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BLIZANKELOTTIE AND LISA
KAZALIŠTE MARINA DRŽIĆAMARIN DRŽIĆ THEATREKOVAČKA 1, 20000 DUBROVNIK—HR
ANA LEDERER
LUCIJA LJUBIĆ
LIA DRAGOJEVIĆ
MAJI STUDIO
HRVOJE MARGARETIĆ
MIRAN BRAUTOVIĆ / PALM PRODUCTIONS
KERSCHOFSET
150
KAZALIŠTE MARINA DRŽIĆA DUBROVNIK—HRMARIN DRŽIĆ THEATRE DUBROVNIK—CROATIA
NIJEDAN DIO OVE KNJIGE NE SMIJE SE UMNAŽATI, FOTOKOPIRATI NITI NA BILO KOJI DRUGI NAČIN REPRODUCIRATI BEZ NAKLADNIKOVOG I AUTOROVOG PISANOG DOPUŠTENJA.
NOT ANY PART OF THIS BOOK CAN BE MULTIPLIED, COPIED OR REPRODUCED IN ANY OTHER METHOD WITHOUT THE PUBLISHER'S AND AUTHOR'S WRITTEN PERMISSION.
FACEBOOK.COM/KMD.DUBROVNIKINSTAGRAM.COM/KMD–DUBROVNIK YOUTUBE.COM/KMDDUBROVNIK
BLIZANKELOTTIE AND LISA
DUBROVNIK 2019.
PREMIJERA — 15. OŽUJKA 2019.
PREMIERE — 15TH MARCH 2019
BLIZANKELOTTIE AND LISA
NIKOLINA RAFAJ PREMA ERICHU KÄSTNERU NIKOLINA RAFAJ BASED ON ERICH KÄSTNER
REDATELJICA DIRECTOR — LEA ANASTAZIJA FLEGER
ADAPTACIJA TEKSTA I DRAMATURGIJA ADAPTATION OF TEXT AND DRAMATURGY — NIKOLINA RAFAJ
SCENOGRAFKINJA STAGE DESIGNER — IRENA KRALJIĆ
KOSTIMOGRAFKINJA COSTUME DESIGNER — TEA BAŠIĆ ERCEG
KOMPOZITOR COMPOSER — MILORAD STRANIĆ
OBLIKOVANJE SCENSKOG POKRETA CHOREOGRAPHER — MATEA BILOSNIĆ
OBLIKOVANJE SVJETLA LIGHTING DESIGNER — VESNA KOLAREC
GLAZBENI KOREPETITOR MUSIC COLLABORATOR — PAOLA DRAŽIĆ ZEKIĆ
OBLIKOVANJE ZVUKA SOUND MIXING — MILAN TOMAŠIĆ
INSPICIJENTICA – ŠAPTAČICA STAGE MANAGER — IVANA LJEPOTICA
U PREDSTAVI SE KORISTI GLAZBA — CHOPIN: NOKTURNO OP.20 — LISZT: TOTENTANZ — ROSSO: QUANDO VOGLIO — BEETHOVEN: ZA ELIZU — MOZART: ARIJA KRALJICE NOĆI
IGRAJU ACTORS
LUJZA PALFI LUISE PALFFY — IRENA TEREZA PRPIĆ
LOTA KERNER LOTTE KÖRNER — VINI JURČIĆ
LUJZELOTA KERNER (MAMA) LUISELOTTE KÖRNER (MOTHER) — SRĐANA ŠIMUNOVIĆ
LUDVIG PALFI (TATA) LUDWIG PALFFY (FATHER) — HRVOJE SEBASTIJAN
IRENA GERLAH IRENE GERLACH — GLORIJA ŠOLETIĆ
REZI (TETA) REZI (AUNT) — MARIJA ŠEGVIĆ
DJED GRANDFATHER — BORIS MATIĆ
VODITELJICA KAMPA SCOUT LEADER — IZMIRA BRAUTOVIĆ
IZVIĐAČICE GIRL SCOUTS — NORA ŽANETIĆ, PETRA OREPIĆ, EMA PRALAS, LORENA BURUM, MARA ROZA, FRANKA RAJČEVIĆ, NINA NIKOLIĆ, MARA KNEGO (POLAZNICE PLESNOG STUDIJA LAZARETI MEMBERS OF LAZARETI DANCE STUDIO)
76 BLIZANKE
I.T. PRPIĆ, S. ŠIMUNOVIĆ, V. JURČIĆ, H. SEBASTIJAN
LOTTIE AND LISA
"Ovo je naša izviđačka ekspedicija s jednim ciljem – da ponovno spojimo mamu i tatu!"
"This is our scouts' expedition with one goal – to join mum and dad again!"
98 BLIZANKE
G. ŠOLETIĆ, M. ŠEGVIĆ, H. SEBASTIJAN, V. JURČIĆ
LOTTIE AND LISA
11
ERICH KÄSTNERBIOGRAFI�A
Njemački pjesnik i romanopisac Erich Kästner, u svijetu poznat kao jedan od vodećih pisaca za djecu i mlade, rođen je 23. veljače 1899. godine u Dresdenu. Nakon odsluženog vojnog roka za vrijeme Prvoga svjetskog rata Kästner postaje pacifist i protivnik bilo kakvih totalitarnih sustava. Godine 1927. ulazi u literarne krugove Berlina i postaje jedan od vodećih njemačkih pisaca. U tom plodnom razdoblju koje je trajalo do 1933. godine, Kästner je stvorio svoje najpoznatije radove kojima zauzima značajno mjesto u povijesti njemačke književnosti. No kao protivniku nacizma zabranjeno mu je objavljivanje knjiga, a neke su čak i spaljene. Jedna od knjiga koja nije dobila dozvolu za objavljivanje bila je njegovo poznato djelo za djecu Emil i detektivi. Godine 1943. posve mu je zabranjeno pisanje. Poslije rata Kästner se odselio u München. Njegove su knjige ponovno postale vrlo popularne i prevode se na brojne jezike. Godine 1960. Kästner je dobio nagradu Hans Christian Andersen. Umro je 29. srpnja 1974. godine u Münchenu. Nakon njegove smrti Bavarska akademija umjetnosti osnovala je literarnu nagradu u njegovu čast. Za djecu i mlade napisao je mnoge knjige: Emil i detektivi, Tonček i Točkica, Leteći razred, Emil i blizanci, Blizanke…
Dodatno prepoznavanje u svijetu stječe zahvaljujući Waltu Disneyu. Naime, 1960-ih Disney je snimio dva filma, najprije film Emil i detektivi 1964. a potom Zamku za roditelje 1961. za koji je scenarij napisao Billy Wilder. Kod nas je najpoznatije filmsko uprizorenje verzija iz 1998. s Natashom Richardson i Denisom Quaidom dok Lujzu i Lotu glumi Lindsay Lohan. Današnji Muzej Ericha Kästnera smješten je blizu ulice u kojoj je odrastao, na katu ogromne vile ujaka Franza Augustina. Kako je već spomenuto, Kästner je bio pacifist, a pisao je za djecu vjerujući u njihovu regeneracijsku snagu, u njihovu nevinost, snagu i neiskvarenost. Ona su uostalom budućnost svih nas ili, njegovim riječima:
"Samo onaj koji naraste, ali ostane dijete jest – čovjek.”
13
ERICH KÄSTNERBIOGRAPHY
German poet and novel writer, Erich Kästner, worldwide known as one of the leading writer for children and the young, was born on February 23rd in 1899. in Dresden. Having done military service, during the World War I, Erich Kästner became a pacifist and an oponent to any totalitarian regime. In 1927., Kästner entered literary circles of Berlin and became one of the leading German writers. In that productive period, which lasted up to 1933., Kästner created his most important works by means of which, he took a prominent position in the history of German literature. However, as an oponent to Nazi regime, later on, he was forbidden to publish his books. One of his books, which didn’t obtain the permit for publishing, was his well-known piece of work for children Emil and Detectives. In 1943., it was completely forbidden to him to publish. After the War, Kästner moved to Munich. His books have become very popular and they were translated into numerous foreign languages. In 1960., Erich Kästner was awarded Hans Christian Andersen Prize. He died on July 29th in 1974. in Munich. After his death, The Bavarian Academy of Arts founded a literary award in his honour. He wrote numerous books for children and the young such as: Emil and Detectives, Annaluise and Anton, The Flying Classroom, Emil and the Three Twins, Twins etc.
