2013 F I A T F I A T 2013 - Amazon Web Services

2013 F I A TF I A T 2013

Pokrovitelji Ministarstvo kulture Crne Gore Glavni grad Podgorica www.f iat-montenegro.org

F I A T

Crna GoraMinistarstvo kulture

OBNAVLJANJE FIAT-a Na inicijativu Ministarstva kulture Crne Gore

REVIVING FIAT Initiative of the Ministry of Culture of Montenegro

Žiri / JurySonja Vukićević, koreograf, balerina (Srbija)Choreographer, Ballerina (Serbia)Matko Botić, kritičar i teatrolog (Hrvatska)Critic and Theatrologist (Croatia)Vasko Raičević, dramaturg (Crna Gora)Vasko Raičević, Dramaturge (Montenegro)

Nagrade / AwardsNagrada za najbolju predstavuBest show awardNagrada za najbolju režiju (autora)Best director awardNagrada za najbolje glumačko ostvarenjeBest acting performance award

Direktor festivala / DirectorAna Vukotić

Umjetnički savjet festivala / Festival Art CouncilSlobodan Milatović, reditelj - predsjednik (Crna Gora)Director - President (Montenegro)Ljubomir Đurković, književnik, dramaturg (Crna Gora)Writer, Dramaturge (Montenegro)Oliver Frljić, reditelj (Hrvatska)Director (Croatia)Damir Domitrović, direktor festivala Ex Ponto, (Slovenija)Director of the festival Ex Ponto, (Slovenia)Dino Mustafić, reditelj, umjetnički direktor MESS-a (BiH)Director, Art Director of MESS (B&H)Dejan Projkovski, reditelj, umjetnički direktor MNT, (Makedonija)Director, Art Director MNT, (Macedonia)Željka Udovičić, dramaturg (Hrvatska)Dramaturge (Croatia)Aleksandar Milosavljević, teatrolog, direktor SNP-NS, (Srbija)Theatrologist, Director SNP-NS, (Serbia)Biljana Srbljanović, dramski pisac, (Srbija)Dramatic writer (Serbia)

Festival internacionalnog alternativnog teatra

MontenegroPodgorica 2013

FIAT

PR, marketingPR and MarketingDragana Tripković

Total dizajnTotal DesignAna Matić

OrganizatoriProduction managementDejan ĐurkovićLuka Doknić

Izvršni producentExecutive producerAnalytica Consulting doo

Tehnička podrškaTechnical supportPG SOUND

PokroviteljiMinistarstvo kulture Crne GoreGlavni grad Podgorica

With a support of theMinistry of Culture MontenegroCapital Podgorica

Festival internacionalnog alternativnog teatra

MontenegroPodgorica 2013

FIAT

Festival of International Alternative Theatre Montenegro | Podgorica | 2013

Ekipa FIAT-a FIAT 2013 TEAM Nataša Kraljević, Analityca consalting, direktor/director Goran Ćetković, marketing podrška/marketing support Branko Baletić, Vladimir Vučinić, spot/video spot for FIAT 2013 Robert Aleksić, web sajt/web site Aleksandar Saša Vukotić, dizajn nagrade/awards

designer Srđa Dragović, ilustracija/Illustrator Duško Miljanić, fotograf festivala/festival photographer Dobrana Perović, računovodstvo/accounting Safet Šaćiri, prodaja karata / ticket sales Mili Malović, dizajn svjetla/light designer Vlado Martinović, rekviziter/props Miloš Novaković, dekorater/decorator Bojan Bulatović, dekorater/decorator Željko Jovanović Glatki, baštovan/gardener Marko Lukovac Aleksandar Radulović Dejan Ivanić

Izdavač FESTIVAL INTERNACIONALNOG ALTERNATIVNOG TEATRA 2013 Publisher: Festival of the International Alternative Theater 2013www.fiat-montenegro.org; e mail: [email protected]; adresa/address: Kuslevova Kuća, Vuka Karadžića 8, Podgorica, Montenegro

Za izdavača/For the publisher Ana Vukotić Urednik kataloga/Catalogue editor Dragana Tripković Prijevod na engleski/English translation Ana Đurković Dizajn kataloga/Catalogue design Ana Matić Štampa/Print DPC Podgorica

© FIAT - Podgorica 2013.

1 -1 5 . s e p t e m b a r 2 0 1 3 .w w w . f i a t - m o n t e n e g r o . o r g

Obnavljamo FIAT! Obnavljamo Festival internacionalnog alternativog teatra, onaj koji je nasljednik DODEST-a i FJAT-a, prvih oslobođenih pozorišnih misli u Crnoj Gori, onih koje su pred publiku donijele nove umjetničke ideje, artikulisale alternativni teatar i proizvele mnoga značajna imena u svijetu savremenog teatra.

Alternativno pozorište je uvijek bilo istinitija priča od one u kojoj čovjek ima želju da izađe iz samog sebe, u namjeri da bolje vidi tog sebe i svijet u kojeme kao takav jeste. Kroz isprekidanu i nježnu alternativnu nit koju je uspostavio FIAT, provukli su se ključni elementi onoga što nazivamo kulturnom i civilizatorskom tekovinom jednog prostora, tako malog i tako konkretnog kakav je ovaj naš - crnogorski. Možda paradoksalno za jedan alternativni modus, ali FIAT je u idejnom smislu za Crnu Goru otvrorio nepregledan umjetnički prostor na kojem se vođene slobodom, ukrštaju uvijek svježe strasti, snažne identitetske polemike, uzvišene moći dekadencije, ali i pokreti Artoovih „surovih”, glasovi Boalovih „potlačenih” i fantazije „osiromašenih” Gorotovskog...

Potreba za obnovom FIAT-a rođena je pomalo iz krivice što njegov kontinuitet nije uspostavljen još od trenutka

kada je nastao. FIAT su vazda ometale društveno-socijalne okolnosti, netolerancija i elitizam, baš sve ono što su njegove predstave ismijavale i osuđivale. U procesu obnove, u kojem učestvuju ljudi koji su njegovi prvobitni kreatori, ali i logični novi nasljednici, ističe se nekoliko ključnih pozicija djelovanja koje pripadaju velikim manifestacijama, pa čak i institucijama. To su progresivne umjetničke namjere, savremene ideje i kontekstualizacija vremena, okolnosti i nasljeđa. Potreba za FIAT-om je potreba za obnovom tridesetogodišnje alternativne misli, čija se osobenost u našim okolnostima mogla porediti sa načinom na koji savremeni svijet promišlja i pozorišno djeluje. Potreba za FIAT-om je takođe potreba da se pojam alternativnog pozorišta (re)definiše za one koji danas žele da iz svojih udobnih zanatskih zadatosti naprave „izlet“ u nepoznato i freško. Važno je reći da alternativa nije samo potvrda onoga što već postoji i što je vidljivo, nego i rekonstrukcija i obnova duhovnosti. A rehabilitacija scenske umjetnosti uvijek je počinjala baš tu, u toplom krilu neosporne vladarke pozorišne budućnosti – alternative!

