SRPSKI:
Boško Đorđević, direktor Festivala
PROZOR U SVET
Jos jedan TIBA festival je pred nama. Ako se podsetimo prethodnih festivala seticemo se da je ideja vodilja bila razmena teatarskog iskustva i predstavljanje inostrane produkcije.
TIBA je bila mesto gde su domaca pozorista za decu stala, pre onih nesrecnih devedesetih godina, i odakle bi trebalo da nastave dalje. Prozor u svet. Nova poznanstva su sklopljena, novi prijatelji, saradnici i partneri su pronadjeni. Tokom poslednjih godina, a u mnogome zahvaljujuci Tibi, saradjujemo sa brojnim inostranim trupama i pozoristima.
Mozemo da kazemo da je medjunarodna saradnja ozivela. Mozda stidljivo, ali ipak ASSITEJ Srbije je poceo da preuzima onu vaznu ulogu koju ima u kulturi za decu drugih zemalja. Sada, pored svoje osnovne ideje, festival postaje ono sto treba da bude: mesto gde se radjaju ideje, projekti, saradnje i koprodukcije.
Siguran sam da ce deca, zbog koje ovaj festival i postoji, biti zadovoljna. Ovogodisnji izbor selektora su predstave – male forme – koje komuniciraju na vrlo suptilan nacin.
Gledati predstavu je dozivljaj, a postati deo price je pozoriste kakvom tezimo.
Nadamo se da ce i domace trupe, nasi dragi gosti, kao i deca, uzivati u predstojecem Festivalu!

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ENGLISH:
Bosko Djordjevic, Festival General Manager
Manager`s Note
Another TIBA festival is before us. If we recall the previous festivals, we will remember that the guiding thought was to exchange theatre experiences and present international productions.
Tiba was a place where local children’s theatres had stopped, before those unfortunate nineties, and from which they should now move on. A window into the world. New acquaintances have been made, new friends, collaborators and partners were found. During the past years, and largely thanks to Tiba, we have collaborated with numerous international companies and theatres.
We could say international collaboration has come alive. Perhaps modestly, Assitej of Serbia has never the less begun to assume the important role it has in the culture for children of other countries. Along with its basic idea, the festival has now started to become what it should be: a place where ideas, projects, collaborations and coproductions are born.
I am sure that children, for whom this festival exists, will be pleased. This year’s selectors’ choice are productions – small forms – that communicate in very subtle ways. To see a production is an experience, and becoming a part of the story is the theatre we strive to achieve.
We hope local companies, our dear guests and children will enjoy the forthcoming Festival!

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SRPSKI:
Reč seletora
LAKOĆA I MAGIJA VEŠTE IGRE
Kada smo razgovarali o konceptu ovogodisnje selekcije festivala TIBA, Nikola Zavisic i ja smo se slozili da je jedini uslov koji izabrana produkcija treba da ispunjava jeste ozbiljan i posvecen pristup stvaranju komada za decu. Nazalost, u nasem regionu je takav pristup postao retkost. Sve je vise ”tezgi” za decu, predstava koje se lako gledaju, ali ne pruzaju nikakav materijal za razmisljanje i predstavljaju svojevrsnu ”brzu hranu” za umove mladih gledalaca. Ipak, postoji izvestan broj komada koji su dokazali da se moze napraviti ozbiljna, kompleksna, ali i dalje pitka i zanimljiva predstava za decu, najcesce uz pomoc kreativnog koriscenja neocekivanih sredstava.
”Strasne bajke brace Grim” Malog pozorista ”Dusko Radovic” jesu odlican primer za to. Reditelj Mik Gordon je uz pomoc stapa i kanapa, bukvalno receno, docarao bogat i misteriozan svet cuvenih bajki. Ne samo da su izabrane price ispricane u maniru
horor-komedija sto je izuzetno blisko savremenom malom gledaocu, nego svaka od njih, pored svoje standardne pouke, poseduje i jos jednu, onu koja se odnosi na savremeno doba. Medjutim, nijedna od ovih poruka nije otuzna, ”ne soli pamet” – one na duhovit nacin podsecaju publiku da se oko nas i dalje nalaze Zle macehe, Pohlepni krcmari, Dobri princevi i Naivne princeze, samo su malo drugacije obuceni.
Predstava ”Cudesni svet brojeva” pozorista ”Zar ptica” iz Zagreba je dokazala kako su cak i, inace dosadne i sumorne cifre sposobne da ucestvuju u uzbudljivoj avanturi. Dok gledamo kako se mala Nula muci da se izbori za postovanje u svetu brojeva, jer je ona ”i sve i nista”, tesko nam je da poverujemo da se ceo taj magicni svet i svi njegovi junaci sastoje od obicnih, ali vrhunski animiranih cifara. Ipak, ovaj komad nije samo zabavan nacin da se nauce osnovi matematike. Ovo je prica o odrastanju i borbi za svoje mesto pod suncem.
Boban Skerlic i Ivana Dimic su pri postavljanju ”Zmajovinih pangaloga”, u produkciji Pozorista ”Bosko Buha”, price o jednoj starinskoj, a opet tako poznatoj i dragoj generaciji nestasne i mastovite dece, pribegli jednom brzom, preciznom, mjuzikl pristupu. Uz pomoc savrsenih koreografija Mojce Kreft, mladi, vesti i slozni ansambl ove predstave docarava jednu davnu epohu, ali i vecne, nepromenljive, decje karaktere. Mozda su se igracke i skola promenili, ali klinci su u sustini i dalje ostali isti, ma koliko se odrasli trudili da ih pokvare.
”Tom Sojer i djavolja posla” Milice Piletic, u izvodjenju Gradskog pozorista iz Podgorice jeste nov i zanimljiv nacin da se obradi jedan decji klasik. S jedne strane imamo Tvenovu maestralnu studiju ljudske (decje i odrasle) psihologije, s druge, dramaturski besprekorni komentar Milice Piletic, koji na duhovit i mastovit nacin postavlja pitanja o razlikama izmedju dece i odraslih, odgovornosti i jednih i drugih i tankoj granici koja ih deli. Ovaj komad takodje poseduje i bogat, zanimljiv celokupni dizajn predstave, pa je vrlo lako uroniti u svet malenog grada na obali Misisipija.
Dok gledate svaku od ovih postavki, cesto cete sebi postavljati pitanje: ”Jao, kako su se samo toga setili?” – i to je ono sto ih cini izuzetno vrednim. U njima se vidi da su autori i akteri vredno i posveceno radili kako bi postigli neophodnu lakocu i magiju veste igre. Jer, predstave koje su pravljene za mladu publiku moraju biti mastovite barem koliko i njihovi gledaoci, pre svega da bi zadrzale paznju vrlo strogim kriticarima kakva deca jesu.
Stasa Koprivica, rediteljka

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ENGLISH:
Stasa Koprivica
Selektor`s Note
When we discussed the concept of this year’s selection of TIBA Festival, Nikola Zavisic and I agreed that the sole condition a selected production should meet is a serious and committed approach to creating a children’s play. Unfortunately, such an approach has become a rarity in our region. The number of ‘gigs’ for children is increasing, shows that are easy to watch but fail to offer any food for thought and represent a ‘fast food’ of sorts for the minds of young viewers. Still, there is a certain number of plays that have already proven that one can make a serious, complex, but nevertheless a likable and interesting show for children, more often than not with the help of creative use of unexpected means.
‘Brothers Grimm’s Scary Stories’ by Little Theatre Dusko Radovic is an excellent example of this. Director Mick Gordon has portrayed a rich and mysterious world of the famous fairy tales with virtually no material means at all. Not only were the chosen stories told in the manner of horror comedy, which is extremely close to a young viewer of today, but also every one of them, along with its standard moral, has yet another one, the one referring to the age we live in. However, not one of these morals are tacky or condescending – in their witty way, they remind the viewers that evil step mothers, greedy inn keepers, good princes and naive princesses are still among us, only dressed in a slightly different way.
The production of ‘Magical World of Numbers’ by Firebird Theatre from Zagreb has proven that even the otherwise dull and glum figures are capable of taking part in an exciting adventure. As we watch the little Zero struggle to gain respect in the world of numbers, because it is ‘both everything and nothing’, we find it hard to believe that this entire magical world and all its heroes consists of ordinary, but brilliantly animated figures. Still, this play is not just a fun way to learn the basics of mathematics. This is a story of growing up and of struggling to find one’s own place under the Sun.
Boban Skerlic and Ivana Dimic have, when creating their ‘Mischief Makers’, produced by Bosko Buha Theatre, a story of an old fashioned and yet so very familiar and well loved generation of mischievous children, used a quick, precise, musical approach. With the help of perfect choreography by Mojca Horvat, the young, skilled and harmonious ensemble of this show portrays a time long gone, but also the eternal, unchangeable children’s characters. Perhaps the toys and schools have changed, but children have fundamentally still remained the same, no matter how hard the adults try to spoil them.
‘Tom Sawyer’ by Milica Piletic, performed by City Theatre of Podgorica, is a new and interesting way to adapt a children’s classic. On one hand we have Twain’s fascinating study of human (children’s and adult’s alike) psychology, and a dramaturgically flawless comment by Milica Piletic on the other, a comment that in a funny and imaginative way poses the questions on the differences between children and grown ups, responsibility of both and a thin line that divides them. This play also has a rich, interesting overall design, so it is very easy to plunge into the world of a small town on the banks of Mississippi.
As you watch each of these productions, you will frequently ask yourself the question of ‘How on Earth have they thought of that?’ – and this is what makes them extremely valuable. They clearly show that their creators and everyone involved worked diligently and with great commitment in order to achieve the necessary lightness and magic of skilled playfulness.
All this because productions made for young audiences have to be imaginative at least as much as their viewers are, primarily in order to maintain the attention of strict critics that children are.

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SRPSKI:
Reč seletora
NOVE TEHNOLOGIJE
XXI vek je odavno poceo. Sa njim i II milenijum!
Ovogodisnje izdanje festivala TIBA posvecujem deci rodenoj u II milenijumu! Koliko se samo stvari promenilo od mog detinjstva do njihovog? Naizgled, i nije neka razlika. Ja sam rodjen 1975. Ipak, promenilo se mnogo toga. Cak i previse. Razvoj tehnologije, protok informacija, dostupnost svih mogucih sadrzaja koji nam zivot cine laksim (a nekad i komplikovanijim), ucinili su da klincima danas bude najnormalnija moguca pojava surfovanje po internetu ili umrezeno igranje RPG igara (tipa „World of Warcraft“), ili cak formiranje sasvim nove forme sopstvenog identiteta negde u okeanu virtualnog zivota (npr. „Second Life“).
Pozoriste mora makar da pokusa da isprati percepciju danasnje dece ukoliko odluci da im se obraca. Ono mora da na neki nacin ucestvuje u formiranju njihovog kritickog stava prema svetu koji ih okruzje, pa makar on bio sakriven iza prasume vibrirajucih terabajta.
TIBA 2008. pokusace da iz raznih uglova podstakne mastu svoje publike sa posebnim osvrtom na nove tehnologije u pozoristu za decu i mlade i nov nacin pricanja price, koja i pored sveopsteg napretka tehnike i dalje ostaje osnovna celija dobro provedenog vremena u pozoristu.
Uzivajte u II milenijumu, dok polako ali sigurno klizimo ka trecem.
Nikola Zavisic, pisac i reditelj

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ENGLISH:
Nikola Zavisic, writer and director
Selektor`s Note
Twenty First Century started long ago. And the second millennium along with it!
I dedicate this year’s edition of TIBA festival to children born in the Second Millennium! How many things have changed from my childhood to theirs? At a first glance, it’s not much of a difference. I was born in 1975. And yet, a lot has changed. Even too much. Technology development, stream of information, accessibility of all sorts of contents that make our life easier (and sometimes even more complicated), made it possible for the kids today to find surfing the internet or RPG networks , or even creating an entirely new form of their own identity somewhere in the ocean of virtual life (for example, Second Life), the most natural thing in the world.

