Bernard-Marie Koltès:
In the Solitude of Cotton Fields
Director: Ivica Buljan
6/8/2012 Zadar, Boris Kidrič TIZ, 21.30
Croatian Premiere
Two men pass one another in a desolate, midnight setting. “One is a bluesman, calm, gentle and nice... one of those guys that never get upset, never complains about anything. I find such people fascinating. The other is aggressive, an unpredictable punk from the East Coast, someone who terrifies me.“ (BM Koltès)
From the moment their eyes meet an exciting drama unfolds; the two are caught in a play of a deal, “a business transaction of forbidden or highly controlled goods”, where the subject of exchange is unknown, but the high stakes are obvious. The meeting of a dealer and a client reveals the story about desire, illegal and unspoken desire, which is even more forceful since it cannot be fulfilled.
“In the Solitude of Cotton Fields” is one of the last works of the greatest French playwright of the end of the XX century, a pioneer of a whole new style of storytelling, Bernard-Marie Koltès. Premiered in France in 1987 and was immediately hailed as a contemporary masterpiece, the play remains subtle and accurate representation of today's society; the most discerning psychological analysis of the capitalist economy. With an intense poetic and philosophical language, Koltès uncompromisingly reveals the harsh reality of our lives; he portrays characters alienated from society, individuals trapped in an anguished attempt to articulate the self, where words seem to fail them and conflict is inevitable.
Critically acclaimed Croatian director Ivica Buljan, passionate in staging and translating Koltes’s work, engages two of his most important actors Marko Mandić and Robert Waltl in a play of highly charged dramatic situations of negotiating a deal that cannot be struck; a deal set in the dark, windy and empty atmosphere of a long deserted Zadar’s factory.
Directed by: Ivica Buljan
Based on: Dans la Solitude des Champs de Coton by Bernard-Marie Koltès
Starring: Marko Mandić & Robert Waltl
Dramaturgy: Diana Koloini
Set and light design: son:DA
Costumes: Ana Savić Gecan
Music by: Nenad Sinkauz & Alen Sinkauz
Translator: Suzana Koncut
Corrections of translation: Simon Šerbinek
Light design: Simon Puhar
Sound: Danijel Vogrinec
Photo by: Toni Soprano
Co-production: Mini teater Ljubljana, Mestno Gledališče Ptuj, Maribor 2012 (Slovenia) & Novo kazalište Zagreb (Croatia)
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Medea's Scream
Director: Sašo Jurcer
7/8/2012 Zadar, Sv Donat, 21:30
The myth of Medea’s revenge is one of the most tragic stories emanating from the early European civilisation. Abandoned and deceived by the man to whom she sacrificed and gave everything she could give, Medea plans her revenge and murders their two sons just to witness their father’s suffering, with no mercy or a shred of remorse.
Sašo and Mojtina Jurcer take the horizon of Medea’s myth as the material for a journey into her mental landscape, and tell a story from the perspective of her demise. Medea looks back at the ruins of her life and embarks on an impossible journey; wondering about the blind necessity of her fate, she takes another walk to the crossroads of her life where the elementary force of faith in love ruptures into the force of self/destruction.
The extraordinary interpretation with no word spoken – set on the intersection of the movement and dynamics of consciousness, in contact, collision and transition from the external into a world of inner mental states.
The play co-produced by the Inner World Theatre and Zadar snova premiered in Zadar in 2007 at the church of St Nikola. After playing successfully on international theatre festivals around Europe, the production, enriched in collaborators and renewed in dramaturgy, returns to the place of its origin, this time on a central Zadar’s venue, a place of impressive architecture and exceptional visual impact, the church of St Donat.
Directed by: Sašo Jurcer
Performed by: Mojtina Jurcer
Production: Inner World Theatre Maribor (Slovenia)
Co-production: Zadar snova (Croatia), Ex-Ponto Ljubljana, Slovensko narodno gledališče Maribor (Slovenia) & Festival Teuta Kotor (Montenegro)
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For the past fifteen years Irrwisch has played, learned and honed its skills at the street theatre academy, the street itself. Irrwisch offers lively, infectious street theatre - delightful, eccentric and clever. They break taboos and push borders; they will dazzle you with their wit and move you in a memorable way.
Theatre Irrwisch are: Stefan Grassl (Wegenstreits Guest, Karli, Fedinand König) Rudi Hebinger (Wegenstreits Guest, Hömal, Baldrian Glaubtreu) & Stefan Novak (Wegenstreits Guest, Schugar, Schtan Mowetz)
Wegenstreits guests
Theatre Irrwisch
8 & 9/8/2012 Zadar, Kalelarga, 20:00
Wegenstreits guests have become a classic turn and a high point at street and theatre festivals around Europe. Everywhere the crazy figures in tails and on stilts appear the public is full of enthusiasm. They don't talk, but they communicate a great deal. They find everything new and every reaction astounding.
