dramaturgija u odrastanju

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ASSITEJ Srbija. Kazalini Epicentar/ Theatre Epicentre, 8. TIBA Festival , BritishCouncil Serbiapredstavljaju / present

Beograd 6. 7. jun 2010. Malo pozorite Duko Radovi

Internacionalni forum dramskih pisaca

DRAMATURGIJA U ODRASTANJU

GROWING DRAMATURGY

The International Playwrights Forum


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DRAMATURGIJA U ODRASTANJUInternacionalni forum dramskih pisaca za najmlau i mladu publiku

Uvodnik

Pratei program jednog estivala nije samo popuna glavnog pro-grama kako moe da izgleda na prvi pogled. To je prostor u komenastaje implus koji izotrava vizuru, zametak ideja za sutinskopomeranje napred. ASSITEJ Srbije koristi ovaj prostor za programekoji provociraju kvalitetnu razmenu znanja, ideja i praksi meustvaraocima u pozoritu za decu i mlade, i svih koji mogu da utiuna razvoj i poboljanje recepcije pozorine umetnosti za mladupubliku, a naroitu panju poklanja mladim kreativnim snagama.

Forum dramskih pisaca Dramaturgija u odrastanju je dvodnevniprogram koji organizuje ASSITEJ Srbije povodom promocije knjigeBritanska itanka, zbirke dramskih tekstova savremenih britan-skih pisaca u izdanju Kazalinog Epicentra iz Zagreba. Forum seodvija kao pratei program 8. TIBA estivala koji ozbiljno pristuparazvoju i unapreenju dramskog stvaralatva i koji se zalae za ino-vativni teatar okrenut vanim drutvenim enomenima. Time TIBApredstavlja prirodno mesto razmene miljenja, iskustava i ideja ounapreenju dramaturke prakse danas kako bi udovoljila savre-

menim potrebama.Pred vama je katalog koji e vas upoznati sa sadrajem i detaljnimprogramom promocije knjige, oruma kao i sa svim uesnicimau programu. Smatramo da je vano predstaviti one koji svojimueem daju dragocenu podrku nastojanju ASSITEJ-a da stvarapozitivnu atmoseru za armaciju i razvoj dramskog pisanja upozoritu za decu i mlade i pozorine kulture u Srbiji i u zemljamauesnika ovog oruma.

Forum Dramaturgija u odrastanju je podran od British Council-a u

okviru obeleavanja 70-ogodinjice rada u Srbiji.Program su podrali Ministarstvo kulture Republike Srbije, Skuptinagrada Beograda- Sekretarijat za kulturu i Optina Palilula.

Diana Krani Tepavacpredsednica IO ASSITEJ Srbijelan Saveta TIBA estivala

GROWING DRAMATURGYInternational Playwrights Forum For Young Audiences

Introduction

Despite how it might seem, a side programme o a estival is arrom being mere ller or the main one. It oers a space or clari-ying the main concept and it generates ideas that lead to a realbreakthrough. ASSITEJ o Serbia uses the space or programmeswhich initiate a quality exchange o knowledge, ideas and practicesamong the creators o theatre or children and young people, andall the others who can contribute to the development and improve-ment o theatre or young audience, while paying special attentionto the creative power o the young.

The Playwrights Forum Growing Dramaturgy is a two-day pro-gramme organized by ASSITEJ Serbia or the promotion o the bookThe British Reader, a collection o plays by contemporary Britishauthors, published by Thetatre Epicentre rom Zagreb. The orumis a side programme to 8th TIBA estival which approaches the de-velopment and improvements in the eld o drama with a completededication, in particularly supporting innovative, socially engagedtheatre. TIBA, thereore, is a gathering place or the thought ex-

change, and the sharing o experiences and ideas regarding thedirection in which the contemporary dramaturgy should develop inorder to satisy the modern needs.

The catalogue oers the overview o the contents and the detailedprogramme o the book promotion, the orum and introduces allthe participants. We rmly believe that it is o crucial importanceto present all the people who oer invaluable help to the ASSITEJseort to create a positive atmosphere or the armation and devel-opment o writing or theatre or the young and the theatre culturein Serbia and in the countries participating in the orum.

Forum Growing Dramaturgy is supported by The British Council, inthe rame o the celebration o its 70th anniversary o presence in Serbia.The programme is supported by the Serbian Ministry o Culture, TheBelgrade City Council, The Secretariat or Culture and The Munici-pality o Palilula.

Diana Krani TepavacASSITEJ Serbia EC PresidentTIBA Festival Council member


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ASSITEJ Srbija. Kazalini Epicentar, 8. TIBA i British CouncilPredstavljaju

Internacionalni forum dramskih pisaca

DRAMATURGIJA U ODRASTANJUmogunosti, prakse i tehnike razvoja dramskih tekstova zadecu i mlade

6. i 7. juni 2010Malo pozorite Duko Radovi

Internacionalni orum dramskih pisaca u organizaciji ASSITEJ Sr-bija udruenja za razvoj pozorita za decu i mlade u saradnji saKazalinim Epicentrom uz podrku British Council-a, Ministarstvakulture Republike Srbije, Skuptine grada Beograda- Sekretarijataza kulturu i Optine Palilula, zamiljen je kao dvodnevna promocijaantologije novih tekstova za decu i mlade Britanska itanka, u iz-danju Epicentra- Kazalinog centra za mladu publiku, u srednjoj ijugoistonoj Evropi.

Forum se sastoji od javnih itanja komada objavljenih u ovoj knjizi idiskusija o temama koje ovi komadi otvaraju. U dva dana intenzivnogprograma, uesnici oruma zajedno s publikom, bie u prilici da seinormiu o novim tendencijama u pozoritu za decu i mlade, kao i darazmene svoja miljenja i iskustva o dramaturkim tehnikama raz-voja dramskih tekstova namenjenih najmlaoj i mladoj publici.Pored urednika knjige i dramskih pisaca iz Britanije- autora teksto-va objavljenih u knjizi Britanska itanka, u orumu e uestvovatipisci i dramaturzi iz Poljske, Rumunije, Grke, Slovenije, Hrvatskei Srbije. Forum okuplja prevodioce, reditelje i druge pozorinestvaraoce iji se rad vezuje za deija i omladinska pozorita, pa tako

otvara prostor za dijalog o razliitim aspektima pozorine umet-nosti, kao i o ulogama koje pozorite za decu i mlade ima u drutvu.Scenska itanja i diskusije su otvoreni za javnost.

Moderatorski tim:Milena Bogavac i Milan Markovi

Radni jezik: engleski

ASSITEJ Serbia, Theatre Epicentre, 8th TIBA and British CouncilPresent

The International Playwrights Forum

GROWING DRAMATURGYpossibilities, practice and techniques in development of dramatictexts for children and young people

June 6th- 7th, 2010Little Theatre Duko Radovi

The International playwrights orum organized by ASSITEJ Serbiain colaboration with Thetare Epicentre , and supported by BritishCouncil in Belgrade, Ministry o Culture- Republic o Serbia, Bel-grade City Assembly- Secretariat or Culture and Palilula Munici-pality, is creted as two-day-long promotion o the anthology o thenew texts or children and young people, British Reader, pub-lished by Theatre Epicentre- Theatre Centre or Young Audiences inCentral and Southeastern Europe.

The orum is organized as a public reading o the plays published inthis book and a discussion about the topics that they explore. In thecourse o the intensive two-day programme, the orum participantsand the audience will get acquainted with the new trends in theatreor children and young people and they will have an opportunity toexchange their opinions and experiences regarding techniques indevelopment o dramatic texts or that audience.

Besides the British authors whose plays are published in BritishReader, the orum will welcome playwrights and dramaturgesrom Poland, Romania, Greece, Slovenia, Croatia and Serbia. Fur-thermore, translators, directors and other theatre workers who

participate in creation o theatre or the young will take part in theorum as well, which will initiate discussions about various aspectso theatre art and the social role o the theatre or children andyoung people.Rehearsed readings and discussions are open to public.

Moderators:Milena Bogavac and Milan Markovi

Working language: English.


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PROGRAM

6. juni 2010 od 11.00 17.00 asovaMALI LJUDI, VELIKE TEME

Uvodna sesijaUesnicima u orumu, kao i publici dobrodolicu e poeleti organi-zatori i predstavnici institucija koje su podrale Forum.Govore:Diana Krani Tepavac , ASSITEJ Srbija, predsednicaAnja Sua, Malo pozorite Duko Radovi, upravnicaAndrew Glass, British Council Serbia, director

Diskusija:Narativni obrasci bajke u savremenom dramskom pisanjunamenjenom deijoj publici

Hvatajui se u kotac s velikim, ontolokim temama kakve su ivoti smrt, smisao i radost ivljenja, odrastanje, sazrevanje i potraga zaidentitetom, savremeni dramski pisci u pozoritu za decu, neretkostruktuiraju dramaturgiju svojih komada koristei se narativnimzakonitostima bajke. Ono to ove tekstove u mnogome razlikuje odtradicionalnih bajki, jeste savremena ikonograja ali i odsustvo sur-

ovosti, karakteristine za ovaj literarni anr. Moe li se, onda, o ovimtekstovima govoriti kao o novim bajkama ili kao o pokuajima da sepojam bajkovitog redenie i prilagodi, savremenom shvatanju sve-ta u kome dananja deca odrastaju? Ako se bajkovite situacije pos-matraju kao metaora za ljudski ivot, koje su dramaturke karak-teristike ovog anra svevremene, a koje treba da budu prilagoenesavremenom konceptu ivljenja? ... Najzad, postoji li bilo koja velikatema koju mali ljudi nisu u stanju da shvate, ukoliko im se predstavina odgovarajui nain i zato je taj nain uvek u vezi sa elementimaantastike? Da li je arolija ormula kojom se deca ue miljenju uapstraktnim kategorijama i ta je to to, u deijoj percepciji sveta,

ini da i najkomplikovanije teme mogu biti shvaene samo ukolikose prikau metaorino?

PROGRAMME

June 6th 2010, 11AM-17PMLITTLE PEOPLE, LARGE TOPICS

Introductory SessionParticipants in the orum, as well as the audience, will be welcomed byorganisers and representatives o institutions that supported the Forum.

Speakers:Diana Kranic Tepavac, ASSITEJ Serbia, President o the BoardAnja Sua, Little Theatre Dusko Radovic, Manager, TIBA Festival CouncilAndrew Glass, British Council Serbia, Director

DiscussionNarrative structure of fairy tales in the contemporary playsfor children and young people

Handling big, ontological issues o lie and death, the point and joyo lie, growing up and searching or ones identity, contemporaryplaywrights or children tend to compose their plays according tothe narrative structure o classic airy tales. However, the two maineatures that distinguish these texts rom the classic airy tales arethe contemporary iconography and the absence o cruelty, which

is typical or the genre. Is it, then, possible to see these texts asnew airy tales or as attempts to redene and adjust the notion o aairy tale to the contemporary world in which the children are be-ing brought up? I the airytale situations are seen as metaphors othe human lie, which eatures o the genre are eternal and whicho them should be adjusted to the contemporary concept o lie?Ultimately, is there any large-scale topic which little people couldnot understand unless it is presented in an appropriate manner andis it necessary or the approach to be interwoven with antastic ele-ments? Do the abstract categories represent the secret ingredientin the magic ormula or teaching children how to think and what is

it in the way they perceive the world that makes metaphor the mostcomprehensible method or discussing the most complex topics?

