Nihad Kreševljaković: “Artists have to respond to the world they see”
Nihad Kreševljaković, artistic director of Mess Festival, discusses the Sarajevo War Theatre, the power of memory, and the role of the artist in times of conflict.
Nihad Kreševljaković, artistic director of Mess Festival, discusses the Sarajevo War Theatre, the power of memory, and the role of the artist in times of conflict.
Director and producer Kushtrim Koliqi talks to Nick Awde about fusing culture and activism via his work with Integra and the role theatre can play addressing social issues in the region.
Theatre director and activist Andrej Nosov is the co-founder of cultural organisation Heartefact Fund. He talks to Nick Awde about cultural co-operation, political loneliness and the continuity of memory.
This year’s POLIS Teatro Festival, which takes place annually in Ravenna, has a Balkan focus. Cofounders Agata Tomšič and Davide Sacco, of ErosAntEros, explain why they want to bring work from the region to Italian audiences.
Before joining the Mladinsko ensemble in 2019, Vito Weis spent many years working across drama, dance, and physical theatre. He spoke to Natasha Tripney about performing naked on stage, his collaborations with Žiga Divjak and his role in Duncan Macmillan’s People Places and Things.
Nina Rajić Kranjac discusses her acclaimed show Solo, her creative process, the forgotten Slovenian playwright Ivan Mrak and why she’d like to make show about love.
Composer Irena Popović Dragović on her new opera Children, based on the novel by Milena Marković and making her debut as a director.
Founded in 2003, the ODA Theatre, Kosovo’s only independent theatre, marks its 20th anniversary this year. Fatlinda Daku talks to director Florent Mehmeti about the history of the theatre and the role it plays in Kosovo’s cultural scene.
Actress and director Kinga Mezei on the influence of poetry and visual art in her work and the challenges of being an independent artist.
Jovana Tomić on directing Alice Birch’s Revolt for Atelje 212, how she views the role of the director and why she prefers adapting novels for the stage