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T h e...N A T I O N A L...D R A M A...A N D...T H E A T R E...S E L E C T I O N |
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Sterijino Pozorje Festival |
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Novi Sad |
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May 26th - June 5th 2008 |
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THURSDAY - MAY 29th 2008 |
Chamber Stage, Serbian National Theatre
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18:00 & 20:00 |
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Đorđe Milosavljević
INSTANT SEX EDUCATION
The 'Boško Buha' Theatre, Belgrade |
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Director JUG RADIVOJEVIĆ
Dramaturg MILENA DEPOLO
Set designer ALEKSANDAR DENIĆ
Costume designer JELENA STOKUĆA
Composer MOMČILO BAJAGIĆ BAJAGA
Choreographer MARIJA MILENKOVIĆ
Stage speech RADOVAN KNEŽEVIĆ
Light designer SRĐAN CVETKOVIĆ
Premiere:
March 16th 2008 |
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Vojke |
IVAN ZEKIĆ (a student of the Faculty of Dramatic Arts, Belgrade) |
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Čeva |
RADOVAN VUJOVIĆ |
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Dača |
DANIJELA ŠTAJNFELD |
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Žak |
BORKA TOMOVIĆ |
Aleksandar Predić |
DRAGAN VUJIĆ - VUJKE |
Stanko |
DEJAN LUTKIĆ |
Pile |
GORAN JEVTIĆ |
Zaga |
KALINA KOVAČEVIĆ |
Fiki |
MILOŠ TIMOTIJEVIĆ |
Šuga |
VIKTOR SAVIĆ |
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| The 'BOŠKO BUHA' THEATRE , BELGRADE |
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Back in 1950 Gita Predić-Nušić and Đurđinka Marković, as experienced theatrical pioneers, founded the ‘Boško Buha’ Theatre, the first professional theatre for children, under the motto ‘artists for children’. They struggled and obtained a professional troupe and technical equipment, attracted the most prominent creators in the field of theatre (Miroslav Belović, Miroslav Dedić, Srboljub Stanković and Bojan Stupica), and developed a repertoire of high-quality and attractive dramas. The theatre grew and developed without a role model and shortly gained the same treatment as the other Belgrade repertoire theatres, guided by the principle to ‘entertain, teach and enrich through created impressions’. Its continuity has earned it the same strictness and attention as the other professional playhouses.
Today, after its 205th premiere, with its sixty employees, the theatre has two hundred performances and receives about a hundred thousand visitors a year.
In its fifty-fifth season the theatre is classical and modern with a well-defined repertoire; it still makes theatrical poetry and magic, with each performance seeming as an invitation to play.
The theatre has taken its original repertoire to many other stages as guest performances and all those theatrical fairytales have been imported by other theatres, school and amateur troupes. |
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P E R F O R M A N C E...... |
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Danica and Vojkan are a young couple whose sexual experience is finally put to the test. Afraid of disappointing their partner and unaware of the fact that they share the same problem, each decides to learn everything left to be learned one Friday. In a black comedy search for instant sexual experience, Vojkan is guided by his elder brother, and Danica by her best friend. Their night excursion through the world of prostitutes, pimps, drug dealers and perverts will reveal much more than they bargained for... |
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S E L E C T O R ' S...R E P O R T...... |
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Instant, or why is honesty not in
Growing up and being a teenager in the today’s world of denuded pornography on all levels is difficult. The behavioural patterns are tailored in such a way that a child grows up into a consumer of our civilisation’s junk. They are tailored and wrapped up in such a way that a little explorer of life gets confused at the first encounter with his/her desires and needs which collide with the desired models marketed through the media and popular non-culture... Everything is fast: both food for body and food for soul, it is all chewed up, prepared for ‘swallowing’. To write a drama for contemporary teenagers is very hard today, as the modern teenage generations differ hugely from their predecessors, by the very fact that they live in media-political-showbiz porno-world bombarding them with pseudo-values day and night. If they accept them, they actually take a shortcut to becoming old people, conserved and inauthentic ideal consumers. Personal experience of sensibility and honesty becomes an illusive dream and a value which is hard to attain. In the drama by Djordje Milosavljevice directed by Jug Radivojevic, with the paedophilic teacher, pimps, prostitutes, mobile phones... without moralising, a teenage couple in love finds their way through a nightmare, which comes to an end by an awakening in a cathartic truthful statement of oneself which saves them. This play wittily wins the attention of the young people who have been captured by works of Sue Townsend and her hero Adrian Mole, or S.D. Payne with Nick Twisp and their journals, which are the favourite readings for the initiation into the world of the first sexual and emotional experiences. In the 1990s we had the film “We are not Angels” by Srdjan Dragojevic, and now in 2008 we have Instant. The play Instant contains a ‘sparkle of life’ recognised by Peter Brook as necessary, whether we are talking about classic or boulevard theatre. Both the playwright and director caught the ‘wave band’ of teenagers, so this play is luckily no mutant like the ones that often come as a product of adults who think they know all about the young and that they are smarter than them - and then create adult look-alike creations for the young.
