Yearbook of the Independent Performing Arts Scene in Serbia - TkH

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POLYPTYCHphotography: Aleksandar MilosavljevićTHE ISTER THEATREISTER was the name of the Danube River in classical antiquity, the river thatconnects two different worlds, two different civilizations. The Ister Theatrewas founded in 1994 as a theatre company whose work is characterized byinvestigation and establishment of links between dance and drama techniquesinto physical theatre. The work on personal stories, authentic observationof the world, concrete emotions is of crucial importance for the creation oftheatre pieces and performances that attempt to draw the attention to truthabout the surroundings we live in. Provocation rather than answer. Space asa venue of communication significantly determines work on street performancesthat are also important segment of Ister practice.Ister Theatre participated at numerous festivals and performed in Serbia aswell as in Bulgaria, Rumania, Great Britain, Italy, The Netherlands, Germany,Egypt. Ister is one of the founding members of the ANET (Association ofIndependent Theatres) as well as Station – Service for Contemporary Dance.Authors/performers of Polyptych are individuals who contributed the most to thecourse of Ister’s creative expression during its existence: Isidora Stanišić, UrošPetronijević, Miodrag Lazović, Nataša Veljković (video editing), Jelena Jović, DanicaArapović, Anđelija Todorović, Aleksandar Milosavljević (photographs) and NenadJelić (music).Premiere: December 22, 2008, Dah Teatar Centre for Theatre ResearchPolyptych is a stage/performance entity composed of five particular and seeminglyun-related pieces of different genre. Although using different media (dance/performance,film, music, photography), different artistic manners and forms of expression,when shown together, these pieces form a unique, thematically connected andestheticaly unison stage-visual act. The sixt element of Polyptich is the space-venue,which will constantly change.review“[T]his piece composed of movement, electronic sound and video-editing was arefreshment in boring preocupations of standardised theatres competing in acquiringvantage point in distances measured in milimetres of similar realistic procedures ofburgeois drama. Courage and unusal charm of Ister Theatre in Dah Theatre, confimedthat there is still hope for Belgrade alternative theatre scene.”Goran Cvetković, Radio Beograd 2works2007: THREE SISTERS OR ALL AROUND CHECKOV– Magacin u Kraljevića Marka, Teatro della Contaddizione,Milan etc (Dimitrije Parlić Award forbest Choreography); BOOM, BANG – DOG ANDMAN, Bitef theatre; 2005: BEACH, fountain infront of the Hyatt Hotel, BELEF; VIRGIN ISLANDS,Belgrade Youth Centre; 2004: WEDDING (SER-BIAN), Mira Trailović Square, BELEF; 2003: HEAT,Yugoslav Drama Theatre facade, BELEF;2002: LIST OF SUSPECTS OR WHO ATE THE PUD-DING?, Bitef Theatre;…1994: ISLAND – THE DANCE OF ATOMS – SavaCentre, Art Saves Life festival (Dah Theatre).cONTAcTISTER TEATARaddress: Karlovačka 26, Zemuntelephone/fax: +381 11 26 19 705e-mail:isterteatar@gmail.comr a s [57]t e r
knotphotography: Lidija AntonovićmimartMimart is the first experimental theatre in Serbia, established in 1984.in Belgrade. Nela Antonović, founder and artistic leader all these years, isexploring possibilities of moving the borders of theater through a methodof creative visualisation Mimart. She is the author of 40 experimentalprojects and over 400 performances. She published books: Mimart godovi(2000) about the method of work and training and Phenomenology throughmovement (2004), about experience from experimental workshops. Nelais writing a 3 rd book (2009), about experience of 25 years of