They are artists on stilts and poets in hearts. They don't stop at anything or anyone, they climb into other people's apartments, exchange a bicycle for a piece of furniture, take other people’s stuff, but they give everything back... usually to someone else, just to delightfully surprise you, and that, amidst the chaos they create, seems to be their only aim.
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The Mudjumping
Theatre Irrwisch
8/8/2012 Zadar, Forum, 22:00
Baldrian, Ferdinand and Nepomukk are vagabonds, tramps. They are always on the move and are nowhere at home, they look like it too. They live from showing what they can do, and there’s plenty to show: they are skippers, story tellers, acrobats, drummers, singers… but really not only that, because that is not what it’s all about. It is more about what is in between – between the tricks, between the tramps, between Irrwisch and the audience, between the lines. It’s not what you can do; it’s the way that you do it that matters. And thus acrobatics become poetry.
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Let it Burn!
Theatre Irrwisch
9/8/2012 Zadar, Forum, 22:30
As soon as night falls the tramps return. This time in a search for sparks, those inner sparks which animate everything.
As the play with fire evolves, the beauty of it inspires, in a soothing and dignified way, mysteriously and spontaneously. And so the sparks travel. And we know it's not burning merely on the surface but deep inside each one of us. Indeed, the world is what we make of it.
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A Bit is Enough
Authors: Aleksandar Stojković, Alen Sinakuz & Nenad Sinkauz
9/8/2012 Zadar, Sv Dominik, 21:30h
An exceptional musical story that communicates texts and motifs of the musical poet and writer Aleksandar Stojković (Goribor) through the original musical material by Alen and Nenad Sinkauz (East Rodeo). What you are about to see is more than just music and more than just words - it's a sung story about life. A piece in which music and text occasionally alter their roles – the text becomes music material and the music becomes a narrative element. This described harmony of sound and words can be seen and felt simultaneously which makes the experience absolute and demonstrates that actually – a bit is enough, we already have everything.
Authors & Performers: Aleksandar Stojković, Alen Sinkauz & Nenad Sinkauz
Text by: Aleksandar Stojković
Music by: Alen Sinkauz (double bass, bass guitar, effects, vocal) & Nenad Sinkauz (electronics, ukulele, piano, vocal)
Production manager: Nataša Rajković
Producer: Davorka Begović
Dramaturgy: Sandro Siljan
Dramaturgy consultant: Vedran Hleb
Sound design: Miroslav Piškulić
Light design: Bojan Gagić
Co-production: Kulturban
Production: Studentski centar Sveučilišta u Zagrebu, Kultura promjene, Muzički salon SC i Teatar ITD Zagreb (Croatia)
From the press: “Stojković is mainly in the dark surrounded with minimal lighting, reading the notes on the bitterness of life marvelously evoking the moments a few can describe so well as Stojković. At the same time, multi-instrumentalists Alen and Nenad Sinkauz are playing the music which has lifted the story to the new level of greatness making this performance an exceptional experimental theatre work, a progressive rock concert, a session of poetry and electronics, a poetry recital for 21st century.” Dubravko Jagatić
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Antonin Artaud:
To Have Done with the Judgement of God
Part one
Authors: Senka Bulić & Tomislav Ćurković
10/8/2012 Zadar, Sv Dominik, 21:30h
Theoretician, philosopher, theatre director, playwright, poet, the founder of the Theatre of Cruelty, and a madman, Antonin Artaud, a cult figure and all the rage in Paris of the 30's and 40's. After nearly a decade of internment in a mental institution where he was treated with bizarre and experimental therapies of the time, and finally released in 1946, Artaud was invited to create a program for the French state radio. In 1947 he recorded the radiophonic play Pour en finir avec le jugement de dieu (To Have Done with the Judgment of God), announcing it ‘at last, a first rendering of the theatre of cruelty’. Two days before the broadcast program was banned by the director of the radio, explaining it was subversive and the public would be better off without it. Once again, Artaud was deprived from communicating his art to the audience, and merely a month later, in March 1948, Artaud died. The play was first time broadcasted 30 years later.
Setting off from Artaud’s radical theatrical concept and relevance of his 70 years old statements about politics, crisis of faith and state of the artist, the new project by the renowned Croatian artists Senka Bulić and Tomislav Ćurković begins with the deconstruction of John Everett Millais painting of “Joan of Arc” from 1865, and that is all the spectator needs to know, for a beginning.