Tatjana MANDIĆ-RIGONAT |
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ĐORĐE MILOSAVLjEVIĆ
Born in 1969 in Ivanjica, screenplay writer, playwright and director Đorđe Milosavljević graduated from the Faculty of Dramatic Arts in Belgrade with a diploma in Dramaturgy. He has written scripts for ten full-length films (national awards for the best script for the films Točkovi (Wheels), Nebeska udica (Sky Hook) and Apsolutnih sto (The Absolute Hundred); directed three feature films (YU FIPRESCI, for the best film, 1999, Grand Prix at the Sochi International Film Festival, 1999, both for the film Točkovi (Wheels); Finland Award at the festival in Cottbus, 2001, Prix FIPRESCI at the festival in Troy 2001, both for the film Mehanizam (Mechanism)); authored a number of stage dramas (among which are Gola Vera (Naked Faith), the most read Serbian drama on the Internet, Parče noći (A Piece of Night), performed at Sterijino pozorje in 1999, and Porfirogeneza, Best Play Award at the Joakim-Fest 2004); and as a screenplay writer signed a number of cartoon-albums for national (national award for the best cartoon-album, Kalokagarti, 1996) and foreign publishers (cartoon-series Imperija razuma (Empire of Reason), for "Glenat", France). |
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One morning, not long after I had finished writing this drama, I was awakened by a television programme. With a cheerful smile and cheerless hair, a national television presenter was talking, at about eight o’clock in the morning, about the sexual adventures of high school students, recorded and available to anyone who cared to see.
I thought to myself – that’s what it means to be totally obsessed with your writing. You see what you are writing about, even when it isn’t true.
But, it turned out to be absolutely true. Life informs theatre – because, fortunately or unfortunately, our reality is too scenic.
Đorđe MILOSAVLjEVIĆ |
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JUG RADIVOJEVIĆ
Born in 1972 in Belgrade, Jug Radivojević graduated in Theatre and Radio Direction from the Faculty of Dramatic Arts in Belgrade, under Professor Svetozar Rapajić. He has directed 79 plays for over twenty theatres in Serbia and received a number of awards for direction.
The play Instant Sex Education is his 80th accomplishment, and fourth for the “Boško Buha” Theatre. Since the academic year 2004/2005 he has been working as an Assistant Professor at FDA in Belgrade (Section for Acting).
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We Live in an Instant Society
Today we live in an instant society, but also in a grinding time, and we have no time even for ourselves. In this play our heroes have parents, but they are practically non-existent – they are absent. They simply have no time for their children, who are unfortunately left to themselves or to the company of their peers.
Jug RADIVOJEVIĆ |
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Dust in the Eyes
Instant Sex Education, a play intended for teenagers, is equally (if not even more) interesting for adults, for educational reasons. Milosavljević has dedicated his latest play to how young people live today, making it concrete through the prism of their problems in regard to the first sexual experiences and ways of solving this adolescents’ issue of all issues. Basically, the situation is anecdotal: as they have found themselves in a promising situation to make love (probably) for the first time, and with a desire to appear mature to each other, the two teenagers are panicky trying to shake off their innocence during the remaining day, and they seek help from those closest to them. As it turns out, those closest are deeply involved in the world of vices and crime. That is the reason why this story of growing up is especially interesting for adults, as its conclusion is that in today’s society children will not be accepted among their peers if they are normal.
The idea of the authorial pair (Milosavljević, Radivojević), who has already had excellent results with the similar play Gola Vera (Naked Faith) from Kragujevac, is to successfully (again) throw the street dust of its own evil into the face of society.
If we are to consider this creation from the angle of its realisation and the story itself, the first thing that we notice is how theatrically developed it is. Namely, director Radivojević covers the entire space of both the stage and auditorium with the play, placing the actors in the audience - what belongs to the world of stage merges with the world of reality, providing an effect of closeness. However, the overall impression is that overly strong means have occasionally been used to interpret this story of a generation, which became difficult to control.
To prevent any misunderstandings, the ‘Boško Buha’ Theatre production does achieve what an engaged theatre of this kind is supposed to do today. The credit for that primarily goes to a couple of young actors – Ivan Zekić and Radovan Vujović, as well as veterans Dragan Vujić and Dejan Lutkić, and Goran Jevtić’s bravura. What needs to be added is that the play is accompanied by interesting music by Bajaga, but also the fact that the first team of the ‘Boško Buha’ Theatre mainly play on their charm.
Željko JOVANOVIĆ (Blic, 22nd March
2008) |
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.The
management preserves the right to change
the schedule
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Copyright
: Sterijino pozorje 1998-2008.
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