Switzerland/Russia: SCHLACHTHAUS THEATER BERN/ THEATER POKOLENIY
“ALL THE BIRD ARE ALREADY THERE” A CONFERENCE IN THE FOREST
Authors: Matto Kämpf & Ariane von Graffenried
Director& Idea: Eberhard Köhler
Live music: Simon Ho
Features/Graphics: Danila Korogodsky
Light Design/Video: Anastasia Toshcheva
Production manager: Monika Manger
Performed by: Mona Petri, Tatjana Werik, Svetlana Smirnova, Natalia Ponomaryova, Sergey Mardar, Artyom Shilov
In а village near to Bern in 1915, invited by the Swiss socialist Robert Grimm, the international and particularly Russian revolutionaries meet, among which the famous Lenin and Trotsky, at a secret conference against the World War I. To avoid being discovered by the Swiss Secret Police, the congress is presented as a harmless meeting of ornithologists.
In “All the birds are already there” the German director EberhardKöhler brings the congress of the alleged ornithologists,known as the Russian-Swiss Congress on the stage. The production has aesthetics of the Soviet silent cinema of the early 1920s. The staging is developing from realistic action towards a dream sequence in which the participants immerse in the Russian fairy tale world. The forest is a symbol of unconsciousness. Similar as in William Shakespeare's “Midsummer Night's Dream”, people transform into animals, the socialists disguised as ornithologists to birds.
Germany: LANDES THEATER TUBINGEN
“AND NOW: THE WORLD!”
Author: Sibylle Berg
Director: Sonja Streifinger
Set design: Vesna Hiltmann
Dramaturg: Christian Bock
Performed by: Ina Fritsche, Julienne Pfeil
A young woman is thinking about her life and her generation. She is alone at home and communicates with her friends only by Skype, mobile phone and chat.
Sibylle Berg in the text “And Now: The World!” poses questions concerning gender roles, real love and the own relation to one’s body. Nowadays the young generation defines oneself over the outward appearance and Berg shows the delusion of body and fitness. Everyone wants to have a perfect body. This world is dictating special images of how we should look like, but we cannot achieve these images, we become more and more unsecure.
The young woman is lost in this new world, which is getting bigger and bigger and where nobody can keep track on. Not managing to find her place in this world, she talks about her pressures, fears and desires.
Albania: MOVING THEATER – TIRANA
“THE REAL WEST”
Author: Sam Shepard
Director: Laura Nezha
Set design/Costumes: Ened Kuka
Music/Light: Laura Nezha
Performed by: Ledion Zoi, Erblin Bajko, Redjan Mulla, Suela Bako
Lee and Austin are rival brothers, who after five years get reunited in their mother’s home, while she is on vacation. Their lives move to fully different directions. Austin writes film scripts and represents a synonym for “success”, having a family and a rising career, whilst Lee is an unshaved alcoholic, thief and a loser, who decides to come back home and represents a “failure”.
The brothers receive an unexpected visit by the Hollywood producer Saul Kimmer. His presence leads them to re-examining their values and changing their roles.
Romania: BRIDGE THEATER – SIBIU
„PERFORMANCE WITHOUT A TITLE”
(The audience is invited to give title suggestions after seeing the persormance)
Adapted after: Mihail Zadornov
Director: László Vadas
Music: Teodora Voineagu
Light: Constantin Podu
Performed by: Alexandra Podu, Radu Constantinov, Rada Constantinov
A contemporary piece in one act, with multiple twists and turns. This performance proposes to the audience a new experience, an invitation to its “baptizing”. A different kind of baptizing, where “the parents” will choose the name of the performance together with the audience.
The performance captures a moment of crisis in a marriage when the other woman comes to buy the unfaithful husband from the wife. The meeting between the two women portrays the entire palette of feelings that a woman can feel when she is in love and faces the undeceived husband with the hardest decision. Eventually, the decision no longer matters, but it is rather the fact that our relationships resist in time on behalf of memories. The subject of the play is treated with a lot of humoristic, tragic and comic nuances, excellently portraying the everlasting love triangle topic.