Theatre must at least try to follow our perception of today’s children if it decides to speak to them at all. It has to take part in forming their critical stance to the world surrounding them, even if it’s hidden behind the rainforest of vibrating telebites.

TIBA 2008 will attempt to encourage the imagination of its audience from various angles, with particular attention paid to new technologies in theatre for children and young people and new ways of telling stories, which is, even with the overall technical advance still remains the basic cell of a well spent theatre time.

Enjoy the Second Millennium as it slowly but certainly glides towards the Third.

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SRPSKI:
Otvaranje Tibe - Max Metalic, teatar na otvorenom
OSEĆANJA JAČA OD TEHNOLOGIJE
Sesti festival TIBA otvorila je predstava Max Metalic Pozorista lutaka Pinokio. Max je premijerno izveden na Belefu 2004, otvorio je i jedan Bitef, ucestvovao na mnogim festivalima u zemlji i inostranstvu, stigao cak i do Tajvana. Ova ulicna predstava izvedena je na Trgu Republike.
”U pitanju je projekat kakav Pinokio do sada nije radio, tj. takva vrsta dogadjaja nije vidjena kod nas. Izasli smo iz okvira pozorisne scene, crne kutije i nastupamo na otvorenom, ovo je na neki nacin bio repertoarski zaokret u nasoj Kuci. Max je specijalna lutka dopremljena iz Finske, zajedno sa rediteljem Bojanom Baricem kome je ovo druga rezija u nasem pozoristu”, kaze upravnik Igor Bojovic.
Lutka koja je napravljena od aluminijuma i celika, teska 300 kg i visoka 5m, sadrzi i kolica koja je guraju, sve funkcionise na principu poluge. Max je putovao do Beograda 4000 km, a cuva se u novobeogradskom hangaru. U predstavi se koriste razni pirotehnicki elementi i Maxa prate dobos i trubaci.
”Cela prica je pocela kada me je jedan finski skulptor pitao kako da napravi lutku od 5 metara koja se pokrece. Ta ideja me je zacudila s obzirom na to da lutkarstvo neguje minimalizam... Lutka je radjena dve godine. Tehnika njenog pokretanja je nezgodna, zahtevna, ali petoro glumaca je to savladalo veoma brzo... Iako je performans bez reci, baziran na muzici i pokretu, pricamo o ljudskoj zelji da se prevazidje tehnologija. Oni grade robota kom hoce da udahnu dusu, samim tim i osecanja. Medutim, ta osecanja masina ne moze da izdrzi. Rec je covekovoj teznji da napravi nesto vece od sebe, nesto sto prevazilazi postojece granice”, objasnio je reditelj Baric.
Jedan od glumaca lutkara koji daju zivot ovoj lutki, Jovan Popovic, svojevremeno je izjavio da njih petoro predstavljaju pet elemenata predskoratovske filozofije. Max je sazdan od tih elemenata koja cine sva ljudska bica, i nije ih svestan sve do trenutka dok se ne zaljubi i zapali...

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ENGLISH:
Opening of TIBA - Max Metalic, open air theatre
FEELINGS STRONGER THAN TECHNOLOGY
The sixth TIBA festival was opened by production Max Metalic by Pinokio Puppet Theatre. Max received its premiere at Belef 2004, it also opened an instalment of BITEF festival and it took part in many local and international festivals, touring as far as Taiwan. This street performance was shown on Republic Square.
‘Pinokio had never embarked on a project like this before, i.e. this type of events had not been seen in our theatre. We have gone beyond the framework of theatre stage, a black box, and we perform out in the open, this is in a way a U-turn in terms of our repertory. Max is a special puppet obtained from Finland, and this is the second production of our theatre directed by Bojan Baric’, says manager Igor Bojovic.
The puppet made of steel and aluminium weighs 300 kilos and is 5 metres tall, it also contains a trolley pushing it, everything is founded on the system of levers. Max had travelled 4000 kilometres to Belgrade and is stored in a hangar in New Belgrade. Various pyrotechnics are used in the show and Max is accompanied by drums and trumpets.
‘The entire story had started out with a Finn sculptor asking me how to make a 5 metre tall moving puppet. This idea caught me by surprise, considering the fact the puppetry is more often than not based on minimalism… The puppet took two years to make. The technique of moving it is tricky, demanding, but five actors got a grasp of it quite soon… Even though this is a performance with no words, based on music and movement, we are telling a story about the human desire to surpass technology. They are building a robot they want to give the gift of soul to, and thereby feelings as well. However, the machine cannot withstand these emotions. This is about man’s striving to make something larger than himself, something that surpasses the existing boundaries’, explains the director Baric.
One of the puppeteers giving life to this puppet, Jovan Popovic, once said that the five of them represent five elements of Pre-Socratic philosophy. Max consists these elements that constitute all human beings, and is not aware of them until he falls in love and goes up in flames…


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SRPSKI:
Japanska bašta - priča o putovanju
TRAŽIMO SENZIBILNOST SLIKA
Italijanska Kompanija T.P.O. ima veoma neobican pristup pozoristu za decu u odnosu na srpski milje teatra za najmladje. Koncepcija je zasnovana na simbiozi plesa i elemenata vizuelne umetnosti. Predstave koje rade nastaju na children cheering carpet-u. Rec je o beloj podlozi za ples preko koje video-projektori emituju animirane slike, dok se ispod nje nalaze senzori koji reaguju na dodire. Na tepihu nastaju virtuelni pejzazi koji omogucavaju igru.
Predstava ”Japanska basta” je prica o putovanju. Decak Siro zivi u selu ispod planina. Jednog dana krene da prati cvetove koji plove rekom, stize do livade, do muzickog mosta, jezera, neke druge reke, neke druge livade... Kada se vrati kuci zeli da se priseti svog putovanja, stvarajuci svoje baste (na magicnom tepihu). O ideji, nacinu rada, putovanjima, razgovaramo sa rediteljem Davidom Venturinijem.
Ideja za nastanak ovog tepiha za uveseljavanje dece veoma je neobicna. I zasto basta?
Poceli smo da radimo sa decom koja imaju problema sa ucenjem, tako da smo krenuli sa pravljenjem okruzenja koje nije agresivno vec opustajuce, okruzenja u kojem bi deca mogla da ucestvuju i da nadju nacin da koriste telo na delikatan nacin. A baste smiruju, tanane su. Arhitektura japanske baste je zen.
Na predstavu se ulazi izuven, publika se nalazi sa sve cetiri strane tepiha, svedeno je, bez ikakvog dekora, cuju se ambijentalni zvuci sa cvrkutom ptica.
Krece se sporo i tiho ali korak po korak dajemo deci mogucnost da percepiraju prostor ne kao igraliste vec kao vizuelnu pricu kroz koju opazaju senzibilitete elemenata: vode, cveca, trave... Vazno je da deca razumeju ovaj eksperiment i upotrebu tehnologije ne kao brze igre vec kao nesto sto ce ih opustiti i dati im mogucnost da misle. A projekcije daju mnogo mogucnosti. Takodje, vazna je i upotreba igraca. Kada pocnemo nista se ne vidi, deluje prazno, tehnologija je skrivena iako je rec o komplikovanom sistemu sa senzorima. Vazno je da je sakriveno jer necemo da forsiramo upotrebu tehnologije u teatru.
U izvedbu su ukljucene i reci. Na pocetku pripovedac objasnjava legendu nastanka japanske baste. Ova uloga se dodeljuje domacem glumcu, u ovom slucaju Suzani Lukic.
Neophodno je pricanje da bi publika mogla da prati predstavu. Prica se tri puta odigrava, kroz rec, ples i interakciju (kada publika postaje aktivan deo predstave, igra po senzorima, juri lokvanje i kamenje u vodi ili pak skakutanjem po muzickom mostu svira kao po dirkama klavira, prim. A.J.). Sva tri modusa povezana su sa kratkim legendama, ovde sa japanskom (izvodimo i italijansku i orijentalnu bastu).
Zahvaljujuci originalnosti vaseg teatra, putujete mnogo i to po celom svetu. Prvi put ste u Beogradu. Koliko su dragocena iskustva sa raznih festivala?
Uzbudljivo je gledati razlicite reakcije dece i vazno je deliti isti prostor i istu predstavu sa svima. S jedne strane reakcije su razlicite a sa druge vrlo slicne. Ovakav jezik dobro komunicira sa svima, pristup dece ovoj tehnologiji je inituitivan. U Australiji, na primer, naviknuti su na ovakav nacin komunikacije u teatru, od samog pocetka su ukljuceni. Ovde su deca na pocetku bila stidljiva, uplasena ali su se najednom uklopila bez problema. Drago mi je sto smo ovde, mogucnost deljenja je fantasticna a i glumica je bila odlicna iako nisam razumeo nista jer smo imali probu na engleskom :).
Pripremate nove predstave. Neku cemo mozda videti na nekoj buducoj Tibi?
Sa australijskim pozoristem iz Adelaide radimo Aboridzinalsku bastu, potom komad Baroko inspirisan estetikom ovog umetnickog pravca i Leptirovu kucu. Poslednji je slican svemu sto smo uradili, ali je za nijansu sufisticiraniji i namenjen je bas maloj deci. Mi radimo sa elementima, osnovama, zaplet je uvek jednostavan. Trazimo senzibilnost slika i uporedo upoznajemo decu sa vizuelnom umetnoscu.


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ENGLISH:
Japanese Garden - a Story of a Journey
IN SEARCH OF SENSIBILITY OF IMAGES
Compared to Serbian theatre for youngest audiences, Italian company TPO has a very unusual approach to children’s theatre. Their concept is based on symbiosis of dance and elements of visual arts. Productions they make are created on the children cheering carpet. This is a white dance mat to which animated images are projected, whilst touch sensitive sensors are located underneath it. Virtual landscapes making playing and dancing possible emerge on the carpet.
Japanese Garden is a story of a journey. A boy, Shiro, lives in a village at the foot of the mountains. One day, he starts to follow flowers flowing on the river, he reaches a meadow, a musical bridge, a lake, another river, another meadow… When he returns home, he wants to recall his journey, creating his own gardens (on the magic carpet). We talk to the director Davide Venturini about this idea, his way of working and journeys.
The idea of this carpet for cheering children is very unusual. Why a garden?
At the beginning of our work we worked with children with learning disabilities, so our starting point was to create an environment that is not aggressive, but rather relaxing, an environment in which children could take part and find a way of using their bodies in a delicate way. And gardens are calming, they are delicate. The architecture of a Japanese garden is Zen.
Spectators enter the performance space with no shoes on, the audience is on all four sides of the carpet, everything is reduced, with no decor, some ambient sounds with chirping of birds are heard.
The beginning is slow and quiet, but step by step we give the children the opportunity to perceive the space not as a playground but rather as a visual narrative through which they observe sensibilities of elements: water, flowers, grass… It is important for the children to understand this experiment and the use of technology not as high paced game, but rather like something that relaxes them and gives them a chance to think. Projections, on the other hand, lend many opportunities. The dancers are also significant. At the start, nothing can be seen, everything appears vacant, the technology is concealed, even though it is all about a complicated system of sensors. It is important for it to be hidden, because our intention is not to push the use of technology in theatre.
Words are also a part of the performance. At the beginning, the narrator explains the legend of how Japanese gardens were first created. A local actor is cast as the narrator, in this case Suzana Lukic.
Storytelling is necessary in order for the audience to be able to follow the performance. The story is played out three times, through words, dance and interaction (A.J’s note: when audience becomes an active part of the performance, they dance on the sensors, they chase water lilies and rocks in the water or play the musical bridge as they would a piano keyboard). All three modes are linked to short legends, in this case Japanese ones (we also do Italian and Oriental gardens).
Thanks to the originality of your theatre, you travel a lot, all over the world. This is your first time in Belgrade. How valuable are experiences from various festivals?
It is exciting to observe various children’s reactions and it is important to share the same space and the same production with everyone. On one hand, reactions differ and on the other, they are very similar. This kind of a language communicates well with everybody, children’s approach to this kind of technology is intuitive. In Australia, for example, people are used to this way of communication in theatre, they are involved from the very start. Here, children were shy at first, slightly frightened, but all of a sudden they fit in with no problem whatsoever. We are glad to be here, the possibility of sharing is fantastic and the actress was excellent, even though I haven’t understood a thing because our rehearsal was in English.
You’re working on new productions. Might we see something else in one of the TIBA Festivals to come?
We’re working on Aboriginal Garden with an Australian theatre from Adelaide, then we will work on the play Barocco, inspired by the aesthetics of this artistic style, and Butterfly House. The latter is similar to everything we have done before, but is slightly more sophisticated and is intended for very small children. We work with elements, foundations, our plots are always simple. We are searching for sensibility of images and at the same time we introduce children to visual arts.

