Archive for Performances 2014

The Princess and the Pea – 30th of June 2014 in 18:00

June 12th, 2014 // Performances 2014

416837_303003933100631_449778035_nDirected and adaptedby: Katja Restovic
Music: Zoran Trubic
Costume & holdings: Kristina Nefat
Tone: Aleksandar Poropat
Lights: Ivan Pisak
Production: The Open University 2013
Photos: Marino Matosevic, Todd Vekić, Vesna Finderle
Songs sung by: Max Hozić and Stefania Hasim
Dancers: Dance Studio, Mot 08
Starring: Luka Bosanac, Anamaria Tubaković, Azeglio Picco, Alenka Korelić Lucic, Jakša Grgic, Sven Djula Tomac, IvanTripar, Nenad Sinčić, Marko Korvelic, Patrick Darrer, Daliborka Škofić, Franco Kleinert, Kristina Hristova, Asja Prašljević, Nensi Brčić

Once upon a time there was a prince who wanted to find his princess and fall in love. He didn’t know which was the right one, so he went on a journey over his kingdom in order to find her. His servants prepared his luggage and he left.
He looked all over the kingdom, met many countesses and princesses, but he didn’t like none of them. So he returned home sad and lonely.
One night, during a big storm, someone knocked at the door of the castle. The servants opened the door and saw a girl, wet through, who said she was a princess. They let her in, and lodged in the castle.The prince’s mother, having heard that she was a princess, decided to test her in order to check her royal origins. Under a thick layer of bedding, with the help of the servants, she set a little pea, thinking that a real princess should feel it. The next morning, the queen asked the princess how had she slept, and the princess complained that she had not slept at all because it was uncomfortable and thereby confirmed to the king and the queen that she was a real princess.
The wedding lasted seven days and the prince and princess lived happily ever after.
The end .

The Night Porter – 5th of July 2014 in 21:00

June 4th, 2014 // Performances 2014

foto-DamjanThe Night Porter
Adaptation by Nona Ciobanu is based on the film Il portiere di notte, texts by Liliana Cavani, Barbara Alberti, Amadeo V. Pagani, Italo Moscati, and quotations from Heiner Müller’s Quartet

Erotic drama

Directed by Nona Ciobanu

Premiere 10 January 2014
Small Stage SNG Maribor

Translator of adaptation Tina Mahkota
Set designers Nona Ciobanu, Peter Košir
Costume designer, lighting designer, music selection Nona Ciobanu
Video designer and animations Peter Košir
Video photographer Matjaž Vencelj
Language designer Janez Bostič
Make-up designer Mirjana Djordjević

Lucia Nataša Matjašec Rošker
Max Peter Boštjančič

In 1974, an Italian film director Liliana Cavani made a controversial film Il portiere di notte (The Night Porter). Ex-Sturmbannführer Max and ex-prisoner Lucia, a wife of the renowned conductor, coincidentally meet after thirteen years at Hotel Opera in Vienna. »The Vienna story« would have been quite different if the executioner and his victim had not established a kind of masochistic addiction. How could this be possible? Cavani explains that the human nature is much more complex than imagination, therefore the »love story« between the master and his slave is not impossible. Why is Lucia ready to break her marriage because of the »Nazi swine«, and why is Max, who wants to flee from justice, ready to stand in front of the firing wall of his free will? With her decision, Lucia shows that she is not a saint that she has – in a labyrinth and/or laboratory of darkness, fear and horror – been transformed from an angel girl into a woman familiar with the devilish attraction of dark streets, where the unconscious desires yell for realization and materialization. A distorted balance, where black is no more black and white no more white, places a spectator into an uncomfortable presence. As long as the torturers are the »bad guys« and the victims »heroes«, we look at the executioners with disgust while we sympathize with the victims. Nevertheless, when boundaries are blurred and even the heroes cross the fields of the morally and ethically integral classifications, the firm ground under the feet is suddenly displaced. Max and Lucia agree to act »the performance« in a theatre of cruelty. In their relationship they do not talk much or they do not talk at all – their mutual experience of the past talks instead of them. They communicate with eyes and gestures.
The author of the Maribor production is the renowned Romanian theatre director Nona Ciobanu.