Javno itanje tekstaBrendan MurrayKOLIKO JE GORE VISOKOreija: Nikola Zavii

Mike KennyKAMENJE ODRASTANJAreija: Bojan orev

Charles WayTALAS HLADNOG VREMENAreija: Bojana Lazi

Public readingBrendan MurrayHow High is UpDirector: Nikola Zavii

Mike KennyStepping StonesDirector: Bojan orev

Charles WayThe Spell of Cold WeatherDirector: Bojana Lazi


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7. juni 2010 od 11.00 17.00 asovaSVET JE SUROV - SVET JE LEP

Promocija knjigeBRITANSKA ITANKA

Izdava: Kazalini Epicentar Kazalini centar za mladu publiku usrednjoj i jugoistonoj Evropi

Govori: Ivica imiBritanska itanka je trea knjiga u ediciji posveenoj predstavljanjunovih, dramskih tekstova za decu i mlade u Evropi. Nakon antologijapoljske i nemake drame, Britanska itanka predstavlja sedamhrvatskih i srpskih prevoda komada, koji su proteklih sezona, s punouspeha igrani u deijim i omladinskim pozoritima Britanije .

DiskusijaOdnos etikog i estetskog u pozoritu za mlade

Ukoliko polazimo od tvrdnje da pozorite za mladu publiku ne trebai ne sme da ulepava svet i probleme koje tematizuje, postavlja sepitanje: postoji li razlika izmeu savremenog dramskog pisanja isavremenog dramskog pisanja za mlade? Ako razlika postoji, kakose ona denie i da li se svaki tekst iji su junaci mladi ljudi, moeshvatiti i kao tekst namenjen mladim ljudima? Mladost, kao raz-doblje u kom ljudska bia ormiraju svoj karakter, moral i vred-nosne sisteme, svakako je najdramatiniji period ivota, odnosnonepresuni izvor dramatike i radnje. U tom smislu, mladost je

veita, najstarija i najpopularnija pozorina tema. Meutim, da li ovutemu treba da prate i neke odreene ideje, kako bi dramski tekst omladima postao i dramski tekst za mlade? Kakve vrednosti i poruketreba da prenesu predstave namenjene publici u ovom uzrastui da li je vano, poeljno ili nepoeljno, da ove poruke budu eks-plicitne i jasne? Na kraju, ta su estetske karakteristike pozoritaza mlade i da li upravo ovo pozorite, koje se obraa novim gen-eracijama, moe postati prostor u kom su dozvoljeni najradikalnijiumetniki eksperimenti? Drugim reima, da li su nove generacije,najspremnije da prihvate nove pozorine tendencije i kakvu uloguima pozorite za mlade, u ormiranju poetike i senzibiliteta novih

generacija? Moe li se mladost, kao dramska tema, ikad prerasti imoe li se pisati za mlade, ako i sami nismo (duhom) mladi?

June 7th 2010, 11AM-17PMTHE WORLD IS CRUEL THE WORLD IS BEAUTIFUL

Book promotionBRITISH READER

Published by: Theatre Epicentre Theatre centre or young audi-ence o Central and Southeast Europe

Presentation: Ivica imiBritish Reader is the third book in the edition dedicated to pre-senting the new dramatic texts or children and young people inEurope. Ater the anthologies o Polish and German plays, BritishReader presents seven plays translated into Croatian and Serbian,which have been successully perormed in theatres or childrenand young people throughout Great Britain.

DiscussionThe relationship between ethical and aesthetical in the theatre for youth

The standpoint that the theatre or youth should not and must notbeautiy the world and the problems it is dealing with makes us acean important question: is there a dierence between the contem-porary playwriting and the contemporary playwriting or the young?I there is one, how is it to be dened and can every text where themain characters are young people be understood as a text or youngpeople? It is beyond any doubt that youth, as a ormative period interms o character and moral values, is the most dramatic periodin lie, ull o drama and action. In that sense, youth is an eternally

popular theatre topic. However, is this topic supposed to be accom-panied with some specic notions which would make a play aboutthe young a play or the young? Which values and ideas should bepromoted by the perormances or this audience and is it important,desirable or undesirable to make them explicit and clear? Finally,which aesthetical eatures is theatre or young determined by andcan it, by addressing the new generations, become a space or themost radical theatre experiments? In other words, are the newgenerations the most prepared to accept new theatre tendenciesand what is the role o the theatre or the young when it comes toshaping the poetics and the sensibility o the new generations? Is

it possible or an author to outgrow youth as dramatic theme andcan we write or the young i we are not young-spirited ourselves?

Javno itanje tekstaDavid GreigUTI MESECreija: Stevan Bodroa

Denis KellyDNKreija: Jelena Bogavac

Public readingDavid GreigYellow MoonDirector: Stevan Bodroa

Denis KellyDNADirector: Jelena Bogavac


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Re moderatora - uvodni esej

DRAMATURGIJA U ODRASTANJUmogunosti, prakse i tehnike razvoja dramskih tekstova za decu i mlade

Brinete se to ga vidite kako svoje prve godine

troi ne radei nita. ta?!Da li je biti srean nita?

Da li je nita beati, igrati se i trati okolo, po ceo dan?Verujte da do kraja ivota nikada nee biti toliko zauzet!an ak Ruso

Lake je podii snano dete, nego popraviti slomljenog oveka.Frederik Daglas

Svoju prvu i jedinu ilozoiju,onu u koju verujem s nenaruivom izvesnou, nauio sam u deijoj sobi.Gilbert Keit esterton

Dublja znaenja kriju se u bajkama to sam ih uo u detinjstvu,nego u istinama kojima me je nauio ivotFridrih iler

Ma koliko to moglo izgledati naivno, princ i princeza koji se venavajui nasleuju kraljevstvo, vladajui u miru i srei, za dete simboliu najviimogui vid postojanja, jer ono sve to eli za sebe: da uspeno, mirnoupravlja svojim kraljevstvom- vlastitim ivotom- i da se sreno sjedini snajpoeljnijim partnerom koji ga nikad nee napustitiBruno Betelhajm

Niste uspeli ako vas ne razume petogodinja devojica. Ako ona shvati,shvatie i odrasli.Sve mora biti usresreeno. Inae postaje bledo i runoPiter uman , Bred and Puppet Theatre

Introductory notes

GROWING DRAMATURGYpossibilities, practice and techniques in development of dramatictexts for children and young people

You are worried about seeing him spend his early yearsin doing nothing. What!Is it nothing to be happy?

Nothing to skip, play, and run around all day long?Never in his life will he be so busy again.Jean-Jacques Rousseau

It is easier to build strong children than to repair broken men.Frederick Douglass

My irst and last philosophy,that which I believe in with unbroken certainty, I learnt in the nursery.Gilbert Keith Chesterton

Deeper meaning resides in the fairy tales told to me in my childhoodthan in any truth that is taught in li fe.Friedrich Schiller

No matter how nave it may seem, a prince and a princess who get mar-ried and inherit a kingdom which they rule in peace and happiness,represent the highest possible ideal for a child, as that is exactly what itwants for itself: to rule its kingdom its life successfully and peaceful-ly, and to make a happy, lasting union with the most desirable partner.Bruno Bettelheim

You dont make your point unless a ive-year-old girl can understand it .If she can understand it, so will the adults.Everything must be focused. Otherwise, it all becomes pale and ugly.Peter Schumann, Bread and Puppet Theater


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U pozoritu namenjenom deci i mladima, dugo je postojala dilema:da li teatar namenjen publici ovog uzrasta, treba da predstavi svet usvoj njegovoj surovosti, odnosno: ivot u svoj svojoj prolaznosti, ili jeipak prikladnije da se pred deijim i omladinskim gledalitem, igrajuueerene predstave, u kojima stvarnost deluje nenije i toplije, a

ivljenje trajnije i jednostavnije nego to zapravo jeste.Danas, kadaje brojnim primerima iz teatarske prakse, potvreno da pozorite zadecu i mlade moe da dosegne najvie umetnike, estetske i idejnedomete, umesto ove dileme, pred pozorine stvaraoce, postavljen jeimperativ: objasnite svojoj maloj i/ili mladoj publici da je svet surov,ali i divan; da je ivot prolazan, ali i vean; da je stvarnost maginasve dok smo sposobni da verujemo u nemogue, koje zbog nae vere,postaje jedino verovatno, jedino razreenje prie.

Pozorite za decu i mlade, ne sme da tedi svoju publiku.

Naprotiv, ono je tu da je bespotedno raznei ali i da je naui kako datedi druge od sebe i sebe od drugih. Ovo ne znai da je savrementeatarski izraz za decu i omladinu, izgubio na svojoj bajkovitosti, vesamo podsea na zakonitosti dramaturgije prastarih bajki, u kojimalete glave, prosci ginu na vitekim turnirima, princeze padaju ustogodinje kome, adaje siluju nevine devojke, strani vukovi jedumale jarie... ali na kraju, uvek pobeuje ljubav. Ne postavlja se pi-tanje da li je ivot kao bajka ili nije. Jeste. Meutim, pitanje na kojesavremeni pozorini stvaraoci treba da daju odgovor, tie se nainana koji deiju i mladu publiku, treba uveriti u to da je ivot ba ta-kav i da je svaki kraj srean, ukoliko umemo da prepoznamo sreu.ak i onda kada smo jako tuni, poto ba to... ba to to znamoda budemo tuni, zapravo znai da volimo, da najiskrenije volimonekog ili neto... Na kraju uvek pobedi ljubav? Da... Ali, ljubav je bol!Pitanje je, dakle, kako se pravi pozorite koje voli i boli, koje ne tediali te ui da tedi, koje te ne brani od istina, ali te ui da brani istinei to ba tada, kada si mali i mlad, kad si najneniji i najvie zbunjentim uvrnutim svetom u kom ivi, svetom koji jesi, koji stvara, u komje surovo jednako divno, prolazno-veno, a ljubav - bol?!

Sve ovo zvui ko poezija. Sve ovo i jeste poezija.

Ipak, pitanje je kakva dramaturgija odgovara toj poeziji, ako nas izpublike gleda neko veoma mali, veoma mlad, nedovoljno iskusani nedovoljno obrazovan da prepozna stilske gure i racionalnomanalizom, dosegne njihova znaenja. Ili bar: znaenja u pokuaju,ta je pisac hteo da kae, ta je tema a ta ideja pievog (ne)us-pelog dela. Kae se da su deca najiskrenija publika. Meutim, bato esto govore oni najmanje iskreni pisci ili glumci, koji (svesno ilinesveno), koriste iskrenost svoje nene publike, da bi joj serviralila. miru, trik, ol ili geg. Lou glumu i tekst pisan bez inspiracije.Deca i mladi jesu najiskrenija publika! Utoliko je odgovornost onih

koji prave pozorite za decu i mlade vea. Jer, pozorite koje lae,ui svoju najiskreniju publiku laganju. I jer je jedino to to deca i

Theatre or children and young people used to be caught in a di-lemma: should theatre or this age group present the world in allits cruelty and transience or is it, conversely, more appropriate tostage perormances sweetened up with warmer and gentler imag-es o reality which show lie as more lasting and more simple than

it actually is. Nowadays, when numerous practical examples hadreconrmed that theatre or children can reach the highest artis-tic, aesthetical and conceptual heights, theatre artists are acing abrand new challenge: how to show to their small and/or young au-dience that lie is cruel yet beautiul; transient yet eternal; that thereality is magical as long as we believe in the impossible which, byour aith, can be turned into the only probable conclusion to a story.

Theatre or children and young people must not spare its audience.

