How I Learned to Drive
Paula Vogel’s two-hander about an abusive relationship, superbly performed by Marta Bogosavljević and Svetozar Cvetković
Kokan Mladenović: “We have to reinvent the theatre of our times”
Prolific director Kokan Mladenović talks to Nick Awde about his recent work, the ensemble system, his thoughts on audiences and the need to resist artistic compromise.
Selection Announced for 69th Sterijino Pozorje
The programme for the 69th Sterijino pozorje, the theatre festival of Serbian national drama, will include work by Ivica Buljan and Selma Spahić.
Mister Dolar
Miloš Lolić’s rave update of Branislav Nušić’s comedy for the National Theatre of Belgrade is a missed opportunity.
Anđelka Nikolić: “We need to give a chance to authors overlooked by history”
Though written nearly 150 years ago, Albina Podgradska’s play Poor Mileva still feels timely. Duška Radosavljević Krojer talks to director Andjelka Nikolić about why rescuing the play from obscurity is a form of activism.
Fear in the Opera
This absurdist and comical new play by Jelena Mijović and directed by Ivan Vuković is a plea for solidarity in a time of social division.
Once Upon a Time in Novi Sad
Andraš Urban’s new show for Novi Sad Theatre is an extravagant cabaret that interrogates and celebrates the role of institutional theatre.
Climax
Patrik Lazić’s inventively staged and emotive production based on Gaspar Noe’s psychological horror film
Exploring Serbia’s Independent Theatre Scene: “This country needs to change:”
Every year Bitef Teatar showcases the best of Serbia’s diverse independent scene. Mirela Gračanac explores this year’s programme and three shows that critique the systems within which live.
People Without Graves
Stevan Bodroža’s ambitious if unrelentingly violent production based on Enes Halilović’s novel about life on the criminal fringes in Novi Pazar.