Vibration – 4th of July 2014 in 21:00

June 4th, 2014 // Performances 2014


Scientific and artistic symphony in four acts

The matrix: Dante Alighieri, The Divine Comedy, Purgatory, with elements of Euclid: Elements; Ranko Marinković: The Angel; Berislav Nušić: It had to be; Antun Gustav Matoš: poetry

Production: Rubikon Theatre, Arts Theatre – TOFA. Istrian National Theatre – Civic Theatre in Pula

Author, director dramaturgy, choreography, lighting design:          Zvonimir Peranic
Video and design:                                                                            Ivan Dobran
Assistants video and set design:                               Iva Milaković and Daniel Horvat
Artist, author of movement:                                                             Frane Meden
Costume:                                                                                           Kristina Nefat
Music:                                                                                               Ivan Šarar
Sound effects:                                                                                  Tomislav Nakić-Alfirević
Hairstyles and makeup:                                                         Ksenija Nakic-Alfirević
The design of promotional materials:                                               Vesna Rozman
Organizer and stage manager                                                                       Manuel Kaučić
Stage manager:                                                                                 Goran Šaponja
Head of lights:                                                                                  Dario Družeta
Head of tons:                                                                                    Miodrag Flego
Head of tailor shop and stage:                                                          Desanka Jankovic

The Vibration is composed of four acts (Euclid, Einstein, Fractals, Quantum) and an epilogue (Strings). Each part has its own basical geometry, each geometry is a demonstration of some physics, and each physics generates its philosophy, the way we see our society, the world we live in, with all its parts. Consequently the art. The string theory in recent times indicates that each elementary particle (which the matter consists of) is in fact a different vibration, a different oscillation of the same fundamental string.
The Elements – geometry intended as a science of space, written in 13 books. The geometry has reached a remarkable level at about 300 BC and has become dominant in mathematics.
The Elements has for centuries been considered the most sophisticated mathematical work. The Newtonian mechanics contains this underlying geometry aspect.
With the establishing of new physics, new geometry develops. The Theory of relativity stated the possibility of torsion of the perception space – time.
The theory of deterministic chaos, as a new geometry of nature, is presented by fractals, while quantum physics reveals multidimensionality. Consequently, changing the nature and philosophy of relativity, then the chaotic regimes, for example, equates the anatomy of the body and of the nature, regimes of heart function… until the Schrödinger’s cat introduces some new logic, the existence of parallel universes and realities.

The strict geometric structure deriving from the Elements, is fractal to Aristotelian poetics of theater creating, his organics, which then connect with the philosophy of the quantum physics. Not only the objects are self-similar, but also the realities are self-similar, the events, societies, and the altering the perception creates a superframe.

In this sense (and only in this) the Vibration considers the artworks as possible realities. So authors and their works are selected as a synergistic fusion of potential elements of (parallel) realities. For example, the Tragic scene of Sebastian Serlia, or the reflections of Robert Wilson, Salvador Dali, Rene Magritte, Maurits Cornelis Escher. In the same way Matoš, Marinković and Nušić are integrated. Everything happens with the projections and 3D mapping, in which the light design is performed without a single reflector, completely erased, the blankness with a minimal appearance of a body (with no characterization) in the area that is part of the audience. For example, two-dimensional lines become surfaces, dots transform in bodies, and the walls in a new expanse of reality. This dramaturgical intervention becomes the primary means of “mapping” of other structures. By creating spatial and set design elements, a space of illusion is constructed,  in which the viewer is offered, in a reducted way, a range of perceptual realities. According to the latest physical theories, perhaps the entire universe is a hologram! However, at the very end, when everything ends, the space remains empty. The Euclid’s one, as most of us  perceive it ? Or the quantum emptiness, full of quantum foam, full of creation and annihilation of particles and antiparticles, full of conversion of energy into mass and vice versa? Is the purification from limitations sufficient for the Heaven? Or for the Hell?.. Because everything already known is just a part of different vibrations of the same equal strings…

Thelma & Louise – 3rd of July 2014 in 21:00

June 4th, 2014 // Performances 2014

thelma&louise---grupna-plakatIstrian National Theatre

Season 2013/2014
Gala premiere 15th May 2014


Motivated by the original screenplay for a film

Director:                                 Dalibor MATANIC
Design:                                   Deni and Martino ŠESNIĆ
Lighting design:                     Deni ŠESNIĆ
Costumes:                              Morana CEROVEC
Music:                                    Alen and Nenad SINKAUZ
Stage movement:                   Pravdan DEVLAHOVIĆ
Video:                                                Martino ŠESNIĆ, Dalibor MATANIC
Organizer and stage manager            Manuel KAUČIĆ