Možemo samo da se pitamo kako bi crnogorska scena izgledala danas u slučaju da se FIAT od njegovog provog izdanja 1996. godine događao kontinuirano... Njegova pozicija otvorene

FIAT LUX Neka bude svjetlost – Neka bude FIAT

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scene i eksperimentalne umjeničke prirode, učinila je da mnogi mladi ljudi budu zavedeni magijom teatra. Takođe „fiatovska publika” poseban je termin u kategoriji pozorišnog gledaoca i uvijek je bila ravnopravan učesnik festivala. Taj kuriozitet može potvrditi bilo ko, ko je makar jednom prisustvovao predstavi na FIAT-u, ili na bilo koji drugi način bio dio atmosfere FIAT-a. Ono što se pripisuje FIAT-u, a što do trenutka kada se pojavio, nema ni jedan festival slične prirode u okruženju je produkciono povezivanje i umrežavanje sličnih festivala poput slovenačkog Ex-ponta, BITEF-a, sarajevskog MES-a, skopskog MOT-a i drugih.

Na FIAT-u koji je pred nama, ove godine gledaćemo predstave iz regiona. Ovako zamišljen FIAT je nekad ustvari činio Festival jugoslovenskog alternativnog teatra - FJAT. Nije slučajno da baš ovakav festivalski koncept bude odabir za godinu obnove FIAT-a. Energija sakupljena krajem sedamdesetih i osamdesetih godina iz svih jugoslovenskih pozorišnih centara ubrizgala je injekciju u skromnu pozorišnu zbilju Crne Gore i dovela neka od najznačajnijih imena ex Jugoslavije i Evrope. Jedna takva umjetnička injekcija je i danas potrebna Crnoj Gori.

Prelazak sa FJAT-a na FIAT obilježio je politički kontekst. Kada politički konktekst određuje tok umjetnost, onda govorimo o represiji, cenzuri, šovinizmu, fašizmu. Kada govorimo o političkom teatru, govorimo o angažovanom pozorištu, o antifašizmu, antišovinizmu, o etici i o slobodi. FIAT ove godine za temu ima „politički tetar” kojom mora da se objasni njegova

suština, baš kao suština alternative. Nakon rata 90-tih, i nakon tranzicije 2000-tih, za koju smo se uhvatili baš kao nekad za identitet, došli su na scenu recvidivi neoliberalizma i neokapitalizma: masovna otpuštanja, slom industrija, kriza porodice, kriza institucija, kriza ličnosti, a desila se samim tim i kriza pozorišta. Politički teatar zemalja regiona tiče se nas. To je neki novi politički teatar, nastao kroz onaj stari, brehtovski protest protiv nepravde savremenog društva. Paradoksalna situacija u kojoj su nekada zemlje članice jednog entiteta, sada pripadnice internacionalnog statusa, nesumnjivo je politička i dobro odabrana za umjetničku raspravu jednog alternativnog pozorišnog festivala, kako bi pružla potentne zaključke.

Čini se da je FIAT na svom trenutnom putu obnove ponovo faktor koji pomjera granice, objašnjava, učestvuje i zaključuje. Na ovogodišnjem FIAT-u preispitaćemo što je to nova crnogorska inteligencija. Obratićemo se alternativi u najširem smislu. Otvorićemo nove prostore, otključati stare, pozvaćemo prijatelje i vidjeti nove nade, provocirati i zabavljati se. FIAT treba ponovo da sija velikom svjetlošću. Latinska izreka kaže - fiat lux – neka bude svjetlost. Pa i vrijeme je. Neka bude svjetlost – Neka bude FIAT!

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We are reviving FIAT! We are reviving Festival of International Alternative Theater, the successor of DODEST and FJAT, of first liberated theatrical thoughts in Montenegro, ones that brought new artistic ideas to the audience, articulated alternative theater and given many important names to the world of modern theater.

Alternative theater was always a story more true than that of a man who has a wish to step out of himself in order to take a better look at himself and a world in which he exists. Discontinuous and fragile alternative string woven by FIAT consists of key elements of, what we call, courses of culture and civilization of certain place as small and as definitive as ours - Montenegrin. Maybe this will sound like paradox considering its alternative manner, but speaking about ideas, FIAT opened a door to a vast art space in Montenegro which, driven by freedom, interlaced always fresh passions, strong identity polemics, elevated powers of decadency, not to forget moves of Artaud’s ”vicious”, voices of the Boal’s ”oppressed” and fantasies of the Grotowski’s “impoverished”...

Need to revive FIAT was born out of a guilt caused by the lack of its continuity from the day it was made. FIAT was

always interrupted by the social circumstances, intolerance and elitism - the very things it ridiculed and judged. The process of reviving FIAT, kicked off by the ones who were its first creators and now logical successors, has couple of important points of acting common for the grand manifestations, even institutions. Such are progressive art intentions, modern ideas and contextualization of time, events and inheritance. Need for FIAT is a need to revive 30 years old alternative thought whose character, considering local circumstances, could be compared to the ways in which modern world thinks and acts in a theatre. Need for FIAT is also a need to (re)define the meaning of the alternative theater for those who have a wish to leave their comfortable conventional ways and make a journey into the unknown and fresh. It is important to emphasize that the alternative isn’t just a confirmation of existing and obvious, but also reconstruction and revitalization of spirituality. The beginning of performing art rehabilitation was always right there - in warm arms of the unquestionable ruler of the theater future - the alternative!

Today we can only wonder how would Montenegrin stage look like if FIAT had continuity since its very beginning in 1996... Its opened stage and experimental art nature left many young

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people seduced by the magic of theatre. FIAT’s audience is special term that describes category of theater audience and it was always impartial participant of the festival. Such curiosity is confirmed by anyone who was present at a single performance during FIAT or in any other way was a part of the over whole atmosphere of the FIAT. Until FIAT begun no other festival in the region offered production and festival connections of similar festivals such as slovenian Ex - Ponto, BITEF, Sarajevo’s MES, Skoplje’s MOT and others.