Erich Kästner became additionally popular, thanks to Walt Disney. Namely, Walt Disney produced two films in 60s. The first one was Emil and the Detectives in 1964. and later Trap for Parents in 1961., according to the scenario, written by Billy Wilder. In Croatia, the best known version, is the one from 1998. in which Natasha Richardson and Denise Quaid play. Lindsay Lohan plays both Lottie and Lisa. Modern Erich Kästner Museum is situated in the vicinity of the street in which he grew up on the floor of the giant villa owned by his uncle Franz Augustin. As already mentioned, Kästner was a pacifist and he wrote for children believing in their regenerative power, innocence and strength and sincerity. They are the future of all of us or in his words: "Only the person who has grown up, but has remained a child is realy a man."
15
IZVIĐAČKA HIMNA
Brežuljak čuva razne pričeNe spava ni kad zora sviće.
Čim prva zraka sunca izađe,Svatko svoju maramu nađe.
Šuma je izviđaču dom,Tamo on radi sve po svom.
Livada skriva razne tajne,Sve odreda one baš su bajne.
Strane svijeta svi naći znaju,Snalaze se i u nepoznatu kraju.
Šuma je izviđaču dom,Ondje on radi sve po svom.
14
IZVIĐAČICE
17
SCOUTS’ ANTHEM
Different stories are hidden in the hillScout’s night is never still.
The first sun beam on the EastMeans scout’s feast.
The wood is our homeWhere we are at the throne.
The meadow keeps our mysteriesTheye all interesting.
Compass is our friendWe will easilly find the end.
Scout’s home is wood where everything is good
16
I.T. PRPIĆ, I . BRAUTOVIĆ, V. JURČIĆ
1918 BLIZANKE
I.T. PRPIĆ, I . BRAUTOVIĆ, V. JURČIĆ
LOTTIE AND LISA
21
O ROMANU BLIZANKE
Blizanke (Zwillinge) su roman njemačkog književnika Ericha Kästnera, autora dječjih romana kojih se svi uvijek rado prisjećamo poput Emila i detektiva (Emil und die Detektive), Letećeg razreda (Das fliegende Klassenzimmer) i brojnih drugih. Roman Blizanke doživio je velik uspjeh diljem svijeta i preveden je na mnoge svjetske jezike, a postao je još i poznatiji kada je po njemu snimljen nezaobilazni film Zamka za roditelje (The Parents’ Trap, 1998.). Ljetni izviđački kamp prije svega želi naučiti
"izviđačice u nastanku" samostalnosti i snalažljivosti u svakoj očekivanoj prilici i neočekivanoj neprilici, a upravo to geslo misao je vodilja djevojčicama Loti i Lujzi koje se nenadano susreću u kampu i otkrivaju da su sestre. Početak je to vrlo napete priče, još većeg prijateljstva i nemjerljive ljubavi dviju razdvojenih sestara, koja se dodatno zapetljava kad djevojčice odluče zamijeniti uloge.
Za svoje godine odviše ozbiljna Lota, koja je živjela s majkom, odlazi ocu, a Lujza, vječno raščupane kose, dolazi majci. Djevojčice koje su mislile da će im spavanje pod zvjezdanim nebom biti najzanimljiviji dio ljeta, nađu se pred pustolovinom većom nego što su to mogle sanjati. Ulazak u njima potpuno nove, nepoznate svjetove, zahtijeva od djevojčica ispunjavanje teških zadataka kako bi održale svoje paravane – pojesti pet palačinka odjednom, naučiti kuhati u jednom danu, imati neuredan ormar i lakirati nokte u ružičasto! Sve zadatke djevojčice će vješto prebroditi kako bi pokušale saznati odgovore na pitanja zašto su se roditelji uopće rastali, kako su uspjeli tajiti činjenicu da su dvije i najvažnije kako da ponovno postanu obitelj. Koliko god različite bile, baš kao i obitelji u kojima su odrastale, djevojčicama jedna stvar ostaje uvijek zajednička – sestrinska ljubav kojoj ništa i nitko ne može stati na put.
U prvi plan postavljena je dječja domišljatost i snalažljivost koja uvijek nadmudri onu roditeljsku zato što svijet odraslih tako često nepravedno zaboravi na najmoćnije od svih oružja – maštu. Mašta je ta koja uz malo hrabrosti, puno smijeha i porcije odlučnosti, ostvaruje svaki plan, koliko god se on na početku činio nemogućim.
23
ABOUT NOVEL LOTTIE AND LISA
The Twins (Lottie and Lisa) is a novel written by a German writer Erich Kästner, the author of children’s novels which we always gladly remember titled Emil and the Detectives; The Flying Classroom and numerous others. The novel Lottie and Lisa has successfully been accepted worldwide and it has been translated into various world languages. It became even more popular when it was screenplayed with the title The Parents’ Trap in 1998. The summer camp wants first of all, to learn the future scouts how to achieve independence and skillfullness in all expected occassions and unexpected emergencies. This motto becomes the leading idea to the girls Lottie and Lisa who encounter each other unexpectedly in a camp discovering they are sisters. It is the beginning of a very exciting story, as well as a great story about the friendship and unmeasurable love of two separated sisters. The situation is additionaly entangled from the moment they decide to interchange their own roles.
Lottie, who is too serious for her age and who lived with the mother, comes to the father. Lisa, whose hair is constantly uncombed, comes to the mother. The girls who had thought that sleeping under the stars in the summer heaven, would be the most interesting part of the experience, found themselves in the adventure greater than they could have ever imagined. Their entrance into completely unknown worlds, requires difficult tasks to be carried out. To be ready for it, they had to: eat five pancakes, learn how to cook in one single day, disturb the order in a wardrobe and have their nails varnished in pink! All the tasks will be success-fully surmounted so as to try to obtain the answers to the ques-tions "Why did our parents divorce at all?, "How on Earth, could they hide the fact that there are two of us?" and the most impor-tant one "In what way could we become the family again?"
Although they are different, as well as the families in which they wer raised, the only thing remains always unique: the sisters’ love which can never be annulated by anyone and anything. The priority has been given to the children’s fancy and skillfullness which always win the parents’ ones. The reason for that is, that the adults very frequently and unrighteously forget the most powerful tool: the fancy. The fancy is that one, which by means of some courage, a lot of laughter and a portion of positiveness always realises each plan, even though it seemed impossible at the beginning.
2524 BLIZANKE
I.T. PRPIĆ, S. ŠIMUNOVIĆ
LOTTIE AND LISA
"Moram vam otkriti i posljednje pravilo, možda i najvažnije: 'Pravi izviđač uvijek pazi što poželi, jer on svoje želje i ostvaruje!' "
"I must reveal you the last rule, maybe the most important one: 'The real scout always takes care about his wishes, because he realizes them!' "
2726 BLIZANKE
V. JURČIĆ, H. SEBASTIJAN
LOTTIE AND LISA
RAZGOVOR S REDATEL�ICOM LEOM ANASTAZI�OM FLEGER
31
ŽARKO DRAGOJEVIĆ Blizanke Ericha Kästnera prvotno su ekranizirane na filmskom platnu i postale su dio popularne svjetske kulture, a sada su adaptirane na Velikoj sceni KMD-a. Koji su motivi i poruke prevladali u kazališnom komadu koji režirate?