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SRPSKI:
Veliki divlji okean
SAGLASJE RAZLIČITIH UMETNOSTI
Druga predstava takmicarskog programa 6. Tibe stigla je iz Francuske. Osnivac trupe Carre Blanc i rediteljka komada Veliki divlji okean je koreograf Misel Dalu. Ovu, u osnovi plesnu izvedbu cine cetiri aktera koji kroz vise segmenata prikazuju zivot na i u moru, preko dana ili nocu, po mirnom moru ili za vreme oluje. Tokom njihove igre preplicu se teatar, akrobatika, sviranje uzivo. Rekvizita su mreze, skoljke, kamenje, pozadina se na momente pretvara u zvezdano nebo...
U vasim koreografijama pokusavate da ukinete granice izmedu razlicitih umetnosti. To je bio slucaj i u ovoj predstavi. Cime ste se rukovodili u stvaranju?
Prva ideja je i bila da podjednako budu zastupljeni muzika, pozoriste, ples, svetlo, scenografija, da zapravo svi ovi elementi budu u saglasju. Pokusala sam da nadem plesace koji umeju da glume i sviraju, i muzicare koji umeju da glume i plesu. Druga ideja koja mi je bila na umu je da napravim muzevnu predstavu. Mala deca su stalno okruzena zenama pa sam nastojala da im pokazem musku energiju. A ribari su idealni, a i uglavnom su muskarci. Htela sa da se osvrnem na snagu, ali i strah i ljubav.
Radite i za decu i za odrasle. Da li ima razlike u pripremi komada odnosno u komunikaciji sa ovim razlicitim publikama?
Nema mnogo razlika jer i deca su svesna sveta u svim njegovim licima vec na samom pocetku zivota. Vazno mi je da malima mogu da govorim i o smrti, strahu, zapravo o svemu sto cini zivot. Iako mi kao roditelji pokusavamo da ih zastitimo, oni u svakom trenutku mogu da vide strasne stvari npr. na televiziji. Svesni su teskoca zivljenja, svesni su da svet nije ruzicast i sladak. Postoji, dakle, razlika samo u izboru slika i ritma ali to i nije neka razlika.
Vec ste gostovali na Tibi, prvo kao clan zirija a sada kao ucesnik. Kakvi su vam utisci?
Veoma je pametna ideja da se radi na publici, da joj se pokazu predstave koje pokrecu, koje ce promeniti njen nacin percepcije. TIBA pokusava da pokaze da postoje razliciti nacini umetnickog izrazavanja za najmlade, da postoji mnogo varijanti govora koji su bliski deci, i u tome je unikatan. Ovakva razmena je sjajna, nigde nisam naisla na ovakvu vrstu festivala, i trebalo bi da postoji i u Francuskoj.
Nove predstave vaseg teatra?
Pripremam veliki koreografski projekat za odrasle u Pozoristu ”Bosko Buha”. Na sceni ce se nalaziti dvanaest izvodaca: plesaca, glumaca, cirkuzanata, i komad ce govoriti o disanju. Jer, da bismo ziveli moramo disati, to je prvo i poslednje delanje tokom naseg postojanja. Posle toga cu raditi komad o starenju za decu. I angazovacu plesace koji nisu prelepi vec koji ce imati bore i velike stomake :). U Francuskoj stariji ljudi idu u domove i time se prekida njihova veza sa porodicom, prekida se spona izmedu najmladih i starih. U starosti si isti kao i kad si bio dete, imas iste probleme i strahove. Krug zivota se zatvara. Postoji nesto u nama sto je prisutno od pocetka do kraja, neka unikatnost koju moramo prepoznati jer u protivnom zivot je promasen.



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ENGLISH:
The Great Wild Ocean
HARMONY OF DIFFERENT ARTS
The second production in the competition programme of the 6th TIBA comes from France. Choreographer Michele Dhallu is a founder of Carre Blanc Company and director of the play ‘The Great Wild Ocean’. This basically dance performance has a cast of four performers who portray, in different segments, the life on and in the sea, at night time or in the daytime, in the still seas or during a storm. During their performance, theatre is intertwined with acrobatics and live music. The props are fish nets, sea shells, stones, at some points the background turns into starry skies….
In your choreographies, you attempt to erase the borders between different arts. This was the case in this production as well. What was your guiding idea?
The initial idea was to have equal parts of music, theatre, dance, lighting, set design, to actually have all these elements in harmony. I had tried to find dancers who can also act and play music, as well musicians who can act and dance. The other idea I had was to make a masculine performance. Small children are constantly surrounded by women, so I tried to show them some masculine energy. Fishermen are ideal for this, and they are more often than not men. I wanted to deal with strength, but also with fear and love.
You work for both children and adults. Are there any differences in how you prepare a play, in terms of communication with these two audiences?
There aren’t many differences, because children are also aware of the world and all of its many faces, as early as at the very beginning of their lives. It is important for me to be able to tell the little ones about death, fear, about everything that makes life what it is. Even though we as parents try to protect them, they can see some horrible things at any given moment, on TV, for instance. They are aware of difficulties of life, they are aware that the world is not rosy and sweet. Thus, the difference is only in terms of selection of images and rhythms, but that’s not much of a difference anyway.
You have already been to TIBA, first as a jury member and now as a participant. What are your impressions?
It is a very intelligent idea to work with the audience, to show productions that move them, productions that will change how they perceive things. TIBA is trying to show that there are different ways of artistic expression for the young ones, that there are many variants of speaking to children, and this is what makes this festival unique. This exchange is terrific, I have never seen this kind of festival, there should be a festival like this in France too.
Forthcoming productions of your company?
I’m preparing a big choreographic project for grown ups at ‘Bosko Buha’ theatre. Twelve performers will be on the stage: dancers, actors, circus artists, and the play will be about breathing. In order to live, we have to breathe, this is the first and the last action of our existence. After than, I will work on a play for children, a play about aging. And I will engage dancers who are not gorgeous, but rather have wrinkles and big bellies. In France, elderly people go to nursing homes and thus their ties with their families are severed, the relations between the youngest ones and the elderly is interrupted . In your old age, you are as you were when you were a child, you face the same problems and fears. The circle of life is completed. There is something within us that is there from the beginning to the end, some unique feature that we have to recognise, or else our lives are failed.

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SRPSKI:
Dronte itd.
PROSTOR ZA MAŠTANJE
Cesko-finsko pozoriste Krepsko predstavilo se publici Tibe komadom Dronte itd. Ovaj teatar neguje neverbalne improvizacije, nije im stran crni humor, elementi teatra apsurda ili detalji cirkuske estetike. Dronte pocinje u tami, publika se krece kroz salu pored aktera belih lica, poput muzejskih eksponata, koji u rukama drze kutije sa maketama zivotinja. Penjemo se do mesta zbivanja koje se odvija u improvizovanom cirkuskom satoru. Zapravo i sam ulazak je deo predstave, kao i kasnije izlazak. Na zavesama su iscrtana praistorijska bica. I onda krece pregrst prica ili slika sa zivom muzikom... Izdvojio se deo o bicu koje se odrice svoje originalnosti zarad uklapanja sa vecinom. On ima rep, uziva, plese, potom se smeje prisutnima koji nemaju rep ne bi li ubrzo shvatio da je jedini koji ga ima. Ta unikatnost kod njega javlja zabrinutost, pa bes i rezultira odsecanjem repa. Ali, tesko je priviknuti se na novo stanje... Ili klovn koji ce biti odnesen u dubre ili u proslost. Da li tvorci predstave ukazuju na to da je smeh pao u zaborav?!
Razgovaramo sa rediteljkom i protagonistom Lineom Haponen i jednim od glumaca Jirijem Zemanom. Jiri tumaci lik cistaca, nekog ko odnosi odbacene, umrle, zaboravljene. U odelu, sa hirurskim rukavicama i velikom plavom kesom. Divna je njegova ljubavna scena sa malom lutkom.
Vec sam naziv koji je zapravo ime izumrle ptice dodo ukazuje na radnju komada. Dodo je centar poslednje scene izvedbe odnosno njeno sacuvano jaje. Publika se povlaci u miru da ne narusi ovaj cin novog zivota iliti nove nade.
Linea: Da, predstava govori o vrstama i ponasanjima koji su izumrli, o stvarima, zivotinjama koji vise ne postoje ili su na pragu nestajanja. Mozda je zanimljivo sto cemo za nekoliko dana nastupati medju vitrinama sa prepariranim zivotinjama u Narodnom muzeju u Pragu na manifestaciji Noc muzeja.
Vasa predstava je miks teatra, cirkusa, kabarea, lutkarskog pozorista. Da li postoji odredjen stil kojeg se pridrzavate u pravljenju komada?
Jiri: Ne mozemo se vezati za odredjen stil. Generalno zelimo da ljudi budu iznenadjeni te upotrebljavamo sredstva koja mislimo da ce izazvati najbolju reakciju, bilo da je zvucni ili svetlosni efekat ili nesto skroz deseto. Dajemo priliku publici da uzivaju i da se zabave. Do sada smo napravili osam predstava i sve ih uporedo igramo. U stvari, uvek se trudimo da sledeca produkcija bude potpuno drugacija od prethodne.
Predstava je prepuna simbolicnih slika. Nekima je znacenje lako dokucivo, nekima ne. Sta su zapravo predstavljale sekvence sa kutijama razlicitih sadrzaja?
Linea: Koliko god puta igramo toliko ima i pitanja. Ne zelim da odgovorim jer zapravo ne postoji pravi odgovor. Mala deca ce odgovoriti jedno dok ce njihovi roditelji odgovoriti drugo. Nama je veoma vazno da izazivamo pitanja, da pravimo zagonetke. Mi publici dajemo prostor za mastanje a ne odgovore.
Ova predstava je pomalo neobicna i mracna za najmladje. Da li stvarate samo za njih?
Jiri: Iz iskustva, iz mog detinjstva najvise se secam i najvise sam uzivao u mracnim stvarima iako sam ih se u to vreme plasio.
Linea: Ne verujem u podelu pozorista za decu ili odrasle. Na nase predstave dolazi publika svih dobi. Deca vole i uzivaju u drugacijim stvarima od odraslih i obrnuto. Mi pruzamo mogucnost za imaginaciju a ona nema veze sa godinama.
Mnogo putujete. Kakve su reakcije publike koju srecete?
Linea: Publika je dobra gde god da odemo. Imali smo srece da nastupamo pred toliko razlicitih ljudi i veoma sam srecna da ljudi npr. iz Pakistana i Nemacke nisu razliciti. Volim sto nase predstave imaju sansu da budu razumljive velikom broju ljudi.
Iako vam je ovo najnovija predstava, pripremate li jos neku?
Linea: Mi sve vreme pripremamo nove trikove i nova iznenadjenja.