During this year’s FIAT we would have a chance to see performances from the Region. This concept used to be the base of FJAT - Festival of Yugoslav Alternative Theater. This kind of concept isn’t just a mare coincidence in the year of reviving FIAT. Humble theatrical scene in Montenegro was injected by the energy collected from all Yugoslav theater capitals in the 70s and 80s and it brought some of the most important former Yugoslav and European names to it. Today, Montenegro needs similar art injection.

Transition of FJAT to FIAT was marked by a political context. When a political context sets a coarse of art than we could speak about repression, censorship, chauvinism, fascism. When we speak about the political theater we speak about engaged theater, anti-fascism, anti-chauvinism, about ethics and freedom. Main subject of this year’s FIAT which should explain its very core, just like a core of the alternative, is ”political theater”. After the war of 90s and the transition of

2000, which we now hold firmly like we used to hold identity, there came relapses of neoliberalism and neocapitalism: mass dismissals, crash of industries, family crisis, institution crisis, crisis of personality and naturally, theater crisis. Political theater in the Region concerns us. This political theater is new, formed through the old Brecht-like protest against injustice of the modern society. The paradox of the states, once members of a single entity, now with international status, is unquestionably political and well chosen subject for artistic dispute in search of the potent conclusion during the alternative theater festival.

It seems as though FIAT and its current course of revival is set to push the boundaries, explain, interact and bring conclusions. We will question new Montenegrin intelligence during this year’s FIAT. We will speak to the alternative in the widest possible context. We will open new windows, unlock the old ones, invite friends and see new hopes, provoke and have fun. FIAT should shine with great light again. Old latin provers says - fiat lux - let there be light. The time is right. Let there be light - Let there be FIAT!

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F I A TFIAT - Politički teatar

FIAT Political Theater

Kazalište Hotel Bulić / Udruga KLJB / Tvornica cultureRijeka / Zagreb / Hrvatska

13. septembar / petak / CNP / 20 h

Po tekstovima Antoana Artoa

REKVIJEM ZA ORGANE – POKORAAutori i izvođači: Senka Bulić, Ivana Jozić i Damir Martinović Mrle

Autor muzike i koncepta zvuka: Damir Martinović MrlePrijevod: Zlatko VurzbergDizajn svjetla: Nikša MrkonjićŠminka i frizura: Iva DežmarDizajn promotivnih materijala: Tomislav Ćurković i Domagoj BudišćakIzrada hardwarea, MaxMSP i Kinect programiranja - stručni savjetnik: Ivan Marušić KlifAudio inženjer, dizajn zvuka, programiranje: Mirko TrkuljaSoftware i hardware rješenja projekta X-th Sense by Marco Donnarumma.

Rekvijem za organe - pokora je predstava u kojoj se troje umjetnika Senka Bulić, Damir Martinović Mrle i Ivana Jozić bave tekstovima Antoan Artoa. Stvaranjem predstave na osnovu njegovih tekstova nastoje istražiti i pokazati pojam savremene tragedije u pozorištu.

Ovo je nastavak rada na genijalnom Artoovom skupu tekstova što ih je priredio za radijsko izvođenje 1947. godine, a koji su bili toliko subverzivni za emitovanje da je direktor radija emisiju skinuo s programa u radijskoj montaži. Dio ove cjeline je i poema “Pozorište okrutnosti”, koja se naslovom i idejno poziva na poznate autorove manifestne tekstove objavljene 1932. i 1933, iako nije bila uključena u radijsku izvedbu zbog vremenskog ograničenja. Izvedbu ovih tekstova, kao njihov sastavni dio, pratili su muzički i govorni zvučni efekti. Bavljenje zvukom je platforma istraživanja teksta i u ovom projektu. Damir Martinović Mrle je posebnim softverima i hardwerima projekta X-th Sense Marca Donnarumma došao do zvukova unutrašnjih organa samih izvođača koji su u predstavi ozvučeni posebnim mikrofonima i sami stvaraju zvuk.Vodili smo se načelima Artoovog nepredstavljivog čina. Nepredstavljivo u Artoovoj ideji teatra pokazuje ono što gledaoci činom posmatranja ne mogu vidjeti ali naslućuju s hiljadu drugih čula.

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Theater Hotel Bulić/ Association KLJB / Culture factory Rijeka/ Zagreb/ Croatia

September 13th / Friday / CNP / 8 pm

Based on the works by Antonin Artaud

REQUIEM FOR ORGANS - PENANCEAuthors and performers: Senka Bulić, Ivana Jozić

and Damir Martinović Mrle

Music and sound concept author: Damir Martinović MrleTranslator: Zlatko Vurzberg

Light designer: Nikša MrkonjićHair and make up artist: Iva Dežmar

Promotional material designer: Tomislav Ćurković and Domagoj Budišćak

Hardware production, MaxMSP and Kinect programming - specialized consultant: Ivan Marušić Klif

Audio engineer, audio designer, programming: Mirko TrkuljaWe use software and hardware solutions belonging to project

X-th Sense by Marco Donnarumma.

Requiem for organs - penances a play in which three artists Senka Bulić, Damir Martinović Mrle i Ivana Bozić deal with writings of Antonin Artaud. By creating a play based on his works they tend to explore and define the meaning of modern tragedy in theater.

This is a continuation of work on Artaud’s selection of texts for the radio performance in 1947. Texts were so subversive that the director of the radio took the show off the program during radio edit. Part of this selection is the poem “Theater of cruelty” whose title and idea calls upon the author’s manifest texts published in 1932 and 1933, although it was not chosen for radio performance due to duration limitations. Music and speech sound effects followed the text performance as its inseparable part. Sound is the platform for the texts exploration in this project as well. Damir Martinović Mrle used special software and hardware solutions from the project X-th Sence by Marco Donnarummam to reach the sounds of the performers internal organs. Performers are equipped with special microphones and produce the sound by themselves. We were driven by the principals of Artaud’s unpresentable act. Unpresentable in the Artaud’s idea of the theater shows what audience can’t see by the act of watching but could sense with thousands other senses.