THELMA                                                                             Helena MINIĆ
LOUISE                                                                               Lana GOJAK
Inspector / waitress / receptionist                                          Senka BULIĆ
DARRYL / HARLAN / J.D. / POLICEMAN                    Rade RADOLOVIĆ

Deeply suppressed, quiet and ubiquitous pain is what our protagonists carry in their souls, and it  is no coincidence that they are women. The inferior and subtle gender experienced a recent major strides towards equality, but in quite a few cases it did bring happiness, or happiness is just an illusion, again directed, that hints that things are finaly not exactly honest …

An important maneuver in the adaptation is the transformation of male inspectors from the original script in the female inspector, and she takes us through the pain of her life story and feeds it with the freedom that the other two women, Thelma and Louise, had felt. Like television programs that feed millions of people comfortably sitting in the armchairs of their living rooms, absorbing images from the small screen to delay in settling their own lives, the inspector is drawn into the lives of the main characters in order to reach at least the ability to feel the same feelings as the two of them. The inspector becomes aware of the postponed and oppressive pain of life through Thelma and Louise, and when they finally face the greatest fears, they become free beings,  even if it means their path to death. In tyranny, bullying, incompetence and naivety of communication with men who they met in their lives, our women are drawn to their own pain and no longer had anything to lose …

Through constant doubt that we live in a predetermined, stereotype matrices, Thelma and Louise, as characters, become a manifest of how freedom can be achieved with the facing of their own fears and how the dull pain, deep in their bosom, turns in catarsis. In modern civilization where everything is hitched to human beings constant evolution and fed with a sense of fear, one waitress and one housewife show us how to live, however, show that a sense of real freedom is not impossible as long as we are taught not to raise our heads … Thelma and Louise remind us and encourage us to feel that one minute of freedom is more valuable than a hundred years of life mixed in a scared mass..

The Harem – 2nd of July 2014 in 21:00

June 3rd, 2014 // Performances 2014

_MG_40732-HAREMThe Harem
a man and his wives, the East and the West

It is a melodrama with comic parts, which interweaves the women’s past and present after the dissolution of the harem of Topkapi Palace in 1909, and four outstanding actress in over 20 roles made ​​an emotionally gripping story about fate, redemption and outstanding feminine force.

The show is made ​​up of several stories connected with threads of fate that knit a life carpet weaving their causes and effects, through culture, through historical periods, the minds and the hearts. The play Harem, therefore, leads you in Los Angeles on the set of a porn musical Arabian Nights 2, following the historical documents and diary entries, it will peek in the harem of Topkapi Palace in Istanbul and try to revive and reconstruct the daily life of the prisoners, especially one, Vlahinjica, a slave girl, abducted from our region.

Istanbul, the Dalmatian hinterland, Los Angeles, London, Belgrade … all these places are linked to women’s communities that are formed under different social circumstances in the story that lasts more than a hundred years. In every corner of the world it is recognizable the same longing, a foreboding for a better life and the pursuit of peace that comes with the fulfillment of destiny’s residual tasks.

Duration of the show : 90 min .

Team of authors:
According to John Leo Lema’s story, written by Ana Tonković Dolencic

Director:                                 Ivan Leo Lemo
Set Designer:                          Vesna Režić
Costume Designer:                 Mirjana Zagorec
Composer:                              Willem Milicevic
Light shaping:                        Vice Rossini
Light shaping:                        Alexander Mondecar

Peter Duganđžić
Nela Kocsiz
Ecija Ojdanić
Barbara Vicković


She – 1st of July 2014 in 21:00

June 3rd, 2014 // Performances 2014

ona_urska-boljkovac-(9)Ona (Elle)


Autor = Jean Gene

Režiser= Tatjana Peršuh

Glumci = Vito Weis, Tadej Pišek, Primož Vrhovec, Andrej Zalesjak

Director: Tatjana Peršuh

Actors: Vito Weis, Tadej Pišek, Primož Vrhovec, Andrej Zalesjak

Translation: Živa Čebulj

Music: Marjan Peternel

Costumes: Petja Zorec, Squat

Scenography: Matic Gselman

Light design: Blaž Bačar

Technical execution: Janko Oven


Autor = Jean Genet

Režiser= Tatjana Peršuh

Glumci = Vito Weis, Tadej Pišek, Primož Vrhovec, Andrej Zalesjak


Short summary of the performance


The event is the photo shooting of the Pope.The photographer is waiting for him.While he is waiting, he gets to meet different persons in Vatican. First the usher, then the Cardinal and at last, the Pope. The image that this young photographer has of this magnificent institution slowly begins to crumble.The institution is abusing of the Pope’s persona, his image, and he is fed up with it. His goal is to dismantle this image. But is that even possible?

