SRPSKI:
Robert Valtl, reditelj predstave „Ivica i Marica“ Decjeg kazališta iz Osijeka

U carstvu čudesne šume

Dramaturg Andrej Rozman i reditelj Robert Valtl odlucili su se da Grimov tekst ustihuju, osavremenivši ga i dodajuci mu narativnu crtu. Tako moderni „Ivica i Marica” dopiru do gledalaca, postajuci im narocito bliski. To se i potvrdilo, jer je publika u Malom pozorištu “Duško Radovic”, gde je predstava odigrana, glumce “Ivice i Marice” ispratila ovacijama.
TIBA: Zanimljivo je da su uloge Ivice i Marice dodeljene sredovecnim glumcima. Zbog cega?
ROBERT VALTL: Iz prostog razloga što u Decjem kazalištu u Osijeku nema mladih glumaca. Nismo mogli ni angažovati mlade glumce sa strane, pa su nam zato Ivica i Marica malcice stariji. Areta Curkovic i Đorde Dukic su sjajni glumci, koje ja naprosto obožavam, i smatram da nimalo nisam pogrešio kada sam im dodelio role Marice i Ivice.
TIBA: Da li je predstava u potpunosti identicna Grimovoj bajci?
ROBERT VALTL: Pre cetiri godine sam mog prijatelja iz Ljubljane Andreja Rozmana Rozu zamolio da mi dramaturški obradi tekst “Ivica i Marica”. Obojica smo se oko toga dosta namucili, ali ujedno i uživali, jer smo znali da radimo nešto što ce se deci dopasti. Grimova prica je ostala ista, ali je stil prepricavanja drugaciji.
TIBA: U predstavi je veoma specificna i scenografija…
ROBERT VALTL: Krojevi kostima koje je uradila Ana Savic-Gecan inspirisani su slavonskom narodnom nošnjom. Što se tice scenografije, nju su zaista maestralno napravili Nikola Radeljkovic i Sven Jonke. Izazov je bio kako napraviti šumu od ljudi na malom prostoru, ali mislim da smo i u tome uspeli.
TIBA: Zanimljivo je da vam je muziku za predstavu radio Arsen Dedic. Da li ste vec saradivali sa njime?
ROBERT VALTL: Dugo sam priželjkivao da saradujem sa Arsenom, ali zbog njegove bolesti, zajednicki posao smo morali stalno odlagati. Medutim, on je ozdravio, i napokon se uklopilo da smo obojica imali slobodne termine, pa se tako dogodila naša prva zajednicka saradnja. Zadovoljni smo kako je ispalo, jer smo se iz cuga razumeli. Arsen je radio ne samo muziku, vec i sve tekstove za songove.
TIBA: Osim što režirate, Vi ste i glumac. Medutim, nema Vas u “Ivici i Marici”. Zbog cega?
ROBERT VALTL: Reditelj me nije video u podeli (smeh). Osim što sam reditelj, ja sam i glumac, pa cak i direktor pozorišta u Ljubljani. Priznajem da sam dosta zaposlen, ali mislim da se sve može postici, jer dan ipak traje 24 casa.
TIBA: Posle TIBE koja je Vaša sledeca destinacija?
ROBERT VALTL: Kroz nekoliko dana u Osijeku pocinjem da radim novi decji projekat „Kolbabu i Brzojavka“. Tokom leta u Zagrebu cu zaigrati pored poznate hrvatske glumice Ane Karic u Milerovom „Kvartetu“, koji ce režirati Francus Fransoa Mišel Dezarti. Krajem godine cu i u Mostaru raditi jednu predstavu. U meduvremenu cu sa nekoliko predstava (kao reditelj, ali i kao glumac) gostovati na raznim letnjim pozorišnim festivalima.
TIBA: Kada cete ici na odmor?
ROBERT VALTL: Ove godine cu se odmarati radeci!

ENGLISH:
Robert Valtl, director of “Hansel and Gretel” of Decje kazalište (Children’s Theater) from Osijek

In the kingdom of magical forest

Dramatist Andrej Rozman and director Robert Valtl decided to transform Grimm’s text into rhymes, modernize it and add a narrative tone to it. Thus the modern “Hansel and Gretel” reach the viewers, becoming especially close. It was confirmed, as the audience at the “Duško Radovic” Theater, where the play was performed, applauded the cast of “Hansel and Gretel” off the stage.
TIBA: It is interesting that the roles of Hansel and Gretel were given to middle-aged actors. What was the reason?
ROBERT VALTL: A simple reason that we do not have younger actors at Decje kazalište in Osijek. We could not hire young actors, and our Hansel and Gretel are a little bit older. Areta Curkovic and Djordje Dukic are great actors, whom I just love, and I believe that I didn’t make a mistake when I gave them roles of Hansel and Gretel.
TIBA: Is the play totally identical to Grimm’s fairytale?
ROBERT VALTL: Four years ago I asked a friend of mine from Ljubljana Andrej Rozman Roza to dramaturgically process the text of “Hansel and Gretel”. We both had a hard time doing that, but also a lot of fun, as we knew that we are doing something that the children will love. Grimm’s story remained the same; the style of retelling is different.
TIBA: The set design is also very specific…
ROBERT VALTL: Costume designs done by Ana Savic-Gecan are inspired by Slavonic folk costumes. The set was masterfully designed by Nikola Radeljkovic and Sven Jonke. The challenge was to create a forest of people in small space, but I do think we succeeded.
TIBA: It is interesting that music for the play was done by Arsen Dedic. Have you worked with him before?
ROBERT VALTL: I have long desired to work with Arsen, but because of his illness, we had to postpone our work together. He got better and we finally managed to find time for our first cooperation. We are very pleased with how it all came out, as we immediately understood each other. Arsen worked on not just music, but all song texts as well.
TIBA: Apart from directing, you are also an actor. But, you are not in “Hansel and Gretel”. Why?
ROBERT VALTL: The director didn’t see me in the cast (laugh). Apart from being a director, I am also an actor, and even manager of a theater in Ljubljana. I admit I am rather busy, but I do think I can manage it all, as a day does have 24 hours.
TIBA: After TIBA, what is your next destination?
ROBERT VALTL: In a few days, in Osijek, “Kolbaba i Brzojavka”. During the summer, in Zagreb, I will play opposite a well-known Croatian actress Ana Karic in Miller’s “Quartet”, to be directed by a Frenchman Francois Michel Dezarti. Towards the end of the year I will also do a play in Mostar. In the meantime, with several plays (as director, and as actor), I plan to take part in summer theater festivals.
TIBA: When are you planning a vacation?
ROBERT VALTL: This year I will have working vacations!

