57th STERIJINO POZORJE FESTIVAL 2012

Public Discussion
Public Discussion of "Ludus"
at Sterijinom Pozorje

Association of Performance Artists of Serbia & Sterijino pozorje

Public Discussion of "Ludus" at Sterijinom Pozorje:

Topics:

politicism i theatre
regional cooperation in theatres
place and role of theatre (art) publications

Participants: Tatjana Nježić, editor of theatre newspapers Ludus; Aleksandar Milosavljević, member of the Editorial Board of Ludus; Miroslav Miki Radonjić, member of the Editorial Board of Ludus

Exhibition
Stage, Mask, Costume, Puppet
The 53rd exhibition of art by children

Sterijino Pozorje and Centre for Visual Arts Education of Children and Youth of Vojvodina

Within the scope of the 57th Sterijino Pozorje, The Centre for Arts Education of Children and Youth of Vojvodina organises the 53rd exhibition of works by children and youth “Stage, Mask, Costume, Puppet”. The youngest participants from the preschool institution "Radosno detinjstvo" (Happy Childhood) – kindergarten "Detelina sa četiri lista" (Clover with Four Leaves) from Novi Sad, enliven a scene from the fair painted on canvas, and children from the kindergarten "Cvrčak" (Cricket) from Bačko Dobro Polje made costumes they will wear at the opening of the exhibition. Students of the visual arts workshop "Čarolija" (Enchantment) from Novi Sad (mentors: Viktoria Čikoš and Mirjana Čikoš) have made a series of hats from papier-maché, and they printed a series of masks using the technique of monotype. Pupils of the primary school "Petofi Sandor" from Novi Sad (teacher Marta Buterer Kiss) are also participating with a series of printed masks. Students of the visual arts workshop "mARTa" from Novi Sad (mentor: Marta Buterer Kiss) have made masks of large dimensions from natural materials. Students from Technical School "Mileva Marić Ajnštajn" in Novi Sad will show us works that testify to perfectionism and great effort invested in their making (professors: Nataša Trajković and Jovana Despić). This year's exhibition demonstrated that children's creativity is inexhaustible and that with expert leadership and guidance of teachers and art educators, children paint sets, make puppets, costumes and masks with great joy..

Eva FEDI

Presentation
Presentation of NETA / New European Theatre Action

NETA - New European Theatre Action

General Assembly of NETA - NETA, founded in 2005, is the second largest European network that assembles more than thirty theatres and festivals from fifteen countries. Since its foundation, it has been based on the principle of network-like cultural connection and the attempt to connect the southeastern with the central and western European space. The specificity of the NETA network itself is the direct and effective programmes by significant theatres and festivals, which have been carried out in the first five or six years of its existence in Russia, Turkey, Slovenia, Bosnia/Herzegovina, Italy, Macedonia, Montenegro, Serbia, Bulgaria, Italy, Croatia … The description of the activity of the network itself and their current activities, as well as the ambitious programme for next year are the main themes of the General Assembly. Since 2007, NETA’s seat has been located in Ljubljana, and since 2010 it has been active as Institute NETA, which is allowed to compete for financial support of European programmes. Presidency: Blagoja Stefanovski (Macedonia), Branislav Mićunović (Macedonia), Damir Domitrović (EX PONTO Ljubljana, Slovenia)..

NETA Art TV - Since 2010, NETA production has been planning to start up a European magazine, shape an international theatre ensemble and to gradually form NETA Art TV, the most ambitious project in the next period. In addition to other things, this programme would facilitate international promotion and marketing for the members of the network. The first step would be internet TV. The programme will participate at this year’s international competitions. The concept NETA Art TV will be presented at Pozorje by the general secretary and director of the festival EX PONTO, Damir Domitrović.

Public Discussion
The Status of Theatre Critique in the Region

Public Discussion about Theatre Critique in the Region will be held (May 28), which will include four segments: promotion of the significant study about theatre critique by Sanja Nikčević, a theatrologist from Zagreb, Theatre Critique or the Inevitable Fellow Traveler, presentation of the project Criticize This!, presentation of the work of the Serbian section of IATC/AICT (International Association of Theatre Critics) and discussion about the state of theatre critique in the region. Participants in the discussion: Sanja Nikčević, Una Bauer, Antonija Letinić (coordinator for theatre critique of the project Criticize this!), Darinka Nikolić, Ivan Medenica, Ksenija Radulović, Aleksandar Milosavljević and others. Moderator of the Discussion is Ivan Medenica.