LEA ANASTAZIJA FLEGER Erich Kästner jedan je od najčitanijih i najcjenjenijih njemačkih pisaca za djecu. Ja sam odrasla uz Emila i detektive, Leteći razred, Tončeka i Točkicu, i njegov najdraži mi roman Blizanke. Upravo zato me poziv ravnatelja Paola Tišljarića da radim baš Blizanke jako obradovao. To je roman o dječjoj odlučnosti, domišljatosti i snalažljivosti te spremnosti na rizik i borbu kojima djeca uspiju nadmudriti svoje roditelje. U dječjem svijetu, u svijetu blizanki Lujze i Lote, stvari se jednostavnije rješavaju nego u svijetu odraslih. Lujza i Lota svojom maštom i upornošću uspiju nadmudriti svoje roditelje, bez obzira na to što na početku njihova odluka da ponovno spoje mamu i tatu izgleda naivno i gotovo neizvedivo. Vjerujem da zato djeca obožavaju Kästnera. On progovara kroz glavne junake koji sve uzimaju u svoje ruke – djecu.
ŽD Tekst Ericha Kästnera adaptirala je i dramatizirala Nikolina Rafaj. Kako je bilo surađivati?
LAF Nikolini i meni ovo je treći zajednički veći projekt. Prvo su to bili Junaci Pavlove ulice Ferenca Molnára u Zagrebačkom kazalištu mladih, zatim projekt Odbrojavanje – na piru s Držićem i Nalješkovićem u sklopu Dubrovačkih ljetnih igara i sada Blizanke. Naša suradnja još od prvog projekta je predivna.
ŽD Koliko je unesene adaptacije u odnosu na originalni tekst?
LAF Pratimo originalnu priču romana. Priču o Loti i Lujzi iznosimo paralelno. Pregršt je scena, prostora, motiva i likova. Radnja plovi kroz niz malih scena koje se u predstavi velikom brzinom izmjenjuju. Naša adaptacija, pa tako i predstava, bit će puna montaže scena koje se igraju, adaptacija je dosta filmska.
ŽD U podjeli je puno mladih talentiranih glumica, kakva je bila suradnja dijelom s gostima a dijelom s ansamblom Kazališta Marina Držića?
30
L.A. FLEGER / PHOTO: ZVONIMIR PANDŽA (DULIST)
32 33
publika. Mi se stalno igramo. Postavljanje svake scene, svakog komada je igra. Svaki dan na probi pomislim kako radimo najljepši posao na svijetu.
ŽD Spomenuli smo drage kolege Hrvoju Korbara i Marinu Pejnović. Uz Vas, oni pripadaju obećavajućem naraštaju mladih redatelja u Hrvatskoj. Kakvi su međusobni odnosi i planovi za budućnost?
LAF Nas troje smo najbolji prijatelji, tako da je naša poslovna i prijateljska suradnja uvijek fenomenalna. Jako je važno imati kolege kojima vjerujete, koji će vam pomoći, razgovarati s vama o projektima, pogledati probe, dati iskrene kritike, pohvale i savjete.
LAF Rad Irene Tereze Prpić, Vini Jurčić i Marije Šegvić pratim još od svojih studentskih dana na Akademiji. Imala sam ih prigode gledati na svim ispitima na Akademiji te u njihovim profesionalnim projektima. Vrlo je jednostavno i velik je užitak raditi sa tako talentiranim i kreativnim mladim glumcima. Ovo je moja prva suradnja s ansamblom KMD-a i bila je stvarno divna. Imala sam sreću da su me glumci lijepo prihvatili, doista smo ugodno radili.
ŽD Ovo nije Vaša prva suradnja u Dubrovniku, osim ove produkcije KMD-a prošle godine imali ste priliku režirati na Dubrovačkim ljetnim igrama. Kakvo je to iskustvo bilo?
LAF Odbrojavanje – na piru s Držićem i Nalješkovićem projekt je koji se bavio redefiniranjem ideje ambijentalnoga kazališta u smislu u kojem ono postoji u Dubrovniku od 14. stoljeća pa sve do suvremenih postavki na Dubrovačkim ljetnim igrama. Projekt se temeljio na tekstološkim, teatrološkim i kulturno-antropološkim analizama pirnih drama Nikole Nalješkovića i Marina Držića. To je predstava u tri dijela koju smo režirali Hrvoje Korbar, Marina Pejnović i ja. Velika mi je čast bila raditi predstavu na tako velikom i važnom festivalu. Obožavam ambijentalne predstave i općenito ambijentalni teatar. Dubrovački ambijent je čaroban.
ŽD Kojoj publici se obraćaju Blizanke i koliko kazalište danas nudi edukativnog programa za najmlađe?
LAF U doba interneta, mobitela i tableta, svi se moramo potruditi kako bismo djecu zainteresirali za kazalište. Realnost je nažalost takva da djeca znatno više vremena provode igrajući video-igrice nego gledajući predstave. Odgajanje nove publike velika je odgovornost i zadaća kazališta. Baš je zato bitno postavljati komade poput Blizanki, predstave koje su bliske djeci, u kojima su djeca glavni junaci i u kojima će se naša publika (prvenstveno djeca) prepoznati.
ŽD Je li kazalište "vječna igra” i postoji li u njemu trenutak poput onoga u ljetnom kampu, u kojemu se dijelom nalaze likovi ovog komada?
LAF Nema kazališta bez igre. Mi u kazalištu stvaramo svjetove u koje postavljamo pravila po kojima se igra. Ta pravila prihvaća
INTERVIEW WITH THE DIRECTOR LEA ANASTAZIJA FLEGER
37
ŽARKO DRAGOJEVIĆ Lottie and Lisa, a novel by Erich Kästner, was originally film played and became the part of a popular world culture, and now it has been adapted for the central stage of Marin Držić Theatre. What are motifs and messages conveyed by this play you are directing?
LEA ANASTAZIJA FLEGER Erich Kästner is one of the best read and appreciated German writers for children. I grew up with Emil and Detectives, The Flying Classroom, Annaluise and Anton and his best novel for me – Lottie and Lisa (Twins). Therefore, the invitation by the Manager of Marin Držić Theatre Paolo Tišljarić made me exceptionally happy. It is the novel about children’s decisiveness, inventiveness and skillfullness, and their readiness to risk and battle by means of which, children have always outwitted their parents. In children’s world, in the world of the twins Lottie and Lisa, problems have been settled much more easily and simply than in the world of adults. Lottie and Lisa by means of their fancy and persistence succeeded to outwit their parents, regardless the fact that their decision to join mum and dad had seemed to be naive and completely non realizable. I believe that therefore, Kästner has been adored by children.It is so, because he speaks through his heroes who take responsibility for everything i. e. children.
ŽD The text by Erich Kästner has been adapted and dramatized by Nikolina Rafaj. The cooperation has been successful, hasn’t it?
LAF Nikolina and I have realized three mutual great projects so far. The first one was Heroes of Paul’s Street by Ferenc Molnar in The Zagreb Youth Theatre. The second one was the project Counting Off – on the wedding with Držić and Nalješković on 69th
Dubrovnik Summer Festival. Now, we are working together on Lottie and Lisa (Twins). Our cooperation has always been very successful since the first project.
ŽD To what extent have You adapted the original text?
LAF We are following the original story of the novel. The whole story of Lottie and Lisa is being read parallelly. There is a handful of scenes, areas, motifs and peronalities. The plot sails through a series of small scenes which are being very quickly changed.
38 39
Raising a new audience is a great responsibility and a task of the theatre. Therefore, it is essential to put on the stage the play such as Twins. This is the play close to the children. In this play, children are main heroes in whom, our audience (primarily children) will find themselves.
ŽD Is "eternal game" still valid in theatre, or could we still find the moment just as in a summer camp in which we came across the personalities of this play? LAF There’s no theatre without the game. We, in theatre, create the word in which we set the rules, according to which we constantly play. Those rules are accepted by the audience. We are constantly playing. Setting every stage is a game, putting each piece is a game. Every day at the rehearsal I think that we do the most beautiful job in the world.