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Kosztolányi Dezső / MASZKSubotica / Srbija

13. septembar / petak / Velika scena KIC „Budo Tomović” / 22 h

GRAD DEMONARežija: Andráš Urbán

Dramaturg: Antal AtilaKostimograf: Pletl ZoltánScenograf: Sinković EdeMuzički supervizor: Antal AtilaMuzika: Dobó Rihárd

Igraju: Béreš Márta, Mésároš Árpád, Jelena Mihajlović, Mikes Imre Elek, Suzana Vuković

Grad u kojem smo ponosni na mnogostruku različitost među nama, i to nam daje pravo da bacamo kamenje jedni na druge. Evropljani smo, ali ne živimo u Evropi. Ne znamo šta smo. Građani koji žive blizu granice. Sukob između lokalne zajednice i države.

Nacionalni identitet i čovek. Građanske laži. Mađari, Srbi, Hrvati, Bunjevci, Rusini i tako redom… Multikulturalni raj. Interkulturalnost je samo privid. Multikulti = Nultikulti. Razumijemo jezik jedni drugih, ali nemamo pojma šta oni drugi govore. Ništa ne razumijemo. Živimo u skladnim mješovitim brakovima, a na glavnom trgu hvatamo jedni druge za gušu. Trg žrtava fašizma. Jedinstvo i separatizam. Kako zamišljaš budućnost ako ne naučiš jezik drugog i ne naučiš ni dijete jeziku drugog. Tako što jednog od nas više neće biti?

Živio turizam. Živjela protokolarnost. Živjela laž.

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Kosztolányi Dezső / MASZKSubotica / Serbia

September 13th / FridayKIC „Budo Tomović” / 10 pm

CITY OF DEMONSDirected by Urbán András

Dramaturgy: Antal Attila Costume design: Pletl Zoltán

Scenography: Sinkovics EdeMusic supervisor: Antal Attila

Music: Dobó Rihárd

Starring: Minja Peković, Mésároš Árpád, Jelena Mihajlović, Mikes Imre Elek, Suzana Vuković

A city where we are proud of our diversity, and thus, we throw stones.

We are Europeans, but we do not live in Europe. We don’t know what we are. Citizens living next to the state border. The conflict between the local and the state. National identity and the individual. The lies of the citizen. Hungarians, Serbs, Croatians, Bunjevac, Ruthenians, whatever you like... A multicultural paradise. The appearance of interculturalism. Multiculti = Nil-culti. We can understand each other’s language, but we can’t for the life of us understand what the other one says. We understand nothing. We live in harmonious mixed marriages, and we fly at each other’s throats in the main square. The Square of the Victims of Fascism. Union and separatism. How can you imagine the future, if you don’t learn, and you don’t teach your child the other’s language? In a way that only one of us will survive?

Long live tourism! Long live the protocol! Long live the lies!

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Mini teater/ LjubljanaSlovenija

14. septembar / subota / Sala DODEST / 20 h

Ežen Jonesko

STOLICERežija: Nick Upper

Dramaturgija: Ivica BuljanPokret: Rosana HribarScenografija: Nina GoršičKostumografija: Rosana KnavsVideo: Uršula BerlotDizajn svijetla: son:DAIzbor muzike: Niko Goršič Citati po prevodu Alje Tkačev

Igraju: Niko Goršič i Amadeus Mozart

Niko Goršič je originalna figura u javnom životu Slovenije i nekadašnje Jugoslavije. Glumac, režiser, erudit, plesni i likovni kritičar, pasionirani posjetitelj kazališta i izložbi, filmofil, čitatelj, satiričar, pripada vrsti urbanih legendi kakve već poznaju saloni osamnaestog stoljeća. (…) Inspiraciju Ionescovim „Stolicama” (njihova lucidnost je ugrađena u dijalektiku suvremenog slovenskog teatra), analizirao je još jedan veliki Goršičev prethodnik - Taras Kermanuer. Ostarjeli muž i žena izolirani žive u kući okruženoj morem. Da ubiju dosadu, bez prestanka ponavljaju iste priče i iste pokrete. Muškarac ima poruku koju želi poslati čovječanstvu. Za tu priliku poziva Govornika koji bi poruku znao prenijeti bolje od njega. Okuplja najvažnije ljude svoga vremena. Za svakoga je predvidio stolac, ali nitko neće sjesti jer uzvanici ne postoje: oni su samo njihovi fantomi. Goršičeva skrb za pamćenjem „povijesne istine” o veličini Mladinskog i njegovoj svjetskoj misiji ogromna je, na trenutke tragikomična. Pomno će glumac Niko Goršič pozvati sve bivše direktore, sve velike režisere i glumce s kojima je tu važnu povijest stvarao da čuju tu njegovu poruku. Na koncu se Ionescovi starci bacaju kroz prozor, a Govornik ostaje sam da se obrati nevidljivoj masi. Poruka neće biti prenesena. Potencijal ove priče priziva metafizičnost Kafke i Borgesa, starački smijeh Fellinijevih junaka, neodoljivi patos Mozarta. Komična i tragična strana ljudske egzistencije koja počinje gubiti svoj smisao. Kad je starac dijete, u njemu zazvoni nostalgija za djetinjstvom, izgubljenom srećom, i od igre prelazi u regresiju. Glumac se ponaša kao dijete, a dijete i klaun su bića koja se čuđe svime što se događa na svijetu.

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Mini Theater/ LjubljanaSlovenia

September 14th / Saturday / DODEST / 8 pm

Eugene Ionesco

CHAIR(S)Director: Nick Upper

Dramaturge: Ivica BuljanStage movement: Rosana Hribar

Set designer: Nina GoršičCostume designer: Rosana Knavs

Video by: Uršula BerlotLight designer: son:DA

Music selection by: Niko GoršičCitations according by translation by Alja Tkačev

Starring: Niko Goršič and Amadeus Mozart

Niko Goršič is an original figure in public life of Slovenia and ex-Yugoslavia. Actor, director, dance and art critic, passionate theater and exhibition visitor, film lover, reader, satirist … He is one of those urban legends well known to the 18th century saloons. His interests exceed artistic and social events. He is a passionate analyst who brings suggestions, definitions, categorizations and constant changes to the cultural scene. He dedicated all his work to the promotion of (post)modernism in all its forms. Goršič sees innovation as conditio sine qua non of artistic creativity and avant-garde as the mother of all practice. Therefore, it is not unusual that the stage, as a topos of the avantgarde, is his foundation of everything. Since the beginning of Mini theater, Niko Goršič is its actor, friend, historian and critic. Chair(s) are his personal view into the past of Yugoslavian theater as well as intimate retrospective of a grand career which was never marked with narcissism, acknowledgement or café reminiscences, but was deeply integrated with a notion of the importance of what is collective (first Slovenian Youth Theater, then Slovenian theater and art in general).The potential of the story reminds us of the metaphysics of Kafka and Borges, elderly laughter of Fellini’s heroes, overwhelming Mozart’s pathos… Comical and tragic side of the human existence begins to lose its sense. When an old man becomes a child he starts to feel nostalgic about childhood and lost happiness and he moves away from the games into a regression. The actor behaves like child and child and clown are creatures who wonder about what goes on in the world.