Workshop:
The project Criticize This! is a guest at this year’s Sterijino Pozorje. Five attendees from Belgrade, Novi Sad, Zagreb and Podgorica (Nikola Skočajić, Vanja Nikolić, Ivana Anić, Nino Kovačić, Milena Pejović) will participate in the theatre critique workshop led by mentors Una Bauer (Zagreb) and Ivan Medenica (Belgrade). Beside working with mentors, the young critics will be obliged to attend the Round Tables and publicly discuss the observed plays, and publish critiques in the Festival Bulletin.

Theatre Critique Workshop and Public Discussion about Theatre Critique in the Region

Bad, but not hopeless
One of the accompanying programmes at Sterijino Pozorje is dedicated to the state of theatre critique in the region of the former Yugoslavia, primarily in the area of the language we once called Serbo-Croatian/Croatian-Serbian.
Despite certain differences in political, economic and cultural processes taking place in the countries of the former Yugoslavia in the past twenty years, there are also phenomena we have all share. One of them is the collapsing tendency of all aspects of art critique, including theatre, in the media of general orientation. This sad and dangerous phenomenon is not, admittedly, the “specialty” of this region only, since, as a consequence of general commercialisation and anti-intellectualism in the media and other public spheres, it could be observed in other European countries of the “Eastern bloc,” and in the entire world as well. Our particularity is that transition into a society of neo-liberal capitalism, due to the war of the ‘90s, began here with a delay of about ten years in relationship to other countries of Eastern Europe. That is why some anti-civilisational phenomena that follow the imposition of financial interests and logic as the main social driving forces are flaring only now. One of them is a general obliteration of critical awareness in the society, including the one related to art and theatre.
Theatre and other art critique columns are being cancelled or drastically reduced (which essentially changes their nature), it is more important to turn a thumb upwards or downwards in the form of stars awarded to plays and other art works than to offer a serious, expert and thorough analysis of those works. An argument is developing that a newspaper review of an art work is a more lethal and accurate type of critical thinking than an expert and analytical critique, so journalism should not have a single mission outside of itself, including cultural! Media do not have full-time and decently paid critics, while the wages of critics-associates are so miserable that one can become engaged in this activity only as hobby. Thus critics are forced to do other jobs, to actively and continuously join theatre work (as dramaturges of plays, for example), which gradually undermines their independence and distance, leads them to a “conflict of interests” and thus fatally damages their authority as critics.
The situation is, therefore, quite desperate, but it is not completely hopeless. One of the actions that offers hope is the regional educational project in the area of art critique, Criticize This! which, as part of the project „Kultura 2007–2013“ of the European Union, is taking place on the territory of Serbia, Croatia and Montenegro during the 2011/2012 season. Apart from expert education of young critics in a more narrow sense, this project has a mission to recognise and affirm art that critically reflects nationalistic and similar ideological patterns that during the ‘90s became dominant in our cultures, and are still very strong today. Hope is especially given by the possibility that this education project could grow, into a long-term, informal platform for art critique in the ex-Yu region, into a network of expert and socially aware critiques of the younger and middle generation who would collaborate and support each other in developing related, emancipated views on art and society. They could occasionally in a guerilla-like manner “break into” the cultural space of neighbouring countries and with a fruitful combination of familiarity with the local context (because in these countries they are all similar) and necessary personal distance toward local artists and institutions publish, during a limited period, serious critical reviews of that, for them akin, but still different art scene.