On the contrary, its new task consists o making its audience sen-

timental but also o teaching it how to protect others rom itseland itsel rom the others. This is not to say that the contemporarytheatre or children and young people has lost its airytale charac-ter; it is simply trying to remind us o these old airy tales and therules o their dramaturgy which let people get decapitated, suitorslose their lives in knights tournaments, princesses all into centu-ry-long comas, dragons rape innocent girls, big bad wolves devourgoat kids and where love always conquers all. It goes without say-ing that lie is a airytale. However, contemporary theatre artistsare to nd a way to persuade young audience that it is exactly howlie looks like and that every end is a happy one providing we canrecognize the happiness. Even in situations o great sadness, thevery act that we can develop such a eeling shows our ability tolove someone or something Love conquers all? Yes, but Love ispain! Thereore, the task is to create theatre which hurts and loves,which does not spare you but teaches you how to spare, which doesnot shelter you rom the truth but teaches you how to shelter thetruth, and it does so while youre small and young, vulnerable andbafed by the world you live in, by the world you belong to, by theworld you create, the world which puts an equation between crueltyand beauty, transience and eternity, love and pain.

All o this sounds like poetry. All o this is poetry.

Still, our task is to nd a dramaturgy tting or this poetry in situ-ation when our audience consists o small and very young people,people not experienced and not educated enough to recognize g-ures o speech and apply the rational analysis to grasping theirmeanings. Or, at least, the intended meanings, the what was thewriters intention; what is the theme and what the idea o the (un)successul piece o art. The children are claimed to be the mosthonest audience. However, that is mostly claimed by the least hon-

est ones among writers and actors who (consciously or not) usetheir gentle audiences honesty in order to oer them a lie. A de-


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mladi zapravo rade- uenje; (svesno ili nesvesno) otkrivanje sveta,uvrnutog sveta u kom ive, koji jesu, koji stvaraju... kome e uitidrugu decu, kad sami porastu. Baviti se pozoritem za decu i mlade,svakako znai baviti se tim uvrnutim svetom. Ipak, ne na onaj nainna koji smo nauili da ga gledamo, ve na onaj drugi, bolji i poteniji

nain, na koji bi bilo dobro da ga gledamo, ivimo i pravimo.

Dramaturgija je zanat.

Dramaturgija je, ako vam se tako vie svia, nauka.

Dramaturgija je niz egzaktnih pravila, skup zakona koje treba pozna-vati, da bi se, na najbolji i najpravilniji nain, ispriala nekakva pria.

U tom smislu, treba izuiti zanat i savladati pravila dramaturgijeonih pria koje se priaju deci i mladima. I ta dramaturgija, drama-

turgija za decu i mlade, ne moe biti ista kao i ona druga, za odrasle.Zato to je dramaturgija za odrasle, zasnovana na zakonima svetau kom ivimo, a dramaturgija za decu i mlade, treba da bude dra-maturgija sveta u kom bismo voleli da ivimo. U kom bismo, sas-vim bukvalno, voleli da ive naa deca. U kom bismo, metaorino,voleli da smo i sami odrastali. Dramaturgija za decu i mlade je nekabolja dramaturgija od one koju znamo.

Meutim, kakva je pravila ine?

Kakav je niz zakona ini? I kako da znamo da su iskrene, dobre i lepeprie koje priamo, dovoljno dobre i lepe za nau najiskreniju publiku?

Kako da, naueni da laemo, znamo da nismo slagali decu i mlade, ida im (svesno ili nesvesno) nismo servirali miru, la, trik, ol i geg?

Kojim sve nainima, kojim putevima, kojim tehnikama, kojimzanatskim igrama i proverama, moemo biti sigurni da je pria kojupriamo dovoljno nena, bolna, iskrena, ljubavna, surova i divna, danau malu i mladu publiku naui o tome ta je i kakav je ovaj uvrnutisvet? ... Mora da postoji nain.

Naini sigurno postoje! I moda smo ih znali, kad smo bili mali, alismo ih odrastanjem zaboravili. Isto onako kao to smo zaboravilizato smo voleli bajke, a od svega bajkovitog zapamtili samo da ba-jke imaju srean kraj.

Nema dileme o tome da pozorite, deci i mladima, mora da predstavisvet u svoj njegovoj surovosti, kao i ivot u svoj svojoj prolaznosti.

Ipak, postoji pitanje: kako?

ception, a trick, a scam or a hoax. They oer bad acting or an unin-spired play. Children and young people denitely are the most hon-est audience, which only increases the responsibility o those whomake theatre or them! For, theatre which lies teaches lying. Andthat is exactly what children and young people are doing they are

learning; consciously or not, they are discovering the topsy-turvyworld they live in, the world they represent and create; the worldwhich they once grownups are to present to other children.Creating theatre or children and young people means dealing withthe topsy-turvy world. However, it should not deal with the worldin a amiliar way but in a better and more honest way, the way weshould see this world, live in it and create it.

Dramaturgy is a crat.

Dramaturgy, i youd preer, is a science.

Dramaturgy is a directory o exact rules, a list o regulations onemust be amiliar with beore properly telling a story.

In that respect, one must master the crat and rules o dramaturgyo the stories or children and young people. That dramaturgy can-not resemble the one or adults. Dramaturgy which is used or tell-ing stories to adults is based upon the rules o the world we live inwhereas the one or children and young people should refect theworld we would like to live in. The very same world we would liter-ally choose or our children. The world we would metaphoricallylike to have grown up in. Dramaturgy or children and young peopleis ar better than the dramaturgy we are well acquainted with.

However, what are its rules?

What are its regulations? And how are we to know that the sincere,good and lovely stories we are telling, are good enough and lovelyenough or our most sincere audience?

How can we, taught to lie, know that we are not lying to the childrenand the young people by (consciously or not) serving them a pre-tense, a trick, a scam or a hoax?What are the ways, the techniques, the skills and the tests thatwe can use in order to make sure a story we are telling is gen-tle enough, painul enough, sincere, loving, cruel and wonderulenough to teach our young audience the ways o this topsy-turvyworld?... There must be a way.

The ways most certainly exist! We may have known them in ourchildhood, yet we have orgotten all about them. As easily as we

have orgotten why we used to love airy tales and now, the onlything we can remember is that they have happy ending.


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Kakvom to dramaturgijom i kakvim se to dramaturkim praksamamoramo sluiti, da bi smo bili dovoljno mali, da nas mlada publikarazume, i istovremeno dovoljno veliki, da bi nam mala publika uka-zala svoje potpuno poverenje?

Milena Bogavac,dramaturkinja i spisateljica

rioic? si? ekpi? dii pihoozi? uii? Pgozi?vpii? dmki pgozi? vk kci? Ig? dm

obzo? Iii pi? t pbik? si pofo? siik? diki? Pi? Okgi ooi? eci pok?

s o io m? Ii: o i o poo?

DRAMATURGIJA U ODRASTANJU = DRAMATURGIJA KOJA RASTENaini sigurno postoje!

It is beyond any doubt that theatre or children and young peoplemust present the world in all its cruelty and transience.

However, the question is: how to do that?

What kind o dramaturgy and theatre practice would make us littleenough to be understood by our young audience, yet big enough toenjoy their absolute condence?

Milena Bogavac,dramaturge and playwright

Wokhop? aic? exp? Chi pychoogi? tch?Pgog? eco? th pgog? P cio?

Gm? Gm i cio? t oi? t ic? aicfom pofo? aic fom ch? dicio? P ic-io? rob icio? Poc io?

a of i h m im? O: of h p om mo?

GROWING DRAMATURGYThere must be a way!


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UESNICE/ UESNICI FORUMA / FORUM PARTICIPANTS

Andrea Valean / Andreea Vlean

Andreas Flurakis / Andreas Flourakis

Bogdan Georgesku /Bogdan Georgescu

Brendan Marej / Brendan Murray

arls Vej / Charles Way

Filip Vujoevi

Lana ari

Maja Pelevi

Marija Stojanovi

Mihal Valak / Michal WalczakMilan Markovi

Milena Minja Bogavac

Milena Depolo

Milo Jakovljevi

Simona Hamer

Slobodan Obradovi

Tereza Ariosto / Teresa Ariosto

Toni Grejm / Tony Graham

Vanja Nikoli

Vesna Radovanovi


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Andrea ValeanDramska spisateljica, scenaristkinja, rediteljka i producentkinja. lanica projekta DramAcum, koji za cilj imada povee mlade reditelje i dramske pisce, prevodi nove evropske komade i producira nove rumunske drame.Autorka mnogih komada i lmskih scenarija. Uestvovala je u mnogim pozorinim radionicama (Royal CourtInternational Residency, 2001, Radionica za deje komade u Ohridu 2002. i drugima) Njena drama Kiki i Bozo,

koja je 2004. premijerno izvedena u pozoritu Duko Radovi, takodje je izvodjena u Folkteatern u Geteborgu iNarodnom pozoritu u Temivaru. Aprila 2010. godine uestvovala u Lark Theatre New York radionici na razvojukomada Ne plai, svi emo se ve sresti na drugoj strani. Kratki komad Kuda odlazi dim (Wheres the SmokeGoing) 2002. godine je predstavljen u Royal Court Theatre u Londonu. Reirala je predstave Norway, Today IgoraBauersime u pozoritu Odeon u Bukuretu (2002), multimedijalni perormans Noesis (2001) i baroknu operuPiram i Tizba u Nacionalnom operetskom pozoritu (2007), kao i svoj komad Poslednja partija taroka u Jevre-jskom pozoritu u Bukuretu (2004). Scenaristkinja je kratkih lmova Zakanjenje od 17 minuta (17 minuteslate), (prikazan na lmskom estivalu u Kanu 2002. godine), Saobraaj (Trac-the movie) (osvojio je Zlatnupalmu na istom estivalu 2003) i dugometranog lma Kako sam provela kraj sveta (The way I Spent the End othe World) , ija je bila i producentkinja (uestvovao na Kanskom estivalu 2006, u programu Izvestan pogled).

Andrea VleanPlaywright, screenwriter, director and producer. Member o DramAcum project, aiming to make the connec-tion between young directors and emerging playwrights, to translate new plays rom Europe and to producea new Romanian play. She took part in many theatre workshops (Royal Court International Residency, 2001,Childrens plays workshops in Ohrid, Macedonia, and others) Her play Kiki and Bozo, that opened in LittleTheatre Dusko Radovic in 2004, has also been produced at Folkteatern in Goteborg and National Theatre inTimisoara. In April 2010 she took part in Lark Theatre New York play development workshop with the playDont Cry, Well All Meet on the Other Side. Short play Wheres the Smoke Going was presented at Royal CourtTheatre in London in 2002. She derected the play Norway, Today by Igor Bauersima at Odeon Theatre in Bucar-est (2002), multimedia perormance Noesis (2001) and baroque opera Pyram and Tysbe at National Theatre oOperetta (2007), as well as her own play The Last Game o Taroc at at the Jewish Theatre in Bucharest (2004).

Her scripts include those or the shorts 17 Minutes Late (screening at Cannes Film Festival in 2002), Trac-The Movie (Palm dOr at Cannes Film Festival 2004), eature lm The Way I Spent the End o the World, whichshe also produced (selected or Cannes Film Festival, Une Certain Regard, 2006).


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Andreas Flurakis(magistar pisanja za pozorite, radio i televiziju) je grki pisac. Uestvovao je Royal Court International Resi-dency 2001. godine, a 2005. bio je gostujui proesor dramskog pisanja na Univerzitetu Kanzas tokom svojeFulbrajt stipendije. Njegovi komadi Dani pre tvog dolaska, Vera i Njeno lie (The Days Beore You Came, Faith,Her Leaves) izvodjeni su u Grkoj na Theatre o the South (2002) i Theatre o the Spring (Cultural Olympiad,

2003). Monodrama Kesi (Cassie) izvedena je na Festivalu Del, u Grkoj, 2007. godine. Vera je izvedena 2002.godine na Intercity Festivalu u Firenci. Osim grkih nagrada, 2009. je bio dobitnik ITI Uneskove nagrade zadramu Snaga vidovitosti (Psychic Force). Komad Feniks i njegovi pilii (Phoenix And His Chicken), iz koga suscene itane u Royal Court Theatre Upstairs (2001), predstavljen je na javnom itanju u Gate Theatre (2003),u amerikom Inge Theatre (2005) i na Hotink estivalu (2007). Izvodjenje/itanje njegovog komada Atreidi,Kraj (Atreides, End) predstavljeno je na Univerzitetu Kanzas, na 29. Konerenciji komparativne drame u LosAndjelesu, Kaliornija (2005) i na Grko-amerikom esitvalu izvodjakih umetnosti u Nju Jorku (2009, QeensTheatre in the Park). Takodje je objavio dva romana i tri knjige poezije na grkom.