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ENGLISH:
Dronte etc.
ROOM FOR FANTASY
Czech-Finnish theatre Krepsko presented themselves to TIBA audience with the play Dronte Etc. This theatre nurtures non-verbal improvisations, they are no strangers to black humour, elements of theatre of the absurd or details of circus aesthetics either. Dronte begins in the darkness, the audience moves through the auditorium passing by the performers with white faces resembling museum artefacts, holding boxes with models of animals in their hands. We climb up to the where the action takes place, an improvised circus tent. In fact, the entrance, as well as the exit later on, are parts of the performance as well. Pre-historic beings are drawn up on the curtains. And then, a multitude of stories or images accompanied by live music begins…. A part about a being that renounces its originality in order to fit in with the majority stands out. The being has a tail, it enjoys itself, dances, and then laughs at everyone around him with no tail, only to realise quite soon that it is the only being who actually has it. Being unique like that, he first feels worried, and then angry and eventually leads to the being cutting its tail off. But it is difficult to get used to the new condition… Or, a clown about to be thrown to the garbage or become a history. Do the creators of the show point out the fact that laughter has gone to oblivion?!
We talk to director and performer Linea Haponen and one of the actors, Jiri Zeman. Jiri plays a cleaner, someone who takes out the castaways, the dead, the forgotten. He is dressed in a suit and equipped with surgical gloves and a large blue plastic bag. His love scene with a little doll is beautiful.
Even the title itself, the name of the extinct dodo bird, indicates the action of the play. Dodo is central in the last scene of the piece, or rather a preserved dodo’s egg. The audience withdraws in silence, lest they disturb this act of new life or new hope.
Linea: Yes, the piece speaks of the species and types of behaviour that have gone extinct, of objects or animals that no longer exist or are on the verge of disappearing. Perhaps it is interesting that in a couple of days we are going to perform amongst the glass cases containing stuffed animals at the National Museum in Prague, as a part of the Night of the Museums manifestation.
Your production is a mix of theatre, circus, cabaret and puppet theatre. Is there a certain style you adhere to when making your plays?
Jiri: We can’t be tied to any specific style. Generally, we want people to be surprised and so we use means that we think will provoke the best reaction, be it a sound or light effect or any odd thing. We give the audiences a chance to enjoy themselves and have fun. So far we have done eight plays and they’re all still on. As a matter of fact, we always try to make every production totally different from the one before.
The piece is full of symbolic images. Some find their meaning easy to fathom, the others don’t. What are the sequences with boxes of different contents?
Linea: There are always as many questions as there are performances. I prefer not to answer this question because there really is no such thing as the right answer. Small children will say one thing, whilst their parents will say another. What matters to us is to provoke questions, to make riddles. We give the audience room to fantasise, rather than provide answers.
This production is somewhat unusual and a bit to dark for the youngest ones. Are they the only ones you do your work for?
Jiri: From my own experience, the things I remember most from my childhood, and the things I most enjoyed back then, were the dark ones, even though I was frightened by them at the time.
Linea: I don’t believe in the division of theatre into children’s or grownups’ theatre. Spectators of all ages come to see our pieces. Children love and enjoy different things from those that adults like and enjoy and vice versa. We give them the opportunity to be imaginative, and this has nothing to do with age.
You travel a lot. What are the reactions of the audiences you meet?|
Linea: Audiences are good wherever we go. We have been fortunate enough to play for so many different people and I am very happy to see that people from, say, Pakistan are no different from people from Germany. I like the fact that our productions have a chance to be understood by so many people.
Even though this is your latest show, are you working on yet another?
Linea: We are preparing and working on new tricks and new surprises all the time.

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nazad na naslove / back to topics

SRPSKI:
Tom Sojer i djavolja posla
KOMBINACIJA VASPITNOG I ZABAVNOG
Gradsko pozoriste iz Podgorice je komadom Tom Sojer i djavolja posla obelezilo 55 godina rada. Ansambl predstava sa 16 glumaca, bogatim dekorom i kostimima, sa pevanjem i u klasicnoj reziji, ozivela je poznatog junaka mnogih detinjstava i Misisipi 19. veka. Autorka dramskog teksta, Milica Piletic, obradila je poznate motive Marka Tvena, dopunivsi ih likovima koji ne postoje u originalnom delu na osnovu potreba reditelja i ekipe koja igra. O predstavi, teatru za decu, ovom podgorickom pozoristu, razgovaramo sa rediteljem i umetnickim direktorom ove Kuce, Nikolom Vukcevicem.
Kakva je koncepcija repertoara decje scene?
Kada sam dosao na mesto umetnickog direktora pre pet godina, zeleo sam da nastavim sa jednom vrstom tradicije ovog pozorista ali uz lagane inovativne otklone od necega sto moze biti istorija ili jedna vrsta shvatanja teatra za decu. Blago smo pomerili stil ka kombinaciji zanimljivog i vaspitnog u dobro upakovane dramaturske okvire. Mislim da je tajna dobre decje predstave da ima atraktivnu pricu koja uz to vaspitava malisane a vrlo moguce i njihove roditelje.
Svake godine imamo sredstava za jednu predstavu, sa velikom podelom, i na repertoaru imamo 8-9 komada tako da ne saljemo nijednu u mozda zasluzenu penziju. Dugo igranje pojedinih predstava ima draz jer se mnoge podele promene, vrlo se jasno vidi protok vremena.
Komad je pisan imajuci u vidu potrebe podgorickog teatra.
Usli smo u adaptaciju poznatog teksta sa idejom da sjedinimo sve sto predstava jubileja treba da ima odnosno da sjedinimo glumce razlicitih senzibiliteta, one koji su obelezili proslo vreme, one koji su danas na sceni i studente. Mnoge recenice su pisane imajuci u vidu odredjene glumce. Zadovoljan sam kako je sve ispalo i toliki broj nagrada na Kotorskom festivalu dosao je kao slag na tortu.
Neobicno je sto se na kraju komada Tom Sojer i njegovi prijatelji odricu dela blaga da bi se otvorilo decje pozoriste.
Taj deo je direktno vezan za situaciju u kojoj se nalazi nas teatar. Jer, mi i danas, posle 55 godina, nemamo svoj scenski prostor i verovatno smo jedino gradsko pozoriste koje nema svoju zgradu.
Pre Toma Sojera radili ste Pipi Dugu Carapu i Juliju i Romea Branka Kockice. Bavite se klasicnim repertoarom. Koji je vas motiv, kao reditelja, da se bavite pozoristem za decu?
Moj motiv je mogucnost da se ispricaju neke izrazito komplikovane price koje prolaze kroz vreme i prostor, koje mogu samo uz pomoc maste da se docaraju deci i da komuniciraju sa njima na nivou izmedju realnosti i zbilje, i ta komunikacija koja je moguca samo u tom uzrastu. Pipi govori o verovanju u sopstvene snove, Julija i Romeo je prica o snazi ljubavi. U Tomu Sojeru ima mnogo motiva: odnos prema detinjstvu, avanturi, prijateljstvu, materijalnom i nematerijalnom, govori se o onome sto novac ne moze da kupi, kakav je svet odraslih a kakav dece… Zahvalno je sto u pozoristu za decu nagrada odmah dodje iz nacina na koji deca prate radnju, jer svaki trenutak koji padne ispod ritma koji zadovoljava paznju deca ce propratiti zamorom. Zato teatar za decu mora da ima u sebi neku vrstu atrakcije koja nije vizuelne prirode vec lezi duboko iznutra, koja drzi paznju i emociju najmladjih.
Koliko su festivali i nagrade znacajni za zivot predstave?
Festivali znace da se odmeri snaga, da vidimo kako razmisljaju drugi, da vidimo sta su tendencije i da se predstavimo na pravi nacin. Kotorski festival, u medjuvremenu je postao medjunarodni, bio je sjajna prilika da nakon ucaurenosti vidimo sta se desava, da nadjemo svoje mesto. Tiba nam znaci jer je i nasa kuca sazrela uz ovaj festival. A nagrade su sticaj okolnosti i vezane su za senzibiliet ljudi koji su u ziriju. Mada nam daju podstreka da istrajemo u podstanarskim uslovima.
Koja je sledeca predstava?
Zavrsavamo komad za Kotorski festival autora Branka Dimitrijevica Kapetan Crna Brada i cokolada u reziji Nikole Zavisica. Otkaceni problemi globalizacije pretoceni su u problem nestasice kakaa za pravljenje cokolade uz pokusaj da se vrate stari gusari u gusarenje jer danasnji pirati rade nesto drugo.

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ENGLISH:
Tom Sawyer and the Devil’s Business
A COMBINATION OF INSTRUCTIONAL AND ENTERTAINING
City Theatre of Podgorica celebrated the 55th anniversary of their work with the play Tom Sawyer and the Devil’s Business. This is an ensemble play with the cast of 16, rich decor and costumes, singing and classical direction. It brought to life, yet again, the well known hero or many a childhood and 19th century Mississippi. Playwright Milica Piletic adapted the well known motifs by Mark Twain, adding some characters that do not exist in the original work, thus meeting the needs of the director and the cast. We talk to Nikola Vukcevic, director of the play and artistic director of this company.
What is the concept of the children’s theatre repertory?
When I came to the position of the artistic director five years ago, I wanted to continue a tradition this theatre had, but also to make some slight innovative steps forward from something that can be a history or one specific notion of children’s theatre. We have mildly moved our style towards a combination of instructional and fun, within well made dramaturgical frameworks. I think the secret of a good children’s play is to have an attractive story that also does something for the upbringing of children and also that of their parents.
Every year we have enough funds to make one show, with a large cast, and we have around 8 or 9 plays in our repertory, so we don’t send any of our shows to retirement they might otherwise deserve. A show’s running for a long time has its own charms, because casts tend to change, the passage of time is clearly visible.
The play had been written with the needs of this Podgorica theatre in mind.
We embarked on the adaptation of a well known work with the idea to bring together everything that a jubilee production should have in it, i.e. to bring together actors of diverse sensibilities, the ones that marked the times past, the ones who are present now and the students. Many lines of this play were written with specific actors in mind. I am pleased with how it all turned out and the number of awards we won at Kotor Festival was a cherry on the cake.
It is unusual to see Tom Sawyer and his mates waver a part of their treasure in favour of opening a children’s theatre.
This part is directly linked to the situation in which our theatre finds itself. Even after 55 years of work we still don’t have our own space and we are probably the only city theatre without a building of its own.
Prior to Tom Sawyer, you’ve done Pippi Long Stocking and Juliet and Romeo by Branko Milicevic. You also work on classic plays. What is your motive, as a director, to be involved in children’s theatre?
My motive is the possibility of telling some extremely complicated stories that resist time and space, that can only be presented to children with much help from imagination and that can only communicate with them at a level hovering between reality and fantasy, and this communication is only possible in that particular age. Pippi speaks of following one’s own dreams, Juliet and Romeo is a story of the force of love. There are many motifs in Tom Sawyer: relations with childhood, adventure, friendship, the material and the non-material, it tells of what money cannot buy, about what children’s world is like as opposed to the adults’ one. The rewarding thing in children’s theatre is the fact that you are instantly gratified by the way in which children follow what’s on stage, because every single moment with a rhythm that falls below the level that satisfies children’s attention will be responded to with fatigue. That’s why children’s theatre has to contain a sort of attraction that is not visual in nature, but rather profound and keeping the children’s attention and emotions engaged.
How important festivals and rewards are for the life of a play?
Festivals are there for comparison, for us to see how the others think, what the trends are and for us to present ourselves in a proper way. Kotor festival, that has become international in the meantime, was a great opportunity for us to see what goes on, after spending so much time in a cocoon of sorts, a great opportunity to find our own place. It means a lot to us, because our company has also matured through this festival. As far as the awards are concerned, they are related to a set of circumstances and sensibilities of people who are members of the jury. Although they are indeed an incentive for us to carry on, even if as mere lodgers.
What is your next production?
We are completing a play for Kotor Festival, a play by Branko Dimitrijevic Captain Blackbeard and Chocolate, directed by Nikola Zavisic. The weird problems of globalisation are transformed into shortage of cocoa used to make chocolate, and an attempt to bring the old pirates back to pirating, because today’s pirates are doing a different thing altogether.