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Bosansko pozorište Zenica / Sarajevski ratni teatar - SARTR Bosna i Hercegovina

14. septembar / subota / Velika scena KIC „Budo Tomović” / 22 h

Darko Lukić

PRIČA SA ISTOČNE STRANERežija: Aida Bukvić

Igraju: Snežana Vidović, Sead Pandur

Scenografija i kostimografija: Sabina TrnkaScenski pokret: Sanja BurićIzbor muzike: Aida BukvićProducenti: Hazim Begagić, Nihad Krševljaković

Očigledno je da će život bosanskih izbjeglica još zadugo biti krajnje inspirativna tema za književno, dakle i za dramsko uobličenje. Ovaj tragični povijesni bosanskohercegovački usud, sa svojom egzistencijalno-antropološkom „situacijom” postaje i svojevrsnim bh. književnim, dramskim toposom. U drami Priča sa istočne strane (nije, dakako, teško u ovom naslovu prepoznati autorovu namjeru da nas „uvede” i u širok referentni krug simboličkog pamćenja: od brodvejskog mjuzikla i filma, adaptacije Šekspirove tragedije Romeo i Julija, West Side Story, preko geopolitičkog prostora iz kojeg dolaze likovi drame, pa sve, na primjer, do poslovičnog toposa Istočnog Londona kao, uglavnom, radničkog, sirotinjskog kraja) Darka Lukića zatičemo dva lika, Selmu i Denisa, nekadašnje školske kolege iz Sarajeva, u Londonu „toj ogromnoj varoši čiji je zagrljaj bio smrtonosan za toliko ljudi i žena” (Crnjanski), tačnije u slučajnom susretu u vagonu londonske podzemne željeznice i u različita vremena u mašti protagonista ove duodrame, „kroz nevrijeme dva izgubljena života od 1991. do 2001.”(…)Naime, fikcionalnost modela svijeta proizvedene u ovom dramskom tekstu se, dakako, nužno referira i na društvenu zbilju izvan teksta, ali „stvarnost” sa svim svojim „sadržajima” – prije svega, mislimo na panideološku sintaksu i njen mitologizirajući, nacionalni patos, tako karakterističan za dobar dio tzv. „ratnog pisma” – ne preplavljuje dramski prostor. Što, onda, već je rečeno, i otvara mogućnost da likovi mogu slobodnije scenski „disati” u ovoj, naglasimo, nipošto egzistencijalno neobavezujućoj, suptilnoj dramsko-fikcijskoj igri.

Nedžad Fejzić.

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Bosnian theater Zenica/ Sarajevo War Theater - SARTRBosnia and Herzegovina

September 14th / Saturday / KIC „Budo Tomović” / 10 pm

Darko Lukić

EAST SIDE STORYDirector: Aida Bukvić

Starring: Snežana Vidović, Sead Pandur

Set and costume designer: Sabina TrnkaStage movement: Sanja Burić

Music selection by: Aida BukvićProducers: Hazim Begagić, Nihad Krševljaković

Life of Bosnian refugees still seems to be an inspiration for literary and drama pieces. This tragical bosnian and herzegovinian historical fate together with its existential and anthropological ”situation” became the BH literary and drama topos.

In Darko Lukić’s drama East side story (it is not hard to recognize author’s intention to “lead” us into a wide reference circle of symbolical remembrance: from the Broadway musical and movie adaptation of Shakespeare’s ”Romeo and Juliet” - ”West Side Story”, geopolitical space from where the character of a drama come from, say, up to a proverbial topos of mainly poor and working class of Eastside London) we find two characters Selma and Denis, former school friends from Sarajevo now in London - ”that vast town whose arms were lethal to many men and women” (Crnjanski), to be more precise, we find them by accident in a London tube wagon, in different times in imagination of two protagonist of this duodrama ”through the storm of the two lost lives from 1991 to 2001”. (…). Fictional model of the world created in this dramatic text refers to social reality outside the text, but this reality with its ”contents” does not overflow dramatic space. Here, we mostly speak about pan-ideological syntax and its mythifying national pathos so present in an so called ”war letter”. Already being said, this opens a possibility for characters to breathe freely on the stage in this existentially non obligational, subtle, dramatic-fictional game.

Nedžad Fejzić.

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Mali dramski teatar BitolaMakedonija

15. septembar / neđelja / Sala DODEST / 18 h

N. V. Gogolj

DNEVNIK JEDNOG LUDAKARežija: Robert Simonovski

Igra: Zdravka Stojmir

Scenografija i kostimi: Goran SpasevskiMuzika: Martin JordanovskiInspicijent: Miroslav LazarevskiProjekt menadžer Aleksander LozanovskiProdukcija: Mal Dramski teatar – Bitola

Kroz kratku istroiju razvoja performansa, Dnevnik jednog ludaka predstavlja banalnost ratnog i socijalnog sistema godina prošlog stoljeća. Postavlja pitanja kako je društvo uticalo na umjetnost, a kako je uticala umjetnost na društvo, gdje je granica ludila i gdje počinje umjetnost, i da li je potrebna nova renesansa u umjetnosti.

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Small Drama Theater - BitolaMacedonia

September 15th / Sunday / DODEST / 6 pm

Nikolai Vasilievich Gogol

DIARY OF A MADMANDirector: Robert Simonovski

Starring: Zdravka Stojmir

Set and costume designer: Goran SpasevskiMusic by: Martin Jordanovski

Stage manager: Miroslav LazarevskiProject manager: Aleksander LozanovskiProduction: Little drama theater – Bitola

Following the short history of development of performance, Diary of a Madman is representation of last century’s banality of the war and social systems. It rises questions such as how did the society affect the art as well as how the art affected the society, where is the end of madness and the beginning of the art or does the art needs new renaissance.