What keeps a couple together after so many years? The answer is: memories!
Turkey: HAYAL PERDESI – ISTANBUL
“EMPIRE BUILDERS OR SCHMÜRZ”
Author: Boris Vian
Director: Aleksandar Popovski
Stage Design: Sven Jonke
Costume Design: Taciser Sevin
Costume Assistant: Marta Montevecchi
Lighting Design: Aleksandar Popovski
Music & Effect Design: Barış Manisalı
Choreography: Handan Ergiydiren
Performed by: Reha Özcan, Şebnem Köstem, Selin İşcan, Sevil Akı, Tuba Karabey, Nihat Alptekin
What is disturbing us?What do we accept or deny during our lives? Where do our ambitions take us? What are we looking for? “Wizard of the words” - Boris Vian’s last play, his sarcastic tragedy “The Empire Builders” begins with such questions.
A family living in a high-level apartment flees from a mysterious moaning noise and escapes to the ever-narrowing upper floors. Without knowing even what is terrifying, every escape turns out to be a journey to solitude and moral breakdown.Travelling through the darkest ambitions of the people, the play reveals the denial of life until last confrontation, through tragicomic characters.
Bulgaria: BULGARIAN ARMY THEATER – SOFIA
Author: Federico Garsia Lorca
Director: Diana Dobreva
Stenography: Nina Pashova
Costumes: Nina Pashova
Music/Light: Petya Dimanova
Performed by: Radina Kardjilova, Veselin Anchev, Georgi Kyrkelanov, Tigran Torosyan, Stefka Yanorova, Gergana Dandanova, Mimoza Bazova, Ekaterina Stoyanova, Milen Milanov, Diana Dobreva, Lili Sucheva, Borislava Kostadinova
“Where do you come from, my child?... When, my child, will you come?” asks Yerma, while trying to find the reason for her life. The craving for a child transpires the action of the play, written by Federico Garcia Lorca in 1934, and overwhelms every other desire and aim of the main character. It opposes her to the patriarchal status quo and the loss of all hope leads to the tragic denouement.
In the performance directed by Diana Dobreva, the absence of a child is not only absence of future and self-accomplishment. It is equal to the absence of purpose and faith, absence of God also. Between the white, black and red stenographyobsesses and rends the human’s soul and the prediction of death.
“Yerma” is an aesthetic visual performance filled with craving, passion and pain.
Serbia/Croatia/Slovenia: HEARTEFACT FUND, BITEF THEATRE, CZKD – BELGRADE / UO NOVO KAZALIŠTE - ZAGREB, ZADAR SNOVA - ZADAR / MINI TEATAR - LJUBLJANA
“А TOMB FOR BORIS DAVIDOVICH”
Author: Danilo Kiš
Director: Ivica Buljan
Composer: Mitja Vrhovnik Smekar
Light design: Son:DA
Producer: Andrej Nosov
Executive producers: Vladimir Dekić, Janko Dimitrijević
Dramaturg: Maša Seničić
Performed by: Aleksandra Jankovic, Milutin Milosevic, Vladimir Aleksic, Stipe Kostanic, Boris Vlastelica, Iva Kevra, Benjamin Krnetic, Marko Grabez, Nikola Malbaša
“A Tomb for Boris Davidovich”, published in 1976 by the great European writer Danilo Kish, is one of the most controversial works in the East Slavic literature. Following the historic notes about the wars and revolution in Europe in the 30ties, 40ties and 50ties in the 20th century, Kish poses the question of winners in history and emphasises the mutual sides of all crimes. The documentary approach, the fragmentation of the doubtful images of the collective memory and the incomplete archive of cultural heritage, results in doubtful history.
To cope with the work of Danilo Kish is an ethical imperative for the artist who is thinking about the political reality of South Slavic areas. Reading Kish today, for the older generation is reminder of the power relations between the citizen / individual / artist and the level of tolerance that those institutions are willing to give to each other. For the younger generation's “A Tomb for Boris Davidovich” is ethical and aesthetic manifesto, which in this region is unprecedented.