Andreas Flourakis(MA Writing or the Stage and Broadcast Media) is a Greek writer. He was included in the Royal Court Interna-tional Residency (2001) and was a visiting proessor on playwriting in The University o Kansas during his Ful-bright Award (2005). The Days Beore You Came, Faith and Her Leaves have been perormed in Greece at theTheater o the South (2002) and the Theater o Spring (Cultural Olympiad, 2003) respectively. His monologueCassie was perormed in Del Festival, Greece, (2007). Faith was perormed in the 2002 Intercity Festival,Florence. Excluding his Greek Awards, in 2009 he received the ITI Unesco Award or Psychic Force. His playThe Phoenix And Its Chicken, scenes o which were read in the Royal Court Upstairs (2001), was presented in areading at Gate Theater (2003), at the U.S. Inge Theatre (2005) and at the Hotink estival (2007). A script-in-handperormance o his play Atreides, End was presented in the University o Kansas (2005), at the 29th Compara-tive Drama Conerence in L.A. Caliornia (2005) and in The Greek-American Perorming Arts Festival in NewYork (2009, Queens Theatre in the Park). He has also published two novels and three books o poems in Greek.


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Bogdan Georgesku Umetnik.Drutveni aktivista. Alati koje koristi: dramsko pisanje, pozorite u drutvenoj zajednici, video kompozicija,produkcija, socijalna intervencija. Doktorske studije u oblasti aktivne umetnosti i pozorita u drutvenoj za-jednici na Nacionalnom univerzitetu za pozorite i lm I.L. Karadjale u Bukuretu. Master studije dramskogpisanja na Nacionalnom univerzitetu za pozorite i lm I.L. Karadjale u Bukuretu. Dobitnik Soros stipendije

za razmenu studenata dodiplomskih studija za 2004. godinu. Istaknuti student Insituta 2.

Inicijator tanga Projekta i stream ounder za ActiveArt, zajedno s Mariom Dragici (Maria Draghici). U ok-viru inicijative Oanziva velikodunosti (oensivageneroyitati.blogspot.com) radi kao acilitator i umetnik, ukreativnom procesu zasnovanom na saradnji sa zajednicom u kojoj se deluje i interdisciplinarnosti, u pro-jektima kakvi su Osetljiva mapa (The sensitive Map), RahovaNonstop, Izgradi svoju zajednicu! (Build yourcommunity!), Evakuacija studentskog kulturnog centra u Temivaru (The Evacuation o The Students CultureHouse in Timisoara), Seoska turneja ( The Countryside Tour).

Komadi i scenarija ukljuuju i: D.W. 3D text (javno itanje - Foarte Mic Theatre - Bukuret, reija RaduApostol); Romania! Kiss Me (Rumunija! Poljubi me) (Play Compay - 59E59 Theatre New York, reija Kaipo vab

(Kaipo Schwab), 2006, Narodno pozorite Iasi, reija David varc (David Schwartz), 2009); Silovanje (Rape) desetominutni komad (Monday Theatre, Green Hours, reija Vera Ion, sa Kristinom Gavrus (Cristina Gavrus) iAleks Fiea (Alex Fiea), 2005), XXXX Crtani (XXXCartoons) participativni pozorini eksperiment u virtualnomokruenju, zajedno sa Marijom Dragici (Desant Theatre 2006, sa Alinom Grigore (Alina Grigore), Kristi Balint(Cristi Balint), Edgarom Nistorom i Irinom Gadiuta (Irina Gadiuta), Keap (Ketchup) scenario za kratki lm,Mina scenario za kratki lm, dokumentarna blog knjiga cornerstoneinstitute5.blogspot.com; Ja sam pose-ban (I am special) - Active Art (u tampi).

Bogdan Georgescu - artist.Social activist. tools in use: playwriting, community theatre, video composing, producing, social intervention.PhD Studies in Active Art and Community Theatre at The National University o Theatre and Cinematography

I.L. Caragiale Bucharest. Masters in playwriting at The National University o Theatre and Cinematography I.L.Caragiale Bucharest. Soros Fellow o UEP 2004. Cornerstone alumni o Institute 2.

TangaProject initiator and stream ounder or Active Art together with Maria Draghici. Under the initiative othe Oensive o Generosity (oensivagenerozitatii.blogspot.com) he works as a acilitator and artist, in a cre-ative process based on the collaboration with the community involved and interdisciplinarity in project such asThe sensitive Map, RahovaNonstop, Build your community!, The Evacuation o The Students Culture House inTimisoara, The Countryside Tour.

Plays and scripts include D.W. 3D text (reading perormance - Foarte Mic Theatre - Bucharest, directed byRadu Apostol); Romania! Kiss Me (Play Compay - 59E59 Theatre New York, directed by Kaipo Schwab, 2006,

The National Theatre in Iasi, directed by David Schwartz, 2009); Rape ten minute play (Monday Theatre,Green Hours, Directed by Vera Ion, cu Cristina Gavrus si Alex Fiea, 2005), XXXCartoons participative theatreexperiment in a virtual set, together with Maria Draghici (Desant Theatre 2006, with Alina Grigore, CristiBalint, Edgar Nistor and Irina Gadiuta), Ketchup short movie scenario, Mina - short movie scenario, thedocumentary blogbookcornerstoneinstitute5.blogspot.com; I am special - Active Art (in publish).


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Brendan MarejRoen u Manesteru kao najmlae od petoro dece, Brendan je najpre iao u glumaku kolu i jedno vremeradio kao glumac. Od 1982. do 1985., bio je na elu odseka za Pozorite u obrazovanju, u okviru pozoritaBelgrade Theatre u Koventriju, a tokom sezone 1989/90., stalni pisac Pozorita Crucible u eldu. Od tadase ravnomerno bavi pisanjem, reijom i edukacijom uglavnom u Drama Studiju u Londonu. Tokom sezone

2002/03., kao stuipendista FONDA Gulbenkian, radio je u odseku za palijativnu negu u bolnici Kings College uLondonu, dok je od 2003. do 2008. bio umetniki direktor pozorine trupe u Oksordajru, koja je prevashodnookrenuta publici u ruralnim sredinama. Saraivao je sa mnogobrojnim vodeim pozoritima za decu i malimputujuim trupama u Velikoj Britaniji (kao to su Theatre Centre, The Unicorn, Polka and New Perspectives),a drame su mu nagrae priznanjem Brajan Vej (Elizina Kua, (Elizas House 2002.)) kao i nagradom UdruenjaPisaca Britanije(Skarletne trake, (Scarlet ribbons 2009.)). ivi u Brajtonu. Vie o njemu na zvaninoj internetprezentaciji www.brendanmurray.co.uk

Brendan MurrayBorn in Manchester, the youngest o ve children, Brendan originally trained and worked as an actor. From1982 to 1985 he was Head o Theatre-in-Education at the Belgrade Theatre Coventry and in 1989/90 was

writer-in-residence at the Crucible Theatre Sheeld. Since then he has divided his time between writing,directing and teaching - principally at Drama Studio London. In 2002/3 he was the Visiting Gulbenkian Fel-low in the Department o Palliative Care at Kings College Hospital London, and rom 2003 to 2008, ArtisticDirector o Oxordshire Theatre Company, serving rural audiences. He has worked with many o the leadingchildrens and small-scale touring companies in the UK (notably Theatre Centre, The Unicorn, Polka and NewPerspectives) and his plays have won both the Brian Way Award (Elizas House, 2002) and The Writers Guildo Great Britain Award (Scarlet ribbons, 2009). He lives in Brighton and you can nd out more about him atwww.brendanmurray.co.uk


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arls VejDramski pisac, ivi u Velsu. Autor je vie od etrdeset drama namenjenih deci i mladima koje se igraju iromsveta. Neke od njih su Uspavana Lepotica (Sleeping Beauty), Potraga za Odisejem (The Search or Odysseus)i Talas hladnog vremena( A Spell o Cold Weather), sve tri nominovane za nagradu Udruenja pisaca Britanijeza najbolju dramu namenjenu deci. Pozorite biblioteke u Manesteru je angaovalo arlsa u produkcijama

kao to su Pepeljuga( Cinderella) i Lepotica i Zver( Beauty and the Beast), a postavilo je na scenu i dramuDuhovi krca (The Ghosts o Scrooge), mjuzikla koji je napisao sa Riardom Tejlorom, kao i arlsovu adap-taciju prie Zlatna Guska (The Golden Goose). Godine 2004., Royal National Theatre naruuje od arlsa dramuAlisa u vestima (Alice in the News), koju su izvodila deca irom Velike Britanije. Njegove ostale drame zadecu su: Poplava (The Flood) (Unicorn Theatre), Jedne snene noi( One Snowy Night) (Chichester estivalTheatre), Kutija sa kresivom (The Tinderbox) (Gwent Theatre), Snena Kraljica (The Snow Queen) (ShermanTheatre Wales) i Sinbad, neispriana pria (Sinbad, the Untold Tale) (Theatre by the lake Keswick). arls jeosvojio nekoliko nagrada, meu kojima je i Childrens Award koju dodeljuje Arts Council o England, za dramuCrvene, Crvene Cipele (Red Red Shoes) The Unicorn Theatre i The Palace). Njegova drama Merlin i peinasnova (Merlin and the Cave o Dreams), koju je napisao za Imagination Stage u Vaingtonu, nominovana je zanagradu Helen Hayes za Izuzetno dostignue u oblasti savremene drame. Drame su mu objavljene u izdanju

Aurora Metro Presa. ivi u Velsu i lan je Velke spisateljske akademije.

Charles WayPlaywright lives in Wales. He has now written more than orty plays, or children and young people, and hiswork has been produced around the world. These include Sleeping Beauty, The Search or Odysseus and ASpell o Cold Weather, which were all nominated as Best Childrens Play by the Writers Guild o Great Britain.The Library Theatre Manchester has commissioned Charles or productions such as Cinderella and Beautyand the Beast and has produced The Ghosts o Scrooge, a musical he wrote with Richard Taylor, as well asCharles own adaptation o The Golden Goose. In 2004, Charles was commissioned by the Royal NationalTheatre to write Alice in the News, which children across Britain have perormed. His other childrens playsinclude: The Flood, (Unicorn Theatre), One Snowy Night (Chichester Festival Theatre), The Tinderbox (Gwent

Theatre), The Snow Queen (Sherman Theatre Wales) and Sinbad, the Untold Tale (Theatre by the Lake Kes-wick). Charles has won several awards and was the recipient o the Childrens Award given by the Arts Councilo England or Red Red Shoes (Unicorn Theatre and The Place). His play Merlin and the Cave o Dreams, orImagination Stage in Washington D.C. was nominated or a Helen Hayes Award or Outstanding New Play.He is published by Aurora Metro Press. He lives in Wales and is a member o the Welsh academy o authors


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Filip VujoeviDramski pisac iz Beograda. Diplomirao dramaturgiju na Fakultetu dramskih umetnosti u Beogradu. Izvedenedrame: Ronalde, razumi me (2009, Narodno pozorite u Beogradu) Hamlet Hamlet Eurotrash (2008, Pozoritena Terazijama), Halfaj (2005, Atelje 212), Fake Porno (grupa autora, Bite teatar, 2005), Dan D (BDP, 2002).Dobitnik nagrade za najbolji savremeni komediograski tekst (O propasti srpske radnike porodice) na esti-

valu Dani komedije u Jagodini 2002. Dobitnik Specijalne Sterijine nagrade za dramaturku inovativnost zakomad Halfaj, 2006. Drama Ronalde, razumi me osvojila nagradu na Konkursu Sterijinog pozorja za savre-meni dramski tekst, 2008.godine. Drama je objavljena u asopisu Scena 3/2009.Trenutno zaposlen u nezavisnoj regionalnoj kulturnoj ondaciji Harteakt ond iz Beograda.