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Crnogorsko narodno pozorištePodgorica / Crna Gora

15. septembar / neđelja / CNP / 20 h

OČEVI SU GRAD(ILI)Koncept i režija: Boris Liješević

Dramaturg: Stela MiškovićSaradnik na tekstu: Milena Lubarda MarojevićKompozitor i autor teksta songova: Aleksandar KostićKostimograf: Ivanka Vana Prelević

Igraju: Ana Vujošević, Dušan Kovačević, Dragan Račić, Emir Ćatović, Gorana Marković, Gojko Burzanović, Jadranka Mamić, Kristina Stevović, Mišo Obradović, Momo Pićurić, Nada Vukčević, Olivera Vuković, Petar Burić, Radmila Božović, Srđan Grahovac, Stevan Radusinović, Slobo Marunović, Slavko Kalezić, Zoran Vujović, Žaklina Oštir

Svaka sredina je specifična, neponovljiva, jedinstvena u svom spletu geografije, istorije, ekonomije... Ljudi drugačije žive, nose različite probleme, na drugi način se sa njima bore. Svaka sredina diše svoju dramu, posebnu i neponovljivu, uslovljenu vremenom i prostorom. Pozorište je dio sredine koja ga okružuje i u kojoj nastaje. Kuće su nekad pravljene od kamena. Kamen nam je jedini bio dostupan. Te kuće su danas autentične i autohtone. Iznikle iz sredine, iz načina života, iz svakodnevnih potreba.Iz DUHA MJESTA. Smatram da i pozorište treba da bude izraz te neponovljive sveukupnosti života.Prepoznati dramu mjesta, razumijeti je, estetizovati i pustiti je da progovori sa pozornice.

Praviti predstavu iz SADA I OVDJE.

Boris Liješević

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Montenegrin National TheaterPodgorica / Montenegro

September 15th / Sunday / CNP / 8 pm

FATHERS BUILT(D)Concept and director: Boris Liješević

Dramaturge: Stela MiškovićText assistant: Milena Lubarda Marojević

Composer and author of the song lyrics: Aleksandar KostićCostume designer: Ivanka Vana Prelević

Starring: Ana Vujošević, Dušan Kovačević, Dragan Račić, Emir Ćatović, Gorana Marković, Gojko Burzanović,

Jadranka Mamić, Kristina Stevović, Mišo Obradović, Momo Pićurić, Nada Vukčević, Olivera Vuković, Petar Burić,

Radmila Božović, Srđan Grahovac, Stevan Radusinović, Slobo Marunović, Slavko Kalezić, Zoran Vujović, Žaklina Oštir

Every environment is specific and unique by its combination of geography, history, economy... People live different, carry different problems, deal with them in different ways. Every environment breathes its own drama, special and unique, conditioned by the time and space. Theater is the part of the environment in which it was created. Houses used to be made of stones. Stone was the only available material. Such houses are now considered as authentic and original. They emerged from the environment, from the life style, from everyday needs. From THE FEEL OF THE PLACE. I believe that theater should be the reflection of that unique over wholeness of life. To be able to recognize the drama of the place, to understand it, to treat it with aesthetic and let it speak from the stage.

To make the show from HERE and NOW.

Boris Liješević

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Koncert

15. septembar / neđelja / Kuslevova kuća / 22 h

LET 3 Let 3 je rok sastav iz Rijeke, osnovan 1987. godine.

Damir Martinović Mrle - bas gitara, prateći vokalZoran Prodanović Prlja - vokalIvan Šarar Faf - klavijatureBranko Kovačić (Husta) - bubnjeviDražen Baljak (Baljak) - gitaraMatej Zec (Knki) - gitara

Svojim višegodišnjim beskompromisnim djelovanjem sastav se uspio nametnuti kao zaštitni znak grada Rijeke, cijele jedne regije kao i poklonika nadahnute različitosti u više država.

Prije 1986. godine, tokom oformljavanja Leta 2, tačnije na samom kraju 1970-ih Damir Martinović Mrle svirao je u riječkom pank sastavu Termiti (čiji će hit „Vjeran pas” sastav obraditi godinama kasnije). Nakon raspada Termita, Mrle nastavlja svoje djelovanje kroz multimedijalan projekt Strukturne ptice. Negdje u to vrijeme Zoran Prodanović Prlja, druga polovinca kreativnog jezgra LET-a 3 skuplja svoja prva scenska iskustva u sastavu Umjetnici ulice. Oni zajedno s odabranom ekipom riječkih muzičara utemeljuju u februaru 1986. godine Let 2. Početkom slijedeće godine sastav mijenja ime u LET 3 i bilježi prvi diskografski izlaz s dvije pjesme na kompilaciji „Rijeka - Pariz - Texas”.

Sastav je od početka djelovanja pratila posebna pažnja onoga dijela rok poklonika koji su odmah bili očarani bitnim kvalitetima Riječana. U nastavku karijere krug fanova stalno se širio, a uopšte je popularno muzička javnost postajala svjesna da LET 3 nisu samo bizarni, bučni čudaci nego prvorazredna rok atrakcija i zaista unikatna umjetnička pojava. Nakon početne fascinacija onime u čemu je LET 3 doista neponovljiv (fantastičan imidž i sceničnost) postajale su vidljivije i ostale kvalitete sastava; izuzetni tekstovi, uvijek perfektan izvođački nivo (u prvom redu frontmena i pjevača Zorana Prodanovića Prlje) dramaturška i stilska dorađenost koncerata i javnih istupa uopšte, muzička specifičnost, iz osnova indie frenetičnosti razvijena do izuzetne rafiniranosti, uvijek praćene specifičnim humorom i osjećajem za bizarno.

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With their longstanding uncompromised work, band became not just a trademark of Rijeka but the whole region as well as fans of distinction in many other countries.

Before 1986 while still in Let 2, at the end of 70s, Damir Martinović Mrle played in punk band called Termiti (Termites) from Rijeka (the band would make cover version of their hit single ”Vjeran pas” (Faithful dog) much later). After Termiti fell apart, Mrle continued his work through multimedia project Strukturne ptice (Structural birds). At the same time, Zoran Prodanović Prlja, the other half of the creative nucleus of LET 3, had his first stage experiences with the band Umjetnici ulice (Street artists). In February 1986, two of them together with selected team of musician from Rijeka made Let 2. At the beginning of next year the band changed its name to Let 3 and published their first record, compilation made of two songs, ”Rijeka - Paris - Texas”.