work and selfcritic. Mimart took part at over 30 international theater festivals and wonmany prices. Mimart is member of Station.Concept and directing: Nela Antonović; Performers: Ana Bastać, PredragRadovančević, Branislav Jeremić, Sandra Vidović, Natalija Ignjić, Jelena Mrkić, NikolaVranić; Music: Predrag Radovančević; Costume design: Anđelija Marković; Set design:Nikola Nikolić; Videoart: Lidija Antonović; Dramaturge: Milan Marković.Performance Knot explores a group of young people that are hanging around. Knot,inside each of us, can be tied, untied and stretched. Ambivalent symbolic idea ofknot – constraining and uniting – directed us to the topic of loss of identity in life,in order to fit the majority. Transfer from rational perception into out-of-time spaceand vice versa, is made through video projection from the above. That is the onlysource of light on stage. If contemporary art should be reflection of social reality,no matter how traumatic, than hanging around can be considered as useful waste oftime.review“Nela Antonović, concept author and director of KNOT creates almostritual-mantric field, cultural-political discourse aroun knot, in which individualbodies of dancers acquire collective meaning.″Ana Isaković (KKH)http://tkhforum.blogspot.comworks2008: KNOT, Belgrade Dance Centre;2007: Fairies in bionic convergence, Magacin u KraljevićaMarka; Dead end street, REX; 2006: Crossroad,DOB; 2005: Gift, SKC; 2004: Questions marks,Atelje 212; Romeo and Juliete, BELEF; 2003: Blackroom, Bitef teatar; Roaming through Blue, Atelje 212;2002: Construction of desconstructed, KULT;2001: Network, Atelje 212; Made in Norway, SKC;2000: Time of Astrals, Atelje 212; 1999: Radish piein the sky, Atelje 212; Caleidoscope, Barutana;1998: Institute for changing destiny, Atelje 212;1997: Aurum, Atelje 212...1985: Urbis ludus, SKC.cONTAcTTEATAR MIMARTNela Antonovićaddress: Gandijeva 11/3111070 Belgradetelephone: +381 11 31 76 188+381 63 80 75 810e-mail: mimart_na@hotmail.comweb: www.teatarmimart.org.rsr a s [59]t e r
Page 2 and 3: Belgrade, january 2009.
Page 4 and 5: Yearbook of the Independent Perform
Page 6: project directory[44/45][46/47][48/
Page 9 and 10: changed when compared to the situat
Page 11 and 12: powerful institutional resources, a
Page 13 and 14: supporting fresh and emerging criti
Page 15 and 16: In alternative terms one could addr
Page 17 and 18: ary “forest artists” neverthele
Page 19 and 20: The impact of the Bitef Festival, a
Page 21 and 22: about is total absence of public th
Page 23 and 24: What was common to Yugoslav retro-a
Page 25 and 26: and tactics of behavior and work wi
Page 27 and 28: Kolekcija 18 (2008), when he attemp
Page 29 and 30: tion and heteronormativization in t
Page 31 and 32: gies in live performances. Example
Page 33 and 34: × ana vujanovićNot Quite-Not Righ
Page 35 and 36: art, body art and happenings of the
Page 37 and 38: at the level of critical re-thinkin
Page 39 and 40: aspect: “Fostering Creativity”,
Page 41 and 42: now!” activity, and nearly anonym
Page 43 and 44: × × × × × × × × × × × ×
Page 45 and 46: In/Visible Cityphotography: Đorđe
Page 47 and 48: BLANKSPACE (Međuprostor)photograph
Page 49: CURVE FOR GAUSSphotography: www.haj
Page 53 and 54: photography: The Worstmudra theatre
Page 55 and 56: photography: Villa and Zapata in Pr
Page 57 and 58: AUDITION FOR PARADISEphotography: I
Page 59 and 60: ONE PIECE OF ADVICE - ONE BEERphoto
Page 61 and 62: TOUCHING - BREATHING - WALKINGphoto
Page 63 and 64: photography: Stanislav MilojkovićS
Page 65 and 66: photography: Srđan VeljovićtkhWAL
Page 67: I CAN NOT LEAVE, BECAUSE...photogra

Yearbook of the Independent Performing Arts Scene in Serbia - TkH

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