Revolt
Jovana Tomić directs Alice Birch’s experimental, fragmented play about language, systems and resistance at Atelje 212
Tit Andronik
Andraš Urban’s directs a gruelling, gripping production of Shakespeare’s most blood-soaked play at Yugoslav Drama Theatre
Belgrade Drama Theatre announces 2023 season
Belgrade Drama Theatre has announced its 2023 main stage season, including new work by Žiga Divjak and Borislav Liješević,
Olga Dimitrijević: “It’s impossible to do this job without falling into a trap”
Olga Dimitrijević is a playwright, dramaturg and performer, whose most recent show World Without Women explored conditions for female artists in Serbia. She talks to Natasha Tripney about structural inequalities in theatre and imagining the end of capitalism.
The Divine Comedy
Review of Frank Castorf’s carnivalesque, extravagant six-hour production of The Divine Comedy, at Belgrade Drama Theatre.
Desiré Central Station Festival 2022: exhilarating, playful, questioning
This year’s Desiré Central Station Festival in Subotica featured a vibrant and varied programme including work by Andras Urban and Máté Hegymegi
Patrik Lazić: “Making theatre today is one big balancing act”
Patrik Lazić discusses Our Son, his poignant exploration of LGBTQ issues, his approach to theatre, EuroPride and his fondness for emotional storytelling.
Yugoslav Theater Festival 2022: connecting the past with the present
The 27th Yugoslav Theater Festival took place between 1st-7th November in Užice. Andrej Čanji reports on a mixed programme which included work based on Tolstoy and Turgenev, and a powerful piece from Jernej Lorenci.
Macbeth
Nebojša Dugalić and Nataša Ninković star in Jagoš Marković’s production of Shakespeare’s tragedy at the National Theatre Belgrade
Sasha Milavic Davies: “The audience were on the verge of rioting”
Sasha Milavic Davies is a director, dramaturg, choreographer and movement director who has worked extensively in the UK, at the Royal Court, National Theatre and in the West End, and at Belgrade’s Atelje 212. She talks to Natasha Tripney about the differences between Serbian and UK theatre and stressful opening nights.