ŽD We have mentioned dear colleagues Hrvoje Korbar and Marina Pejnović; in addition to You, they are the generation of young promising directors in Croatia. How do You cooperate and what are You preparing for us in future?
LAF We three, are the best friends, thus our business and friendly cooperation has always been great. It is of the unmost important that You should have colleagues to believe in, who will help You, talk to You about the projects, attend rehearsals, give sincere reviews, praises and counsels.
Our adaptation, and the play itself will be full of the scenes being played, the adaptation is similar to a film.
ŽD There are a lot of young talented actors. Describe us, the cooperation of the guests and domicile actors of Marin Držić Theatre Ensemble?
LAF I have been following acting of Irena Tereza Prpić, Vini Jurčić and Marija Šegvić since I was a student of The Academy. I was the privileged one to see them acting at all the examinations at The Academy and on their professional projects. It is very simple and it is a great pleasure to work with such talented and creative young actresses and actor. It has been my first collaboration with Marin Držić Theatre, and it has been really wonderful. I have been priviledged to have been accepted well by the Ensemble. We have really worked in a good atmosphere.
ŽD This is not Your first cooperation in Dubrovnik. In addition to this production of Marin Držić Theatre, last year we directed the play of Dubrovnik Summer Festival. What is Your experience about it?
LAF Counting Off – on the wedding with Držić and Nalješković was a project dealing with redefinition of the idea of ambience theatre in the way it has been existing since 14th century up to nowadays on Dubrovnik Summer Festival. The project was based on text, theatre, cultural and anthropological analysis of wedding dramas by Nikola Nalješković and Marin Držić. It was a play of three parts, directed by Hrvoje Korbar, Marina Pejnović and me. It was a great honour for me to be involved in such a great and important Festival. I adore ambience performances and ambience theatre generally. Dubrovnik ambience is a magnificent one.
ŽD What is the audience Lottie and Lisa refers to and in Your opinion, are there enough educational repertoire for the youngest?
LAF At the time of Internet, mobile phones and tablets, we all must put effort into the involvement of the children in the arts of theatre. Unfortunately, the reality is quite different and children spend much time in playing video games, than going to theatre.
4140 BLIZANKE
M. ŠEGVIĆ, V. JURČIĆ, H. SEBASTIJAN
LOTTIE AND LISA
"Što se s tobom dogodilo? Više te ne prepoznajem!"
"What has happened to You? I don't recognize you any more!"
43
Nepreglednim prostranstvom dječje mašte oduvijek vlada otvore-nost prema pustolovini, velikim nesvakodnevnim pothvatima, kao što je i opće poznato kako vrijede i značajno drukčija pravila od onih u svijetu odraslih.
Ljepotu dječjeg svijeta u kojem je svaki problem, koliko god velik bio – i rješiv, prepoznaje Erich Kästner postavljajući upravo djecu glavnim junacima svojih romana. Njegovi junaci upleteni su u brojne zgode i nezgode, od iznenadnih krađa u Emilu i detektivima, preko klasnih razlika u Tončeku i Točkici, pa sve do dugogodišnjih zavrzlama u Blizankama… Iako su djeca, njegovi se likovi ističu samostalnošću, odvažnošću, neugasivom znatiželjom, ali prije svega mudrošću koju posjeduju samo djeca.
Unutar svijeta odraslih, Kästner šarenilo dječjeg svijeta postavlja u prvi plan i podsjeća nas da stariji imaju još toliko toga za naučiti. I to upravo od djece. Svijet predstavljen iz perspektive djeteta ne idealizira svakodnevicu – problemi koje on portretira i danas djeluju društveno aktualnima, ali im Kästner suprotstav-lja ideju da djeca ponekad jednostavno ne prihvaćaju "ne" kao odgovor. Kako bi ponovno otkrili dječji svijet, odrasli moraju povjerovati porivu za neprestanim zapitkivanjem i traganjem. Dijete čuči u svakom od nas, ponekad ga samo treba pustiti van – na igru.
Dajući prostor piscima kao što je Erich Kästner, s čijim se likovima djeca vrlo lako poistovjećuju, težnja je privući najmlađu publiku koja će već sutra postati stalna kazališna publika, što je ne samo velik zalog za budućnost kazališta već za budućnost općenito.
NE ODRASTA�U SAMO D�ECA. ODRASTA�U I RODITEL�I.
45
Children’s unpredictable fancy, without limits is always guided by the openess to the adventures and great, unusual deeds. As it is well-known, in this world, significantly different rules reign from those in adults’s world.
The beauty of children’s world is understood by Erich Kästner. Each problem, regardless its importance, is being alwys solved. Kästner establishes just children, as main heroes of his novels. His heroes are eternally involved into numerous adven-tures, such as: sudden thefts in Emil, then class differences in Annaluise and Anton and even years’ long lasting traps in Twins... Although being kids, they nevertheless excel in independence, courage, curiosity and above all wisdom, immanent only to kids.
Inside the world of the adults, Kästner puts colourful children’s world as the most important one. Thus, he reminds us,that the adult have to learn a lot. Children just teach them. The world from the standpoint of a child, doesn’t idealize everyday life. The problems he depicts seem to be up to date. The idea, that children don’t accept the answer "no" is simply opposite to that. In order to discover children’s world, the adult must believe in the necessity to constantly question and search. There is a child inside each of us, sometimes we must let this child to go out – to play.
Having given the opportunity to play the writers such as Erich Kästner, in whose characters children identify themselves, we aim at attracting the youngest audience. This audience will once become mature theatre-goers. It is not only a great investment into the future of the theatre, but in our future, too.
NOT ONLY CHILDREN GROW UP. EVEN THE PARENTS GROW UP, TOO.
4746 BLIZANKE
I.T. PRPIĆ, V. JURČIĆ
LOTTIE AND LISA
"Nakon što se tri puta u šumi čuje ćuk…… zavladat će potpuni muk."
"After a little owl's three sounds in the wood... ... silence will be good."
49
ZANIML�IVE ČIN�ENICE O BLIZANCIMA
51
INTERESTING FACTS ABOUT TWINS
5352 BLIZANKE
I.T. PRPIĆ, V. JURČIĆ
LOTTIE AND LISA
55
MITOVI O BLIZANCIMA
57
MYTHS ABOUT TWINS
5958 BLIZANKE
V. JURČIĆ, M. ŠEGVIĆ
LOTTIE AND LISA
"Ti ćeš mene naučiti kako da budem ti, a ja ću tebe naučiti kako da budeš ja!"
"You will teach me how to be you, and I will teach you how to be me!"
6160 BLIZANKE LOTTIE AND LISA
M. ŠEGVIĆ, V. JURČIĆ
63
Nemoguće je pisati o modi izvan povijesno-društvenog konteksta. Tijekom Drugog svjetskog rata, zbog odsustva muškaraca, žene postupno stječu neovisnost zapošljavajući se u uredima i tvornica-ma te same zarađuju i raspolažu svojim novcem. U modi se osjeća-ju restrikcije uzrokovane ratom. Rezultat toga je uska ravna silueta zbog štednje tkanine, a žene počinju nositi i hlače.
Poslijeratne godine označile su revoluciju modnog stila. Za razliku od četrdesetih godina i uniformirane odjeće, u pedesetima u modu ulaze ženstvene haljine, elegantne rukavice i pune suknje. No ovakav stil odijevanja potječe iz ratnog doba, odnosno kolekci-je dizajnera Christiana Diora koja se nazivala Corolle. Christian Dior 1947. radi veliku prekretnicu u povijesti modne industrije predstav-ljajući tzv. new look. Materijali postaju luksuzniji, a silueta značajno voluminoznija. Obla i meka ramena, naglašen uzak struk (ponovno se nose korzeti ispod odjeće), iznimno uska suknja ili pak suknja punog kruga glavne su odlike ženskog stila 50-ih godina.