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nazad na naslove / back to topics

SRPSKI:
Zmajovini pangalozi
IDENTIFIKOVANJE SA BARABAMA
Pozoriste Bosko Buha na Tibi ucestvuje sa predstavom Zmajovini pangalozi autorke Ivane Dimic u reziji Bobana Skerlica. Rec je o savremenoj komediji (podnaslov glasi: komedija o delikventima za decu), ciji su akteri izasli iz poezije Jove Zmaja, a koja govori o nestaslucima i batinama (lajtmotiv je stih: ”Udri, tuci, samo ne po ruci”). ”Stav ovog komada je da se detinjstvo i nasilje uzajamno iskljucuju (...) Konzervativni autoritarni modeli misljenja i postupanja i njihove tradicionalne mitologije valja ostaviti u blatu istorije. Deca ce, uveren sam, tu politiku razumeti. Ko je i kad god je decu potcenio, smesta se presao. Pogotovo sto im ova igra ne daje odgovore, samo postavlja neka pitanja”, zapisao je reditelj. Radnja je smestena u Zmajevu epohu, on je i sam prisutan kao skolski lekar (tokom predstave putem senke na prozoru ordinacije). Epoha nam pruza mogucnost da cujemo mnoge zaboravljene, divne izraze srpskog jezika, a nasuprot njoj je potpuno savremena muzika i koreografija.
Dakle, drama prica o nevaljaloj deci, pangalozima, i njihovom strogom i nepravednom ucitelju. Dolazak inspektora (ili revizora, motiv pozajmljen od Gogolja) uzrokuje jos veci zulum koji sprovodi ucitelj. A on sam je produkt onoga da batine radjaju batine. U ovoj dinamicnoj postavci ulogu ”loseg momka”, Pura Moce, igra Milos Vlalukin.
Koliko je zabavno bilo igrati tipsku ulogu, kako si pravdao svoj ”negativan lik”?
Pura Moca je u mnogome slican meni tako da nisam morao preterano da se bavim likom. Svi mi zapravo imamo deo Pura Moce u sebi. Bilo mi je krivo sto u tekst nisam mogao da ubacujem svoje reci, one koje bi on izgovarao u 2008. godini - malo bi bio ulicniji zargon. Medjutim, morali smo da se priviknemo na epohu i da je se drzimo. Nije mi bilo tesko da odbranim lik jer se vidi da je on sjajan decko, samo mu je jako lose krenulo. To su i kljucne reci u tekstu. Njega brane skolski drugari. Skerliceva deca citiraju moje replike jer sam najveca bitanga u skoli, a klinci se uvek identifikuju sa barabama. I ja sam to radio.
Koreografija i muzika su sjajni.
Koreograf Mojca Horvat je genijalna, a muzika je moderna kao da nastupamo na EXIT-u a ne na Tibi.
Kom uzrastu je namenjena predstava?
Po meni, komad najbolje komunicira sa decom koja su 6-7. razred, kada vec pocinje pubertet, kada klinci krecu da budu divljaci. Zato vise volim da igram za ovaj uzrast.
Kako se snalazis igrajuci za decu?
Radio sam u Radovicu i sad jos jednu predstavu u Buhi, i tek sa poslednjom, koja je za nizi uzrast, poceo sam da se kalim u toj igri. Sve je u nacinu plasiranja i vracanja.
Fraza da je za decu zahtevnije?
Ma nije, moras da se das da bi te prihvatili i da bi ti vratili, kao i za odrasle. Razlika je sto su deca osecajnija, neznija, teze ih uvuces u pricu, ne pridrzavaju se konvencije ”sedi i cuti”. Igrom moras da ih stegnes, da ne trepnu tih sat vremena.
Reakcije klinaca?
Reklama predstave, koja se vrti na decjim televizijama, uradila je mnogo za komunikaciju sa publikom. Deca unapred znaju delove teksta i imali smo momenat kada treba da cepam dnevnik da cela sala toliko vice ”Cepaj, cepaj”. Morali smo da prekinemo predstavu dok se deca nisu umirila. A i Lekin monolog svi znaju, pa govore uglas sa njim.

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ENGLISH:
Mischief Makers
EMULATING PUNKS
Bosko Buha Theatre takes part in TIBA with Mischief Makers by Ivana Dimic, directed by Boban Skerlic. This is a contemporary comedy (the subtitle reads: A Comedy on Delinquents, for Children) whose characters were derived from the poetry by Jova Zmaj, telling of mischief and ‘correctional’ beatings (the light-motif being the verse: ‘strike, offend, just don’t slap my hand’). ‘The stance of this play is that childhood and violence are mutually exclusive (…) Conservative authoritarian models of thought and action and their traditional mythologies are to be abandoned in the mud of history. I am certain that children will understand such a policy. Whoever underestimated children and whenever they did it made a mistake at the very time they were doing it. Especially since this play provides no answers, but merely poses some questions instead’, the director wrote. The action is set in Zmaj’s period, he is present there himself, as a school doctor (in the play, as a shadow seen through the window of his surgery). The period lends us the opportunity to hear many a forgotten and beautiful expression of Serbian language, set against very much present-day music and choreography.
So, the play tells a story of mischievous children, the mischief makers, and their stern and unjust teacher. The arrival of a school inspector (or a government inspector, a motif borrowed from Gogol) gives rise to an even greater terror enforced by the teacher. And the teacher himself is a product of the notion that violence begets violence. In this dynamic staging, the part of a ‘bad guy’, Pura Moca, is played by Milos Vlalukin.
How fun was it to play a typical role, how did you justify your ‘negative character’?
Pura Moca is quite like myself in many ways, so I haven’t really had to do much work on the character. In truth, we all really have something of Pura Moca within ourselves. I was sorry I couldn’t insert my own words into the play, the words he’d be saying in 2008 – they would be slightly more street slang. However, we had to get used to the period and stick to it. I haven’t found it difficult to justify this character because it’s plain to see that he’s a terrific boy who’s just had a very hard time. These are also the keywords in the play. He is defended by his school mates. Skerlic’s children quote what I say because I’m the biggest punk in the school, and kids always tend to emulate punks. I used to do that myself.
Choreography and music are brilliant.
Choreographer Mojca Horvat is a genius and the music is as hip as if we were playing EXIT Festival, not TIBA.
What age group is this play for?
I feel that the play communicates best with children who are in grades 6 or 7, with 12 or 13 year olds, when puberty begins and when kids tend to go a bit wild. That’s why I prefer playing for this age group.
How do you find playing for children?
I have worked at Radovic Theatre, and another play at Buha, but it was only with the latter, intended for younger age group, that I have started to really find my way in terms of doing this type of work. It’s all about how you place things and the feedback that you get.
What about the phrase that it is more demanding to play for children?
Nah, it’s not really, you just have to give yourself in order to be accepted and get some feedback, same as with playing for adults. The difference is in the fact that children are more sensitive, more tender, they are more difficult to be ‘drawn’ into the story, they do not stick to the ‘sit down and be quiet’ convention. You have to press them to their seats with how you play, so they won’t even blink for an hour or so.
Kids’ reactions?
The ad for the show, played on children’s TV stations, has done loads for communication with the audience. Children know bits of text in advance and we have had this moment when I get to tear the class register and the entire auditorium went into a fit of shouting ‘Tear it, tear it!’ at the top of their lungs. We had to stop the show until they got quiet. And everyone knows Leka’s speech as well, so they tend to say it out loud along with him.

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nazad na naslove / back to topics

SRPSKI:
Princeza i zmaj
KADA ZMAJ HOĆE DA SE ŽENI
Lutkarstvo u Bugarskoj ima veoma dugu i zavidnu tradiciju. Neretko bugarski lutkari gostuju i u srpskim teatrima. Zato, ucesnik ovogodisnjeg festivala TIBA je upravo Lutkarsko pozoriste iz Sofije, koje je izvelo predstavu Princeza i zmaj namenjenu najmanjem uzrastu. Reditelj ove bajke ali i umetnicki direktor pomenutog teatra je Grk Kirjakos Argiropulos.
Vase pozoriste postoji vec vise od sezdeset godina i veoma je poznato sirom sveta. Koje se koncepcije pridrzavate u izboru repertoara?
Pridrzavamo se toga da imamo vise novih predstava godisnje, tacnije sest, dramaturgija kojom se bavimo je i klasicna i savremena, a radimo i za odrasle. Trudimo se da stare bajke iskazemo savremenim jezikom. Ova koncepcija je uobicajena za drzavna pozorista a nas teatar je najveci u Bugarskoj, ne samo po broju zaposlenih vec i po prostoru. Imamo dve sale, malu i veliku. Godisnji repertoar se zasniva na oko dvadeset naslova i imamo oko petsto izvodjenja. Produkcija ukljucuje razlicite stilove: minijature, pantomimu, teatar senki, komediju, satiru, grotesku i epske price. Najnovija predstava nam je Egziperijev Mali princ.
Princeza i zmaj su radjeni klasicnim stilom, u pitanju je mala forma, kombinujete igru lutaka i glumaca.
Ovu predstavu sam rezirao pre mnogo godina, tacnije pre dvadeset i pravljena je za kamernu scenu. Mobilna je te nam omogucava da je igramo bilo gde, po skolama npr. Sto se igre tice, gotovo svuda je uobicajena upotreba lutke i glumaca odnosno da se glumci vide dok vode lutke ili igraju zasebne uloge.
Koja ideja vas je vodila pri postavki i adaptaciji bajke Milade Masatove?
Fabula je vrlo jednostavna a to je da zmaj trazi princezu kojom ce se ozeniti. Kroz cetiri cina prolazimo istu radnju sa minimalnim varijacijama. U toj jednostavnosti me je zainteresovala mala didaktika a to je da deca mogu da se prepoznaju u razlicitim karakterima princeza, da mogu da vide sebe ili svoje prijatelje. To prepoznavanje moze da se desi i roditeljima i uciteljima bilo da vide sebe ili svoju decu. Predstava govori o tome kako se vaspitava... Jedna princeza je razmazena, druga placljiva, treca je lepotica a cetvrta mudrica. Poslednja pobedjuje znanjem i pomaze zmaju da shvati da treba da trazi nekog slicnog sebi. Znanje daje resenja.
Od 2002. godine vas teatar je organizator medjunarodnog lutkarskog festivala. U Beogradu, na Tibi ste prvi put. Koliko su znacajni festivali za zivot pozorista?
Lepo je posecivati i organizovati festivale, razmenjivati kontakte. Lepo je za glumce, za umetnike uopste, da vide sta drugi rade i to uzivo. Jer, pozoriste je zivo i treba ga percipirati u originalnom stanju, ne preko snimaka. Pozoriste umire sa podizanjem zavese i budi se sa podizanjem iste.