 

SRPSKI:
Milena Bogavac, clan internacionalnog žirija TIBE

Treba pojacati pratece programe

Jedna od clanica ovogodišnjeg žirija Teatarske Internacionalne Beogradske Avanture, cetvrte po redu, je dramaturg Milena Bogavac. Po završetku ovogodišnje decje pozorišne manifestacije, upitali smo je ima li i u cemu se ogledaju razlike izmedu domacih i stranih predstava koje su odigrane na TIBI.

- Po meni, strane predstave su mnogo ambicioznije, ali to ne znaci i da su bolje od naših. Domace su drugacijeg senzibiliteta i nacina na koje su komunicirale sa gledaocima. S druge strane, inostrani komadi su daleko više pažnje poklanjali scenografiji, a posebno vizuelnim efektima. U celini gledano, nama je potreban pozorišni festival ovakvog tipa, cak nam je i neophodniji od slicnog za stariju publiku. Jedino bih u okviru ove manifestacije pojacala pratece programe. Smatram da je trebalo da bude daleko više radionica, predavanja, simpozijuma, pa i okruglih stolova. Najviše iz razloga što pozorište za decu treba da bude edukativno. Zbog toga se nadam da ce TIBA u godinama koje dolaze, postati veoma znacajna i neophodna manifestacija – prica Milena Bogavac i dodaje da je ove godine na programu bilo predstava za svaciji uzrast, pa i za one malo starije. Slaže se da je festival funkcionisao na dva nivoa, što je pohvalno i nada se da ce iduce godine na TIBI biti još više zanimljivih predstava.

ENGLISH:
Milena Bogavac, member of the International Jury of TIBA

Associated programs should be enhanced

One of the members of this year’s jury of the Theater International Belgrade Adventure, fourth in a row, is Milena Bogavac, dramatist. After the closing of this year’s children’s theater promenade, we asked her about the differences between domestic and foreign plays performed at TIBA.

- In my opinion, foreign plays are much more ambitious, but this does not mean they are better than ours. Our plays are of other kind of sensibility and differently communicate with the audience. On the other hand, foreign plays put more emphasis on the set design, and especially on visual effects. All things considered, we need a theater festival of this sort, even much more than a similar one for older audiences. The only thing I would do with this Festival is enhance the associated programs. I believe that there should have been more workshops, lectures, symposiums, and round tables. Mainly because theater for children should be educational. I therefore hope that in the years to come TIBA will become a very important and indispensable event – said Milena Bogavac, and added that this year the program included plays for all ages, even those a bit older. She further agreed that the Festival functioned at two levels, which is commendable, and she hopes that next year TIBA will present an even greater number of interesting plays.

Prestava / Play
Mala Sirena / The Little Mermaid

Pohvala tehnickoj službi TIBA Festivala za realizaciju pozorišne predstave na plivalištu TAŠ /
We thank the technical team of the TIBA Festival for the realization of a theater performance at the TAŠ Pool Court

SRPSKI:
ODLUKA ŽIRIJA CETVRTOG TIBA FESTIVALA

Internacionalni žiri cetvrte TIBE u sastavu:
Dr Tülin Saglam, iz Turske
Michčle Dhallu, iz Francuske
i Milena Bogavac iz Srbije
jednoglasno je doneo sledecu odluku.

GRAND PRIX za najbolju predstavu u celini dodeljuje se dansko-srpskoj koprodukciji „OKAMENJENI PRINC“ Pozorišta „Duško Radovic“, po romanu Elgarda Jonsona, u režiji i scenskoj adaptaciji Marka van der Veldena.

Kombinujuci tematski i formalno uzbudljiv tekstualni predložak sa vrhunskim glumackim izrazom mladih snaga beogradskog pozorišta, reditelj je kreirao zaokruženo, precizno scensko ostvarenje koje predstavlja pravi primer savremenog pozorišta za mlade.

SPECIJALNA NAGRADA za nove pozorišne tendencije dodeljuje se predstavi „ALISA“ po motivima price Luisa Kerola, u režiji Marije Milenkovic i produkciji Pozorišta „Boško Buha“.

Ne potcenjujuci inteligenciju i smisao za lepo kod najmlade publike, „ALISA“ Marije Milenkovic odlikuje se sofisticiranim vizuelnim elementima: plesom i scenskim pokretom, svetlom, bojom, muzikom, ali i modernom dramaturgijom. Ovaj hrabar, pionirski pokušaj da se decijem pozorištu pristupi na jedan drugaciji nacin doprinosi izgradivanju ukusa i pozorišne kulture kod novih generacija.

Pored nagrada, žiri ovogodišnje TIBE složio se da dodeli i SPECIJALNU POHVALU predstavi „SLON I KROKODIL“ danskog pozorišta „Corona La Balance“ , u režiji Marka van der Veldena. Ova topla, jednostavna, virtuozno odglumljena ali i odsvirana predstava pleni najmladu publiku smislom za humor, ne izgubivši ništa od poucnosti i snažne poruke koju prenosi na neposredan, živopisan i duboko teatralan nacin.

ENGLISH:
DECISION BY THE JURY OF THE FOURTH TIBA

International Jury of the Fourth TIBA:
Dr Tülin Saglam, from Turkey
Michčle Dhallu, from France
and Milena Bogavac, from Serbia
reached a unanimous decision as follows:

GRAND PRIX for the best overall performance is presented to the Danish-Serbian co-production “THE PETRIFIED PRINCE” of the “Duško Radovic” Theater, written by Elgard Jonsson, directed and stage adapted by Marc van der Velden.

By combining a thematically and formally exciting text base with exceptional acting expression of the young cast of the Belgrade theater, the director created a comprehensive and precise stage achievement that represents a true example of contemporary theater for young people.

SPECIAL AWARD for new theater tendencies is presented to the play “ALICE” by motives of a story by Louis Carroll, directed by Marija Milenkovic and produced by the “Boško Buha” Theater.

Not underestimating the intelligence and sense of beauty of the youngest audience, “ALICE” by Marija Milenkovic is characterized by sophisticated visual elements: dance and stage movement, lights, color, music, and modern dramaturgy. This brave, pioneer attempt to approach children’s theater in a different way contributes to the forming of taste and theater culture of new generations.

Beside the awards, the jury of this year’s TIBA has agreed to award a SPECIAL COMMENDATION to the play “ELEPHANT AND CROCODILE” of the Danish “Corona La Balance” Theater, directed by Marc van der Velden. This warm, simple, virtuously acted and musically played performance won the youngest audience with its sense of humor, at the same time keeping the instructiveness and strong moral that it passes in a subtle, direct, lively and deeply theatrical way

SRPSKI:
Saopštenje žirija ASSITEJ-a povodom dodele nagrade za znacajno umetnicko dostignuce

Ovogodišnja teatrska internacionalna beogradska avantura ponudila je bogatstvo formi, sadržaja i razlicitih pristupa u shvatanju pozorišta za decu i mlade i time u potpunosti opravdala svoje ime, te uistinu bila prava avantura za sve nas, pa je pred žiri postavila komplikovan zadatak da donese odluku o dodeli prve ASSITEJ nagrade za znacajno umetnicko dostignuce.

