Cyrano
Gorčin Stojanović directs a well-performed if dramatically under-powered production of Edmond Rostand’s play
Poor Mileva, an orphan from Bosnia in our civilization in 1878
Anđelka Nikolić, resurrects a forgotten text by Albina Podgradska, the first play to be signed by a woman in Serbia
Michael Kohlhaas
Boris Lješević and Fedor Šili’s skilful but disinterested adaption of Heinrich von Kleist’s play about one man’s fight against injustice.
Sex for Beginners: Staging sex education in Serbia
A new production for young people based on the teen sex manual Sex for Beginners is opening up conversations about sex on the Serbian stage. Divna Stojanov discusses the lack of such discussion in schools and on stage, and how this show’s open attitude makes a refreshing change.
Igor Koruga: “Emancipation of queer culture is not just a Western creation”
Choreographer Igor Koruga talks to Borisav Matić about his new dance piece Unstable Comrades, his research in the history of queer culture in socialist countries and the West, and performing queerness through dance.
Haris Pašović: “Anyone who is excluded must be included”
Haris Pašović’s new show World of Possibilities depicts the everyday lives of disabled people, their families and carers. The director talks to Nick Awde about his methodology and wider questions of inclusion, representation and artistic responsibility.
The End of the World in Three Acts
Selma Spahić directs a potent three-part anthology play about violence against women by authors Kristina Kegljen, Katja Gorečan, Tijana Grumić.
A World of Possibilities
Haris Pašović and the ensemble of Serbian National Theatre present a piece about the lives of disabled people, their families and carers.
Symptoms
Iva Milošević directs a sensitive, intimate adaptation of the novel by Milica Sniva about one woman’s descent into depression.
How I Learned to Drive
Paula Vogel’s two-hander about an abusive relationship, superbly performed by Marta Bogosavljević and Svetozar Cvetković