Zlatko Paković: “Theater is a matter of radical imagination”
Zlatko Paković, the director of Srebrenica. When we murdered rise on his artistic process, Ibsen, Brecht, and the relationship between institutions and the imagination.
Kamen
Mirjana Karanović and Doris Šarić Kukuljica star in Marius von Mayenburg’s slippery play at Zagrebačko kazalište mladih (ZKM)
Mittelfest issues open call for Balkan and Central European artists
Mittelyoung – part of Mittelfest – has issued an open call for Italian, Central-European and Balkan makers of theatre, music, dance, circus and multidisciplinary arts.
A Light in the Dark: Remembering Igor Vuk Torbica
As theatres in Serbia stage a tribute to Igor Vuk Torbica, Andrej Čanji looks back at the life, work and art of the talented young director
Ibi the Great
Andraš Urban blend meta-theatricality with the grotesque in an energetic update of Alfred Jarry’s aggressively absurdist play at the Sombor National Theatre.
Belgrade theatres face wave of Covid cancellations
Theatres in Belgrade face a wave of cancellations and postponements as Covid-19 cases continue to climb.
The Novak Djoković saga and Serbian cultural representation
The ongoing saga surrounding Novak Djoković’s attempts to enter Australia has dominated headlines across the world. Duška Radosavljević Krojer explores the way the Serbian tennis star – and Serbian stories more generally – are represented in the media
Serbian theatres to celebrate Igor Vuk Torbica
The Serbian National Theater in Novi Sad and the National Theatre in Belgrade have announced a programme to honour the memory of director Igor Vuk Torbica
Joakim Vujić’s Negri: how a forgotten Serbian classic was given new life
In 2018, Andjelka Nikolić directed the premiere of Negri by Joakim Vujić. Duška Radosavljević Krojer explores why it took so long to bring the play to the stage and the challenges of staging a play about race in a modern Balkan context.
The Never-Ending Story: On The Matrix: Resurrections, time and memory
The Matrix: Resurrections revisits the saga 18 years on. Natasha Tripney attempts to unpick the film’s metatextual layers, its new resonance as a love story and asks whether it can be considered a post-Yugoslav movie?