Filip VujoeviPlaywright rom Belgrade. Graduated rom the department o Dramaturgy o Faculty o Dramatic Arts inBelgrade. Plays produced: Ronald, Understand Me (Ronalde, razumi me) (2009, National Theatre Belgrade),Hamlet Hamlet Eurotrash (2008, Terazije Theatre), Halfie (Halfaj) (2005, Atelje 212), Fake Porno (togetherwith a group o writers, Bite Theatre, 2005), G-Day (Dan D)(Belgrade Drama Theatre, 2002).Winner o the best new comedy award (On the Decay o a Serbian Working Class Family, (O propasti srpske

radnike porodice)) at Comedy Days Festival in Jagodina, 2002. Winner o Special Sterija Prize or dramaturgi-cal innovativenes or the play Halfie, 2006. The play Ronald Understand Me won Sterijino Pozorje New PlayCompetition Award in 2008. The play was published in Scena magazine, 3/2009.He is currently employed with the independent regional cultural oundation Hearteact Fund, Belgrade.


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Lana ariRoena je 1983. Diplomirala je na Akademiji dramske umjetnosti u Zagrebu, na odsjeku dramaturgije. Od2007. lan je Hrvatske zajednice samostalnih umjetnika.Pie drame i scenarije, te povremeno reira u kazalitu i na lmu.Njene drame Meso, koje je i reirala, Igenija, Neboder, kao i mnogi drugi teksovi napisani za kazalite

za djecu i mlade, postavljeni su u razliitim hrvatskim kazalitima, kao to su Mala scena, &TD, te Istarskonarodno kazalite. Pie i radio-drame, a sve su objavljenje na Hrvatskom radiju.Drame su joj prevedene na engleski, njemaki, panjolski i talijanski. Od 2004. do 2010. s njima je sudjelovalana brojnim meunarodnim konerencijama i estivalima, kao to su World Interplay, Interplay Europe, Au-torenorum u Frankurtu, a posljednji estival na kojem je sudjelovala, pri emu je postavljena drama Ne-boder, bio je Festival europske dramaturgije u ileu.2010. reirala je dokumentarni lm Klasa optimist, koji je premijerno prikazan na Zagreb dox-u,meunarodnom estivalu dokumentarnog lma u Zagrebu.Lana ariWas born in 1983. She graduated at the Academy o Dramatic Arts in Zagreb, Dramaturgy department. From

2007 she is member o Croatian Artist Freelance Association.She writes theatre plays, lm scripts and occasionally works as theatre and lm director.Her plays Flesh which she also directed, Iphigenia, Skyscraper, as well as many other plays or writtenor youth theatre, were staged in theatres across Croatia, such as Mala scena, &TD Theatre, and Istrian Na-tional Theatre. She also writes radio-drama, all o them broadcasted by Croatian radio.Her plays are translated in English, German, Spanish and Italian. From 2004 to 2010 she participated in manyinternational conerences and estivals with her plays Flesh, The Dolphin, the Cancer and the Swallowand Skyscraper, such as Interplay Europe and World Interplay, Autorenorum in Frankurt and most recentlyFestival o the European Dramaturgy, Chile.In 2010 she directed a documentary movie (In)curable optimist, which was rst presented at Zagreb Dox,international estival o documentary lm.



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Maja PeleviRodjena 13.02.1981. u Beogradu. Dramska spisateljica i dramaturkinja Narodnog pozorita u Beogradu. lanprojekta Nova drama. Zavrila FDU, odsek za dramturgiju u Beogradu, 2005. Izvedene drame:ESCape - Bite Art Cae 2004. u reiji Jelene Bogavac; Ler - Narodno Pozorite uSubotici 2005. u reziji Slaane Kilibarde; u reiji Miloa Lazina, MTM Mostar; Fake

Porno (zajedno sa M.Bogavac, J. Bogavac i F. Vujoevi) u reiji Jelene Bogavac,Bite Teatar 2005; Budite Lejdi na jedan dan -u reiji Ksenije Krnajski, BiteTeatar 2005; Beograd-Berlin u reiji Ksenije Krnajski, Zvezdara teatar, 2005; u reiji Predraga Kalabe, Volks-buhne Teatar (Parazit project), Berlin 2005; Pomorandina kora u reiji Gorana Markovia; Atelje 212, 2006;u reiji Bojane Lazi, Centar za kulturu Lazarevac 2008., u reiji Kokana Mladenovia, Ujvideki szinhaz, 2009,Speltriebe Theater-Stadt Osnabruck 2009, Theater Halle Munich 2010 ; Ja ili neko drugi u reiji KokanaMladenovia, Srpsko narodno pozorite, Novi Sad, 2007; Skocievojka u reiji Kokana Mladenovia, Koproduk-cija Budva grad teatra i Srpskog narodnog pozorita, Novi Sad, 2007; Putokaz-beskrajno blizu, beskrajnodaleko (Via Balkan) u reiji Kokana Mladenovia, Narodno pozorite Sombor, 2007; Hamlet Hamlet Eurotrash(tekst i reija zajedno sa Filipom Vujoeviem), Pozorite na Terazijama 2008; Moda smo mi Miki Maus, ko-produkcija Narodno pozorite Beograd/ Sterijino pozorje/ Bunker Ljubljana u reiji Matjaa Pograjca 2009.

Nagrade: Borislav Mihajlovi Mihiz za dramsko stvaralatvo, Slobodan Seleni za najbolju diplomsku dramu inagrada Sterijinog pozorja za originalni dramski tekst 2007.

Maja PeleviBorn February 13 1981 in Belgrade. Playwright and dramaturg at National Theatre Belgrade. Member oNova drama project. She graduated rom the Department o Dramaturgy o Faculty o Dramatic Arts in Bel-grade in 2005. Plays produced:ESCape Bite Art Ca 2004, dir. Jelena Bogavac; Out o Gear (Ler) National Theatre Subotica, 2005, dir. Sl-adjana Kilibarda; dir. Milos Lazin, MTM Mostar; Fake Porno (together with M. Bogavac, J. Bogavac and F. Vujo-sevic), dir. Jelena Bogavac, Bite Theatre 2005; Be a Lady or a Day (Budite lejdi na jedan dan) dir. Ksenija Krna-jski, Bite Theatre 2005; Belgrade-Berlin (Beograd Berlin), dir. Ksenija Krnajski, Zvezdara Theatre 2005. ; dir.

Predrag Kalaba, Volksbuhne Teatar (Parazit project), Berlin 2005; Orange Skin (Pomorandina kora) dir.GoranMarkovi; Atelje 212, 2006; dir. Bojana Lazi, Culture Centre Lazarevac 2008; dir. Kokan Mladenovi, Ujvidekiszinhaz, 2009; Speltriebe Theater-Stadt Osnabruck 2009, Theater Halle Munich 2010 ; Me or Somebody Else(Ja ili neko drugi), dir. Kokan Mladenovi, Serbian National Theatre, Novi Sad, 2007; Leapgirl (Skoidjevojka)dir. Kokan Mladenovi, coproducton Budva Theatre City and Serbian National Theatre, Novi Sad, 2007; Road-sign Innitey Close, Innitely Distant (Via Balkan) (Beskrajno blizu, beskrajno daleko (Via Balkan)) dir. KokanMladenovi, National Theatre Sombor, 2007; Hamlet Hamlet Eurotrash (written and directed together withFilipom Vujoeviem), Terazije Theatre 2008; Maybe We Are Mickey Mouse (Moda smo mi Miki Maus), co-porduction National Theatre Belgrade/ Sterijino pozorje/ Bunker Ljubljana dir. Matja Pograjc 2009. Awards:Borislav Mihajlovi Mihiz Playwriting Award, Slobodan Seleni Award or Best Graduation Play and SterijinoPozorje Best Play Award in 2007.



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Marija StojanoviMarija Stojanovi je rodjena u Beogradu, gde je diplomirala dramaturgiju na Fakultetu dramskih umetnosti.Pie drame, poeziju, lmske i televizijske scenarije.Drame: Pacolovac (Kruevako pozorite, r. Darjan Mihailovi, 2001), Cvee (radio drama, Radio Beograd1998); Gvozdene cipele (druga nagrada na konkursu JDP, 2004); Sigurna kua (uee na Royal Court Theatre

International Residency, 2003; SNP, reija anko Tomi, 2004); Zenica oka (kratak komad, javno itanje uRoyal Court Theatre 2004; Arcola Theatre, London, 2004; Sao Paolu, 2005); Petar Pan (Malo pozorite DukoRadovi, r. Kokan Mladenovi, 2005; Gradsko pozorite Podgorica, r. Nikola Vukevi, 2005); Trinaest (BELEF/Malo pozorite Duko Radovi, r. Gordana Lebovi, 2005); Tesla Totalna refeksija, (Jugokoncert/JDP, r. MiloLoli, 2006); Pista za eherezadu (r. Dara de Luka, 2008) i druge.Zbirke poezije: Drugi Grad (CSM, 2004), Ja da nisam ja (LOM, 2009).Prevodi sa engleskog: Kod kue/Kabul (Toni Kuner), ikago (Eb/Kander/Fosi), Kabare (Eb/Kander/Fosi), Ba-zen/bez vode i Rez (Mark Rejvenhil), U movari (Marina Kar), Travestije (Tom Stopard), Prisustvo i Kos (DejvidHarover), Razvaljivanje (Nil Labjut), Oieni (Sara Kejn) i mnogi drugi.Takodje prevodi i sa srpskog na engleski, veinom nove dramske tekstove.

Marija StojanovicWas born in Belgrade, where she graduated rom the Dramaturgy Department o Faculty o Dramatic Arts.She writes plays, poetry, screenplays.Plays include: Ratcatcher (Krusevac Theatre, dir. Darijan Mihailovic, 2001), Flowers (radio play, Radio Bel-grade, 1998), Iron Shoes (second prize at YDP new play competition, 2004); The Sae House (Royal Court The-atre International Residency, 2003; Serbian National Theatre, dir. Zanko Tomic, 2004); Apple o her Eye (shortplay, reading at Royal Court Theatre 2004; Arcola Theatre, 2004; Sao Paolo, Brazil, 2005); Peter Pan (LittleTheatre Dusko Radovic, dir. Kokan Mladdenovic, 2005; City Theatre Podgorica, dir. Nikola Vukcevic, 2005);Thirteen (Bele/Little Theatre Dusko Radovic, dir. Gordana Lebovic, 2005); Tesla Total Refection (Jugokon-cert/JDP, dir. Milos Lolic, 2006); Runway or Sheherezade (dir. Dara de Luka, 2008).Books o poetry: Other City (Drugi Grad), 2004; I I Were Not I (Ja da nisam ja), 2009.

Translations rom English: Homebody/Kabul (Toni Kushner), Chicago (Eb/Kander/Fosse), Pool/No Water andCut (Mark Ravenhill), By the Bog o Cats (Marina Carr), Travesties (Tom Stoppard), Presence and Blackbird(David Harrower), Bash (Neil LaBute), Cleansed (Sarah Kane) and many others.She also translates rom Serbian into English.