nazad na naslove / back to topics

ENGLISH:
The Princess and the Dragon
WHEN A DRAGON WANTS TO GET MARRIED
Puppetry has a very long and enviable tradition in Bulgaria. Pupetteers from Bulgaria often tour Serbian theatres as well. Thence, one of the participants of this year’s TIBA Fesitval is no other than Puppet Theatre from Sofia, with their production of Princess and the Dragon, intended for the youngest children. This fairytale is directed by the artistic director of this theatre, is a Greek director Kiryakos Argiropulos.
Your theatre has existed for over sixty years and it is very well renowned throughout the world. What is your concept in programming plays for your theatre?
We stick to having as many new productions each year as possible, six of them, to be precise, dramaturgy we are interested in is both classic and contemporary, and we also do plays for grown ups. We try to tell old fairy tales in a contemporary way. This concept is not uncommon in state theatres, and ours is the largest theatre in Bulgaria, not only in terms of number of employees, but also in terms of space. We have two auditoriums, the small and the large one. Our annual repertory is based on around twenty titles and we have approximately five hundred shows. Production involves various styles: miniatures, pantomime, shadow theatre, comedy, satire, grotesque and epic tales. Our latest production is Little Prince by Exupery.
Princess and the Dragon is done in a classic style, it is a small size production, you combine of actors’s playing with that of puppets.
I directed this play many years ago, twenty years ago, to be precise, and it was made for our chamber auditorium. It is very mobile so it enables us to show it virutally anywhere, at schools, for instance. As far as the performance is concerned, the use of both puppets and actors is common almost everywhere, or rather for actors to be seen while animating puppets or playing their separate parts.
What was your guiding idea in staging and adapting this fairy tale by Milada Mashatova?
The fable is quite simple, it is about a dragon looking for a princess to marry. In four acts of the play, we go through the same action with minimum variations. It was didactical part of this simplicity that caught my interests, the fact that children can recognise themselves in princesses’ different characters, the fact that they could see themselves or their friends in them. This recognition can happen to parents as well, or teachers, whether they see themselves or their children. The production speaks of modes of upbringing… One princess is spoiled rotten, another is a cry-baby, the third is a beauty, and the fourth one is a smart cookie. The last princess wins with her knowledge and helps the dragon realise that he should be looking for someone like himself. It is knowledge that yields solutions.
Since 2002, your theatre is the organiser of an international puppet theatre festival. This is your first time in Belgrade, at TIBA. How important are festivals for the life of a theatre?
It is nice to visit and organise festivals, to exchange contacts. It is good for actors, good for artists in general, to see what others do and to see it live. Theatre is alive and it should be perceived in its original state, not via some recordings. Theatre dies when the curtain is closed and comes alive when it opens.

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nazad na naslove / back to topics

SRPSKI:

BAJKE GRIMOVIH I JESU STRASNE
Vec smo navikli da Malo pozoriste ”Dusko Radovic” svakom premijerom pomera granice srpskog teatra za decu i mlade. Nekada uspesnije nekada manje uspesno. Predstava Strasne price brace Grim spada u prvu kategoriju i pravi je pokazatelj kako medjunarodna saradnja daje sjajne rezultate, kako razmena drugacijih iskustava, sjedinjavanje dve razlicite pozorisne tradicije postaje dobitna kombinacija. Autori teksta satkanog od pet bajki su Tim Sapl i Kerol En Dafi. Reditelj Ivice i Marice, Zlatne guske, Pepeljuge, Misa, ptice i kobasice i Carobnog stocica je Mik Gordon. ”Svesno i nesvesno, narodne bajke upoznaju nas s pravom prirodom zivota. One nas podsticu da slavimo slobodu i radost nase maste. Ali, one nam govore i ono sto instiktivno znamo, da nisu svi ljudi dobri, da svi mozemo da budemo pohlepni i da zivot podrazumeva i borbu”, stoji u rediteljevoj beleski.
Dakle, predstava je radjena kao omnibus, bajke se redjaju jedna za drugom. Sedmoro glumaca igra pregrst uloga smenjujuci se i u toku svake price. Neko je uvek i pripovedac. Rezija pociva na Brehtovim principima. Scena je ogoljena scena, izraz je sveden a izuzetno je simbolicna upotreba sredstava odnosno ona koja ostavlja mesta publici i da namasta. Scena koja otvara i zatvara komad vizuelno je upecatljiva. I na sve izvedba je veoma duhovita.
O radu na strasnim pricama govori nam veoma angazovan glumac ovog teatra Jovo Maksic.
Kako je tekla saradnja sa rediteljem predstave Mikom Gordonom?
Rad na ovoj predstavi mi je pruzio ogromno iskustvo, bio mi je velika skola. Ovo je jedna od retkih saradnji gde mogu da kazem da sam otisao korak napred. Iako, nazalost, ne znam engleski razumeo sam svaku rec, bio je toliko jasan, tacno znao sta zeli, poklopio se sa nekim mojim razmisljanjima o pozoristu. To je pravi dokaz da umetnost nema jezicku barijeru. Mik nam je dao kljuc, izneo ono sto zeli, doneo ogromnu kolicinu djubreta iz fundusa i pustio nas da se razmastamo. Ovakav princip rada je stran nama kao sto je njemu stran nas nacin rada. Priznajem da smo u samom pocetku pomalo bili u cudu.
Postoje misljenja da je ovakvo citanje bajki suvise surovo za decu. Naslov nas upozorava na to.
Bukvalan prevod drame jeste Bajke brace Grim, s tim da postoji jezicka igra sa recju grimm cije je slengovsko znacenje strasan, otuda i takav srpki prevod. Bajke Grimovih i jesu strasne, u njima likovi ostaju bez delova tela i sl. Reditelj nije hteo da bezi od toga nego da se pridzava napisanog. Srpski prevodi donose zabunu jer su malo ublazeni.
Sve vreme ste na sceni, promenis desetak uloga.
Opet ponavljam, ovo iskustvo mi je dragoceno. Glumacki je bilo veoma izazovno raditi na ovaj nacin.
Kako deca komuniciraju sa predstavom?
Sa njima je kontakt odlican ali imali smo reakcije starijih da je previse sto ima krvi, sto je prava sekira umesto neke rekvizite u prvom planu i sl. Mi nismo hteli nista da pravimo, koriscene su postojece stvari kao npr. ves masina koja predstavlja vesticiju pec ili strik za susenje vesa koji je pretvoren u kavez. Dobar primer neobicnog koriscenja dekora i rekvizite je moja sena u bajci Mis, ptica i kobasica. Upotrebili smo unutrasnjost starog televizora koja je podsetila na scenu marionetskog pozorista. Sve te ideje su se radjale u radu, spoj dva razmisljanja je radjao trece.
Imas srecu da radis u teatru koje je svojom repertoarskom politikom napravilo veliki iskorak iz monotonog srpskog pozorista za decu. Komadi u kojima igras su veoma razliciti i namenjeni su najrazlicitijim uzrastima.
Imamo bogatu produkciju, srecan sam sto radim, prija mi ovakav repertoar. Volim kad se u pozoriste uvuce psihologija, jer drama me je uvek privlacila kao zanr iako mnogi smatraju da je pravi izbor za mene komedija. U komadima namenjenim mladoj publici, npr., bavimo se zivotnim stvarima. I to je odlicno jer ne volim ravne predstave, vise me zanimaju amplitude.

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ENGLISH:
STORIES BY BROTHERS GRIMM REALLY ARE GRIM

We are already used to Little Theatre ‘Dusko Radovic’ moving the borders of Serbian theatre for children and young adults with every new production. More or less successfully so, depending on the case in question. The production ‘Dreadful Stories by Brothers Grimm’ belongs in the first category and is a truthful indicator of how remarkable a result an international collaboration can yield, how exchange of different experiences and bringing two different theatre traditions together becomes a winning combination. Writers of this play made out of five fairy tales are Tim Supple and Carol Ann Duffy. The director of Hansel and Gretel, Golden Goose, Cinderella, A Mouse, a Dog and a Sausage and Magic Table is Mick Gordon. ‘On the conscious and subconscious levels, folk tales introduce us to the true nature of life. They encourage us to celebrate the freedom and joy of our imagination. But they also tell us what we instinctively know, that not all people are good, that we can all be greedy and that life also means struggle’, says the director in his note.
So, the play is done as an omnibus, the fairytales follow one another in a sequence. Seven actors play numerous parts, changing places during each of the stories. There is also a narrator in every story. The direction is based on Brechtian principles. The set design is a bare stage, the expression is reduced and all theatrical means are used in an extremely symbolic way, in a way which leaves the audience room for imagination. Opening and closing scenes are visually remarkable. And atop of all this, the performance is very funny. One of the busiest actors of this theatre, Jovo Maksic, tells us of his experience of working on Dreadful Stories by Brothers Grimm.
How did the collaboration with director Mick Gordon go?
Working on this play was a great learning experience for me. This is one of the few collaborations where I can truly say I made a step forward. Even though I, unfortunately, have no English, I have understood every single word he was saying, he was so clear, he was so very sure of what he wanted to achieve, and all this coincided with some of my own thoughts on theatre. This is the real proof that there are no linguistic barriers in arts. Mick handed us the key, he told us what he wanted, he brought in a huge amount of trash from the fundus and let us fantasise. This manner of working is as foreign to us as our usual way of working is foreign to him. I confess we were all slightly taken aback at first.
There are some opinions that this reading of fairy tales is too cruel for children. The very title warns us of this.
Literal translation of the title is Grimm Brothers’ Fairy Tales, a word play based on the meaning of the English word grim, thence the Serbian translation. The Grimms’ tales are indeed grim, their characters lose their body parts etc. The director did not want to shy away from this, but rather to stick to what had been written. Serbian translations tend to add a bit of confusion, because they are slightly milder.
All of you are on stage all the time, you change a dozen or so parts.
I’ll say it again, this was a precious experience for me. As an actor, I found it very challenging to work in this way.
How do the children respond to the show?
We have a terrific contact with children, but there have been some adults’ reactions to the show being too gory, to the axe in the foreground being a real one instead of a prop etc. We didn’t want to make anything, all the things we used are already existing ones, such as washing machine standing for the witch’s furnace or clothes drier turned into a cage. A good example of the unusual usage of set and props is my scene in the tale A Mouse, a Bird and a Sausage. We used the inside of an old TV that reminded us of a puppet theatre stage. All these ideas were born as we were working, the blend of two ways of thinking lead to a new way of thinking altogether.
You are fortunate enough to work at a theatre that made a huge step forward from the monotonous Serbian children’s theatre with their repertory policy. The plays you’re in are very different from one another and they target different audiences.
We have a rich production, I am happy to be working, this kind of a repertory agrees with me. I like to see psychology in theatre, drama was always something I found attractive, even though there have been many who thought the right choice for me was comedy. In the plays for young people, for example, we address the matters of life itself. Which is great, I don’t like shows that are ‘flat’, I prefer amplitudes.