Maids – Parellel exposure – 30th of June 2014 in 21:00

June 3rd, 2014 // Performances 2014

20140226_Sluskinje0222Arts organization ALBALUNNA

Translation: Vjenceslav Kapural

CLAIRE:                       Andrea Mladinić / Nikša Arčanin

SOLANGE:                            Petra Težak / Goran Marković
MADAM:                      Matea Elezović / Stipe Radoja

Directed by :                           Goran Golovko
Costumes :                    Ana Marin
Technical assistance :    Damir Dolina
Production assistant :   Marsela Marić

The play was co-financed by the Municipality of Split and the Ministry of Culture of the Republic of Croatia.


«Jean Genet: The Maids – parallel exposure” is the first theatrical laboratory project of the ALBALUNNA Arts organization, with the aim of creating a permanent platform for working with young actors who have affinity for theater studies.

Conceived as a theatrical laboratory of exploration of gender, sex, class and existential oppression, the play “Jean Genet: THE MAIDS – PARALLEL EXPOSURE”, starts from the author’s idea of giving female roles to men, to give a distort – grotesque – mirror image to the public and paint a clearer picture of the world.

Is the condition of oppression an existential need and necessity of the individual, whether is he an oppressor or the oppressed, or is it influenced by social givens and so that need becomes a necessity because of thousands of years old oppressive social system, that has entered into the collective unconscious and the conditions of neoliberal capitalism have become legalized and collective consciousness? Are gender and sexual oppression in the roots of totalitarism?

And finally: Does power, legitimate or illegal, use our sexual identities to keep us in bondage?

The innkeeper – 29th of June 2014 in 21:00

June 3rd, 2014 // Performances 2014

mirandolina-193THE INNKEEPER

by Carlo GOLDONI

Translation and adaptation fro the chakavian:  Daniel Načinović
Directed by  Jasminko BALENOVIĆ

Set design: Miljenko SEKULIĆ
Costume designer: Catherine RADOŠEVIĆ GALIĆ
Music: Livio MOROSIN
Choreographer: Sergio Cavallari
Light Designer: Dario DRUŽETA
Stage Manager: Manuel Kaučič

Actors:   Lana GOJAK, Robert UGRINA, Teodor TIANI, Denis BRIŽIĆ, Romina VITASOVIĆ, Elena ORLIĆLuka JURIČIĆ, Franjo TONČINIĆ
La Locandiera, comedy by Carlo Goldoni (Venice, 1707 – Paris, 1793) is one of the classic works of the world theater heritage. The famous actors (Eleonora Duse, Konstantin Stanislavsky) and famous directors (Luchino Visconti) put to the test their skills in interpreting Goldoni’s, according to many estimates, best known masterpiece. Lively characters, in their own way, shape the story of love, longing and jealousy, ambition, illusions …
The original is located in Florence, but with a jump in time, it takes place in the belle epoque in Pula! The time of the Austro-Hungarian Empire, is the newage period of meteoric rise of this city, the main naval base of the Empire. There, in the inn / B & B “The three soldats” somewhere between the Amphitheater and Marine-Casino, and with the WW1 approaching – a group of interesting persons met… Everyone here is in love with the innkeeper Mirandolina, everyone except Felix Srecko Kosovits, a mysognist, who will eventually succumb to the irresistible charm of a cunning female plan. Businessmen, stockbrokers and perhaps future magnates – Albin Ladruncovitch and Bartholomew Count Škampavija – will accept the decision of the destiny whose lucky finger touches the waiter Mikula. He is the right choice! Mirandolina wants so. A special spice to this story is given by the comediants Hydrangea and Dejanira – who also have their own “projects ” in that climax of urbanity.

Yet the thoughts of a Gigantic round, a type of Ferris wheel as that in Vienna in the Šijana wood, or the railway branch from Vodnjan to Fažana and a steel bridge to the Great Brijuni … are part of the story upgraded to the Maestro’s, plots and solutions, along with other modifications that were necessary for the comedy ambiented in Pula.