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Mihal WalakRoen 1979. godine. Zavrio je pozorinu reiju i pozorine studije na Pozorinoj Akademiji u Varavi. Jedan jeod najpopularnijih i najplodnijih poljskih dramskih pisaca mlae generacije. Nakon prve drame Kutija peska(Piaskownica, 2001.), postavljena na scenama 11 pozorita, prevedena na nemaki, engleski, maarski, eki,italijanski, ruski) napisao je skoro 20 drama, meu kojima su Putovanje u sobi (Podr do wntrza pokoju,

2002.), postavljena na scenama 5 pozorita , prevedena na nemaki, holandski, litvanski i hebrejski), Noniautobus (Nocny autobus 2004.), koja je prevedena na nemaki, Reka (Rzeka 2003.), Rudnik (Kopalnia 2004.),koja je prevedena na nemaki i ruski, Prvi put (Pierwszy raz 2004.), koja je prevedena na nemaki, engleski,slovaki, litvanski, italijanski, maarski, srpski, panski i rancuski, Mamurluk (Kac 2006.), kao i tri dramenamenjene deci: Poslednji tata (Ostatni Tatu 2007., prevedena na ruski), Tuna princeza (Smutna krlewna2003.) i Janosik (Janosik 2010.)Dobitnik je prve nagrade 2006. u Hajdelbergu, na maniestaciji predstavljanja novih drama evropskih pisaca(Europischer Autorenpreis Heidelberg Stckemarkt), a 2001. godine je osvojio prvu nagradu za komedijuReka koje dodeljuje Talija. Dobitnik je i prve nagrade za mladog pisca na takmienju Mi na poetku novogveka 2001. za dramu Kutija peska. Predstava Putovanje u sobu (Varava, 2003.) nagraena je na takmienjuza savremenu pozorinu predstavu, koje organizuje Ministarstvo kulture i Nacionalnog naslea. Ministar je

kulture i predstavnik institucije Nacionalnog naslea.

Micha WalczakB. 1979, trained as a theatre director at Warsaw Theatre Academy, graduated in Theatre Study also. One o themost popular and prolic Polish playwright o the younger generation. Ater making his debut with Piaskownica(The Sandbox, 2001; staged at 11 theatres, translated into German, English, Hungarian, Czech, Italian, Russian)he wrote almost 20 plays, among other Podr do wntrza pokoju (The Journey Inside the Room, 2002; staged at5 theatres, translated into German, Dutch, Lithuanian, Hebrew), Nocny autobus (The Night Bus, 2004; translatedinto German), Rzeka (The River, 2003), Kopalnia (The Mine, 2004; translated into German and Russian), Pierwszyraz (The First Time, 2004; translated into German, English, Slovak, Latvian, Italian, Hungarian, Serbian, Spanishand French), Kac (Hangover, 2006) and three plays or children: Ostatni Tatu (The Last Daddy, 2007, translated

into Russian), Smutna krlewna (The Sad Princess, 2003) and Janosik (2010).Awarded rst prize in Europischer Autorenpreis Heidelberg Stckemarkt 2006 and second prize in Thalia2001 comedy competition or River. Won rst prize in youth playwright competition We-on the verge o newcentury 2001 or The Sandbox. Prized in Minister o Culture and National Heritage contemporary theatricalproduction competition or The Journey Inside the Room (Warsaw 2003). Minister o Culture and NationalHeritage Scholar (2004)



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Milan MarkoviRoen 1978. godine, diplomirao na Fakultetu dramskih umetnosti u Beogradu.

Izvedene i nagraene drame:Klupa (Beogradsko dramsko pozorite, reija Goran Rukuc; nagrada Josip Kulundi, Fakulteta dramskih

umetnosti), Zelena kua (pobeuje na konkursu bekog pozorita Menchenbuehne), Dobro jutro, gospo-dine Zeko, (Pozorite Duko Radovi, reija Jelena Bogavac; Flying Fish Teatricks, London, reija Jelenauri; Radio drama - Radio Beograd; scensko itanje u Narodnom pozoritu u Beogradu i u Mostaru), Danam ivi ivi rad (Atelje 212, koautorka i rediteljka Anelka Nikoli), Aca to ne moe da razume (RadioBeograd), Dobar deak, (Scensko itanje - Cankarjev dom, Ljubljana, reija Rok Vevar; nagrada SlobodanSeleni za najbolju diplomsku dramu na Fakultetu dramskih umetnosti u Beogradu),

Od 2007. godine radi kao koordinator projekta Nova drama na Sterijinom pozorju.Od 2008. godine je lan redakcije asopisa Scena. Radi kao dramaturg na predstavama u Srbiji i Danskoj (Tig-geroperaen, Cantabile2, reija Nullo Fucchini)2010. nastupa u projektu Mnogo nas je (Bite teatar, koncept i koreograja Dalija Ain), izvodi realtime dramaturku

intervenciju u predstavi Ko bi hteo mamu kao moju (Pozorite Duko Radovi, koncept i koreograja Dalija Ain)i radi kao dramaturg na predstavi Da nam ivi ivi rad (Atelje 212, koautorka i rediteljka Anelka Nikoli)

Osniva i urednik arhivskog website-a www.nova-drama.org, posveenog promociji novog dramskog izraza.

Milan MarkoviWas born in Belgrade in 1978 and graduated rom the Faculty o Dramatic Arts in Belgrade.

Plays produced and awarded:The Bench (Klupa) (Belgrade Drama Theatre, dir. Goran Ruskuc; Faculty o Dramatic Arts Josip KulundzicAward), The Green House (Zelena kua) (winner o the Vienna theatre Menchenbuehne competition), Good

Morning Mr. Rabbit (Dobro jutro, gospodine Zeko) (Dusko Radovic Theatre, dir. Jelena Bogavac; Flying FishTheatrics, London, dir. Jelena Curcic; Radio Play-Radio Belgrade; Stage readings at National Theatre Bel-grade and Mostar), Long Live Our Work (Da nam ivi ivi rad) (Atelje 212, co-written and directed by AndjelkaNikolic), Aca Cannot Comprehand That (Aca to ne moe da razume)(Radio Belgrade), Good Boy (Dobar deak)(Stage reading Cankarjev dom, Ljubljana, dir. Rok Vevar; Slobodan Selenic Best Graduation Play at Facultyo Drama Arts, Belgrade).

As o 2007, works as a coordinator o New Plays at Sterijino pozorje project.From 2008, he is a member o editorial sta o Scena magazine. Works as a dramaturg on productions inSerbia and Denmark (Tiggeroperaen, Cantabile2, dir. Nullo Fucchini).In 2010, he takes part in the project We Are Too Many (Mnogo nas je) (Bite Theatre, concept and choreography by

Dalija Acin), perorms a real-time dramaturgical intervention in the production o Who Would Want a Mum LikeMine (Ko bi hteo mamu kao moju) (Dusko Radovic Theatre, concept and choreography Dalija Acin) and works asa dramaturg on the production o Long Live Our Work (Atelje 212, co-written and directed by Andjelka Nikolic)

He is a ounder and editor o archive website www.nova-drama.org , committed to promoting new playwriting.



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Milena Minja Bogavac dramaturkinja, spisateljica, pesnikinja, pozorita umetnica.Roena je 1982. u Beogradu, gde je diplomirala dramaturgiju na Fakultetu dramskih umetnosti. 1999. sarediteljkom Jelenom Bogavac, osniva neormalnu, alternativnu pozorinu trupu Drama Mental Studio, s kojomje radila na vie od pedeset umetnikih projekata, predstava i perormansa. Komadi su joj izvoeni, objavljeni,nagraivani, prevedeni na brojne svetske jezike, uvreni u antologije savremene drame i predstavljeni na bro-

jnim internacionalnim estivalima: u Avinjonu, Njujorku, Londonu, Lidsu teksta., VisbadenuOd 2005. godine, radi kao selektorka i umetnika direktorka panevakog EX TEATAR FESTA- estivala eksperi-mentalnog, angaovanog i niskobudetnog pozorinog izraza.Stalna je saradnica Bitea i Bite teatra, a sa piscima okupljenim oko sajta www.nova-drama.org , vodila je neko-liko radionica za razvoj dramskog. Pie i izvodi slem poeziju, a prvu zbirku EPP objavio joj je SKC NS, 2005. Odtada je imala vie od stotinu poetskih nastupa, irom Balkana. Koncipirala je i vodila prvu beogradsku radionicupisanja i izvoenja slem poezije, u produkciji estivala Pesnienje.Kolumnistkinja je dnevnog lista Veernje novosti, redovno objavljuje prie i dokumentarnu prozu, a tekstovi sujoj zastupljeni u brojnim strunim asopisima, knjigama, monograjama i na web portalima.

Odabrane drame:

North Force (Bite teatar, Dadov i Narodno pozorite u Uicu,); Crvena ( Bite teatar); Fake porno (koautor,sa J. Bogavac, M. Pelevic i F. Vujosevicem;.Bite teatar i Lupa Art Theatre group, Melburn, Australija); Dragitata (Jugoslovensko dramsko pozorite; Narodno pozorite u Pirotu; Dailes theatar, Riga, Letonija.); Bajkao elektricitetu ( Pozorite lutaka Pinokio); Svi drugi ( Det Apne Teatret, Oslo; Radio Beograd II); Td ili prvatrojka (scena Mata Miloevi, Fakultet dramskih umetnosti i trupa ingl, Novi Sad); Balerina/Gamma cas (ureiji i izvoenju autorke na estivalu Traumwand, Rusbah, Austrija; Narodno pozorite Toa Jovanoviu Zren-janinu); Pipi Duga arapa ( po motivima A. Lindgren, pozorite Boko Buha); Ti i ja smo mi ( ko-rediteljkasa A. Laziem; Dom Kulture Vuk Karadi, Bujanovac i Malo pozorite Duko Radovi) i druge...

Milena Minja Bogavacdramaturg, writer, poet, theatre artist.Born in 1982 in Belgrade, where she graduated rom the department o Dramaturgy o Faculty o Dramatic Arts.

In 1999, together with director Jelena Bogavac, she ounds an inormal, alternative theatre company DramaMental Studio, with which she worked on over ty artistic projects, plays and perormances.Her plays have been staged, published, awarded, translated into numerous languages, included in anthologies onew plays and presented at numerous international estivals: in Avignon, New York, London, Leeds, WiesbadenAs o 2005, she works as a selector and artistic director o EX THEATRE FEST in Pancevo, a estival o experi-mental, engaged and low budget theatre expression. She is a regular collaborator o Bite and Bite Theatre, andalong with other writers gathered around www.nova-drama.org she lead several playwriting workshops.She writes and perorms slam poetry, and her rst poetry collection was published by SKC NS in 2005. Sincethen, she has had over a hundred poetic perormances throughout the Balkans. She conceived and lead the rstBelgrade workshop on writing and perorming slam poetry, produced by the estival Poetrying (Pesnienje).She writes columns or Vecernje Novosti daily, her stories and documentary prose are published on a regular

basis, and her texts are included in numerous journals, books, monographs and web-portals.