nazad na naslove / back to topics

nazad na naslove / back to topics

SRPSKI:
Čudesni svet brojeva
RAČUNANJE NIJE NAPOR NITI STRES
U Cudesnom svetu brojeva cifre izlaze iz strogog matematickog sveta i stvaraju jedan sasvim nov – Brojlend. On funkcionise po ljudskim principima, i u njemu ima nekog ko se ne uklapa, to je Nula. Ova interaktivna predstava sa cetiri glumca deci razbija bauk matematike, veselom igrom u kojoj brojke hodaju, veslaju, lete, pretvaraju se u zivotinje pokazuje da ”racunanje nije napor niti stres”. Nasa sagovornica je Marija Sekelez, upravnica veoma uspesnog zagrebackog Gradskog pozorista ”Zar ptica”.
Kakva je vasa repertoarska koncepcija?
Dosla sam na mesto upravnice pre osam godina kada je pozoriste postalo gradska kuca. Nas repertoar je posvecen samo deci uzrasta osnovne skole. Esencijalne vrednosti, koje im prenosimo putem predstava, plasiramo na moderan i mastovit nacin. Pored klasike bavimo se i sasvim novim temama. Imamo presek onoga sto cini decju lektiru, prezentovanu na nov estetski, vizuelni i dramaturski nacin, i nova dela koja narucujemo ili otkupljujemo kad su nagradena nacionalnim nagradama. Takode, angazujemo i reditelje. Nas repertoar je disperzivan, zelimo zahvatiti vise estetika, stilova, ali oni moraju biti na visokom nivou. Moj moto je da svaka predstava mora imati standard ispod kojeg se ne moze ici.
Vrlo je originalna ideja komada. Ko je autor?
Predstavu je uradio bugarski reditelj Sani Saninski sa kojim smo vec saradivali na komadu Carobna flauta. To nije replika Carobne frule vec je sva o notama, o kakofoniji i harmoniji. Fascinirao me je njegov mastovit svet. On krece ni od cega, dugo radi sa glumcima, sto je za nas novo jer je trebalo da postanu i izvrsni animatori i glumci. Note, kao i brojke, dale su metafore za ceo zivot. Njegov rad ima posebnu estetiku, glumci je vole i sto je najvaznije ima izvrsnu komunikaciju sa decom, interakcija je sjajna. Sledece godine ce raditi Cetiri godisnja doba. Uvek je pun inovacija, osvezi nas i okrepi, posle cega razmisljamo na drugi nacin.
Vase pozoriste vec nekoliko godina organizuje Naj, naj, naj festival. Kakva su vasa iskustva i koliko su znacajna putovanja i festivalske razmene za vas ansambl?
Naziv manifestacije mozda zvuci prepotentno, ali je zamisljen kao decja brojalica, no opravdao je svoje komparative. Kada sam dosla u pozoriste situacija nije bila vitalna htela sam da ga pokrenem pa smo osnovali i festival. Ideja je bila da dovedemo dobre predstave iz cele zemlje u Zagreb, jer one nemaju prilike da dodu do prestonice i to je nepravda. Pre dve godine smo krenuli sa medunarodnim programom, pa su gostovali Buha i Pinokio i to sa velikim uspehom. Igramo u svim dvoranama kako koja predstava zahteva, kao i na Tibi uostalom. Festival je uvek za vreme uskrsnjih praznika, predstave su besplatne, imamo stampedo dece. To je festival koji se voli. A sto se razmene tice, ona je uvek fantasticna. Glumci su u svojoj biti nomadi. Volimo videti da je ono sto smo radili prepoznato i prihvaceno, potreba potvrde posla je dragocena.

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ENGLISH:
The Wonderful World of Numbers
CALCULUS IS NO BURDEN OR STRESS
In the Wonderful World of Numbers, figures leave their austere mathematical world and create a whole new one – Numberland. It works in accordance with principles of humans, and there is someone there who doesn’t fit in, it’s Zero. This interactive play with four actors helps children to dispel their notion of mathematics being a scary monster. This play of numbers in which the numbers walk, row, fly, turn into animals, shows us that ‘calculus is no burden or stress’. We talk to Marija Sekelez, manager of a very successful Zagreb City Theatre ‘Zar ptica’ (Firebird).
What is the concept of your repertory?
I have come to the manager’s position eight years ago, when the theatre came under the patronage of the city. Our repertory is dedicated solely to primary school age children. We try to convey essential values through our shows, in up-to-date and imaginative ways. Along with the classics, we address some completely new issues. We have a cross-section of what makes children’s school reading, presented in a way that is aesthetically, visually and dramaturgically fresh, as well as new plays we commission or buy once they’ve received national awards. We also engage directors. Our repertory is dispersive, we would like to involve many aesthetics and styles, but their artistic level has to be high. My motto is that each show must have a standard below which one must not go.
This is a very original idea for a play. Who is the author?
This production was created by Bulgarian director Sani Saninski, who has already worked with us on ‘The Magic Flute’. This is not a replica of the opera of the same title, but rather a play about notes, about cacophony and harmony. I was fascinated by his fantasy world. He starts from scratch, he works with actors for a long time, which is novel for us, because they were supposed to become both exquisite animators and actors. Notes, just like numbers, provided him with metaphors for life as a whole. His work has a specific aesthetics, actors love it and, most importantly, it communicates with children terrifically, the interaction is great. Next year he is going to do Four Seasons. He is always innovative, he is refreshing and rejuvenating and leaves us with an entirely new way of thinking.
Your theatre has been organising Naj, naj, naj festival (The Very Best-est Festival) for several years now. What are your experiences and how significant do you find touring and festival exchange to be for your company?
The title of the manifestation may sound pretentious, although the idea is for it to resemble a children’s nursery rhyme, but it really justified its comparatives. When I had come to the theatre it had no vitality, I wanted to get things going and so we founded this festival, among other things. The idea was to bring the good shows from all over the country to Zagreb because they don’t have the opportunity to come to the capital and that’s just not right. Two years ago we started the international programme, so Buha and Pinokio theatres also toured and with much success. We perform in all sorts of auditoriums, depending on a show’s requirements, as was the case at TIBA. The festival always takes place during Easter holidays, the shows are free and there is a always a stampede of children. This is a well loved festival. And as far as the exchange is concerned, it is always a fantastic thing. Actors are essentially nomads. I love to see that what we’re doing is recognised and accepted, a validation of one’s work is always welcome.


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SRPSKI:
TUGA U SAVREMENOJ PORODICI
Prica o jednoj porodici, i svakodnevnim stvarima, kako glasi podnaslov italijanske predstave Kompanije Rodisio, pocinje iz mraka, pomalja se troje glumaca. Ubrzo dobijamo informaciju da su to otac, majka i cerka Beatrisa, gimnasticarka koja ima sve petice. Oni su porodica, ”sve im je sjajno i nista im ne fali”. Redjaju se scene iz svakodnevnog zivota, dok svakodnevica ne uzme danak. Sve postaje jednolicno, ponavljanje scena se ubrzava, do trenutka kada se izgubi potreba za komunikacijom unutar zajednice. Glumci su odlicni, predstava ima jednostavnu pricu, jednostavnog je izraza, a veoma je duboka i emotivna. Autorsku ekipu cine Manuela, David, Beatrisa i Konzuela.
Manuela i David su autori teksta i rezije, David i igra u predstavi, dakle potpisuju kompletno autorstvo. Odakle vam ideja za ovaj komad?
David: Hteli smo da razgovaramo o porodici u sadasnjem vremenu. Pripremajuci predstavu radili smo sa decom, postavljali im mnoga pitanja o njihovim porodicama. Hteli smo da pokazemo svakodnevni, stvarni zivot u Italiji, a kada smo poceli da putujemo uvideli smo da nase vidjenje postaje univerzalno.
Manuela: Od dece smo hteli da saznamo kako zive, sta rade, sta se desava u njihovim porodicama i cesto su odgovori bili gorki. Najvaznije nam je bilo sto smo osetili tugu u tim odgovorima i hteli smo da prikazemo da u danasnjim zajednicama nema mnogo srece. Svi su okruzeni sa previse stvari, svi grabe sve vise i vise a to mnostvo, nazalost, postaje nista.
David: Najimpresivnije nam je bilo sto je na pitanje kakva je tvoja porodica vecina govorila da je divna ali niko nije znao zbog cega.
Pitanje je za devojke, majku i cerku u predstavi, koliko vam je bilo tesko da prikazete radnju sa toliko pokreta, bez postojanja ikakve rekvizite?
Beatrisa: Posle predstave smo umorni ali tokom igre se osecamo slobodnije. Pokret nam daje sirinu u izrazavanju i pruza mogucnost bolje komunikacije sa decom, pogotovo kada igramo van naseg govornog podrucja. Mozda je publici u pocetku malo cudno ali oni ubrzo postaju deo nase price (mnoga deca su tokom izvedbe oponasala igru glumaca, pogotovo mame, prim. A.J.).
Konzuela: Moji pokreti majke su takodje kreirani na osnovu iskustava sa decom. Oni su je vezali za kuhinju, spremanje jela, tiganje.
Fascinantno je koliko su zbivanja upecatljiva, koliko radnja zivi u prisustvu samo jednog stola i tri stolice.
Manuela: Ispraznili smo scenu jer smo hteli da svako dete ima mogucnost da zamisli sopstvenu porodicu, svoju pricu, svoju kuhinju. Hteli smo da sami kreiraju scenografiju i rekvizitu u glavi. Drzali smo se osnovnih radnji, onih koje su bliske svima, poput kucnih poslova, odlaska na posao, obedovanja i sl.
Danas ste imali sjajnu publiku, dugo nisam videla ovakvo odusevljenje klinaca na poklonu. Pri tom treba napomenuti da je komad izvodjen na engleskom jeziku. Vasi utisci?
David: Da i nasa prva impresija je fantasticna publika. Danas smo imali odlican kontakt sa Beogradom kroz ljude koji su sedeli u publici. Nasa predstava jeste za decu ali i za porodice kojih je danas bilo. Iznenadjeni smo i veoma srecni.
Koje planove imate u buducnosti?
Manuela: Mislimo o dve nove predstave. Prva ce biti namenjena veoma maloj deci i govorice o ljubavi. Druga ce biti za starije, tema je revolucija, pobuna. Deca sa kojom smo radili uopste nisu imala odgovore na ovu temu, pokusacemo da je objasnimo i da sagledamo posledice te akcije.

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ENGLISH:
SADNESS IN TODAY’S FAMILY
Story of a Family, and everyday things, as the subtitle of Italian play by Compagnia Rodisio reads, begins in the darkness from which the three actors emerge. We soon learn that they are a mother, a father and their daughter Beatrice, a gymnast with straight A’s. They are a family, ‘everything’s fine, nothing’s missing’. Scenes from everyday life follow, until this same everyday life takes its toll. Everything becomes monotonous, the repetition of scenes speeds up, until the moment when every need for communication within the community is lost. The cast is brilliant, the plot of the play is very simple as are its means of expression, and yet it is very profound and emotional. The creative team consists of Manuela, David, Beatrice and Consuela.
Manuela and David wrote and directed this play, David also plays in the show, you are the complete authors of this play. Where did you get the idea for it?
David: We wanted to discuss family of today. Preparing the show, we have worked with the children, we asked them many questions about their families. We wanted to show an everyday, real life in Italy, and when we started touring we realised that our perception is becoming universal.
Manuela: We wanted to learn how children lived, what they did, what went on in their families and their responses were often bitter. The most important thing for us was the fact that we sensed sadness in their replies and we wanted to show that there is not much happiness in communities of today. Everyone is surrounded by too many things, everyone is greedy for more and this multitude, unfortunately, turns into nothing.
David: The most impressive thing for us was the fact that the majority of children said their families were wonderful, but no one could tell us why.
The question for girls, mother and daughter in the play: how difficult was it for you to act with so much movement and with no props whatsoever?
Beatrice: We are tired after the show, but while we’re doing it we feel liberated. The movement gives us broader scope of expression and gives us the possibility to communicate with children better, especially when we perform outside of our language. Perhaps the audiences find it a bit odd at first, but they soon become a part of our story (A.J’s note: many children imitated the actors’ movement during the play, particularly those done by mum’s character).
Consuela: The movements I do as Mother are also created on the bases of our experiences with children. They linked her to kitchen, preparing meals, pots and pans.
It is fascinating how impressive the action is, how much of it there is, in the presence of nothing more but a table and three chairs.
Manuela: We wanted the stage to be empty because we wanted every child to have the chance to imagine their own family, their own story, their own kitchen. We wanted them to create the set and props themselves, in their heads. We stuck to the basic actions, the ones that are close to everyone, such as household chores, going to work, dining etc.
You’ve had some great audience today, I haven’t seen kids this thrilled in a long time. It should also be said that the play was performed in English. Your impressions?
David: Yes, our first impression was also that of a fantastic audience. We have had excellent contact with Belgrade through people who were in the auditorium. Our play is indeed for children, but also for families, who were there today as well. We are surprised and very happy.
What are your plans for the future?
Manuela: We are thinking of two new productions. The first will be for very small children and it will be about love. The other will be for somewhat older children, with the subject of rebellion and revolution. The children we have worked with had no answers to these questions whatsoever, we will try to explain these notions and to view the consequences of such actions.