Složenost ovog zadatka iskazana je u tome što je gotovo svaka predstava na ovogodišnjoj TIBI u scenskom izrazu i tematsko žanrovskom indentitetu dosegla najviše nivoe umetnicke zaokruženosti. Dodatnu komplikovanost cini to što su predstave namenjene publici razlicitog uzrasta, što podrazumeva drugacije probleme sa kojima su se predstave suocavale i razrešavale ih, kao i raznovrsne kriterijume za vrednovanje predstava. Zato je žiri jednoglasno odlucio da ovu nagradu podele dve predstave:

“Slon i Krokodil” Pozorišta Corona La Balance iz Danske i “Alisa” Pozorišta Boško Buha iz Beograda.

Predstava “Slon i Krokodil” poseduje jedinstvenu glumacku virtuoznost, preciznost i plemenitu jednostavnost koja pleni publiku svake dobi - od dece najmladeg uzrasta do zrelih ljudi, i na filosofski i duboko human nacin nudi modele razrešavanja konfliktnih situacija.

“Alisa” je predstava koja u kontekstu savremene srpske pozorišne produkcije za decu i mlade istražuje neuobicajene scenske forme, posebno u oblasti vizuelnog i poetskog izraza, i time pomera granice u umetnickom stvaralaštvu u našoj sredini.

Žiri za dodelu nagrade ASSITEJ-a:
Diana Kržanic Tepavac
Ana Tasic
Stevan Bodroža

ENGLISH:
Communication by the ASSITEJ Jury on presenting the award for significant artistic achievement

This year’s Theater International Belgrade Adventure offered a variety of forms, contents and approaches in understanding theater for children and young people, thus justifying its name, and truly being an adventure for all of us, which gave the jury a complicated task to make a decision on presenting the first ASSITEJ Award for significant artistic achievement.

The complexity of this task is expressed in the fact that almost all plays presented at this year’s reached highest levels of artistic comprehensiveness in stage expression and thematic-genre identity. The complexity was even greater as the plays are made for children of different ages, which implies different problems that the plays faced and different ways in which they solved the problems, as well as diverse criteria for valuation of plays. That is why the Jury unanimously decided to present the Award to two plays:

Elephant and Crocodile by Corona La Balance Theater from Denmark, and Alice by the Boško Buha Theater from Belgrade.

Elephant and Crocodile has a unique acting virtuosity, precision and noble simplicity that wins audiences of all ages – from youngest children to grown people, and in a philosophic and deeply human way offers models of resolving conflict situations.

Alice is a play that, in a context of contemporary Serbian theater production for children and young people, researches unusual stage forms, especially in the field of visual and poetic expression, thus pushing the limits of artistic creation in or surroundings.

The Jury presenting the ASSITEJ Award:
Diana Kržanic Tepavac
Ana Tasic
Stevan Bodroža

SRPSKI:
Pol Bojd, autor i kompozitor irske predstave „Mala sirena“

Morska carolija na Tašu

Svi smo mi, kao mali, uživali u Andersenovoj bajci „Mala sirena“. Vremenom je ona koja je prvobitno imala tužan kraj, putem celuloidne trake, postala crtani film - sa hepiendom. Naravno, i na pozorišnim daskama komad je izvoden bezbroj puta, ali cemo, u okviru cetvrte TIBE, gledati sasvim drugaciju „Malu sirenu“. Rec je o irskom pozorištu „Big teli tiatar kompani“ i autorima Zoe Siton i Polu Bojdu, koji su po motivima popularne bajke napravili nešto do sada nevideno – predstavu koja se izvodi u vodi! Glavne uloge tumace: Džordži Aleksandr, Mark Asante, Kajli Kašman, Sara Dilon...
- I ranije su postojale predstave, medu kojima i „Mala sirena“, koje su izvodene na vodi, ali su to više bili plesovi, a ne prava pozorišna predstava. Tada je akcenat bio na igri i plivanju, a vrlo malo na glumi, što sa našom predstavom nije slucaj – prica Pol Bojd.
TIBA: Znaci li to da su za potrebe vaše predstave birani glumci koji moraju da znaju da plivaju?
POL BOJD: Oni su svi ucili plivanje ili su ga vec znali, ali nisu bili profesionalni plivaci. Za potrebe predstave morali su posebno da nauce veštinu korišcenja peraja, jer kao sirene, koriste veliko mono-peraje.
TIBA: Nije li to prenaporno za glumce?
POL BOJD: Priznajem da jeste, jer je u ovoj predstavi primenjen potpuno drugaciji nacin plivanja. Glumcima je bilo potrebno nekoliko nedelja da u potpunosti savladaju potrebnu veštinu „kretanja u vodi“.
TIBA: Ko je najzaslužniji za nastanak ove predstave?
POL BOJD: Zoe Siton i moja malenkost. Ona je irska rediteljka koja cesto pravi predstave na neobicnim mestima (parkovima, bazenima...)
TIBA: Da li se ceo vaš komad odigrava u vodi?
POL BOJD: Tri cetvrtine price se igra u vodi, a ostatak na improvizovanom ostrvu.
TIBA: Koliko dugo vaš teatar izvodi ovu predstavu?
POL BOJD: Skoro godinu dana, tacnije 97. puta. S obzirom da kod vas „Malu sirenu“ igramo tri puta, sa vašom publikom cemo proslaviti i stoto izvodenje.
TIBA: Da li ste nekada razmišljali da predstavu izvedete na pravoj morskoj obali?
POL BOJD: To su nas vec pitali iz jedne australijske kompanije, i za tu priliku su nam ponudili zaliv. Jedini uslov koji smo tražili je da more bude zaista toplo. Na žalost, to je tehnicki bilo neizvodljivo.
TIBA: Kuriozitet je, da iako cete imate tri izvodenja na plivalištu „Tašmajdan“, sve karte su prodate u rekordnom vremenu...
POL BOJD: Drago mi je zbog toga. To smo i pretpostavljali jer svuda gde smo „Malu sirenu“ igrali, pa cak i u njenoj postojbini Danskoj, isto nam se dešavalo.
TIBA: Nameravate li da uskoro sa ovom predstavom gostujete i na drugim kontinentima?
POL BOJD: Naravno, pregovaramo sa nekim zemljama u Aziji, ali na prvom mestu sa Kinom, Iranom, Arapskim Emiratima...
TIBA: Planirate li neku novu „morsku“ predstavu?
POL BOJD: Naravno, vama možemo ekskluzivno da otkrijemo da cemo u sledecoj sezoni izaci sa neobicnom predstavom, koju cemo raditi po motivima poznate bajke „Sinbad moreplovac“!

