What did this year’s Sterijino Pozorje reveal about the state of contemporary theatre rooted in domestic dramatic writing? Critics Andrej Čanji and Divna Stojanov discuss the productions, trends, and tensions that shaped the festival’s 71st edition.
Serbia is in the midst of Europe’s largest student movement since 1968, but you wouldn’t know it from looking at the work produced on its institutional stages.
Oliver Frljić’s latest show for ZKM is a very Oliver Frljić-y take on Arthur Miller’s classic play, The Crucible.
The inaugural season of Teatar 071 concludes with Alen Šimić and Darko Lukić’s metatextual version of Manuel Puig’s best-selling novel.
Ivan Vanja Alač directs Croatian playwright Mate Matišić’s metatheatrical follow-up to Man of Wax at National Theatre of Sombor.
Following pressure placed on the organisers by football fan groups, the 25th Festival of Contemporary Bosnian-Herzegovinian Drama in Zenica has been postponed.
Dejan Projkovski’s compelling and unsettling production of the play by Venko Andonovski at Drama Theatre Skopje
With her debut production, of Ödön von Horváth’s play, film director Isidora Ratković demonstrates a strong eye for visual storytelling.
Polip, Prishtina’s annual literary festival, has been reconceptualized as a festival for the performing arts. Borisav Matić reports on this year’s programme which focused on ecological theatre.
Alban Goranci gives an engaging and warm performance in an adaptation of Patrick Süskind’s bittersweet one-man play