Ivan MEDENICA

Criticize This!
After years of a planned construction of national and state-building narratives in Serbia, Croatia, Bosnia/Herzegovina and Montenegro, in which official art played an important role, national myths have flooded the society, and the contemporary mainstream art still continues to cultivate prejudices and stereotypes, to justify nationalist ideologies. At the same time, critical analysis of contemporary art is significantly declining. Considering that mainstream media treat culture as entertainment, it is impossible to publicly discuss questions such as nationalism and chauvinism in art. Critique is condemned to occasional appearances in specialised journals intended for a very narrow and mostly academic audience. True newspaper critical reviews have almost completely disappeared.
That is why this project is designed as a widening of space for critical discussion about contemporary art, and this seems especially important at this specific moment, when one considers perspectives of the countries in the region for joining the European Union and their need for adopting European values of tolerance and intercultural dialogue. Critique of contemporary art contributes to this dialogue by revealing ways in which contemporary art (de)constructs national myths, national identities and notions created about others, as well as the manner in which it deals with the traumatic phenomena in the society.
The project is focused on visual and performance arts, and literature published in the past few years in Serbia, Bosnia/Herzegovina, Croatia and Montenegro. The production of critical texts is realised through three art modules taking place in Serbia, Montenegro and Croatia. The first part of the module is the initial three-day event that includes workshops for young critics, public lectures by international guests and a public discussion with guest lecturers and theatre critics about the role of art and art critique in the construction of a democratic and open society. This three-day event is followed by a four-month work by mentors and students on critiques, and the final phase of every art module consists of essay-writing on the assigned topic. The chosen texts are published by the critique on the mutual web site of the project Criticize This!, the sites of the project organisers, in daily and weekly publications in all four countries, as well as in other electronic media. The best critic will receive a prize awarded at that end of the project.
The project Criticize This! was designed by the ogranisations Kulturtreger and Kurziv, Zagreb (Croatia), KPZ Beton and SEEcult.org, Belgrade (Serbia) and Plima Ulcinj (Montenegro). The carrier of the project is Association Kulturtreger from Zagreb. The project is financed as part of the programme "Culture 2007-2013" by the European Union..

www.criticisethis.org

Presentation
Presentation of the book
'Egon Savin'

Book "Egon Savin"
Author: Dejan Penčić Poljanski
Ed. Serbian National Theatre

Egon Savin was born in 1955 in Sarajevo, in a family of opera singers. Received a bachelor’s degree in directing at the Belgrade Faculty of Performance Arts, where he still works as a full professor in the same department.
Already with his first few productions he announced the arrival of one of the most significant Serbian and Yugoslav names in directing. He directed more than 80 plays. His sets performed in Nancy, Paris, Warsaw, Wiesbaden, Tel Aviv, Vienna, New York, Chicago, Montreal, Toronto... He successfully tried his hand at all the present production models, from non-institutional theatre and off-stages to almost all significant theatres of the former Yugoslavia. With great success he has been setting on stage of Serbian and international classics in which he finds concrete traces revealing the essential power of theatre in our time and tying those works and their authors with a concrete space and concrete time.
He first appeared at Pozorje in 1987 (St. George Killing the Dragon by D. Kovačević, SNT Novi Sad), and The Well will be the 24th play with which Savin will be presented to the Pozorje audience.
He is a recipient of over 40 most prestigious awards and recognitions for directing: 9 Sterija’s awards, including the highest one, for life’s work; the Golden Laurel Wreath, Award “Bojan Stupica”, Ardalion ...

Exhibition
Milenko Šerban and Contemporaries

Milenko Šerban
(Čerević, April 4th 1907 – Belgrade, July 30th 1979)