ENGLISH:
Paul Boyd, author and composer of the Irish performance “The Little Mermaid”

Sea Magic at Taš

As little children we all enjoyed Andersen’s fairytale “The Little Mermaid”. In time, the original story with the sad ending, through celluloid tape, became a cartoon – with a happy end. Of course, the play was also performed in theaters numerous times, but here, at the Fourth TIBA, we will have the chance to see a quite different “Little Mermaid”. An Irish theater “Big Telly Theatre Company”, and authors Zoe Seaton and Paul Boyd, made something magnificent, unseen so far – a play performed in water! Main characters include: Georgie Alexander, Mark Asante, Kylie Cushman, Sarah Dillon...
- There were plays in the past, also performed in water, such as “The Little Mermaid”, but these were more dances, not actual theater performances. The accent was put on dance and swimming, not acting, which is not the case with our play – said Paul Boyd.
TIBA: Does that mean that for your performance you selected actors who had to know how to swim?
PAUL BOYD: They all learned how to swim, but were not professional swimmers. For the needs of the performance they had to learn to use flippers, because, as mermaids and mermen, they use large mono-flippers.
TIBA: Isn’t it difficult for actors?
PAUL BOYD: I must say it is, as in this show we used a quite different type of swimming. It took several weeks for actors to acquire the necessary skill of “walking on the water”.
TIBA: Who are we to thank for this performance?
PAUL BOYD: Zoe Seaton and myself. She is an Irish director, who often makes shows in unusual venues (parks, pools…)
TIBA: Does your entire play happen in water?
PAUL BOYD: Three quarters of the story happen in water, the rest is played on an improvised island.
TIBA: How long has your theater performed this play?
PAUL BOYD: Almost a year, 97 times to be exact. Considering that we will perform “The Little Mermaid” three times here, we will celebrate the 100th performing in front of your audience.
TIBA: Have you ever thought of doing the play on real sea shore?
PAUL BOYD: We have been asked that before, by an Australian company, and they even offered us a cove. Our only requirement was that the sea had to be really warm. Unfortunately, it was technically unmanageable.
TIBA: It is interesting that, though you will have three performances at the “Tašmajdan” Pool Court, all tickets have been sold in record time...
PAUL BOYD: I am glad to hear that. We kind of knew, since wherever we played “The Little Mermaid”, even in its home country Denmark, we hade the same experience.
TIBA: Do you plan to visit other continents with this performance?
PAUL BOYD: Of course, we are in contacts with countries in Asia, primarily China, Iran, UAE...
TIBA: Do you plan a new “sea” performance?
PAUL BOYD: Sure, we can tell you exclusively that in the next season we plan to come out with an unusual performance by the motives of a well-known fairytale “Sinbad the Sailor”!

SRPSKI:

Valerij Zinovljev, glumac predstave „Pesme zapadnih Slovena“ Nacionalnog teatra iz Sankt Petersburga

Mozaici o stradanjima ljudi tokom ratova

Ruska predstava „Pesme zapadnih Slovena“ u izvodenju Nacionalnog teatra iz Sankt Petersburga, odigrana je u pozorištu „Boško Buha“. Zanimljivo je da su u ovoj predstavu svi glumci ujedno i pedagozi, koji svoja znanja prenose mladim naraštajima. Po recima jednog od glumaca, Valerija Zinovljeva, ruski mališani putem ovog komada uce o srpskoj istoriji.
- Kada smo pravili predstavu i izašli pred rusku publiku, napomenuli smo da ona nije namenjena deci ispod trinaest godina. Nažalost, ovde se dogodilo da su u publici sedeli i mališani predškolskog uzrasta, koji predstavu nisu u potpunosti razumeli.
TIBA: Okosnica price je grupa srpskih glumaca koji na ruševinama spaljenih sela igraju predstavu gde svako od njih oživljava neke od mitskih i legendarnih likova...
VALERIJ ZINOVLJEV: Putem „Pesama zapadnih Slovena“ pokušali smo da edukujemo decu, pricajuci im o narodu koji je vekovima bio u ropstvu. Obradili smo ozbiljnu temu, a namera nam je bila da je deca dobro upamte. Inace, ovaj komad je nastao po motivima „Pesme zapadnih Slovena“ Aleksandra Puškina, koji je opet, na tu ideju došao citajuci Prospera Merimea. Jednostavno, to su mozaici o stradanjima ljudi tokom ratova.
TIBA: Šta je bilo najteže tokom pripremanja predstave?
VALERIJ ZINOVLJEV: Dramaturška obrada celog komada. Reditelju Korogodskom i nama trebalo je godinu dana da uradimo sve ovo što je publika mogla da vidi. Inace, pesme (slike) su svrstane u dve grupe i opisuju ratne strahote, ali i mir koji potom sledi, a koji nije pošteden strahota druge vrste.

ENGLISH:
Valeriy Zinovjev, actor in “The Songs of the West Slavs” of the National Theater from St. Petersburg

Mosaics on human sufferings during wars

The Russian play “Songs of West Slavs” performed by the National Theater from St. Petersburg, was played at the “Boško Buha” tehaterIt is interesting that actors in this play are at the same time pedagogues, who transfer their knowledge to younger generations. According to one of the actors, Valeriy Zinovjev, through this play Russian children learn of Serbian history.
- When we made the performance and stepped out of the Russian audience, we pointed out that the play is not intended for children younger than 13. Unfortunately, the audience here included pre-school children, who couldn’t completely understand the play.
TIBA: The framework of the story is a group of Serbian actors who on ruins of burnt villages perform a play in which each one of them brings to life mythical and legendary characters…
VALERIY ZINOVJEV: Through “The Songs of West Slavs” we tried to educate children, telling them of a nation that spent centuries in captivity. We dealt with a serious matter, and our intention was for children to learn it well. This play was built on motives of the “Songs by the Western Slavs” by Aleksandr Pushkin, who again came to the idea by reading Prosper Mérimée. Simply, these are mosaics on human sufferings during wars.
TIBA: What was the hardest thing to do during production of the play?
VALERIY ZINOVJEV: The dramaturgic elaboration of the entire play. It took director Korogodsky and us almost a year to do everything that the audience had the chance to see. The songs (images) are divided in two groups and describe war horrors, and peace that follows after, which is not spared of other kind of horrors.