S povratkom muškaraca iz rata, žene se također sve više vraćaju kućanskim poslovima, a samo društvo postaje vrlo konzer-vativno. Muškarci "donose kruh", a žene postaju "sretne kućanice" trošeći sve više novca za odijevanje. Odjeća predstavlja svojevr-snu mješavinu konzervativizma i glamura iz kojeg je zračila čista ženstvenost.
U tom smislu na ženu snažno utječu televizija, radio i časopisi koji stvaraju sliku žene koja mora biti lijepa i poželjna za svog muškarca. Glamurozni izgled postaje imperativ, što pokazuje utjecaj filmskih zvijezda poput Marilyn Monroe, Jane Russell, Grace Kelly…
Muškarci pak nose ozbiljna poslovna odijela na svojim novim gradskim poslovima te opuštenija casual odijela za slobodno vrijeme. Talijanski modni dizajneri utječu na cjelokupan dizajn muških odijela, a oni uvode široka ramena, uže hlače te kraće jakne i sakoe, izrađene od kvalitetnih materijala. Kravate su nešto uže.
Frizure su uredne i zalizane, a šeširi ostaju obavezan modni dodatak.
Tea Bašić Erceg
MODA PEDESETIH
65
It is impossible to write about the fashion, outside historical -social context. During World War II, due to the absence of men, women gradually became independent by working into offices and factories and thus they earned the money and spent freely. In the fashion, the limitations could be seen, which are caused by the war. The result of the circumstances is a thin straight silhou-ette, which arouse out of the shortage of materials. At the same time, women became even wearing trousers.
Afterwar period, meant the revolution in fashion styles. The 50s are different from the 40s and uniforms. In the 50s, feminine elegant dresses, gloves and full skirts became popular. Hovewer, this style has its roots in the precedent war, i.e. the collection of Christian Dior named Corelle from 1947. He radically changed fashion industry, representing so called "New Look". The materials became luxurious, the silhouette being considerably voluminous. Shoulders are round, tight waist is stressed (again, corsets are under the clothes), either exceptionally tight skirt or full-circle skirt is the main feature of the women’s style in the 50s.
War having finished, men having returned home, women returned back to their home chores and the society became very conservative. Men brought home "bread and bacon" while women became "happy houskeepers" spending too much money on clothes. The style of the clothes represented the combination of conservativism and glamour, a pure femininity mirroring into them.
Therefore, radio, television and reviews played an impor-tant role, which created the image of a woman who should be beautiful and attractive to all men. Glamorous style became
"a must", as it is represented by film stars Marilyn Monroe, Jane Russell, Grace Kelly...
On the other hand, men wore serious business suits in their urban offices and more relaxed casual suits for their free time. Italian fashion designers had a great impact on the complete design of men’s suits. They had characteristic large shoulders, tight trousers and shorter jackets and suits, which were made of high quality materials. The cravats were not wide. The haircuts were slicked down, the hats being an inavoidable fashion accessory.
Tea Bašić Erceg
FASHION IN THE 50s
6766 BLIZANKE
I.T. PRPIĆ, B. MATIĆ
LOTTIE AND LISA
6968 BLIZANKE
B. MATIĆ, S. ŠIMUNOVIĆ
LOTTIE AND LISA
7170 BLIZANKE
G. ŠOLETIĆ, S. ŠIMUNOVIĆ
LOTTIE AND LISA
"Kako bih voljela da je Lujza tu sa mnom! I drži me za ruku. U mraku možda nitko ne bi ni primijetio da smo dvije."
"If only Lisa were here! Keeping my hand! In the darkness, maybe, noone would notice there were two of us."
7372
S. ŠIMUNOVIĆ, H. SEBASTIJAN
BIOGRAFIJE
LEA ANASTAZIJA FLEGER rođena je 1992. godine u Zagrebu, gdje je završila II. gimnaziju i srednju glazbenu školu Elly Bašić, te magi-strirala kazališnu režiju i radiofoniju na Akademiji dramske umjet-nosti. Režirala je predstave Junaci Pavlove ulice Ferenca Molnára u produkciji Zagrebačkog kazališta mladih, Pečat Borne Vujčića u produkciji Teatra Ulysses, Autorski projekt Zašto šutiš? u Teatru ITD, Odbrojavanje – na piru s Držićem i Nalješkovićem na Dubrovačkim ljetnim igrama, Bog masakra Yasmine Reze i mjuzikl The last 5 years Jasona Roberta Browna u HNK-u Varaždin, Zov divljine Kristine Kegljen na sceni Gorica, Seksi rublje Michele Riml u Kazalištu Virovitica, Moj nulti rođendan Ivana Penovića u Dječjem kazalištu Dubrava te Dodjelu Nagrada hrvatskog glumišta 2018. u zagrebač-kom HNK-u. Sudjelovala je na brojim domaćim i stranim kazališnim radionicama i seminarima. Umjetnička je asistentica u nastavi glu-me na Akademiji dramske umjetnosti u Zagrebu. Aktivna je i kao redateljica sinkronizacija animiranih filmova.
7574
G. ŠOLETIĆ
BIOGRAPHIES
LEA ANASTAZIJA FLEGER was born in 1992. in Zagreb, where she completed 2nd Grammar School and High Music School Elly Bašić and she obtained M.A. degree from The Department of Theatre Direction and Broadcasting, The Academy of Dramatic Art of The University of Zagreb. She directed the performance Junaci Pavlove ulice (Heroes of Paul’s Street) by Ferenc Molnar, production by The Zagreb Youth Theatre. She also directed the performance Pečat (Stamp) by Borna Vujčić produced by Ulysses Theatre. She signs the project Zašto šutiš? (Why do you Keep Silence?) in &TD Theatre as well as Odbrojavanje – na piru s Držićem i Nalješkovićem (Counting Off – on the wedding with Držić and Nalješković) i.e. co-operation of The Academy of Dramatic Art and 69th Dubrovnik Summer Festival. She directed the performance by Yasmina Reza Bog masakra (The God of Masacre) and musical The Last 5 Years by Jason Robert Brown in Croatian National Theatre in Varaždin. She put on the stage the text titled Zov divljine (The Wilderness Attraction) by Kristina Kegljen in Gorica, Seksi rublje (Sexy Underwear) by Michele Riml in Virovitica Theatre, Moj nulti ro-đendan (My Zero Birthday) by Ivan Penović in Dubrava Theatre for Children. She participated in Croatian National Actors’ Award Performance in 2018. in Croatian National Theatre in Zagreb. She has completed several national and foreign theatre workshops and seminars. She is an arts teaching asssistant in Actors’ Department of The Academy of Dramatic Art in Zagreb. She also actively works as a director of synchronization of cartoons.
7776
M. ŠEGVIĆ
BIOGRAFIJE
NIKOLINA RAFAJ rođena je 1994. u Zagrebu. Studira dramaturgiju na Akademiji dramske umjetnosti u Zagrebu, a završila je preddiplom-ski studij antropologije i etnologije i kulturne antropologije na Filozofskom fakultetu. Snima dokumentarni film Između unutar pro-jekta Biti drugačiji – identiteti, predrasude i nasilje (2014.), a u sklopu festivala KRADU (2016.) premijerno prikazuje koautorski projekt Kad je mrak, zažmiri. Unutar Malih noćnih čitanja u Gavelli izvodi joj se dramski tekst Samo se igramo (2016.) te Nekoliko trenutaka prije sreće (2017.) u Ogranku mladih HDDU. Koautorica je teksta Otvoreni poziv (2017.) Međunarodne dramske kolonije Hrvatskog centra ITI. Dramaturginja je na predstavi Točno u podne (2017./2018.) u Teatru ITD, potpisuje adaptaciju dječjeg romana Junaci Pavlove ulice (2017./2018.) te dramaturgiju istoimene predstave u ZKM-u. U sklo-pu KRADU-a predstavlja koautorski projekt Tiha noć (2018.) za koji dobiva dekaničinu nagradu. Sudjeluje kao dramaturginja u interna-cionalnom programu Hrvatskog centra ITI (2018.), dramaturginja je na projektu Odbrojavanje – na piru s Držićem i Nalješkovićem u suradnji ADU-a i 69. Dubrovačkih ljetnih igara. Izlaže rad naslova Performing a passage – dramaturgy as a mode of disappearing (2018.) u sklopu devetog izdanja Theatrum Mundi.