Plays include:North Force (Bite Theatre, Dadov and National Theatre Uzice,); Red (Crvena) ( Bite Theatre); Fake porno(co-written with J. Bogavac, M. Pelevic i F. Vujosevicem;.Bite Theatre and Lupa Art Theatre group, Melbourn,Australia); Dear Dad (Dragi tata) (Yugoslav Drama Theatre; National Theatre Pirot; Dailes theatar, Riga, Latvia.);Fairy Tale o Electricity (Bajka o elektricitetu) ( Pinocchio Puppet Theatre); All the Others (Svi drugi) ( Det ApneTeatret, Oslo; Radio Belgrade II); Td or the First Three (Td ili prva trojka) (Mata Miloevi Stage, Faculty oDramatic Arts and Zingl Company, Novi Sad); Ballerina/Gamma cas (directed and perormed by the author atTraumwand Festival, Rusbach, Austria; National Theatre Toa Jovanovi in Zrenjanin); Pipi Longstocking (Pipiduga arapa) ( based on A. Lindgren, Boko Buha Theatre); You and I are We (Ti i ja smo Mi) ( co-directed with

A. Lazi; Vuk Karadi Culture Centre, Bujanovac and Little Theatre Duko Radovi) and others...



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Milena DepoloRoena 18. 7. 1981. u Beogradu, gde je zavrila Oglednu osnovnu kolu Vladislav Ribnikar i Treu Beogradskugimnaziju. Diplomirala dramaturgiju na FDU u Beogradu 2006. godine. Od sezone 2007./2008. radi kao drama-turg u Pozoritu Boko Buha, gde je saraivala sa pozorinim rediteljima svih generacija.Od poetka studija do danas izvedene su njene drame: Karakteri (Gradsko pozorite Podgorica, 2003.), Kar-

ma Koma (Dadov, 2004.), Bajkodrom (Boko Buha, 2007.), Ko je Loret? (Malo pozorite Duko Radovi,2009.), One su htele neto sasvim drugo (In stage, 2009.), kao i nekoliko dramatizacija. Drama Kontrolniobjavljena je u asopisu Klaka, 2009. godine. Radila kao dramaturg na vie predstava (Dva viteza iz Verone,Boko Buha, 2005., Trtmrtivotilismrt, BELEF, 2007., Harold i Mod, Beogradsko dramsko pozorite, 2010....). Takoe, pisala za televiziju, uglavnom program za decu i mlade, kao i scenarije za veliki broj event-ova.Uestvovala na vie radionica kao to su Pilot projekat za mlade pisce u Narodnom pozoritu iz Osla, 2003.godine, radionica Irene Kraus u Malom pozoritu Duko Radovi, 2009., itd.

Dobitnica nagrade Josip Kulundi na FDU, 2004., i nagrade Filmskog centra Srbije, na konkursu za razvojscenarija, 2006. godine. Drama (Auto)cenzurisano! ula je meu pet najboljih na konkursu Sterijinog po-zorja za najbolji dramski tekst.

Govori engleski i rancuski jezik.

Milena DepoloBorn on July 17 1981 in Belgrade, where she attended Experimental primary school Vladislav Ribnikar andThird Belgrade High School. She graduated rom the Department o Dramaturgy o Faculty o Dramatic Artsin Belgrade in 2006. As o season 2007/2008, she works as a dramaturg with Bosko Buha Theatre where shecollaborated with theatre directors o all generations.

Since the beginning o her university studies until present, her ollowing plays were produced: Characters(Karakteri) (City Theatre Podgorica, 2003), Karma Coma (Karma koma) (Dadov, 2004), Fairytaledrome (Bajko-

drom) ( Bosko Buha, 2007), Who is Lorette? (Ko je Loret?) (Little Theatre Dusko Radovic, 2009), They WantedSomething Else Entirely (One su htele neto sasvim drugo) (In Stage, 2009), as well as several dramatisations.Her play Test (Kontrolni) was published in Klaka magazine in 2009. She worked as a dramaturg on severalproductions (Two Gentlemen o Verona, Bosko Buha 2005, Lieordeath (Trtmrtivotilismrt), BELEF, 2007, Har-lod and Maude, Belgrade Drama Theatre 2010) She also writes or television, mostly programmes or chil-dren and young people, as well as scripts or a large number o events.

She took part in numerous workshops, such as Pilotproject or young writers at National Theatre Oslo in 2003,Irena Kraus workshop at Little Theatre Dusko Radovic in 2009 etc

She won the Josip Kulundzic Award at Faculty o Dramatic Arts in 2004 and Film Centre Serbia Script Devel-

opment prize in 2006. Her play (Sel)censored! ( (Auto)cenzurisano!) was shortlisted at the Sterijino pozorjeestival best play competition.

She speaks English and French.



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Milo JakovljeviRoen 1985. godine. Osnovnu kolu zavrio u Bau, zatim gimnaziju u Sremskim Karlovcima. Diplomiraodramaturgiju pri Akademiji umetnosti u Novom Sadu.Prvi proesionalni angaman dobio u subotikom Narodnom pozoritu radei kao dramaturg predstavePutujue pozorite opalovi Ljubomira Simovia.

S ispitnom dramom s tree godine studija Projekcija uestvovao na Meunarodnom orumu dramskih pi-saca u Poznanju.Izvedene drame: Projekcija u reiji Borisa Lijeevia, Narodno pozorite Sombor; Tri praseta u reiji Emili-je Mrdakovi, Pozorite Mladih Novi Sad.Javna itanja: radio drama za decu Aca i leptiri, Pozorite Mladih Novi Sad.Objavio pripovetku Matematika depresije u knjizi Najbolje prie iz reda za vizu Graanskog pakta zaJugoistonu Evropu. Takoe pie poeziju i kratke stripove.Nagrade: Prva nagrada na meunarodnom estivalu Melnike veeri poezije u Bugarskoj; Nagrada za na-jbolji alternativni strip i Specijalna nagrada irija za inovaciju na 6. Meunarodnom salonu stripa u Beogradu;Nagrada Novosadskog univerziteta za vrhunske rezultate u umetnosti.Predstava Projekcija osvojila je Nagradu za najbolju predstavu u celini na 14. Festivalu malih scena i mono-

drama u Istonom Sarajevu.

Milos JakovljevicBorn in 1985. Completed primary education in Ba, then secondary education at the Sremski Karlovci GrammarSchool. Bachelors degree in dramaturgy at the Academy o Arts in Novi Sad.Got his rst proessional engagement at The National Theater in Subotica working as a dramaturge or a peror-mance o The Travelling Theater opalovi by Ljubomir Simovi.Participated in the International Playwrights Forum in Pozna (Poland) with his third year exam play Projection.Produced plays: Projection, directed by Boris Lijeevi, The National Theater o Sombor; Three Little Pigs,directed by Emilija Mrdakovi, Youth Theater in Novi Sad.Public readings: Alex and the Butterfies radio play or children, Youth Theater in Novi Sad.

Published a short story Mathematics o Depression in Best Visa Queue Stories by Citizens Pact or SouthEastern Europe. Also writes poetry and short comics.Awards: First prize at the International Poetry Festival in Melnik (Bulgaria); ward or Best Alternative ComicBook and Special Jury Prize or Innovation at the 6th International Comics Showroom in Belgrade; University oNovi Sad Award or Excellent Results in Art.Projection won Best Perormance at the 14th Festival o Chamber Stages and One Man Shows in East Sarajevo (Bosnia).



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Simona Hamer(1984) je tudirala dramaturgijo na ljubljanski Akademiji za gledalie, radio, lm in televizijo. e dve leti

soustvarja v Gledaliu Glej zadnje leto kot dramaturginja.Kot dramaturginja je sodelovala pri razlinih uprizoritvah slovenskih in tujih dramskih tekstov, njen zadnjiprojekt je avtorski projekt V. E. M. (2010).

Deluje kot dramatiarka (Taubeka, 2008, Tik-tak, 2009 bralno uprizorjena tudi v okviru Sterijinega pozorja)in je lanica umetnike skupine preglej. V zadnjih letih je sodelovala pri snovanju in izpeljavi estivala dramskepisave PreGlej na glas!, ki skozi ormo bralnih uprizoritev predstavlja sodobno (slovensko) dramatiko.Je avtorica teoretinih lankov s podroja dramatike in sodobnih scenskih umetnosti.

Simona Hamer(1984) studied dramaturgy at the Academy or Theatre, Radio, Film and Television in Ljubljana. For the pasttwo years she has worked with Glej Theatre. During the past year she has worked with Glej as a dramaturg.As a dramaturg, she worked on several productions o Slovenian and other plays her last project is a quasi- documentary play V. E.M. (May, 2010).She is also s a playwright (Taubeka, 2008; Tik-tak, 2009 stage reading at Sterijino pozorje estival) and a

member o artistic group preglej, as well as a co-creator o the PreGlej na glas! Festival Slovenian newplaywriting estival.She writes theoretical articles on Slovenian playwriting and contemporary perorming arts.



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Slobodan ObradoviRoen u Beogradu.Diplomirao dramaturgiju na Fakultetu dramskih umetnosti Univerziteta umetnosti u Beogradu.

Radovi:

April 2010 Pozorini komad Jucuca premijerno izveden u Srpskom narodnom pozoritu u Novom Sadu.Mart 2010 Dramaturg na predstavi Bog je DJ, r. Milo Loli, Malo pozorite Duko RadoviMart 2009 Koscenarista kratkog eksperimentalnog lma Koror, s Rastkom Petroviem.Januar 2009 Prevod songova iz mjuzikla Briljantin, Pozorite na Terazijama.Decembar 2008 Dramaturg na predstavi Kima, Malo pozorite Duko Radovi.April 2008 Pozorini kritiar asopisa Yellow Cab.Oktobar 2007 Filmska redakcija televizije AvalaJun 2007 Uesnik AICT radionice za mlade pozorine kritiare u Novom SaduMaj 2007 Zajedno s Rastkom Petroviem, u Barseloni biva dobitnikom CENTA nagrade za scenario Pet soliteraSeptembar 2006 Uesnik AICT radionice za mlade pozorine kritiare u Vilnusu, LitvanijaJuli 2006 Pozorini komad Jucuca, slobodna adaptacija romana J.J. Zmaja, objavljen je u asopisu Scena.

Maj 2006 Objavljuje kritike za Mlado pozorite, jedan od redovnih programa pozorinog estivala Sterijino pozorjeDecembar 2005 Slobodna adaptacija Don uana .B.P. Molijera, r. Ana Djordjevi, Bite teatarOktobar 2005 Prevod songova iz mjuzikla Chorus Line, Pozorite na Terazijama.

Objavljuje kritike u pozorinim asopisima Teatron i Scena.

Slobodan ObradoviBorn in Belgrade. Gratuated on Dramaturgy Department, Faculty o Dramatic Arts, University o DramaticArts in Belgrade.

April 2010 theatre play Jucuca staged in Serbian National Theatre, Novi Sad

March 2010 Dramaturgy o a play God is a DJ, Theatre Duko Radovi, directed by Milo Loli, Theatre Duko RadoviMarch 2009 co-screenwritter with Rastko Petrovi or short experimental movie KororJanuary 2009 translation o the songs or the musical The Grease, Terazije theatreDecember 2008 dramaturgy o a play The Spine, Theatre Duko RadoviApril 2008 theatre critic, Yellow Cab magazineOctober 2007 lm-department on Television AvalaJune 2007 participant o AICT intership or young theatre critics in Novi SadMay 2007 winner o the CENTA prize with Rastko Petrovi or the script Five Skyscrapers, BarcelonaSeptember 2006 participant o AICT internship or young theatre critics, Vilnus, LithuaniaJuly 2006 theatre play Jucuca, ree adaptation o the J.J.Zmaj novel, published in theatre magazine ScenaMay 2006 published critics or the Young Theatre, one o the regular programs o thetre estival Sterijino pozorje

December 2005 ree adaptation o Don Juan by J.B.P. Moliere, Bite Theatre, directed by Ana oreviOctober 2005 translation o the songs or the musical A Chorus Line, Terazije theatre

Published critics or proessional theatre magazines Teatron and Scena



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Teresa AriostoTeresa je svoju karijeru zapoela kao novinarka, piui u kulturnim rubrikama razliitih italijanskih novina i asopisa.Ima duboko znanje o pozoritu za mlade, zahvaljujui tome to je inicirala i vodila internacionalne projekte uItaliji, vajcarskoj i Velikoj Britaniji.