www.pavle-beljanski.museum

Pavle Beljanski Memorial Collection & Museum of Theatre Arts of Serbia

Milenko Šerban and Contemporaries
The name of Milenko Šerban is connected in multiple ways to the concept of endowment, not only concerning his legacy placed in the Endowment House in Belgrade. Set sketches for several plays performed in Belgrade theatres were presented by the Šerban family in the Museum of Theatre Arts of Serbia. Paintings by Milenko Šerban were included by Pavle Beljanski in his endowment, and, in accordance to the wishes of the donor, they are exhibited at all times. The idea to connect three endowments into one exhibit originated from the long-term collaboration between the Memory Collection of Pavle Beljanski with the Endowment House, as well as from the old intention of the Memory Collection to present, together with the Museum of Theatre Art of Serbia, the set design opus by Milenko Šerban.
Milenko Šerban (Čerević, 1907 – Belgrade, 1979) was educated in Novi Sad (prof. Vasa Eškićević) and Paris (Academy Kolarosi, then atelier of André Lhote), and he had his first solo exhibition in Novi Sad in 1926. From 1931 to 1938 he was a member of the group “Oblik“ (Shape), and in the post-war period he participated in all the exhibitions of the group “Šestorica“ (The Six). His educational work began in 1941 in Belgrade, in the Theatre Section of the State School for Applied Arts, as the head of the Department for Set Design, and continued at the Academy of Applied Arts, with the subject Modern Set Design. After the foundation of the Academy of Theatre, Film, Radio and TV, he accepted to teach the class in set design and stage technique. During the thirty years of pedagogical work, Milenko Šerban instructed many outstanding set designers, who lifted set design to a high artistic level in theatres and TV across the former Yugoslavia.
The idea to offer this exhibition to the people of Novi Sad, as one of the programmes of the manifestation Night of the Museums 2012, arose from the fact that Šerban was the painter of Novi Sad, he lived here, worked as a set designer at the Serbian National Theatre, he was the curator and manager of the Museum of Matica Srpska, and the author of the first exhibit of the newly-founded Museum of Vojvodina. As the painter of Novi Sad, he depicted his views of the new city quarter, Mali Liman, just after the construction of its most impressive buildings. He occupied himself with set and costume design from the early 1930s in theatres of Novi Sad and Belgrade.
In the period between 1956 and 1975 he took part at Sterijino Pozorje in different ways. He was awarded at the First Theatre Plays – Sterijino Pozorje in 1956 for the set design of the play by Jovan Sterija Popović The Patriots, performed by the Yugoslav Drama Theatre in Belgrade, directed by Mato Milošević. At the International Triennale of Theatre Set and Costume Design he was a participant (1966) and president of the jury (1969, 1972, 1975). Since 1995 the award of the International Triennale of Theatre Set and Costume Design bears the name of Milenko Šerban. This year, Sterijino Pozorje is taking place for the fifty-seventh time, and Milenko Šerban will participate again in its programmes through the exhibition Milenko Šerban and Contemporaries. The guests of Pozorje will have an opportunity to see not only Šerban’s sketches for sets, but also his paintings, drawings, photographs; parallel to that exhibit, there will be another one: works with the theme of Šerban’s set designs created by pre-school children during the Night of the Museums. Thanks to this precious combination of institutions that explore and preserve Šerban’s work, as well as institutions in which he spent part of his theatre life, the person of the artist and his work will be enriched by a new interpretive dimension. The presence of other authors, Šerban’s contemporaries, from his legacy at the Endowment House, will remind us about the spirit of times and artistic climate of the period in which he created. Thanks to the practice of team work in realising such programmes, all the participating institutions have made an effort to offer maximum support to every work phase. The Memory Collection owes them gratitude, as well as to all collaborators and, most of all, to Pavle Beljanski himself, to Milenko Šerban and his family, because by this bestowment they have enabled a new life of such a significant art legacy.
Through the selection of art works from the Endowment of Milenko Šerban, Memory Collection of Pavle Beljanski, the set design from the Museum of Theatre Arts of Serbia and documentation about the artist at the exhibition Milenko Šerban and Contemporaries, Šerban’s complex creative personality and the immense significance and contribution to the art and cultural scene of Serbia will once again be accentuated.

Dr Jasna JOVANOV

Presentation
The Days of Books

Organiser and moderator:
Ljiljana PEŠIKAN LJUŠTANOVIĆ

The traditional accompanying programme Days of the Book is taking place this year during three different time periods.

The first is reserved for the presentation of the new publications by Sterijino Pozorje: a study by Svetislav Jovanov, Hero and Fate: Poetics of German Romanticist Tragedy, the most recent issues of the journal Scena, in both Serbian and English, and The Annual Publication of Serbian Theatres, the 2010/11 season.

The Theatre Museum of Vojvodina, beside its basic activity, has been distinguishing itself for years as one of the most dilligent publishers of theatre literature in the country. In the second time period of Days of the Book, the following books from its rich publishing production have been singled out: Pera Dobrinović by Vesna Krčmar, The Unsurpassable Tragedienne Milka Grgurova by Zoran T. Jovanović, About Drama Works by Dr. Vojislav M. Jovanović Marambo by Spasoje Ž. Milovanović and Mira Banjac by Zoran Maksimović.