Since its beginning, band drew huge attention of rock fans amazed by the qualities of the guys from Rijeka. As the band continued its work it drew even wider audience. It became obvious that LET 3 isn’t just a bizarre bunch of noisy weirdos but first-class rock attraction and unique art figure. Besides the first glance fascination with LET 3’s fantastic style and scene performance, other band qualities became clear: outstanding lyrics, perfect performance standard (especially that of the lead singer Zoran Prodanović Prlje), concert and public performances’s dramaturgic and style refinement, musical particularity, indie freneticism developed to outstanding refinement followed by peculiar humor and notion of bizarreness.

Live Concert

September 15th / Sunday/ Kuslevova kuća / 10 pm

LET 3 Let 3 (Flight 3) is a modern rock band

from Rijeka, Croatia formed in 1987.

Damir Martinović Mrle - bass guitar, vocalsZoran Prodanović Prlja - vocals

Ivan Šarar Faf - keyboardsBranko Kovačić (Husta) - drums

Dražen Baljak (Baljak) - guitarMatej Zec (Knki) - guitar

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Javna tribina

14. septembar / subota / Kuslevova kuća / 12 h

MUZE U PARLAMENTU Javna tribina Muze u parlamentu problematizuje odnos

umjetnosti, prije svega pozorišta, i politike na ex yu prostoru u periodu posljednje dvije decenije. Glavna tema ove rasprave tretira uzroke i posljedice neprimjereno beskonfliktnog odnosa sa stvarnošću koja je evidentna na većem dijelu umjetničke scene regiona, u ovom izuzetno intrigantnom vremenu. Pored toga, tribinom se planira otvoriti i tema specifičnosti umjetničkog i pozorišnog političkog angažmana na ex yu prostoru, uzimajući u obzir činjenicu da ovdašnji aktuelni društveno-politički antagonizmi ne korespondiraju sa aktuelnim društveno-političkim problemima u razvijenom svijetu. To se prije svega odnosi na izrazito ideološko i političko sučeljavanje koje kod nas vlada na relaciji levih, građanskih i liberalnih ideja sa jedne strane i klero-nacionalističke ekspanzije s druge strane, što u razvijenom svijetu ne predstavlja posebno aktuelan sukob.

Tema političke manipulacije sa pozorištem, koja se ogleda u često velikim ulaganjima u hiperestetizovane predstave, čijim autorima je „gadno” da polemišu sa stvarnošću, biće polazište za razradu teme odnosa politike i umjetnosti, čime se neminovno nameće i podtema umjetničke odgovornosti, kroz pitanje etičnosti one umjetnosti koja funkcioniše kao estetski opijat u društvu.

Marinko Vorgić

Javna tribina

September 14th / Saturday / Kuslevova kuća / 12 am

MUSES IN THE PARLIAMENT Public Debate on the relation of art, especially theater, and

politics in former Yugoslavian counties in last to decades. The main theme of the debate deals with causes and consequences of inappropriate non-friction relation with reality, evident in most parts of the regional art scene in these intriguing times. Beside this, the debate should open another theme - distinctiveness of art and theater engagement in space of former Yugoslavia regarding the fact that current local social and political antagonism do not correspond with current social and political problems in developed world. This is very much related to the ideological and political confrontation, in our spaces present only as a left wing, of civil and liberal ideas on one side and clergy - nazi expansion on the other which, in developed world, isn’t much of the confrontation.

Theme - political manipulation with theater, often seen in large investments in hyper-aesthetic shows whose authors find it disgusting to debate with reality, will be the starting point of development of another theme - relation of politic and art and inevitably, sub-theme - artistic responsibility through the question of ethic of art that functions as a society aesthetic opiate.

Marinko Vorgić

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Montenegro Art Guerrilla

Koncert / Concert


Gospoda GlembajeviSrđan Vukadinović – vokal, gitaraPavle Bojić Buba – klavijatureIvan Marović – basGoran Vukadinović – bubanj

Gospoda GlembajeviSrđan Vukadinović – vocal, guitarPavle Bojić Buba – keyboardsIvan Marović – bassGoran Vukadinović – drums

Likovna umjetnost / Art


JU Muzeji i galerije Podgorice

Savremeno pećinsko slikarstvoAleksandar Vukotić

Ivana PejovićMarko Lukovac Nikola Radović

Museums and Galleries of Podgorica

Contemporary cave painting Aleksandar Vukotić

Ivana PejovićMarko Lukovac Nikola Radović

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Montenegro Art Guerrilla40

September 1st / Sunday / Kuslev’s House / 9 pm September 1st / Sunday / Kuslev’s House / 12 pm


Arhiv / Archive

2. septembar / poneđeljak / Kuslevova kuća / 21 h

FIAT - video zapisLuča mikrokozmaMuzej biciklističkog ustanka u Crnoj GoriTeuta

Govori Balša Brković

FIAT - videoThe Ray of MicrocosmMuseum of Bicyclists Uprising in MontenegroTeuta

Speaker: Balša Brković

Teatar premijera / Theater - premiere

3. septembar / utorak / Kuslevova kuća / 21 h

FIAT / ATAK

Poglavlja 23 i 24 Dragana Tripković, Vasko Raičević

Igraju: Ana Vujošević, Dejan Ivanić, Lora Vukčević

FIAT / ATAK

Chapters 23. and 24. Written by: Dragana Tripković, Vasko Raičević

Starring: Ana Vujošević, Dejan Ivanić, Lora VukčevićF

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September 2nd / Monday / Kuslev’s House / 9 pm September 3rd / Tuesday / Kuslev’s House / 9 pm

Poezija / Poetry

4. septembar / srijeda / Kuslevova kuća / 21 h

Ljubomir Đurković

Berlinske noći u PodgoriciLjubomir ĐurkovićDragana TripkovićAleksandar BečanovićBalša BrkovićVladimir ĐurišićDušan Đurović

Ljubomir Đurković

Berliner nights in PodgoricaLjubomir ĐurkovićDragana TripkovićAleksandar BečanovićBalša BrkovićVladimir ĐurišićDušan Đurović

Teatar / Theater

5. septembar / četvrtak / Kuslevova kuća / 21 h

CUG Teatar

Zoo pričaEdvard Olbi

Režija: Ana Vukotić

Igraju: Dejan Ivanić, Aleksandar Radulović

CUG Theater

The Zoo StoryEdvard Olbi

Directed by: Ana Vukotić

Starring: Dejan Ivanić, Aleksandar RadulovićF

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September 4nd / Wednesday / Kuslev’s House / 9 pm September 5th / Thursday / Kuslev’s House / 9 pm