SRPSKI:
Mark van der Velden, reditelj predstave “Slon i krokodil” iz Danske

Muzika koja ujedinjuje komšije

U danskoj duodrami “Slon i Krokodil”, koja je nastala po ideji holandskoj pisca i ilustratora Maksa Velthuijsa, junaci su životinje, tacnije Slon i Krokodil.
Slon živi mirnim i srecnim životom u gradu prepunom životinja, sve dok se u stanu pored njega ne doseli bucni Krokodil. Tada se idilican život u potpunosti menja. Krokodil je muzicar, koji satima svira, ali uskoro mu se prikljucuje i Slon, po onoj narodnoj izreci: “Ako ne možeš da ga pobediš, ti mu se pridruži!” – otkriva reditelj Mark van der Velden.
TIBA: Zanimljivo je da se predstava igra skoro bez ijedne reci, ali sa dosta pantomime, humora i naravno, muzike…
MARK VAN DER VELDEN: Koriste se pokreti za izražavanje radnje na sceni, ali sve je to lepo ukomponovano, pa bi reci i bile suvišne.
TIBA: Kakve utiske nosite o beogradskoj publici, koja je predstavu gledala na sceni “Bojan Stupica” Jugoslovenskog dramskog pozorišta?
MARK VAN DER VELDEN: Sjajne! Primetio sam da su gledaoci bili veoma zadovoljni, a zanimljivo je da su beogradska deca potpuno drugacije reagovala od mališana u Danskoj. Priznajem da je ispalo bolje nego što sam ocekivao.
TIBA: U poslednje vreme postaje trend da gledaoci tokom predstave borave na sceni sa glumcima. Da li im je na taj nacin predstava bliža?
MARK VAN DER VELDEN: Naša trupa “Corona La Balance” sve predstave pravi na isti nacin. Tacnije, pošto posecujemo škole i obdaništa, nemamo pravu scenu, vec za našu publiku igramo na travi ili u gimnastickim dvoranama. Tako se i mi i oni nalazimo na istom nivou. To je nacin na koji smo navikli da funkcionišemo, pa smo to primenili i ovde, kod vas, pa to ne bih nazvao trendom, vec pukom potrebom.
TIBA: Dolazite iz Kopenhagena. Da li ste vec bili u prilici da pogledate neku našu predstavu?
MARK VAN DER VELDEN: Jesam. Prošle godine sam dolazio u Beograd, i tom prilikom sam gledao predstavu “Kiki i Bozo” u pozorištu “Duško Radovic”. Veoma mi se dopala, jer je puna poezije i filosofije, ali prilagodena decjem uzrastu.
TIBA: S obzirom da cete cetiri dana boraviti u Beogradu, šta planirate da vidite?
MARK VAN DER VELDEN: Na prvom mestu prijatelje iz pozorišta “Duško Radovic” gde cu obavezno pogledati njihovu predstavu “Okamenjeni princ”. Naravno, necu zaobici ni posetu Skadarliji.

ENGLISH:
Marc van der Velden, director of “Elephant and Crocodile” from Denmark

Music that unites neighbors

In the Danish duodrama “Elephant and Crocodile”, which came out of an idea by a Dutch writer and illustrator Max Velthuijs, main characters are animals, specifically an Elephant and a Crocodile.
The Elephant lives a normal, peaceful life in a city full of animals, until the noisy Crocodile moves to an apartment next door. The idyllic life then changes completely. The Crocodile is a musician, practicing for hours. He is soon joined by the Elephant, by that old principle: “If you can’t beat him, join him!” – says director Marc van der Velden.
TIBA: It is interesting that the play has few words, but lots of pantomime, humor, and of course music…
MARC VAN DER VELDEN: Movements are used for expression of action on stage, but everything is nicely arranged, so words would be superfluous.
TIBA: What are your impressions of the Belgrade audience that saw the show at “Bojan Stupica” stage of the Yugoslav Drama Theater?
MARC VAN DER VELDEN: Wonderful! I noticed that the viewers were very pleased, and it is interesting that Belgrade children reacted quite differently than kids in Denmark. I admit it turned out much better than I had expected.
TIBA: It seems to have become a trend that the audience is on stage together with the actors during the performance. Does this make the performance closer to them?
MARC VAN DER VELDEN: Our Company “Corona La Balance” does all performances in the same way. Namely, as we visit elementary schools and kindergartens, we do not have an actual stage, but we play for our audiences on lawns or in gyms. In that way, we are at the same level with them. We are used to acting like that, so we applied it here as well. I wouldn’t call it a trend, more a necessity.
TIBA: You come from Copenhagen. Have you had a chance to see any of our performances?
MARC VAN DER VELDEN: I have. Last year I came to Belgrade and I saw “Kiki i Bozo” at the “Duško Radovic” Theater. I really liked it, as it is full of poetry and philosophy, yet customized for children’s age.
TIBA: Having in mind you will be staying in Belgrade for four days, what do you plan to see?
MARC VAN DER VELDEN: First of all, my friends from the “Duško Radovic” Theater, where I will definitely watch their “Petrified Prince”. Of course, I won’t miss visiting Skadarlija.

SRPSKI:
Ana Radivojevic u predstavi “Pepeljuga” Pozorištanca “Puž”

Pepeljuga XXI veka

Na tekst Branka Milicevica - Kockice i u režiji Slobodanke Cace Aleksic, Pozorištance “Puž” izvelo je predstavu “Pepeljuga” u kojoj se nije znalo da li se bolje zabavlja publika ili akteri na sceni. Sve je delovalo savršeno i uigrano, a ako se tome doda privlacna scenografija i kostimi Biljane Sovilj i Nataše Nikolajevic, potpomognuti muzikom Toma Babovica i ekipom glumaca na celu sa Anom Radivojevic, onda se sa pravom može reci da je to bila jedna veoma razdragana predstava sa mnogo buke, šale i smeha.

TIBA: Kako se osecate u “koži” Pepeljuge?
ANA RADIVOJEVIC: “Pepeljuga” je omiljena bajka vecine devojcica, a meni je posebno drago što mi je pružena prilika da baš ja oživim taj popularni lik. S obzirom da je autor komada Branko Kockica, to nije standardna Pepeljuga, vec komicna predstava u kojoj publika odlucuje da li je važnija kruna ili ljubav.
TIBA: U cemu je vaša Pepeljuga drugacija od cuvene Andersenove junakinje?
ANA RADIVOJEVIC: Ova savremena Pepeljuga je veci borac, duhovitija i uvek spremna na nestašluke, ali i pomoc.
TIBA: Po cemu cete pamtiti predstavu dok ste je spremali?
ANA RADIVOJEVIC: Svi smo bili veoma raspoloženi, orni za rad i neumorni. Inace, možda deluje cudno, ali moje dve zle sestre tumace kolege, Nenad Ciric i Dubravko Jovanovic.
TIBA: S obzirom da vam je brat poznati reditelj Jug Radivojevic, da li biste voleli da sa njim uskoro radite neku decju predstavu?
ANA RADIVOJEVIC: Mnogo puta sam sa njim radila predstave za odrasle, ali i za najmlade. Poslednja je bila “Robin Hud”. Sa Jugom je veliko zadovoljstvo raditi, jer svakom projektu oboje prilazimo krajnje profesionalno. On nije reditelj koji nareduje, vec pomaže glumcu da na pravi nacin kreira zadati lik.