With a selection of four titles, the third time period consolidates the national and international theatre production between last year’s and this year’s Sterijino Pozorje: Ivana Ignjatov-Popović, The Intuitive World of Ranko Mladenović: Dramatist and Critical Work by Ranko Mladenović (Matica rpska), Attila Antal, The Political in Post-dramatic Theatre: The Recent Opus of Andras Urban (FOKUS, Foundation for Youth Culture and Creative Work, Subotica), Pavel Matuh, Majera (The Slovakian Publishing Centre, Bački Petrovac), Darko Lukić, Theatre in its Surrounding, Volume 2, Theatre Intermedia and Interculture (Leykam International, Zagreb).

Lecture
Lecture by Akiko Tachiki,
theatre critic from Tokyo (Japan)

Topic:
In Response To New Realities / An Overview of Japanese Contemporary Theatre and Dance

Akiko Tachiki is a Critic/Journalist specialized in Dance and Performance Art based in Tokyo, Japan. She regularly contributes to several Japanese publications such as the Yomiuri Shimbun (nationwide newspaper), Theatre Arts, DANCE MAGAZINE and other magazines. She has been the Correspondent from Japan for the European Dance Magazine, “tanz” published in Berlin, Germany.
She is the co-author of "Performing Arts in Germany Today", “Performing Arts in Nordic Countries” and "Gendai Engeki" (Contemporary Theatre). Her works also include the translation such as "Sharing the Dance - Contact Improvisation and American Culture" by Synthia J. Novack.
She has been a lecturer for Dance Artist Community College and other seminars including Asia Europe Dance Forum.
She has served as a jury for choreography or dance competitions that include the National Art Festival annually organized by the Cultural Agency of Japan, Saitama International Creative Dance Contest and Nordic Grand-Prix (Kuopio Choreography Competition) in Finland and other competitions of performing arts.
Membership: International Association of Theatre Critics, Japan (Now serving as the Secretary General for the IATC, Japan), Japanese Society for Dance Research, Japan Dance Forum.
Akiko Tachiki is member of AICT / IATC Jury on 57th Sterijino Pozorje Festival.

Meeting
Cooperation Between Festivals in the Region

Cooperation Between Festivals in the Region

Sterijino Pozorje is continuing an active inter-festival work by organising a meeting with the representatives of theatre festivals from the region. The first meeting of the informal association was held on March 31 of this year in Kranj, when the forms of the future collaboration were defined, including different aspects of promoting national theatres and dramaturgies and their inter-permeation, as well as common participation in European cultural funds.
The meeting in Novi Sad will be an opportunity to substantiate ideas and the manner of realising future projects.

Participants:
----Milivoje MLAĐENOVIĆ, Sterijino pozorje, Novi Sad (Serbia)
----Miroslav - Miki RADONJIĆ, Sterijino poozorje, Novi Sad (Serbia)
----Hazim BEGAGIĆ, B&H Drama Festival, Zenica (B&H)
----Iliya RAEV, Contemporary Bulgarian Drama Festival, Shumen (Bulgaria)
----Duško MUCALO, Marulićevi dani, Split (Croatia)
----Gian Maria CERVO, Festival Quartieri dell'arte (QdA), Viterbo (Italy)
----Mirjam DRNOVŠČEK, Teden slovenske drame, Kranj (Slovenia)

Presentation
Laureat d.o.o.

Presentation of the Newly-founded Enterprise Laureat
for Management and Representation of Authors and Actors

Founders: Vladimir HOROVIC, attorney, Marijana SARKIĆ, lawyer and Branko CVEJIĆ, actor.
"Laureat" d.o.o has a seat in Novi Sad and an affiliation in Belgrade.

Goal and idea: a highly qualified team will offer a complete service of negotiating and contract-making in the name and for the benefit of the artist - authors and actors, for the protection of their interests and work (signing contracts, negotiations and giving other forms of legal help).

Ambition: To include in the list of their clients-actors - beside the established, experienced artits and authors - young, talented artists, and to help with their promotion (constant contact with the academies and educational institutions - colleges).