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SRPSKI:
Ana Đorđevic, članica žirija
UTISCI O PREDSTAVAMA I PRATEĆI PROGRAM
Pored ziriranja bili ste i ucesnik prateceg programa.
U organizaciji ASSITEJ-a Srbije, Tibe i katedre za dramaturgiju FDU-a, tokom festivala je odrzan simpozijum ”Aspekti savremene dramaturgije za decu i mlade na primeru danskog pozorista”. Teatri za decu i odrasle su tamo strogo odvojeni pa su i profesije onih koji rade za decu i mlade specificne. Jona Oulund je pricala o razvoju danskog teatra od sezdesetih godina proslog veka, upoznala nas je sa sistemom rada kod njih, provela nas je kroz dekade razvoja i postepenog odvajanja teatra od institucije do izlaska na ulice, fiskulturne sale, biblioteke i sl. Jasper Karlsen, mladi dramski pisac govorio je o temama kojima se bavi i o radu u instituciji Dramatist's Greenhouse. Rec je o projektu koji okuplja dramske pisce koji pisu za decu i mlade, edukuje ih i potom angazuje. Predavanju su prisustvovali studenti dramaturgije ali i oni koji su zavrsili ovaj smer, kao i reditelji. Publiku je najvise zanimao sistem finansiranja, podrska drzave, i najveci zal su izrazili prema tome sto tamo konkursi nisu striktni i detaljni, vise su opisnog tipa.
Reditelj ste u zajednickom projektu tri pozorista iz Danske, Turske i Srbije. O cemu je rec?
Ova umetnicka saradnja potekla je od ASSITEJ-a i ucestvuju danski pisac Soren Ovsen iz grupe Batida, ja reziram, cetvoro glumaca je iz Srbije, dvoje glumaca odnosno muzicara iz Danske i dvoje iz Turske. Scenograf je danski, nas je kostimograf. Soren je smatrao da treba vise da doprinese, da se krene od njega, tako da smo se dogovorili o osnovnoj ideji predstave, on sada radi tekst koji bi uskoro trebalo da bude gotov.
Vas rad u teatru za decu i mlade izlazio je iz konvencija srpskog modela srecnog pozorista. Koja su vasa rediteljska interesovanja?
I dalje me zanima ta vrsta pozorista, ali ima toliko raznolikih nacina. Tesko mi je da pricam o konkretnom stilu. Nedavno sam se vratila sa najveceg festivala u Danskoj gde se tokom sedam dana izvede oko 500 predstava. Pogledala sam koliko god sam mogla i to toliko razlicitih izvedbi. Mnoge od njih nisu dovoljno kvalitetne, neke su genijalne. Ne bih mogla da budem iskljuciva pa da kazem da mi se dopada danski model. S druge strane i kod nas, u Srbiji, postoje, konkretno u Malom pozoristu ”Dusko Radovic”, predstave koje su relevantne. Postoje i u Buhi, mada manje. Sigurno je da je put pozorista za decu i mlade put rediteljskog teatra, kao i za odrasle uostalom, da nemamo dominaciju teksta, da imamo autorski stil koji se izgradjuje na nivou same predstave, koji je dosledan.
Utisci o selekciji ovogodisnje Tibe su?
Selekcija je veoma dobra i bar tri predstave ozbiljno konkurisu za gran pri. Ovo mi je prvi put da se nalazim u ziriju koji se generalno ne slaze, misljenja su nam zestoko suprotstavljena ali uspeli smo da iskristalisemo uzi izbor. Za svaku od tih predstava postoji jedna osoba koja se ne slaze. Ceka nas ozbiljan posao, raduje me i planiram da imam prave male referate za koleginice kojima cu braniti svoje stavove. Sve tri poticemo iz potpuno razlicitih teatarskih sredina te neke stvari dozivljavamo skroz drugacije. Videla sam vise predstava koje su me obogatile kao reditelja, koje mi znace, nego onih koje su, po mom misljenju, ovde zalutale. Dakle, vecina prikazanih komada je na nivou koji ovaj festival zasluzuje.

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ENGLISH:
Ana Djordjevic, member of the Jury
IMPRESSIONS ON THE PLAYS AND THE SIDE PROGRAMME
Along with being a member of the jury, you were also a participant of the side programme.
Organised by ASSITEJ of Serbia, TIBA and Dramaturgy Department of Faculty of Dramatic Arts, a symposium with the title ‘Aspect of New Dramaturgy for Children and Young Adults in Danish Theatre’ took place during the festival. Children’s theatres in Denmark are strictly separated from adults’ theatres, so professions of those who work for children and young people are quite specific. Jona Oulund spoke of development of Danish theatre from the nineteen sixties, she introduced us with their method of working, she lead us through decades of development and gradual separation of theatre, starting from institutions to going out to the streets, gyms, libraries etc. Jasper Karlsen, a young playwright, told us about the subjects he addresses and his work with Dramatists’ Greenhouse. This is a project gathering playwrights writing for children and young adults, who are trained and then engaged. Dramaturgy students attended this lecture, but also people who have already finished their studies at this department, as well as directors. The audience was most interested in the system of funding, state support, and the thing they envied the most was the fact that competitions there are not strict and detailed, but rather descriptive in nature.
You are a director in a joint project of three theatres from Denmark, Turkey and Serbia. What is this about?
This artistic collaboration was brought about by ASSITEJ, and the participants are a Danish playwright Soren Ovsen from the group Batida, I am the director, there are four actors from Serbia, two actors and musicians from Denmark and two of them from Turkey. The set designer is from Denmark, and costume designer is from Serbia. Soren believed he should contribute the most and be the starting point, so we have agreed on the concept of the play, he is now working on it and it’s supposed to be done soon.
Your work in theatre for children and young people jumped the boundaries of conventions of the Serbian model of happy theatre. What are your interests as a director?
I am still interested in this type of theatre, but there are so many ways to do it. I find it difficult to discuss any concrete style. I have recently been to a major Danish festival where 500 plays are shown in seven days. I have seen as many as I could and so many different performances too. Many of them are not of the best quality, some of them are ingenious. I couldn’t be exclusive and say I like the Danish model. On the other hand, here, in Serbia, there are some relevant productions, at ‘Dusko Radovic’ theatre. There are some at Buha too, although not as many. It is certain that the journey of theatre for children and young adults here is the one of director’s theatre, as is the case in adults’ theatre, shows are not play-dominated, we have a style that is built at the level of the production itself and it is persistent.
What are your impressions about the selection of this year’s TIBA?
The selection is very good and there are at least three plays that are serious contenders for Grand Prix. This is my first time as a member of a jury with fiercely opposing opinions, but we have managed to crystallise our list of runners up. There is always one person in the jury who is not in favour of one of those shows. We have some serious work ahead of us, I am looking forward to it and plan on writing small essays of sorts with which I intend do defend my stances. All three of us come from completely different theatre environments and we tend to experience some things in very different ways. The productions that have enriched me as a director and that really mean a lot to me outnumber the ones that I feel have made their way here by mistake. So, most of the plays shown are at the level that this festival deserves.


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SRPSKI:
NAGRADE 6. TIBA FESTIVALA

Žiri 6. TIBA festivala u sastavu:

Canan Kirimsoy, dramaturg iz Turske, Irena Kraus, dramski pisac i dramaturg iz Švedske i Ana Ðordevic, reditelj iz Srbije doneo je jednoglasnu odluku da se GRAND PRIX festivala dodeli predstavi „Prica o porodici“ trupe Compagnia Rodisio iz Italije.

Ova predstava je neodoljivo topla, puna života, upozoravajuca i iznenadujuca mala rekonstrukcija života jedne tipicne savremene porodice, koji (život), baziran na grcevitoj potrazi za srecom i harmonijom, na stalnoj težnji ka boljem, sigurnijem, komfornijem, zdravijem, gubi svoj osnovni smisao.

U umetnickom smislu najcelovitija predstava festivala, „Prica o porodici“, iako se bavi vrlo nezahvalnom temom, odolela je iskušenju psihologizacije, ali i didakticnosti. Ona nas pleni svojom svežom, nekonvencionalnom, a opet jednostavnom formom, drži nas budnim i angažovanim cak i tokom rizicnih repeticija koje su osnova njenog stila, oduševljava nas svojom hrabrošcu i energicnošcu i dovodi nas do emocionalnog uzbudenja koje ovu predstavu cini pozorišnim dogadajem za primer.

Ako je kriterijum za dobar teatar istinitost, onda je ova nagrada otišla u prave ruke.

Žiri je jednoglasno odlucio da se Specijana nagrada za nove pozorišne tendencije na 6. TIBA-i dodeli predstavi „Dronte itd., price o izumiranju“ u izvodenju trupe Krepsko iz Ceške.

Bazirajuci se delom na tradicionalnim elementima ceškog pozorišta za decu, trupa Krepsko je u ovoj predstavi stvorila sopstveni jedinstven teatarski stil koji je neobicna i uzbudljiva mešavina teatra apsurda, nad-realizma, poetskog i grotesknog, elemenata lutkarstva, klovneraja i akrobatskih vešstina, kako bi u potpunosti lišena verbalnog docarala najdublja egzistencijalna pitanja. Time se ova predstava izdvaja od ostatka selekcije i može služiti kao primer slobode u kreiranju autorskog, van žanrovskog, teatra za decu.

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ENGLISH:
AWARDS OF THE 6TH TIBA FESTIVAL

Jury of the 6th TIBA Festival, consisting of:

Canan Kirimsoy, dramaturg from Turkey, Irena Kraus, playwright and dramaturg from Sweden and Ana Djordjevic, director from Serbia, made a unanimous decision that the GRAND PRIX of the Festival be awarded to the play ‘Story of a Family’ by Compagnia Rodisio from Italy.

This play is an irresistibly warm, vibrant, warning and surprising little reconstruction of life of a typical modern family, a life that, based on a desperate search of happiness and harmony, constant striving towards something better, more secure, more comfortable, more healthy, loses its fundamental meaning.
Artistically the most rounded production of this festival, ‘Story of a Family’, even though it addresses a very demanding subject, resisted the temptation of psychologisation, as well as that of being overly didactical. It wins us over with its fresh, unconventional and yet simple form, it keeps us alert and engaged even during risky repetitions that are essential for its style, it thrills us with its courage and energy and leads us to emotional excitement that makes this play a model theatre event.
If a criterion for good theatre is truthfulness, then this award goes to the right hands.

The Jury has made a unanimous decision that the Special Prize for New Theatre Trends of the 6th TIBA festival be awarded to the play ‘Dronte etc, Stories of Extinction’, by Krepsko Company from Czech Republic.

Based in part on traditional elements of Czech children’s theatre, Krepsko company has created their own unique theatre style in this production, a style that is an unusual and exciting blend of absurdist theatre, surrealism, the poetic and the grotesque, elements of puppetry, clowning and acrobatics, and entirely devoid of the verbal, in order to tackle the most profound existential issues. This makes this play stand out from the rest of the selection and can serve as an example of freedom in creating an authors’ children’s theatre beyond the boundaries of genres.

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