ENGLISH:
Ana Radivojevic in “Cinderella” of Pozorištance “Puž”

Cinderella of the 21st Century

Written by Branko Milicevic – Kockica, and directed by Slobodanka Caca Aleksic, Pozorištance “Puž” presented “Cinderella”, in which one could not say who is having more fun – the audience or actors on stage. Everything seemed perfect and well played, with attractive set design and costumes designed by Biljana Sovilj and Nataša Nikolajevic, supported by the music by Tomo Babovica and team of actors led by Ana Radivojevic, then we can truly say that it was a cheerful show with lots of noise, joking and laughter.

TIBA: How do you feel as Cinderella?
ANA RADIVOJEVIC: “Cinderella” is a favorite fairytale of most of girls, and I am especially glad that I got the chance to bring this popular character into life. Having in mind hat the play was written by Branko Kockica, this is not a standard Cinderella, but a humorous show in which the audience decides what is more important – the crown or love.
TIBA: What makes your Cinderella different from the original Andersen’s hero?
ANA RADIVOJEVIC: This modern Cinderella is a fighter, has more humor and is always ready for mischief, but also for assistance.
TIBA: What are your memories from when you were preparing the show?
ANA RADIVOJEVIC: We were all in a really good mood, ready for hard work and tireless. It might seem interesting to mention that my two evil sisters are played by two of my mail colleagues Nenad Ciric and Dubravko Jovanovic.
TIBA: Considering that your brother is a famous director, Jug Radivojevic, would you like to do a children’s show with him soon?
ANA RADIVOJEVIC: I have done shows with him many times, both for adults and for children. The last one was “Robin Hood”. It is pleasure to work with Jugom, as we approach every project extremely professionally. He is not a director who bosses around, but who helps the actor create the given character in the best possible way.

SRPSKI:
Ivan Tomic u predstavi „Okamenjeni princ“ Malog pozorišta „Duško Radovic“

Bolni vapaj za ljubavlju

Dansko-srpski teatarski projekat „Okamenjeni princ“ je autenticna prica o izolovanosti Heninga Mankela, koji je nastao po romanu „Galefyrsten“ Elgarda Jonsona. Režiju i scensku adaptaciju uradio je Mark van der Velden, a srpsku adaptaciju Igor Bojovic. U ovoj duodrami igraju Ivan Tomic i Goran Jevtic.

TIBA: Za one koji nisu imali prilike da pogledaju predstavu, kako biste je preporucili?
IVAN TOMIC: „Okamenjeni princ“ je predstava specificne glumacke tehnike, gde dvojica aktera igraju po pet-šest likova, neprekidno se transformišuci u oca, majku, decaka, lekara, pacijenata u duševnoj bolnici, naratora... Osim što glume, akteri se direktno obracaju i publici koja je svuda oko glumaca, jer je scena napravljena u obliku arene. Zanimljiva režija i decentna scenografija su delici koji upotpunjuju dirljivu pricu.
TIBA: Koliko je glumcima naporno da se tokom predstave transformišu u više likova?
IVAN TOMIC: Srecom na FDU smo naucili kako treba pravilno pristupiti takvim zadacima. Sa rediteljem van der Veldenom smo vrlo brzo ovladali veštinom na sceni i moram priznati da je to veoma naporna predstava. Osim Gorana i mene, u predstavi ucestvuje i kompozitorka Svetlana Savic, koja svira harmoniku.
TIBA: Cini se da „Okamenjeni princ“ na „prvu loptu“ osvaja publiku?
IVAN TOMIC: To je tacno. Sve pocinje kao porodicna prica sa poentom na pitanje: „Može li išta biti manje od deteta koje niko ne voli“, a završava boravkom mališana u duševnoj bolnici, iako mu psiha nije poremecena. Mislim da ta melodramatika najviše komunicira sa gledaocima.

ENGLISH:
Ivan Tomic in the “Petrified Prince” of the “Duško Radovic” Theater

A painful cry for love

A Danish-Serbian theater project “The Petrified Prince” is an authentic story of isolation by Henning Mankell, which came out of a novel “Galefyrsten” by Elgard Jonsson. It is directed and stage adapted by Marc van der Velden, and the Serbian adaptation was done by Igor Bojovic. Ivan Tomic and Goran Jevtic are playing in this duodrama.

TIBA: How would you recommend the play to those who haven’t had the chance to see it?
IVAN TOMIC: “The Petrified Prince” is a play of specific acting technique, in which two actors play five-six characters, constantly transforming into father, mother, boy, doctor, patient in a mental institution, narrator… Besides acting, they directly address the audience who are all around them, as the set is made in the form of an arena. Interesting direction and exquisite set design are pieces that complete the touching story.
TIBA: How hard is it to transform into multiple characters?
IVAN TOMIC: Luckily at the Academy we learned how to deal with such assignments. With director van der Velden, we quickly put this skill into practice on stage, and I must admit it is a demanding performance. Beside Goran and myself, on stage there is also the composer Svetlana Savic, who plays the accordion.
TIBA: It seems that “The Petrified Prince” wins the audience instantly?
IVAN TOMIC: That’s true. It all starts as a family story, with moral on the question: „Can anything be smaller than a child loved by no one?”, and ends with the kid’s hospitalization in a mental institution, though his psyche is not disturbed. I think this melodrama mostly communicates with the audience.

SRPSKI:

Svecano otvaranje 4. TIBE u Narodnom pozorištu

Ovogodišnja pozorišna avantura trajace od 4. do 9. juna. U zvanicnoj festivalskoj konkurenciji nastupice pozorišta za decu i mlade iz Švedske, Danske, Irske, Rusije, Hrvatske, Republike Srpske i Srbije i Crne Gore. Osnivac i pokrovitelj Festivala je Skupština grada Beograda. Festival je pomoglo i Ministarstvo kulture Srbije, kao i Švedski Institut za Balkan. Na Festivalu ce biti dodeljene sledece nagrade: GRAND PRIX za najbolju predstavu u celini i specijalna nagrada za nove pozorišne tendencije, o kojima ce odlucivati troclani internacionalni žiri u sastavu: Mišel Dalu, koreograf i reditelj iz Francuske, Tulin Saglam, dramaturg iz Turske, i Milena Bogavac, dramski pisac iz Srbije i Crne Gore.
- "Mladi dramaten" postoji više od dve decenije i prvi put u svojoj istoriji gostuje van granica svoje zemlje. Velika nam je cast da njihovo prvo gostovanje bude upravo na TIBA Festivalu. Prvi put - to simbolizuje tetarsku internacionalnu beogradsku avanturu. Ideja Festivala od njegovog osnivanja 2003. godine je da se svake godine na našem festivalu desi nešto lepo prvi put. Nalazimo se u nacionalnom teatru i Festival otvara Kraljevsko dramsko pozorište Dramaten. Mislim da je to dovoljno za pocetak ovogodišnje avanture – rekao je prilikom svecanog otvaranja Nenad Nenadovic, umetnicki direktor Festivala.