Visions: expert leadership and professional experience will create conditions for participating in international competitions, in projects which the clients-artists would join.

In Memoriam
Jovan Hristić

Jovan Hristić (1933 - 2002)

Jovan Hristić. Remembrance (2002–2012)

"While the scene is being taken away and the lights exhtinguished"

Clarity of thought, high erudition and intellectual accuracy are characteristics of the creative work by Jovan Hristić, one of the last representatives of the Alexandrian school in our literature. Be it an essay or theatre critique, Hristić wrote extremely simply and inambiguously, without a desire to enchant with sofisticated formulations and knowledge of the matter, without an intention to conform to fashion, and always with a readiness to accept the artistically relevant achievements of new forms, a contemporary feeling for the world. Some of his lethal, minimalist critiques can be read like little theatre haiku, while in others he openly yet unobtrusively – with knowledge and intellectual honesty explaining particular segments of the play – demonstrated his own joy and enthusiasm about his presence at a successful art event. High erudition adorns his essays as well, although for today’s standards of strict scholarly classification he had a careless attitude toward his impeccable knowledge: instead of endless and boring footnotes, he would discreetly cite the source and name of the author to which he was referring. He brought to perfection the viewpoint of his predecessor, he sovereignly introduced them to his own view og life and art, and thus created a basis for a new intellectual game – for example where does T. S. Eliot stop and where does Jovan Hristić start? We learned from his texts how to pay respect to predecessors, how to be our own selves, and how to stand apart. Plays by Hristić occupy a special, almost separate place in our dramatic literature, while certain characteristics of his poetry – for example, the dramatic and theatrical references, an inevitable part of his poems – could become a subject of some future research.

Workshop
Regional Drama Workshop

Slovenian, Croatian and Serbian Centre of the International Theatre Institute (ITI)

Regional Drama Workshop
Stage readings of the plays by Simona Hamer (Slovenia), Lana Šarić (Croatia) and Sanja Savić (Serbia)

A presentation of selected excerpts from dramatic texts by three female authors, created during the Regional Drama Workshop – a project carried out by the Serbian Centre of the International Theatre Institute (ITI) together with ITI centres from Slovenia and Croatia. It is a project during which the young dramatists – Simona Hamer (Slovenia), Lana Šarić (Croatia) and Sanja Savić (Serbia) – underwent the entire process of creating their own original drama texts with a contemporary theme, from the initial idea to a stage presentation, through three successive stages (Kranj, Zagreb, Novi Sad) under the leadership of three mentors (Vinko Möderndorfer, Jasen Boko and Boško Milin) with individual work on the one hand, as well as mutual discussion, analysis and exchange of experience on the other. As a sort of prologue to the presentation, the theatrologists – members of the Slovenian and Croatian Centre, Vinko Möderndorfer and Jasen Boko – will present the situation and current tendencies in contemporary dramaturgies of Slovenia and Croatia in brief presentations.
The purpose of this complex workshop project – which represents the first international endeavour of the reinstated Serbian Centre of the International Theatre Institute – is exchange of the authorial experience and pedagogical methods in creating drama with a contemporary theme, as well as gathering insight about the problem of promotion of dramatists in the environments with similar transitional, socio-cultural situations.

