The faculties may be blockaded in Serbia, but theatre continues to be produced. Divna Stojanov reports on a timely production of The Pillowman performed by students for students.
Since the beginning of the student blockades, we have witnessed the courage, virtue, and empathy of students in Serbia. They are teaching society about solidarity, kindness, justice, and resistance. The Change Theatre in Novi Sad was built on the same values. Founded at the Academy of Arts in 1978/79. It was established to address the need for student exam performances to be presented not only once before their professors but also for a broader audience. It was built on the belief that one should not wait for the institutions to extend an invitation; instead, it encourages individuals to create their own space where they can work, using available resources and collaborating with those they trust. The quality of Change Theatre productions has often matched that of institutional theatres across Yugoslavia, and student performances presented there have toured at many festivals.
As Professor Marina Milivojević Mađarev from the Academy of Arts accurately explained in Vreme magazine: “All students at the Academy consider Change Theatre to be their own. Even those who do not perform actively contribute by organizing ticket sales, participating in advertising, and assisting with technical aspects and audience management. This involvement is crucial for young people as it provides them with a sense of security; they know they will remain part of the community they have grown up in after graduation. It also motivates them to share their experiences with newcomers.”
The theatre has faced several shutdowns over the years as different generations have come and gone. However, it was re-established in 2015. The spirit of change has been reignited, and a decade later, it continues to shine brightly. Besides exam performances by students of the Acting and Directing course and stage readings of plays by students of Dramaturgy, the Change Theatre hosts the Week of Change festival, a showcase of productions from the past season. At the opening of the festival in 2022, members gave a solemn pledge, which they continue to uphold: “As the Week of Change begins, I pledge as a member of Change to attend every setup and takedown of performances, share every online post, watch every production, and ensure that Change will never shut down again!” Actor and Professor Boris Isaković recently highlighted Change Theatre in an interview as a prime example of a theatre where current and former students create independently without waiting for institutional support. “Novi Sad has developed a stage that resonates deeply with its audience. Spectators prefer attending Change Theatre over other theatres.”
When several citizens, including a student from the Academy of Arts, were unjustly detained during the protests that followed the fatal collapse of the canopy at Novi Sad railway station in November, the Change Theatre has advocated for justice and truth: “… A society without free art is a society that renounces its right to grow, to learn, to love, and to believe in justice. /…/ We will not remain silent; we will write, create, and speak until truth and justice become part of every day, every dream, and every future. We believe that change is possible if we stand together and do not give up the fight.”
During the subsequent faculty blockades, the Change Theatre has performed plays for students. On the 65th day of the blockade of the Academy of Arts, they premiered a performance of The Pillowman exclusively for students (and a few former students who had announced attendance in advance and received approval), who used their student IDs as tickets. I arrived at the Academy, where a student opened the door and asked for my student ID number. I introduced myself, and she checked the list, marked my name, and let me in. The organization was highly professional, and the rules were clear. It is not surprising considering the students’ experience developed through their work at Change Theatre. As students gradually gathered, I noticed that everyone was in good spirits and that many students from other faculties had come, some commenting on how long it was since they had been in theatre. I ran into a friend who is a student participating in the blockade. He wanted to show me the three adopted dogs for which the students had provided shelter and food. He took me to what used to be a classroom, which is now a neat food storage area. We also visited a room with a table tennis table. He shared stories about students who had stopped renting apartment due to high rents and moved into the Academy instead. Thanks to food donations, many students were sure for the first time during their studies that they would not be hungry. I asked him whether the students were tired of the blockade. He replied: “You can never be tired when asking for justice.”
As the audience entered the venue, we were asked again to provide their student ID numbers. The first thing I noticed in the space was a large red hand painted on canvas (a symbol of the student protests against corruption) alongside the names of all fifteen victims who lost their lives when the canopy collapsed in Novi Sad. The choice of The Pillowman feels apt. Written by British-Irish playwright Martin McDonagh, it was originally staged for the first time at the National Theatre in London in 2003. This dark comedy was later nominated for a Tony Award when it was produced on Broadway in 2005. The play follows Katurian K. Katurian, a writer of horror stories, and his brother Michal (in Serbian version Miša). The two are brought to a police station after three bizarre child murders were discovered, all committed in the same manner described in Katurian’s stories. When Katurian discovers that his brother has confessed to the murders, his main concern is preventing the police from destroying his stories. He passionately states, “It’s not about being dead; it’s about what you leave behind.” He declares that he would prefer for both him and his brother to be killed rather than see his stories lost. This is how far he would go just to protect his art.
With sharp, fresh, and ironic dialogue reminiscent of Tom Stoppard, and a narrative that starts familiar – depicting a writer in a totalitarian society detained for his writing, but gradually unfolds in an Ibsen-like manner, the play reveals the traumas of all the characters. The text emphasizes that words can have significant consequences and that our past experiences influence how we perceive things. Last staged about 20 years ago in Serbia, it serves as a call for accountability regarding both words and actions.
Duality and dualism are integrated into the plot. The two policemen embody the classic good cop-bad cop dynamic as they interrogate Katurian. The two brothers experienced contrasting upbringings and lived in two rooms. Katurian had loving parents (for the first seven years) and bad parents (after revealing their dark experiment and brutality against the other brother). The story blurs the lines between factual and fictional crimes, juxtaposing real events with fictional written murders. A totalitarian government, exemplified by police brutality, stands in stark contrast to the defenceless individual. The two brothers are both alive and dead at the same time while waiting for their death sentence. Even the protagonist’s name, Katurian Katurian, conveys a sense of duality. The play also exhibits genre-based duality, the tone shifting between the disturbing and the wry.
The play concludes by linking Miša’s life to the story of the Pillowman, a creature who influences children to end their lives to avoid the pain of becoming unhappy adults. Miša ultimately decides that he is willing to sacrifice himself and endure a difficult life if it means his brother can continue creating great stories. In a broader context, this could be read as saying that students, artists, and other individuals and organizations are now making sacrifices for the greater good.
Director Tamara Kostrešević, who also plays the girl unable to speak in one of the stories within the play, has placed the text at the forefront of the production. The set is minimal, featuring a single table, a wardrobe, and a sponge that serves as a mattress. The space is divided into two parts — one for the police investigation and the other for exploring the relationship between the two brothers.
The actors displayed remarkable focus and commitment. Although the text containes humour, the actors refrained from being overly comedic, allowing laughter to arise naturally and organically. Katurian was portrayed deftly by Strahinja Puškarević — such a captivating performance! Aleksandar Sarapa delivered a remarkable performance as Miša, the brother. He brought strong emotional and humorous depth to the role. The police officers, Aca Lazin (good cop) and Rade Perović (bad cop) complemented and elevated each other’s performances. They were not simply opposites to one another, each revealed a complex psychological profile of a man who is a mosaic of the consequences of his traumas. I believe these roles are a significant challenge for young actors, making their success even more impressive. The same can be said of the production as a whole, which is a credit both to the students and the academic theatre. These are the people, and this is the stage where change begins.
Further reading: All under the canopy: How student protesters in Serbia are making themselves heard
For more information, visit: Change Theatre
Divna Stojanov is a dramaturg and playwright. She writes mainly for children and young people.
