, ispred Biblioteke grada Beograda. Na kraju Knez Mihailove ulice, nase najmlade sugradane, ali i njihove roditelje i prisutne prolaznike, zabavljace pet kostimiranih ulicnih hipi klovnova, odnosno animatora - glumaca: Nermin Ahmetovic, Rajko Jovicic, Milena Nikolic, Andela Stamenkovic i Marina Lazarevic. Zanimljivo je da ce svi oni pricati na novoizmisljenom jeziku - tibanskom. Pokusace da sve zainteresovane smeste u vozic (cija tri vagona primaju oko sedamdeset putnika) i sa njima ce krenuti na putovanje do Trga Nikole Pasica. Tamo ce se u 12.30 casova odrzati centralna manifestacija. Na Trgu je vec napravljen iglo, koji improvizuje teatar. Pored njega, prisutni ce moci da uzivaju i u cetiri radionice koje se nalaze pod satorima iliti baldahinima: slikarskoj, madionicarskoj, zonglerskoj i origamijskoj. Njih ce voditi: Vesna Maricic, Mihajlo Jankovic, Jovana Krstic i Jovan Isakov - otkriva Bojana Lazic.
Rediteljka dodaje i da ce sve to biti upotpunjeno dzinovskim spektakularnim iznenadenjem.
- Imamo i binu, koja je postavljena kod ulaza u „Bezistan“ i koja je specijalno dizajnirana za ovu priliku. Na njoj ce svi ljubitelji TIBE moci da pogledaju zastave svih zemalja, ucesnica ovog decjeg festivala. Voditelj i domacin manifestacije na Trgu bice glumac Miki Damjanovic. Za scenario se pobrinula Milena Bogavac, a interesantno je da ce manifestaciju zvanicno otvoriti pesnik Ljubivoje Rsumovic. Bice tu i ogromnih topova sa konfetama, sto ce uvelicati celokupni spektakl - kaze rediteljka.

ENGLESKI:

Director Bojana Lazic on TIBA Gala Opening

Theater Adventure in Belgrade

The 5th Theater International Belgrade Adventure will begin on Monday, June 4th, at the Nikole Pasica Square, and will last until June 10th. The slogan of this year’s festival is “Theater Adventure”.
The Gala Opening will begin with a program that is envisaged as a kind of a street carnival, filled with unusual performances. The person in charge is a young director, Ms. Bojana Lazic.
- The program begins tomorrow, at noon, in front of the Belgrade City Library. At the end of the Knez Mihailova Street, our youngest co-citizens, but also their parents and other passers-by, will be entertained by five costumed hippie clowns, i.e. animators - actors: Nermin Ahmetovic, Rajko Jovicic, Milena Nikolic, Andela Stamenkovic and Marina Lazarevic. What is interesting is that they will speak in a newly created language – the TIBA language. They will try to gather all who are interested into a train (whose three wagons can seat up to seventy passengers) and take them on a journey to the Nikole Pasica Square. The central event will take place there, at 12:30. At the Square there is an igloo, which improvises a theater. Beside the igloo, the audience will be able to enjoy four other workshops placed under tents or baldachins: arts, magic, juggling, and origami. They will be run by: Vesna Maricic, Mihajlo Jankovic, Jovana Krstic and Jovan Isakov - Bojana Lazic reveals.
The director further adds that it will all be completed by a gigantic spectacular surprise.
- We also have a stage, placed near the entrance to “Bezistan”, specially designed for this occasion. On the stage, TIBA fans will have the opportunity to see flags of all nations participating in this children’s festival. Actor Miki Damjanovic will be the host of the Festival. Milena Bogavac wrote the scenario, and an interesting detail is that the Festival will be officially opened by Ljubivoje Rsumovic. There will be giant confetti guns, which will add up to the whole spectacle – says the director.
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SRPSKI:

Pesnik Ljubivoje Rsumovic otvara 5. TIBU

Prestonica decje igre

Ovogodisnju Tibu svecano ce otvoriti poznati pesnik Ljubivoje Rsumovic.
- Moj zadatak ce biti da kazem nekoliko prigodnih recenica povodom 5. TIBE. Mislim da se vrlo lepo i delotvorno razvija ovaj beogradski festival pozorista za decu. Smatram da ce se polako, ono sto smo mi planirali da uradimo u Kotoru, preseliti u Beograd, sto je dobro. Skupstina grada Beograda je prihvatila da finansira i podrzi pomenutu manifestaciju. Za TIBU vlada veliko interesovanje svetskih pozorista, sto se moglo i ocekivati, jer je Beograd inace poznat kao pozorisni centar, vise negoli Kotor. Mi nismo uspeli da festival u Kotoru ucinimo narodnim, iako nam je to svojevremeno bila ideja, pa mi je utoliko milije sto je ta ideja uspela u Beogradu sa TIBOM - kaze Rsumovic.

Da li ste imali priliku da pogledate neke predstave sa ovogodisnje TIBE?
- Predstave iz inostranstva, koje je izabrao selektor Igor Bojovic, nisam gledao, ali sam siguran da cu na festivalu videti sve predstave. Nepopularno je unapred favorizovati bilo koju predstavu, pa zato ne mogu pre kraja festivala ni o jednoj da donesem licni sud. Ja sam ljubitelj pozorista, pa smatram da nije moje da ih ocenjujem unapred i eventualno dajem prednost nekome. Znam samo da na TIBI nece biti predstava koje ne zasluzuju da ih vidi beogradska publika, jer su sve one na najvisem nivou.

ENGLESKI:

Poet Ljubivoje Rsumovic opens the 5th TIBA

The Capital of Children’s Play

This year’s TIBA will be officially opened by our famous poet Ljubivoje Rsumovic.
- My assignment will be to say a few sentences in relation to the 5th TIBA. In my opinion, this Belgrade festival of theaters for children is developing very nicely and fruitfully. I believe that what we planned to do in Kotor will slowly move to Belgrade, which is good. Belgrade City Council has agreed to finance and support the event. TIBA is now in center of attention of theaters across the world, which could be expected, since Belgrade is already known as a theater center, much more than Kotor. We did not succeed in making the Kotor festival national, which was our initial idea, and I therefore find the Belgrade idea of TIBA that much more precious - says Rsumovic.

Have you had the chance to see a play in the program of this year’s TIBA?
- The foreign plays, selected by Igor Bojovic, I did not have the chance to see, but I am sure that I will see all plays during the Festival. It is unpopular to favor a play in advance, so I cannot make a choice before the end of the Festival. I am a theater lover, and I do not want to judge in advance or favor anyone. All I know is that TIBA does not have a play that is unworthy of being seen by the Belgrade audience, as they are all top quality.