6. septembar / petak / Kuslevova kuća / 21 h

Centar savremene umjetnosti Crne Gore

Milija Pavićević - poslije retrospektivePetar ĆukovićVladimir Đurišić

Contemporary Arts Center of Montenegro

Milija Pavićević - after the retrospectivePetar ĆukovićVladimir Đurišić

Teatar / Theater

7. septembar / subota / Kuslevova kuća / 21 h

Kraljevsko pozorište Zetski dom - FDU Cetinje

Žabar R. V. Fasbinder

Projekat: Lidija Dedović i Petra VeberIgraju: Miloš Pejović*/ Jovan Krivokapić*/ Petar Novaković*

Bojana Malinovska*/ Karmen Bardak*/ Ana Vučković*Momčilo Otašević*/ Aleksandar Radulović*/ Sanja Jovićević*/

Gordana Mićunović*. Muzičar Nebojša Nenezić.*Studenti specijalističkih studija glume u klasi prof. Branislava Mićunovića

Royal Theater Zetski dom - FDU Cetinje

Katzelmacher Rainer Werner Fassbinder

Project: Lidija Dedović and Petra VeberStarring: Miloš Pejović*/ Jovan Krivokapić*/ Petar Novaković*

Bojana Malinovska*/ Karmen Bardak*/ Ana Vučković*Momčilo Otašević*/ Aleksandar Radulović*/ Sanja Jovićević*/

Gordana Mićunović*. Musician Nebojša Nenezić.*Students of Faculty of Drama Cetinje - prof. Branislav Mićunović

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September 6th/ Friday / Kuslev’s House / 9 pm September 7th / Saturday / Kuslev’s House / 9 pm

Koncert / Concert


Ivan Marović

Bez bukeMilivoje PićurićVladimir ĐurišićBlažo TatarMaja DobrovićStefan Pavićević

Ivan Marović

Without NoiseMilivoje PićurićVladimir ĐurišićBlažo TatarMaja DobrovićStefan Pavićević

Film / Film

9. septembar / poneđeljak / Kuslevova kuća / 21 h

Ognjen Spahić

Priče za filmOgnjen Spahić, Vladimir Đurišić

Premijera: SVE TO Režija: Branislav Milatović

Scenario: Ognjen Spahić. Branislav MilatovićPremijera: CARVER JE MRTAV

Reditelj: Vanja Vascarac / Scenarista: Rona Žulj

Ognjen Spahić

Stories for the filmOgnjen Spahić, Vladimir Đurišić

Premiere: ALL THATDirected by: Branislav Milatović

Written by: Ognjen Spahić. Branislav MilatovićPremiere: CARVER IS DEAD

Directed by: Vanja Vascarac / Written by: Rona Žulj

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September 8th / Sunday / Kuslev’s House / 9 pm September 9th / Monday / Kuslev’s House / 9 pm



10. septembar / utorak / Kuslevova kuća / 21 h

Ana Matić

Promjena kôda - Njegoš/MorzeVizuelna poezija – prevod Njegoševih citata na Morzeovu azbuku, nastao u okviru ciklusa - Promjena kôda.

Ana Matić

Code Transformation - Njegoš/MorseVirtual poetry – translation of quotation written by famous Montenegrin poet Njegoš (1813-1851), from the seria of Code Transformation works.

Arhiv - Likovna umjetnost / Art Archive

11. septembar / srijeda / Kuslevova kuća / 21 h

Petar Ćuković

Do nothing Konceptualna umjetnost na FIAT-u

gost: Oleg Kulik

Petar Ćuković

Do nothing Conceptual Arts on FIAT

guest: Oleg KulikF

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September 10th / Tuesday / Kuslev’s House / 9 pm September 11th / Wednesday / Kuslev’s House / 9 pm

FIAT Akcija / FIAT Action

12. septembar / četvrtak / Kuslevova kuća / 21 h do svitanja

Umjetnička akcija čekajući FIAT

Od sumraka do svitanja

Art Action - Waiting for FIAT

From dusk till dawn

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September 12th / Thursday / Kuslev’s House / from 9 pm FIAT LUX

Morzeova azbuka1 crta = 3 tačkeRazmak između djelova istog slovnog znaka = 1 tačkaRazmak između slova = 3 tačkeRazmak između riječi = 7 tačaka

Morzeova azbuka je metod za prenošenje signala i služi za prenos poruka na daljinu. Svako slovo je zamijenjeno signalom koji se sastoji iz kratkih i dugih zvučnih ili svjetlosnih signala. Kratki signal se bilježi kao tačka, a dugi kao crta, ali se nikada tako ne izgovaraju, već se „pjevaju” i to kratki znak kao TI, a dugi znak kao TAA. Kratki signal na kraju morzeovog znaka se pjeva kao TIT. Na primjer slovo A koje se piše kao .- se pjeva kao TI TAA, a slovo R koje se piše kao .-. se pjeva kao TI TAA TIT.

U radio-telegrafiji, Morzeova azbuka se prenosi zvučnim signalima frekfencije 800 Hz - dugi znak traje kao tri kratka (trajanje kratkog znaka zavisi od brzine emitovanja morzeovog koda). Tišina između dva signala je u trajanju jednog kratkog signala, a između znakova se pravi pauza u trajanju jednog dugog signala.

Morse Code1 dash = 3 dotsThe space between parts pf the same letter = 1 dotThe space between letters = 3 dotsThe space between words = 7 dots

Morse code is a method of transmitting text information as a series of on-off tones, lights, or clicks that can be directly understood by a skilled listener or observer without special equipment. The International Morse Code encodes the ISO basic Latin alphabet, some extra Latin letters, the Arabic numerals and a small set of punctuation and procedural signals as standardized sequences of short and long signals called „dots” and „dashes”, or „dits” and „dahs”.

Each character (letter or numeral) is represented by a unique sequence of dots and dashes. The duration of a dash is three times the duration of a dot. Each dot or dash is followed by a short silence, equal to the dot duration.

ABCDEFGHIJKLMNOQPRSTUVWXYZ

@

A

B

C

D

E

F

G

H

I

J

K

L

M

N

O

Q

P

R

S

T

U

V

W

X

Y

Z

@

ČĆDŽ

ĐLJ

NJ

ŠŽ

1234567890,.;:„”!?-_

Č

Ć

Ǆ

DŽ

Đ

Ǉ

LJ

Ǌ

NJ

Š

Ž

1

2

3

4

5

6

7

8

9

0

,

.

;

:

"

!

?

-

_

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