U Velikoj Britaniji Tereza je magistrirala umetniku kritiku i menadment na City University u Londonu i ra-dila je kao slobodna umetnica u pozoritu Man on The Moon, Living Pictures Productions i ATTIC TheatreCompany, pre nego to je 2002. godine postala producentkinja u Company o Angels, a zatim i 2007. godinedramaturginja u istoj trupi.

Tereza je kustoskinja estivala Theatre Cae, estivala novih evropskih komada za mlade, koji Company oAngels organizuje svake dve godine.

Teresa je prevela dramu Mali Andjeli (Piccoli Angeli) (Marka Balianija za Polka Theatre i sezonu Mlada Evropau Company o Angles, a trenutno prevodi petu epizodu Ang!Ank!, medjunarodnog pozorinog serijala koga jeinicirao LABO 07 (Pariz).

Bila je lanica odbora reditelja CIAO! Festivala i Streets Alive Theatre Company.

Teresa AriostoStarted her career as a journalist, writing or the Arts Section o a variety o Italian newspapers and magazines.She has an in-depth knowledge o theatre or young people, having initiated and managed international proj-ects in Italy, Switzerland and the UK.In the UK Teresa has completed an MA in Arts Crticism and Management at the City University o London andhas worked as a reelancer or the Man in the Moon Theatre, Living Pictures Productions and ATTIC TheatreCompany, beore becoming Comany o Angels Producer in 2002 and Dramaturge in 2007.

Teresa has translated Piccoli Angeli (Little Angels) by Marco Baliani or the Polka Theatre and Company o An-gels season Young Europe and is currently translating the 5th episodes o Ang!Ank! an international theatreserial initiated by LABO07 (Paris).

She has served on the Board o Directors or the CIAO! Festival and Streets Alive Theatre Company.



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Toni GrejmToni je 1989. godine kao reditelj postao lan TAG Theatre Company, u Citizens Theatre u Glazgovu. Go-dine 1992, Toni je postao Umetniki direktor TAG-a, a godinu dana kasnije pozvan je da reira veoma dobroprihvaenu Pesmu u zalazak sunca (Sunset Song) na Edinburkom medjunarodnom estivalu.

Od 1997, Toni je postao esti umetniki direktor Unicorn Theatre or Children, najstarijeg proesionalnogdejeg pozorita u Velikoj Britaniji. U tom pozoritu je reirao dvadeset sedam predstava, medju kojima je iTomova ponona bata (Toms Midnight Garden), dobitnik TMA nagrade za Najbolju predstavu za mlade 2001.godine. Crvene, crvene cipele (Red Red Shoes) osvojile su nagradu koju Arts Council dodeljuje za Najboljusavremenu predstavu za decu 2004. godine. Iste godine, Toni je reirao prvu novu operu za decu pozoritaUnicorn, zasnovanu na Mehanizmu (Clockwork) Filipa Pulmana, u Linbury Studio, Royal Opera House.

U decembru 2005, pod Tonijevim rukovodstvom, Unicorn je otvorio svoje mnogo nagradjivano pozorite zadecu u srcu Londona. Unicorn je osvojilo TMA nagradu dva puta u protekle tri godine, sa Traei Dej Dej(Looking or JJ) i Najbolje (For the Best).

U poslednje vreme, Toni je adaptirao Bilija Kida (Billy the Kid) Majkla Morparga (Michael Morpurgo), to jeasopis Time Out proglasio najboljom dejom predstavom 2007. godine. Radei s japanskim umetnicima, odtada je reirao Zvezde bliznakinje (Twin Stars) i Maka koja je pobegla (The Cat Who Ran). Njegova najnovijapredstava, Bura (The Tempest), upravo je doivela premijeru.

Tony GrahamIn 1989, Tony joined TAG Theatre Company based at the Citizens Theatre, Glasgow, as Associate Director. In1992 Tony became TAGs Artistic Director and a year later was invited to direct the highly-acclaimed SUNSETSONG or the Edinburgh International Festival.

From 1997, Tony became the sixth Artistic Director o the Unicorn Theatre or Children, the UKs oldest pro-

essional theatre company or children. He has directed twenty seven productions or the Unicorn includingTOMS MIDNIGHT GARDEN, winner o the TMA Award or Best Production or Young People 2001. RED REDSHOES won the Arts Council Best New Play or Children 2004. In 2004, Tony directed Unicorns rst new operaor children based on Philip Pullmans CLOCKWORK at the Linbury Studio, Royal Opera House.

In December 2005 under Tonys leadership, the Unicorn opened its award-winning fagship theatre or chil-dren in the heart o London. The Unicorn has won the TMA Award twice in the last three years with LOOKINGFOR JJ and FOR THE BEST.

More recently, Tony adapted and directed BILLY THE KID by Michael Morpurgo, Time Outs Best Children Show2007. Working with Japanese artists, he has since directed THE TWIN STARS and THE CAT WHO RAN. His lat-

est production THE TEMPEST has just opened.



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Vanja NikoliRoena 30. 04. 1983. u Novom Sadu. Studije Komparativne knjievnosti je zavrila 2007. godine na Filozos-kom Fakultetu i iste godine upisala studije Dramaturgije na Akademiji umetnosti u Novom Sadu. Trenutno jestudent III godine.Kao dramaturg radila na predstavi Prugasti maak i gospojica lasta u reiji Attile Antala u Malom pozorituDuko Radovi u Beogradu 2010 godine.U okviru novogodinjeg programa Amerikog kutka u Novom Sadu, 2009 godine izvedena je predstava Bo-sonoga jelka po njenom tekstu, a u reiji Ane Ili.Javno itanje radio drame za decu Svemirska uspavanka u reiji Ane Ili u okviru programa radio drama zadecu i mlade postavljeno u Pozoritu mladih u Novom Sadu 2010 godine.Javno itanje drame Connection u reiji Jake Andreja Vojeveca u okviru estivala Pre Glej na glas izvedenoje u Ljubljani 2009. godine gde je drama istovremeno i izdata. itanje iste drame dogodilo se i na Sterijinompozorju u Novom Sadu, 2009 godine, a u okviru programa Nove drame.Kao koscenarista je uestvovalana na lmu Dok svane u reiji Attile Antala snimljenog u Maarskoj 2008godine i kao saradnik na izradi dokumentarnog lma Neko drugo vreme, Novi Sad 2006 godine.U okviru projekta Integralac namenjen za obuku mladih pisaca i novinara bila je predava u oblasti kreativnog pisanja.

Organizovala i vodila niz radionica kreativnog pisanja u Amerikom kutku i Omladinskom klubu u Novom Sadu.Vanja NikoliWas born on April, 30, 1983 in Novi Sad. She graduated at studies o Comparative literature at Faculty oPhilosophy in Novi Sad in year 2007. Same year she enrolled the studies o Dramaturgy at Academy o Arts atUniversity o Novi Sad. Currently she is a student o 3rd year.She worked as a dramatist or the play Brindle cat and Miss swalow directed by Atilla Antal, in Little theaterDuko Radovi in Belgrade in 2010.Play Bareoot Christmas tree was played as a part o New year program organized by American corner inNovi Sad in 2009. It was directed by Ana Ili.In year 2010 radio play Spacecrat lullaby had a public reading and it was directed by Ana Ili, within the

program radio play or kids and young, organized in Theatre or young in Novi Sad.In year 2009 play Connection had a public reading, directed by Jaka Andrej Vojevec, during the estival PreGlej, which was held in Ljubljana, Slovenia and play was published than. Also, the above mentioned dramahad a public reading during the estival Sterijino pozorje, as a part o program New drama, held in Novi Sadon the same year.In year 2008 participated as co-screenwriter in making the lm Till dawn ades directed by Attila Antal,made in Hungary.In year 2006 participated as a co-author in making o documentary lm Some other time in Novi Sad.She was a lecturer within program or creative writing as a part o the project Intergralac made or educationo young writers and journalists. Also, she organized and managed several workshops or creative writingorganized in American corner and Youth club in Novi Sad.



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Vesna RadovanoviRoena u Beogradu, ali oduvek ivi u Zemunu. Zavrila engleski i nemaki na Filolokom akultetu u Beo-gradu. Uivala tokom studija, bavila se istraivanjem postmodernizma, Hopkinsa, Ezre Paunda, pisala o Mag-betovoj tragikoj greci, ludo se zaljubila u Stivena Spendera. Izuavala meuzavisnost bitnika i Vudstoka.Na AAOM-u pokuala da se bori protiv bezumlja devedesetih. Pisala o tome. Bavila se esejima Valtera Ben-jamina. Pisala i o tome. Shvatila da esto pie o mnogo emu, pa upisala pisanje, te i zavrila dramaturgiju naFakultetu dramskih umetnosti u Beogradu. Bavila se televizijom (svidelo joj se onako), lmom (znatno vie),drama Grateul Alive joj je postavljena u SNP-u u Novom Sadu, scenario Deveta oanziva nagraen nakonkursu RTS-a, a celokupno medijsko znanje i iskustvo ve deset godina pokuava (i dobrim delom i uspeva)da integrie u rad sa decom, kroz nastavu engleskog jezika. Prevoenjem se bavi dugo i sve zagrienije. titiivotinje, uspeno se bavi otograjom, oboava ljude. Zaljubljena. Ludo. Uvek. Mora tako. Drugaije ne ide.

Vesna RadovanoviBorn in Belgrade but has always lived in Zemun. She graduated with a degree in English and German romthe Faculty o Philology Belgrade. She enjoyed her studies, did research in postmodernism, in the work oHopkins and Ezra Pound, wrote about the tragic faw o Macbeth and ell in love with Stephen Spender. She

conducted research on the interdependence between beatniks and Woodstock. As an AAEN student, she triedto ght the absurdity o the nineties. She wrote about that. She did research on Walter Benjamin, wrote aboutthat, too. She realized shes constantly writing about something so she took up writing studies. She graduatedwith a degree in Dramaturgy rom the Belgrade Faculty o Drama Arts. She worked or TV (she kind o likedit), or lm (she liked it a lot), her play Grateul Alive was staged in SNP in Novi Sad, her script The NinthOensive was awarded at the RTS competition, and she has been trying (and succeeding) to incorporate hermedia knowledge and experience into her ten-year work with children as an English teacher. She has beenworking as a translator or a long time, becoming increasingly more enthusiastic about it. She protects ani-mals, does photography with a considerable success, and adores people. She is in love. Madly. She always hasto be. Cant unction in any other way.



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ASSITEJ Srbija - Udruenje za razvoj pozorita za decu i mlade je nevladina organizacija koja deluje u oblasti proesionalne pozorineumetnosti za decu i mlade sa ciljem da unapreuje, razvija, prati i promovie pozorinu umetnost za mlade na najviem umetnikom nivouna domaoj i internacionalnoj sceni.

Organizacija okuplja 50 lanica, institucija i pojedinaca i nastoji da svojim aktivnostima utie na promenu stava prema pozorinom stvaralatvuza mladu publiku, inormie strunu i iru javnost o znaaju, uticaju, postignuima i mogunostima pozorita za mlade i da motivie pozorinestvaraoce za decu i mlade da se svojim delovanjem aktivno ukljue u unaprenje i promociju deje kulture uopte.

ASSITEJ Srbije se u svom radu naslanja na vane pozorine datume i dogaaje, maniestacije i estivale u okviru kojih organizuje: koneren-cije, tribine, radionice, seminare, gostovanja stranih i domaih pozorinih autora

dramaturgija u odrastanju

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