7978
S. ŠIMUNOVIĆ
BIOGRAPHIES
NIKOLINA RAFAJ (1994., Zagreb) is a student of Drama Studies of The Academy of Dramatic Art in Zagreb. She also graduated in ant-hropology and ethnology and cultural anthropology from The Faculty of Philosophy of The University of Zagreb. She is an author of a documentary film titled Između (In Between) as a result of the project Biti drugačiji – identiteti, predrasude i nasilje (2014.) (To be different – identities, prejudice and violence, 2014.) as a part of Festival KRADU. In 2016. she put on the stage a premiere titled Kad je mrak, zažmiri (When it is Dark, Wink). As a part of the project na-med Tiny Reading by Night in Gavella, her texts titled Samo se igra-mo (We are just Playing) (2016.) and Nekoliko trenutaka prije sreće (Some Moments Before Happiness) (2017.) were performed. The organization of the performances was by The Society of Croatian Drama Artists – Affiliation for the Young. She is also co-author of the text Otvoreni poziv (2017.) (Open Invitation) of International Drama Colony of Croatian ITI Centre. She was a drama writer of the perfor-mance Točno u podne (2017./2018.) ( High Noon.) In &TD Theatre she adapted the novel for children Junaci Pavlove ulice (2017./2018.) (Heroes of Paul’s Street) as well as dramaturgy work of the homony-mous performance in ZKM (The Zagreb Youth Theatre). Under the project KRADU she put on the stage co-author’s project titled Tiha noć (2018.) (Silent Night), which was awarded Dean’s Prize. She also participated as a dramaturge in an international programme of Croatian ITI Centre in 2018.. She was also the dramaturge on the performance Odbrojavanje – na piru s Držićem i Nalješkovićem (Counting Off – on the wedding with Držić and Nalješković) i.e. co-operation of The Academy of Dramatic Art and 69th Dubrovnik Summer Festival. On the tenth edition of Theatrum Mundi in 2018., she delivered a lecture titled Performing a passage – dramaturgy as a mode of disappearing.
8180
G. ŠOLETIĆ
BIOGRAFIJE
TEA BAŠIĆ ERCEG rođena je 1986. godine u Zagrebu. Maturirala je u XVI jezičnoj gimnaziji i magistrirala na Tekstilno-tehnološkom fakultetu na smjeru Kostimografije. Iskustvo stječe kao suradnica/asistentica na dramama, operama, mjuziklima i baletima u kazali-štima u Hrvatskoj (HNK u Zagrebu, HNK Split) i inozemstvu (SNG Ljubljana, LGL Ljubljana, Mestno gledališče Ljubljana, SNG Nova Gorica, Stadttheater Ingolstadt, Sehir Tiyatrolari Istanbul). Posljednjih pet godina radi kao samostalna kostimografkinja. Među predstavama koje je radila su Samson i Dalila u splitskom HNK-u, Umišljeni bolesnik u GDK Gavella, Snježna kraljica i Orašar u GK Trešnja, Sherlock Holmes u ZKM-u, Vještica Hillary i uvrijeđeni kon-trabas u zagrebačkom HNK-u i Čini barona Tamburlana u varaždin-skom HNK-u. Ovo joj je druga suradnja s redateljicom Leom Anastazijom Fleger. Kostimografkinja je i u brojnim televizijskim reklamama za domaće i inozemno tržište.
8382
S. ŠIMUNOVIĆ, V. JURČIĆ, I .T. PRPIĆ
BIOGRAPHIES
TEA BAŠIĆ ERCEG became an assistant on dramas/operas/musicles and ballets in the theatres in Croatia (Croatian National Theatre in Zagreb and Croatian National Theatre in Split), but also abroad (Slovenian National Theatre of Ljubljana, Municipal Theatre of Ljubljana, Slovenian National Theatre of Gorizia, Stadttheater Ingolstadt, Sehir Tiyatrolari and Istanbul). She has been working recently, as an independent costume designer for five years. There are numerous performances in which she worked: Croatian National Theatre in Split play Samson i Dalila (Samson and Delilah); Municipal Theatre Gavella play Umišljeni bolesnik (Hypochondriac); Municipal Theatre of Trešnjevka plays: Snježna kraljica (Snow Queen) and Orašar (Nutcracker); The Zagreb Youth Theatre play Sherlock Holmes (Sherlock Holmes); Croatian National Theatre in Zagreb play Vještica Hillary i uvrijeđeni kontrabas (Hillary, the Witch and Double Bass Insulted) as well as Croatian National Theatre in Varaždin play Čini barona Tamburlana (The Magic of Baron Tamburlain) etc… This is her scond collabo-raation with Lea Anastazija Fleger. She has also been a costume designer in numerous television commercials for a national and an international market.
8584
V. JURČIĆ
BIOGRAFIJE
IRENA KRALJIĆ rođena je 1987. u Zagrebu. Poslije završene Škole za primijenjenu umjetnost i dizajn upisuje 2006. Akademiju likovnih umjetnosti. Po završenom diplomskom studiju kiparstva upisuje 2010. magistarski studij Kazališne scenografije na Akademiji likovnih umjetnosti u Bologni. Nakon uspješnog završetka studija u Italiji vraća se 2013. u Zagreb. Članica je HDLU-a od 2013. i HZSU-a od 2016. Od 2011. radi i na kazališnim i multimedijskim projektima, a od 2013 ostvaruje samostalne kazališne scenografije, među kojima su Brodolomke, Naš razred 2.b, Vještica Hillary i uvrijeđeni kontrabas, Otpisane, Snježna kraljica, Famozna, Nora, Samson i Dalila, Tri sestre, Princeza Luisa, Galeb, Kralj Ubu, Zagrebački vremeplov, Mobitel, Izgubljene ljubezni i Miris lovine. Uz kiparstvo, predano se bavi ilustracijom i slikarstvom, od 2006. aktivno izlaže na skupnim i samostalnim izložbama. Uz kazalište, ostvaruje i scenografije za kratkometražne filmove, povremeno radi i kosti-mografiju. Do sada je ostvarila brojne uspješne umjetničke surad-nje u Hrvatskoj, Sloveniji, Srbiji i Italiji. Živi u Zagrebu, stvara, radi i istražuje kamo je prilike odvedu.
8786
G. ŠOLETIĆ
BIOGRAPHIES
IRENA KRALJIĆ was born in 1987. in Zagreb. Having completed School for Applied Arts and Design in 2006., she enrolled at Zagreb Academy of Arts, where she obtained M.A. Degree in Sculpture. In 2010., she started her Master’s Studies in Theatre Scenography at Bologna Academy of Fine Arts. Having success-fully finished her studies, she returned to Zagreb in 2013. She has been a member of HDLU (Croatian Association of Visual Artists) from 2013. and HZSU (Croatian Association of Sculpure Artists) from 2016. She has been working on theatre and multimedia projects from 2011. Since 2013., she has realized original theatre scenografies among which there are: The Shipwreck, Our Class 2b, Hilary, the Witch and Insulted Double Bass, Written offs, Winter Queen, Famous One, Nora, Samson and Dalliah, Three Sisters, Princess Luisa, Seagull, King Ubu, Zagreb Time Machine, Cellular Phone, Lost Kindness, The Scent of the Catch and others. In addition to sculpture, she has been devoted to illustrations and paintings and since 2006. she has actively participated in group and individual exhibitions. Besides theatre, she has carried out scenograpies for short movies and also she has been engaged in costume designing. She has realized numerous successful cooperations in Croatia, Slovenia, Serbia and Italy. She lives in Zagreb, but also wherever she has been attracted by creative work and research.