ENGLISH:

4th TIBA Gala Opening at the National Theater

This year’s Theater Adventure will be happening from the 04th till the 9th of June, i.e. it will be 6 days long. The official Festival competition will include theaters for children and young people from Sweden, Denmark, Ireland, Russia, Croatia, Republic of Srpska, and Serbia and Montenegro. Founder and sponsor of the Festival is Belgrade City Council, and the Festival is supported by the Ministry of Culture of the Republic of Serbia, and the Swedish Institute for the Balkans. The following prizes will be awarded at the Festival: GRAND PRIX for best overall performance, and Special Prize for new theater tendencies, which will be decided upon by a three-member jury: Michčle Dhallu, choreographer and director from France, Dr Tülin Saglam, dramatist from Turkey, and Milena Bogavac, playwright from Serbia and Montenegro.
- "Young Dramaten", active for over two decades, for the first time in its history is on tour outside of its country’s borders. It is our great honor that their first foreign tour is at TIBA Festival. For the first time – this symbolizes the Theater International Belgrade Adventure. Ever since its creation in 2003, the idea of the Festival has been to have a beautiful thing happen for the first time at our Festival. We are here at the National Theater, and the Festival is being opened by the Royal Drama Theater DRAMATEN. I think that’s enough for the beginning of this year’s adventure.” – said Nenad Nenadovic, Art Director of the Festival, at the Gala Opening.

SRPSKI:

Agneta Ehrensverd, rediteljka predstave „U senci Hamleta“ Dramaten teatra iz Švedske

Triler našeg vremena

Cetvrtu Teatarsku Internacionalnu Beogradsku Avanturu svecano je otvorila švedska predstava „U senci Hamleta“, radena po istoimenoj drami Vilijama Šekspira. Predstava je izvedena u Narodnom pozorištu. Adaptaciju je uradila Irena Kraus, scenografiju i kostime Ula Kasius, a režiju Agneta Ehrensverd.
TIBA: Još jednom se vecni Šekspir našao na pozorišnim daskama. U cemu je Vaš Hamlet drugaciji od tradicionalnog danskog kraljevica?
AGNETA EHRENSVERD: Nema mnogo razlike, jedino što je Šekspirov komad smešten u današnje vreme i što naš Hamlet na aerodromu saznaje da mu je otac, diplomata, mrtav. Vrativši se kuci, zatice majku koja se u meduvremenu preudala i tada za Hamleta nastaje duševni pakao. Prijatelji mu pomažu da prebrodi najteže trenutke i srecom, na kraju predstave, naš Hamlet preživljava.
TIBA: Zanimljivo je da kod Vas publika nije staticna. Naprotiv, hoda i meša se sa akterima na sceni...
AGNETA EHRENSVERD: Na taj nacin gledaoci ulaze u duševni svet glavnog junaka. Pokušala sam da srušim granicu koja uvek postoji izmedu glumaca na sceni i publike u gledalištu. Zato sam napravila tamnu sobu, koja u stvari predstavlja moždane komore glavnog junaka, u koje gledaoci zalaze i „ispituju“ njihov sadržaj.
TIBA: Da li ste prvi put u Beogradu?
AGNETA EHRENSVERD: Ne, ovo mi je peti put da posecujem vaš grad. Mnogo mi se dopada, a posebno ljudi u njemu.
TIBA: Koliko ostajete u Beogradu i da li potajno priželjkujete nagradu?
AGNETA EHRENSVERD: To me veoma raduje! Nisam bila upoznata da se nagrade uopšte dele na ovom festivalu. Inace, vracam se u sredu jer želim da stignem na proslavu rodendana moje mame koja puni 91. godinu. To nikako ne smem da propustim.

ENGLISH:

Agneta Ehrensvärd, director of „In the Shadow of Hamlet” by Dramaten Theater from Sweden

Thriller of our time

The Fourth Theater International Belgrade Adventure was opened by the Swedish performance “In the Shadow of Hamlet”, done by the text of a play by William Shakespeare. The show was performed at the National Theater. The text was adapted by Irene Kraus, the set and costumes designed by Ulla Kassius, and the play directed by Agneta Ehrensvärd.
TIBA: Once again the eternal Shakespeare is on theater stage. What makes you Hamlet different from the traditional Danish prince?
AGNETA EHRENSVÄRD: There isn’t much difference, the only one is that Shakespeare’s play is put in present times, and our Hamlet is at the airport when he receives news that his father, a diplomat, died. When he returns home, he realizes that his mother in the meantime remarried. Hamlet finds himself in a state of spiritual hell. His friends help him to get over the hardest moments, and luckily, at the end, our Hamlet survives.
TIBA: It is interesting that your audience is not static. On the contrary, they walk and mingle with the actors on stage...
AGNETA EHRENSVÄRD: In this way, the audience enters the spiritual world of the main character. I tried to eliminate the border between actors on stage and viewers in the audience. That’s why I made a dark room, which in fact represents the brain chambers of the main character, in which the audience enters and “examines” its contents.
TIBA: Is this your first time in Belgrade?
AGNETA EHRENSVÄRD: No, this is the fifth time that I am visiting your city. I really like it, especially its people.
TIBA: How long will you stay in Belgrade and do you secretly want a prize?
AGNETA EHRENSVÄRD: I am really happy because of that! I didn’t know there were prizes awarded at this Festival. I have to return on Wednesday, because I need to be at my Mom’s 91st Birthday party. I simply cannot miss that.

SRPSKI:

Mišel Dalu, clan ovogodišnjeg Internacionalnog žirija TIBE

Sledece godine sa novom predstavom

Francuski koreograf Mišel Dalu je prošle godine na TIBI ucestvovala sa predstavom „Zakrpenijada“, za koju je i nagradena. Gošca je ove godine clanica žirija koji ce na kraju Teatarske Internacionalne Beogradske Avanture najboljima dodeliti nagrade. Kao i prošle godine, nada se znacajnim susretima umetnika, razmenjivanju iskustava, ali i medusobnim druženjima.
TIBA: S obzirom da ste umetnicki voda grupe „Carre Blanc Company“ i da dosta putujete Evropom, zbog cega ove godine publici TIBE niste poklonili novu predstavu?
MIŠEL DALU: Nisam imala vremena da u meduvremenu napišem novi komad! Medutim, sigurna sam da cu sa novom predstavom gostovati na 5. TIBI.
TIBA: Kakvo je Vaše mišljenje o švedskoj predstavi „U senci Hamleta“ kojom je ovogodišnji Festival otvoren?
MIŠEL DALU: Na mene je ostavila izuzetan utisak. Smatram da je Šekspirov univerzum veoma rasprostranjen u ritmu, rimi, stihu, ali da i danas ima svoje poklonike medu mladima, kao što je to bio slucaj pre nekoliko vekova. Prica o moci i smrti potkrepljena je i specificnom pricom o stanju svesti glavnog junaka. Dopala mi se i analiza Hamletovog duhovnog stanja. Brojni elementi u predstavi su ingeniozno osmišljeni.
TIBA: Da li se bolje osecate kao akter ili kao clan žirija?
MIŠEL DALU: Prošle godine nisam imala vremena da pogledam nijednu predstavu koje su izvedene na TIBI, jer smo u Beogradu boravili samo dva dana. Ove godine je drugacija situacija. Gledacu sve predstave, a nadam se da cu imati vremena i da obidem vaš grad.