Coito Ergo Sum – 28th of June 2014 in 21:00

June 3rd, 2014 // Performances 2014

a political porn anthem to transition

by the Marquis de Sade’s (Philosophy in the boudoir)

Producers: Theatre / Rubikon – Rijeka, TOFA – Pula

Partners: INK Civic Theatre Pula; Center for Movement, Split; project Gender crossroads
Music industry – mix master: Studio Triban – Buje

Author of the text: Jelena Tondini
Directed and choreographed by Zvonimir Peranic
Playwrights: Zvonimir Peranic, Jelena Tondini
Music: Vladimir Wölfl, Jelena Tondini, Tonci Horvat-Hus, Petric Natasha Tasha, Christian Ćoza
Set design / Video: John Dobran
Costume designer: Kristina Nefat
Light designer Dalibor Fugošić
Hairstyles and Makeup: Ksenija Nakic Alfirević
A part of the music section: Scandal Bend
Scene manager: Hrvoje Mijočević

DE SAINT – ANGE: Natasha Petric – Tasha (The Bastardz)
EUGENIE: Ana Ljutić
KNIGHT: Christian Ćoza (Mandrili)
DOLMANCE Gregor Klaric (Greg)
DOLMANCE Zoran Josic
DOLMANCE: Roko Katalinić (f.O.F.)


Political porn anthem to transition

”Coito ergo sum” is both a concert performance of drama and theater concert (blend of original Rom music and electronics). A contemporary dance performance in an opera form. Catholic drama and queer performance.

De Sade used pornography as “another” option, as a counter-attack and opposition to the society of that time. In his works he played by placing pornography in different social strata, proving the equality of all kinds of human sexuality. Nowadays pornography does not produce the same kind of shock, but sexuality is still the point where all people are equal, even in the capitalist system. However, this show tries to give an overview of the present transitional society in which Croatia is playing with the key elements of popular culture that the capitalist ideology spread and is devouring everything on its way. A general Croatian and world’s lethargy of the society is the result of many years of sodomizing (by) politics, by the economy and the entertainment industry. Nothing new, nothing shocking and spectacular. It all comes down to superficial entertainment and offers nothing more than a voyeuristic pleasure. The Reality shows, the Parliament Sessions, the News, the financial reports, are some of the programs that currently challenge excitement, but frequent repetition does not leave a deeper sign on the citizen, the viewer, the observer.

“Coito ergo sum” plays with the system of education (which on one hand includes religious education, and on the other excludes a part of health education, the sexuality) that create capitalist monsters who want fame and fortune, who do not care about the adversities of the collective society. The game is played with the eternal polemic about popular music that has had an “educational” function in Croatia, via Thomson to Severina and Rozga. They play with sexual options in Croatia which exist only on paper, but in reality they are just “fear and loathing”. They play with the eternal debate about folk and turbo folk, about censorship and freedom, Croaticism and the union, about prostitution and marriage, politics and the church . ..
The Choir operates as critics, announcer, it is actually a symbol of the people who silently observes and comments lethargically without the urge for change.

”Coito ergo sum” (I fuck so I exist) – the title of the play, is formed on the model of Descartes’s “Cogito ergo sum” (I think so I exist). In a society where thinking can only be made by selected ones, where everything is reduced to taking care about “one’s ass”, this slogan is a symbol of power/possession. Fuck – posses, possess – be.



The chimney sweeper – 27th of June 2014 in 21:00

June 3rd, 2014 // Performances 2014

dimnjacar_photo-by-d_gorenakKerekesh Theater

Text.                                       Mirko Kelek

Text adaptation:                     Ljubomir Kerekeš

Director and art director:       Ljubomir Kerekeš

Actor:                                     Ljubomir Kerekeš

Music:                                    Dragutin Novaković-Šarli

Light:                                     Marijan Štrlek


The adventures told in a simple language by a simple man, a language garnished with rich local expressions that establish easily the communication with the audience.

Thus, the protagonist of this monodrama, constantly enticing the audience laughter with specific and sympathetic humor, obtains a direct response, because he explicitly touches some local frustration and persons.

The interesting thing of this monodrama is that the performance varies in lenght, depending on the mood of the audience and the actor’s personal assesment.

Lj  Kerekes: «There is adjustment in the interpretation of the various improvisations because every time, seeing it from the governance structure point of view, carries a cross for the little man. For this little man, that is himself, speaks the chimney sweeper Štijef. Everyone has the equal right to yell or point the finger, regardless if rulling or not, or to be big or small»