8988
V. JURČIĆ, H. SEBASTIJAN
BIOGRAFIJE
VESNA KOLAREC rođena je 1985. godine u Zagrebu. Završila je školu Primijenjene umjetnosti i dizajna, smjer fotografija. Nastavila je obrazovanje na Višoj školi za fotografiju i vizualne umjetnosti (Istituto superiore di fotografia e arti visive) u Padovi. Nakon završetka obrazovanja vraća se u Zagreb gdje upisuje Akademiju dramske umjetnosti, odsjek filmskog i televizijskog snimanja. Zadnje dvije godine na Akademiji upisuje usmjerenje Oblikovanje svjetla gdje je diplomirala 2014. godine. Kao oblikovateljica svjetla surađivala je s HNK-ovima u Zagrebu, Osijeku, Rijeci i Varaždinu, s SNG-om Maribor, Dubrovačkim ljetnim igrama, Koncertnom dvoranom Vatroslav Lisinski, MSU-ovom Gorgonom, kazalištem Kerempuh, Teatrom ITD, kazalištem Žar ptica, KNAP-om, Centrom za kulturu Trešnjevka, Kazalištem Vidra i DK Dubrava. Članica je Udruženja likovnih umjetnika primijenjenih umjetnosti Hrvatske i Hrvatske zajednice samostalnih umjetnika.
9190
V. JURČIĆ
BIOGRAPHIES
VESNA KOLAREC was born in 1985. in Zagreb, where she finished School of Applied Arts and Design, Photography Department. She continued her education at Istituto Superiore di Fotografia e Arti Visive in Padua (College in Photography and Visual Arts). Having successfully completed her education, she returned to Zagreb, where she enrolled at The Academy of Dramatic Art, Department of Film and Television Shooting. She obtained her M.A. degree from The Department of Lightening Design in 2014. As a ligtening designer, she has collaborated with Croatian National Theatres in Zagreb, Osijek, Rijeka and Varaždin, as well as with Slovenian National Theatre Maribor, Dubrovnik Summer Festival, Vatroslav Lisinski Concert Hall, Museum of Contemporary Arts – Gorgona, Kerempuh Theatre, &TD Theatre, Žar Ptica Theatre, KNAP Theatre, Trešnjevka Culture Center, Vidra Theatre, Dubrava Theatre. She is a member of Croatian Association of Visual Artists of Applied Arts as well as Croatian Association of Individual Artists.
9392
G. ŠOLETIĆ, H. SEBASTIJAN
BIOGRAFIJE
MATEA BILOSNIĆ, rođena u Zadru, plesom se počinje baviti kod Sanje Petrovski u Zadarskom plesnom ansamblu. Po završetku gimnazije upisje se na Salzburg Experimental Academy of Dance. Nakon akademije odlazi u Zagreb gdje gostuje u projektima Zagrebačkog plesnog ansambla, Studija za suvremeni ples, Bad.co-a, Petre Hraščanec, Saše Božića, Ksenije Zec i Marie Jerez. Istovremeno ostvaruje i autorske projekte na Platformi.hr i pri Teatru ITD. Na Akademiji dramske umjetnosti radila je kao vanjska suradnica za scenski pokret na studiju glume. Bila je članica EnKnap Groupa u Ljubljani, jedine profesionalne plesne kompanije u Sloveniji gdje je radila s Josephom Nadyom, Kathleen Fisher (Trisha Brown Dance Company), Iztokom Kovačom, Guyom Naderom & Mariom Campos. S EnKnap Groupom dijeli Županči-čevu nagradu za izniman doprinos kulturi u Ljubljani i Sloveniji. Otkad se pridružila Zadarskom plesnom ansamblu do danas je stalna članica i suradnica ansambla i radi kao pedagoginja, izvođa-čica, koregrafkinja i fotografkinja. Dio je organizacijskog tima Monoplay festivala sola i Stream Zadar edukativne platforme.
9594
H. SEBASTIJAN
BIOGRAPHIES
MATEA BILOSNIĆ was born in Zadar. She started dancing with Sanja Petrovski in Zadar Dancing Ensemble. After Grammmar School, she finished Salzburg Experimental Academy of Dance. After the Academy, she went to Zagreb, where she worked as a guest in the projects of Zagreb Dance Ensemble Studio for Modern Dance Bad.co., owned by Petra Hraščanec, Saša Božić, Ksenija Zec and Maria Jerez. At the same time, she carried out also, the author projects on Platforma.hr in &TD Theatre. She worked as an assisstant for the subject Performing Arts at The Department of Acting. She was also a member of EnKnap Group in Ljubljana, the unique professional dance company in Slovenia where she worked with Joseph Nadya, Kathleen Fisher (Trisha Brown Dance Company), Iztok Kovač, Guy Nader & Maria Campos. She shared Župančić Award with EnKnapp Group for an exceptional contribution to culture in Ljubljana, Slovenia. Ever since she joined Zadar Dance Theatre, she has been a regular member and collaborator of the ensemble where she has been working as a coach, performer, choreographer and photographer. She is also a member of the organizing committee of Monoplay Festival of Solo Singing and Stream Zadar education platform.
9796
V. JURČIĆ, M. ŠEGVIĆ
BIOGRAFIJE
MILORAD STRANIĆ je skladatelj, glazbeni producent i pedagog. Rođen je u Zagrebu. Diplomirao je 1993. godine na Odjelu za kompoziciju i glazbenu teoriju Muzičke akademije u Zagrebu u zvanju profesora teoretskih glazbenih predmeta. Od 1991. do 1998. profesor je na Školi za klasični balet i suradnik Baleta HNK u Zagrebu. Od 2001. glazbeni je suradnik Učilišta ZKM-a s kojim već otprije intenzivno surađuje (glazba za plesne i dramske produkcije, glazba za predstave Basne iz skloništa i Igra – meksička narodna priča). Sklada scensku glazbu za predstavu Dječak vuk u režiji V. Krušića, za mjuzikl Zabranjena vrata u režiji Grozdane Lajić, te glazbu za promotivne jinglove ZKM-a. Sklada scensku glazbu za kazališne predstave Sumnja, Zečja rupa, Tko je ovdje lud, Ritina škola u produkciji Kazališta Planet Art. Kao glazbeni producent surađuje na predstavama Slavuj i Čokolada Gradskog kazališta Trešnja. Surađuje na predstavi Zatvaranje ljubavi (ZKM), a produkcijski i pedagoški na mjuziklima Na putu do slave i Mali Cabaret te kao skladatelj i aranžer na mjuziklu Mačji blues. Sklada glazbu za radionicu mjuzikla Prvi korak… u mjuzikl 12. kazališnog kampa Tirena. Glazbeni je suradnik u predstavi Črna mati zemla i asistent kompozitorice u predstavi Radnice u gladovanju ZKM-a. Sklada glazbu za predstavu Junaci Pavlove ulice povodom 70-e obljetnice ZKM-a, i za predstavu Zašto šutiš u režiji L. A. Fleger u produkciji Teatra ITD u Zagrebu. Glazbeni je suradnik na predstavi Cabaret preko veze Satiričkog kazališta Kerempuh i Kazališta Moruzgva.