ENGLISH:

Michčle Dhallu, member of this year’s Intenational Jury of TIBA

Next year with a new performance

French choreographer Michčle Dhallu took part in the last year’s TIBA with the play “Chiffonnade”, for which she was presented with an award. This year, our guest is a member of the jury that will present the awards for best performances at the end of the Theater International Belgrade Adventure. Same as last year, she hopes for notable meetings among artists, exchange of experiences, as well as many friendships.
TIBA: Having in mind that you are the artistic director of “Carre Blanc Company” and that you travel around Europe a lot, home come that this year you don’t have a new performance for the audience of TIBA?
MICHČLE DHALLU: I simply didn’t have time to write a new play! I am certain, however, that I will take part in the 5th TIBA with a new play.
TIBA: What is your opinion on the Swedish play “In the Shadow of Hamlet”, which opened this year’s Festival?
MICHČLE DHALLU: I was really impressed by it. I believe that Shakespeare’s universe is very spread out in rhythm, rhyme, verse, and also that it has many admirers among young people today, same as many centuries ago. The story of power and death is backed up by a specific story on the state of mind of the main character. I also liked tehanalysis of Hamlet’s spiritual state. Many elements in the play are ingeniously created.
TIBA: Do you feel better as participant or as member of the jury?
MICHČLE DHALLU: Last year I didn’t have time to see a single play performed at TIBA, as we stayed in Belgrade for just two days. This year the situation is different. I will see all performances, and I hope to have time to do a little sightseeing of your city.

SRPSKI:

Slobodan Perišic, glumac predstave „Baš Celik“ Decjeg pozorišta Republike Srpske

Junaštvo je uvek u modi

Na tekst Milivoja Mladenovica i u režiji Kokana Mladenovica, Decje pozorište Republike Srpske je na ovogodišnjoj TIBI izvelo predstavu „Baš Celik“ na sceni Pozorišta „Boško Buha“. Glavnog junaka, mladica Nebojšu, tumaci Slobodan Perišic.
TIBA: Beogradskoj publici ste prikazali osavremenjenu bajku, odnosno „etno matriks“ sa dosta scenskih i vizuelnih efekata...
SLOBODAN PERIŠIC: Za scenografiju, svetlosne efekte i kostime najviše je zaslužna Dragana Purkovic-Macan, inace scenograf i kostimograf Narodnog pozorišta Republike Srpske, koja je studije završila u Beogradu, kod prof. Geroslava Zarica. Dragana je u predstavi na idealan nacin spojila tradicionalan stil sa modernim. Scenografija je bila izuzetno zahtevna, ali je i prilagodena uzrastu publike kojoj je namenjena. Svakako, najupecatljiviji su svetlosni efekti na kojima bi nam pozavideli i holivudski majstori.
TIBA: „Baš Celik“ je premijerno izveden pre tri meseca, a zanimljivo je da ste Vi zapravo “uskocili“ u predstavu. Koliko tekst u osnovi ima slicnosti sa poznatom bajkom?
SLOBODAN PERIŠIC: Suština price i poruka je ostala ista. Reditelj Mladenovic je zahtevao da se „Baš Celik“ odigra na specifican nacin. Tako je glavni negativac predstavljen kao Kiborg mašina, a uradena je i sjajna matriks borba izmedu dobra i zla.
TIBA: Da li na kraju dobro pobeduje?
SLOBODAN PERIŠIC: Svakako, kao i u stvarnom životu!
TIBA: Kako je publika u Banja Luci prihvatila predstavu?
SLOBODAN PERIŠIC: Sjajno, narocito kada su matriks borbe u pitanju. Cesto nam se dešavalo da moramo na trenutak da prekinemo predstavu zbog skandiranja i navijackog raspoloženja publike. Naravno, sve je to veoma simpaticno i nimalo neprijatno. Poruka predstave je izražena songom „Junaštvo nikada ne vene!“
TIBA: Ko je zaslužan za specificnu muziku koja se izvodi tokom predstave?
SLOBODAN PERIŠIC: Autori su Marko Grubic i Marko Nježic, a virtuoz na guslama je Dušan Ivanovic.

ENGLISH:

Slobodan Perišic, actor of “Baš Celik”, performed by Decje pozorište Republike Srpske

Heroism is always “IN”

Written by Milivoje Mladjenovic, and directed by Kokan Mladenovic, Decje pozorište Republike Srpske, at this year’s TIBA, presented “Baš Celik” on stage of the “Boško Buha” Theater. The main character, young man named Nebojša, is played by Slobodan Perišic.
TIBA: You’ve presented to Belgrade viewers a modernized fairytale, i.e. an “ethno-matrix” with a lot of stage and visual effects...
SLOBODAN PERIŠIC: For the set design, light effects and costumes we are to thank Dragana Purkovic-Macan, stage and costume designer of the National Theater of Republika Srpska, who completed her studies in Belgrade, with Prof. Geroslav Zaric. In the performance, Dragana masterfully connected the traditional style with the modern. The set design was extremely demanding, but also customized for the age of the intended audience. Certainly, the most impressive were the light effects, for which even the Hollywood masters could envy us.
TIBA: The premiere of “Baš Celik” was three months ago, and it is interesting that you in fact “jumped into” the show. How much does the text basically have to do with the original well-known fairytale?
SLOBODAN PERIŠIC: The essence of the story and its moral remain the same. Director Mladenovic demanded that “Baš Celik” be played in a specific manner. Thus the bad guy is represented by a cyborg machine, and we have a great matrix battle between Good and Evil.
TIBA: Does Good win at the end?
SLOBODAN PERIŠIC: Of course, just like in real life!
TIBA: How did the audience in Banja Luka greet the performance?
SLOBODAN PERIŠIC: Wonderfully, especially the matrix fights. We have often had to stop the show for a while because of the applauding and cheering of the audience. Of course, all that is very cute and not at all unpleasant. The play’s moral is expressed in the song “Heroism never dies!”
TIBA: Who is responsible for the specific music played during the show?
SLOBODAN PERIŠIC: Marko Grubic and Marko Nježic are the authors, and the virtuoso on the gusle is Dušan Ivanovic.