One building. Two women. Three encounters. Four neighbors. And countless rules — written and unwritten. “Quiet hours from two to six” is more than a house rule – it is a principle by which one lives, survives, or gets by.

An impossible love story between art and capital – a play about loneliness, dependency, and the quiet cruelty of needing something you cannot live with, by Swedish author and director Freja Hallberg.

After more than four years of artistic research, our performance “They are all gone” examines the question of responsibility, forgetting and solidarity using a hybrid theatrical form. The author’s project of director Andrej Nosov was created based on the text by Doruntina Basha.

The play follows a young, uncompromising woman who returns to her hometown just before her thirtieth birthday, unwilling to admit her own failure or the reasons for her return. However, through intense encounters with her family and friends, she is forced not only to confront that wound but also numerous scars from her childhood.

“How I Learned to Drive” by Paula Vogel, a text often referred to as the “Lolita” written from a female perspective – the character of grown-up Li’l Bit, who reminisces about her childhood. The relationship between the two characters, Li’l Bit and her uncle, is filled with ambivalence: love, tenderness, curiosity, teaching, trust, authority formation, mistakes, and consequently: boundary crossing, grooming, and harm, leading to a point of self-destruction.

It is about questioning the limits of acceptance and rejection. After a young man comes out to his parents, they try to live with the knowledge that their son is different.

In many traditional Kosovar houses, it still happens that women of men who disappeared during the war are continuing to live with their husband’s family, even though it has been over 10 years from the war. The right over these women’s lives that once belonged to their husbands, now belong to his family.