9998
I.T. PRPIĆ
BIOGRAPHIES
MILORAD STRANIĆ is a composer, music producer and pedagogue. He was born and educated in Zagreb. He graduated from Music Academy of Zagreb in 1993. i.e. From The Department of Compo-sition and Theory of Music and became a professor in the theory of music subjects. From 1991. to 1998., he worked as a professor in Classic Ballet School and cooperated with Croatian National Theatre in Zagreb. From 2001. onwards, he cooperated with The Zagreb Youth Theatre – Education Department, thus continu-ing his intensive cooperation (music for dancing and drama production, music for two performances: Basne iz skloništa and Igra – meksička narodna priča (Tales from Emergency Shelter and Game – Mexican folk tale). He composed the music for the perfor-mance Dječak vuk (The Boy-wolf) directed by V. Krušić, then for musicle Zabranjena vrata (Forbidden Doors) directed by G. Lajić and the music for promotion jingles by The Zagreb Youth Theatre. He composes the music for theatre performances: Sumnja (Doubt), Zečja rupa (Rabbit’s Hole), Tko je ovdje lud? (Who is Mad Here?), Ritina škola (Rita’s School) produced by Planet Art Theatre. As a music producer, he cooperated on the perfor-mances Slavuj (Nightingale), Čokolada (Chocolate) of The Municipal Theatre of Trešnjevka. He assisted in performance Zatvaranje ljubavi (Closing Love) produced by The Zagreb Youth Theatre. He worked as a producer and pedagogue on the musicles: Na putu do slave and Mali Cabaret ( On the Way to Glory and Small Cabaret) as well as a composer and score-writer on the musicle Mačji blues (Cat’s Blues). He composed the music for the workshop Prvi korak... u mjuzikl (The first Step in Musicle) of the Twelfth Tirena Theatre Camp. He is also the composer of music of Črna mati zemla (Black Mother Ground) and the assisstant of the composer in the performance Radnice u gladovanju (Working Women Starving) of The Zagreb Youth Theatre. He wrote music for the performance Junaci Pavlove ulice (Heroes of Paul’s Street) on the celebration of the 70th anniversary of this theatre and also for the performance Zašto šutiš (Why do You Keep Silence?), directed by Lea Fleger, produced by &TD Theatre in Zagreb. He assisted on the perfor-mance Cabaret preko veze (Cabaret with Links) by satiric Theatre Kerempuh and Theatre Moruzgva.
101100 BLIZANKE
M. ŠEGVIĆ, B. MATIĆ, V. JURČIĆ, I .T. PRPIĆ, H. SEBASTIJAN, S. ŠIMUNOVIĆ
LOTTIE AND LISA
"Mi imamo samo jednu želju!"
"We have just one desire!"
103102 BLIZANKE
S. ŠIMUNOVIĆ, I .T. PRPIĆ, V. JURČIĆ, H. SEBASTIJAN
LOTTIE AND LISA
104
PREMI�ERE 2019.NE PLAĆAMO, NE PLAĆAMO!AUTOR DARIO FO / REDATELJ IVICA KUNČEVIĆPREMIJERA 18.1.2019. / VELIKA SCENA
NEMREŠ POBJEĆ OD NEDJELJEAUTORICA TENA ŠTIVIČIĆ / REDATELJICA MARINA PEJNOVIĆPREMIJERA 1.3.2019. / SCENA BURSA
BLIZANKEAUTORICA NIKOLINA RAFAJ PREMA ERICHU KÄSTNERU REDATELJICA LEA ANASTAZIJA FLEGERPREMIJERA 15.3.2019. / VELIKA SCENA
SUTON AUTOR IVO VOJNOVIĆ / REDATELJICA IVICA BOBANPREMIJERA 18.4.2019. / VELIKA SCENA
ADAM I EVAAUTOR MIROSLAV KRLEŽA / REDATELJICA HELENA PETKOVIĆPREMIJERA 24.5.2019. / VELIKA SCENA
ALKESTIDA AUTORICA LADA KAŠTELAN PREMA EURIPIDU / REDATELJICA LIVIJA PANDURPREMIJERA 13.9.2019. / VELIKA SCENA
BAJKA O BAKI MOKOŠ AUTORICA SRĐANA ŠIMUNOVIĆ / REDATELJICA SRĐANA ŠIMUNOVIĆPREMIJERA 22.11.2019. / VELIKA SCENA
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PREMIERES 2019CAN’T PAY? WON’T PAY!AUTHOR DARIO FO / DIRECTOR IVICA KUNČEVIĆPREMIERE 18.1.2019 / MAIN STAGE
CAN’T ESCAPE SUNDAYS AUTHOR TENA ŠTIVIČIĆ / DIRECTOR MARINA PEJNOVIĆPREMIERE 1.3.2019 / SMALL STAGE BURSA
LOTTIE AND LISA AUTHOR NIKOLINA RAFAJ BASED ON ERICH KÄSTNERDIRECTOR LEA ANASTAZIJA FLEGERPREMIERE 15.3.2019 / MAIN STAGE
EVENFALL AUTHOR IVO VOJNOVIĆ / DIRECTOR IVICA BOBANPREMIERE 18.4.2019 / MAIN STAGE
ADAM I EVEAUTHOR MIROSLAV KRLEŽA / DIRECTOR HELENA PETKOVIĆPREMIERE 24.5.2019 / MAIN STAGE
ALCESTIS AUTHOR LADA KAŠTELAN BASED ON EURIPIDES / DIRECTOR LIVIJA PANDURPREMIERE 13.9.2019 / MAIN STAGE
TALE OF GODDESS MOKOSH AUTHOR SRĐANA ŠIMUNOVIĆ / DIRECTOR SRĐANA ŠIMUNOVIĆPREMIERE 22.11.2019 / MAIN STAGE
107106
REPRIZE
LJUBAVNIK AUTOR HAROLD PINTER / REDATELJ LAWRENCE KIIRUPREMIJERNO IZVEDENO 16.3.2012. / SCENA BURSA
BJEGUNKEAUTORI PIERRE PALMADE I CHRISTOPHE DUTHURONREDATELJICA NENNI DELMESTREPREMIJERNO IZVEDENO 30.9.2016. / VELIKA SCENA
SKUPAUTOR MARIN DRŽIĆ / REDATELJ IVICA KUNČEVIĆPREMIJERNO IZVEDENO 20.1.2017. / VELIKA SCENA
NA TERAPIJI AUTOR MATIAS DEL FEDERICO / REDATELJICA NENNI DELMESTREPREMIJERNO IZVEDENO 27.10.2017. / VELIKA SCENA
GLUMICE II. KATEGORIJE AUTORI IVO VOJNOVIĆ, DAVOR MOJAŠ, SRĐANA ŠIMUNOVIĆREDATELJICA SRĐANA ŠIMUNOVIĆPREMIJERNO IZVEDENO 13.4.2018. / SCENA BURSA
PIKOVA DAMAAUTOR A.S. PUŠKIN / REDATELJ DENIS AZAROVPREMIJERNO IZVEDENO 02.11.2018. / VELIKA SCENA
POSLJEDICEAUTOR ROMANO NIKOLIĆ / REDATELJ ROMANO NIKOLIĆPREMIJERNO IZVEDENO 22.11.2018. / VELIKA SCENA
REPEAT PERFORMANCESTHE LOVERAUTHOR HAROLD PINTER / DIRECTOR LAWRENCE KIIRUPREMIERED ON 16.3.2012 / SMALL STAGE BURSA
FUGITIVESAUTHORS PIERRE PALMADE AND CHRISTOPHE DUTHURONDIRECTOR NENNI DELMESTREPREMIERED ON 30.9.2016 / MAIN STAGE
THE MISER AUTHOR MARIN DRŽIĆ / DIRECTOR IVICA KUNČEVIĆPREMIERED ON 20.1.2017 / MAIN STAGE
IN THERAPYAUTHOR MATIAS DEL FEDERICO / DIRECTOR NENNI DELMESTREPREMIERED ON 27.10.2017 / MAIN STAGE
2ND CATEGORY ACTRESSESAUTHORS IVO VOJNOVIĆ, DAVOR MOJAŠ, SRĐANA ŠIMUNOVIĆDIRECTOR SRĐANA ŠIMUNOVIĆPREMIERED ON 13.4.2018 / SMALL STAGE BURSA
THE QUEEN OF SPADES AUTHOR A.S. PUSHKIN / DIRECTOR DENIS AZAROVPREMIERED ON 2.11.2018 / MAIN STAGE
CONSEQUENCES AUTHOR ROMANO NIKOLIĆ / DIRECTOR ROMANO NIKOLIĆPREMIERED ON 22.11.2018 / MAIN STAGE
109108
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