Serbian theatre: Between resistance and appeasement
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.
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.
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.
Following news of the decision not to allocate any funding to Sterijino pozorje, Serbia’s most prominent national theatre festival, critics Borisav Matić and Andrej Čanji reflect on this year’s edition and what this decision means for the future of the festival.
Andrej Nosov’s new production for Heartefact is a moving and empathetic exploration of trauma and memory that makes inventive use of audio.
The programme of the 70th Sterijino pozorje will feature work by Boris Liješević and Zlatko Paković.
The Microstagiune Showcase presented the work of the Hungarian State Theatre “Csiky Gergely” and the German State Theatre in Timișoara to an international audience. Borisav Matić reports on a culturally mixed programme.
Serbian theatres will go on a seven day strike in February in a show of support for the student protestors.
New erotically charged, sex positive choreographic piece from Station–Service for Contemporary Dance
Milan Nešković’s lavish and well-acted but overly faithful production of Dušan Kovačević’s play.
After six editions in Prishtina, the annual Kosovo Theatre Showcase relocated to Tirana this year. Borisav Matić reports on the first ever Kosovo/Albania Theatre Showcase and a programme of work that illuminated both the past and the present.