ROUND TABLE
Moderators:
Svetislav JOVANOV & Igor BURIĆ

Svetislav JOVANOV (1953, Jazak), earned a B.A. in dramaturgy at the Faculty of Performance Arts in Belgrade in 1975, an M.A. in 1991, and a PhD in 2011 with the dissertation topic Subject and Genre in Romanticist Drama. He was a dramaturge and editor in drama programme of TV Novi Sad, editor in Vreme Knjige, director of Drama of the Serbian National Theatre (2000/01), deputy manager of the same theatre (2003/04) and director of Drama in Serbian language at the National Theatre in Subotica (2004–07). He is currently working as a dramaturge in Serbian National Theatre. He was the selector of Sterijino Pozorje (1998–2000), member of the editorial board of the journal Scena, editor of publishing at Sterijino Pozorje, and since 2010 he has been a member of the Artistic Board of Sterijino Pozorje. Since 2005 he is the president of the jury for the drama award “Borislav Mihajlović Mihiz“. He is a member of the Association of Theatre Critics of Serbia and Serbian Literary Society. Since 2011 he has been the president of the Serbian Centre of the International Theatre Institute and member of the International Playwrights' Forum, a section of the ITI.
Published books: Heavenly Poisoners (essays about the dramaturgy of difference), Belgrade 1987; A Heretic in the Altar (imaginactions), Vršac 1994; Deceaved Eros (female reading in Serbian drama), Belgrade 1999; Shakespeare, Kot and I (anti-theatrological essays), Kraljevo 2003. He put together (with Vesna Jezerkić) the anthologies Pre-mortal Youth: Anthology of the Newest Serbian Drama 1995–2005, Part 1 (Novi Sad 2006) and History & Illusion: Anthology of the Newest Serbian Drama 1995–2005, Part 2 (Novi Sad 2007). Edited a book of dramas by Borislav Pekić Robots and Spectres (Novi Sad 2006) and Dramas by Mario Vargas Llosa (Zrenjanin 2010). Other authorial books: Picnic on Golgotha (world literature by Borislav Pekić), Beograd 1994; A Class in Lobotomy (encyclopedic menagerie of Danilo Kiš), Belgrade 1997; Dictionary of Postmodernism, Belgrade 1999.
Performed plays: Far from Pest (Kikinda, 2000), Four Little Women (dramatisation of the novel by Ljiljana Jokić-Kaspar; Zrenjanin, 2006) and Patriots (dramatisation of Pekić’s Golden Fleece; Vranje, 2010).
He is the recipient of Sterija Prize for theatrology for 2000.

Igor BURIĆ (1976, Tuzla), theatre critic and journalist of the Novi Sad daily newspaper Dnevnik. Earned a B.A. in philosophy at the Faculty of Philosophy in Novi Sad. He started writing while still a student, publishing texts on philosophy, theory and criticism of culture, the new media, literature, music, theatre, film and interdisciplinary art forms. Since 2003 he has been writing theatre reviews, thus continuing the great tradition of the publication where he started working in 2002. Beside working for Dnevnik, he has been writing articles, interviews and reviews as a permanent or temporary contributor of theatre magazines – Scena, Ludus, Pozoriste, as well as other printed and internet magazines (Vreme, Art magazine). He worked as the editor of the magazine Interzone (Festival of Current Music, Novi Sad), Bulletin of the Festival of Professional Theatres of Vojvodina, as a moderator of discussions in the programmes of the Museum of Contemporary Arts of Vojvodina, Festival of Professional Theatres of Serbia, Festival of Contemporary Theatre “Desiré” (Theatre Kostolanyi Dezso Subotica). As part of his theatrical internship (2006), he was a Pozorje of the Young jury member (Sterijino pozorje Festival), where he attended the workshop for young theatre critics organised by the Serbian National Theatre. As part of his professional advancement, in 2007 he took part in the International Young Critics Internship (permanent programme of the International Association of Theatre Critics/IACT), held in the scope of the 52nd Sterijino Pozorje in Novi Sad. Together with Vladimir Kopicl, he was the selector of the 54th Sterijino Pozorje. For writing and other professional achievements, as “almost an excess figure among the young Dnevnik journalists and in the culture section,” he received one of the annual awards of the daily in 2004. Explanation of the editor: “Wide education, reliability and remarkable logic literacy, new lexis, fresh, original style and, what comes as a kind of rarity in his generation, a very clear and well-profiled ethical attitude, make up the characteristics of his penmanship.” Recognition outside the house he works for came in the form of the third prize for the best young journalist in Novi Sad which he was awarded in 2005. Since 2003, he published a few hundred theatre reviews in Dnevnik, covering both festival productions – Infant, Sterijino pozorje, Bitef, Desiré, European Theatre Prize/Premio Europa (Wroclaw, 2009) from both institutional and non-institutional, independent theatrical practice. He has published dozens of reviews and other genre forms in the journal Scena (Sterijino Pozorje). He can use computers, BHS, speaks and writes English and German. Besides the professional engagement, he occasionally takes part “on the other side of writing,” in the life of the alternative art scene (Garage, April Meetings, Infant, Desiré). He has been timidly writing poetry, playing the guitar and singing.