Translator: Zlatko Wurzberg
Authors: Senka Bulić & Tomislav Ćurković
Performed by: Senka Bulić
Costume design: Oliver Jularić
Musicians: Tin Ostreš & Mario Kovačević
Assistant to choreography: Michela Muzgonja
Light design: Nikša Mrkonjić
Make-up artist: Iva Dežmar
Producer: Vedran Ćosić
Production: Kazalište Hotel Bulić & Tvornica kulture Zagreb (Croatia)
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etc, etc.
Are you mad, Mr Artaud?
Director: Mehdi Farajpour
11/8/2012 Kazalište lutaka Zadar, 21:30
Premiere
The word “etc” is either sign or a symbol which exists in every language. To me, it more represents a moment when despite everything that one wants to say, a person prefers to remain silent and end up with the word “etc”. Very often there is a reason behind this reaction that interrupts us subconsciously. A reason which functions as a barrier. This barrier could be set up by society or by an inner feeling of the speaker himself. Either way, the conclusion would be the same; limited freedom of personal expression. However, when these barriers are set up by a society, the result would be some sort of a social censorship, but when it is tied to one’s own character, it leads to self-censorship. In any way, “etc” is more a mental challenge than a physical action or reaction. (M. Farajpour)
This interdisciplinary performance is a psychological choreographic research of the moment of “etc, etc”. Mehdi Farajpour exposes that moment through physical expressions, choreography, images, drawing, video, poetry, etc.
Performing arts company Oriantheatre focuses on creating a new form and language in physical theatre and studies the quality of presence on stage for both dancers and actors, with a close look at contemporary dance in general and the post war dance style Butoh in particular. Company believs in honesy as a general concept and rule in both creation and performance, remaining faithful to its title which derived from Persian language, orian / coverless.
Concept, direction & choreography by: Mehdi Farajpour
Sound design & music by: Arnaud Rollat - Phillip Glass
Technical director: Arnaud Rollat
Dancers: Neus Canalias, Antonio Izquierdo Martínez, Mehdi Farajpour & participants of the workshop Meditative Dance in Zadar
Set design: Mehdi Farajpour
Online drawing: Felix Šoletić
Translation: Compagnie cultures et performances
Co-production: Oriantheatre Company Paris (France), Escola de Dansa de Celrà & Teatre Ateneu (Spain) & Zadar snova (Croatia)
Supported by: Ministary of Culture of Republic of Croatia, City of Zadar, Les eumenides, Marie de Paris, Marie du Xe de Paris, Ville de Cahors, Ville de Celrà
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Kriegspiel / Game of War
Authors: Damir Bartol Indoš & Tanja Vrvilo
12/8/2012 Zadar, Sv Dominik, 21:30
In 1965 the French Situationist and philosopher Guy Debord designed a board game called the Kriegspiel. “This Kriegspiel, or war game, brings into play the operations of two armies of equal strength, each seeking, through manœuvre and battle, the destruction of its adversary. Each is at the same time obliged to protect, within the territory it occupies, the resources needed for effective campaigning, and to keep its lines of communication open." All tactical and strategic relationships embodied in the game are consistent with the military theory of Carl von Clausewitz and the European campaigns of Napoleon. In Debord's words "The game accurately portrays all the factors at work in real war, and more generally, the dialectics of all conflict.”
Ludimus effigiem belli. What we play is a representation of war made upon graphic record of all 55 positions drawn in the kriegspiel by Guy Debord & Alice Becker-Ho.
Opening
The preliminary phase involved a series of engagements in which, from our side, a strong advance force made up of four generals and the units under their command, met an enemy force of 13,000 bayonets. In the subsequent phase a fiercely disputed pitched battle developed, in which our entire army advanced, with 290 canons and a heavy cavalry of 18,000 sabres; the confronting enemy alignment comprised no less than 3,600 infantry lieutenants, 40 captains of hussars and 24 of cuirassiers. Following alternate advances and retreats on both sides, the battle can finally be seen as inconclusive. Our losses, somewhat lower than the average figure normally expected in combat of similar duration and intensity were appreciably superior to those of the Greeks at Marathon, but remained inferior to those of the Prussians at Jena.
Authors: Damir Bartol Indoš & Tanja Vrvilo
Players: Damir Bartol Indoš, Tanja Vrvilo, Helge Hinteregger & Ivan Marušić-Klif
Throat music: Helge Hinteregger
Surveillance images: Ivan Marušić-Klif
Schachtophonia: Damir Bartol Indoš
Light design: Damir Kruhak
Production: DB Indoš Ekstremno Muzičko Kazalište, Perforacije, Teatar ITD & Muzički biennale Zagreb (Croatia)
Supported by: Grad Zagreb, Platforma Clubture & Muzej suvremene umjetnosti Zagreb (Croatia)
Tickets and Info
ACME | klub@zadarsnova.hr | +385 23 250 708 | Zadar, N. N. Matafare 2a
