As part of the final phase of the European project Fabulamundi – New Voices, in which Heartefact and partners from about ten countries have been participating over the past two and a half years, we organized a visit of students from Serbia to the partner festival Short Theatre in Rome. The visit took place from September 5 to 7, during the 20th anniversary edition of this renowned festival.
Short Theatre is a multidisciplinary festival that has been held in Rome since 2006, dedicated to contemporary performing arts through a diverse program including performances, installations, talks, lectures, workshops, concerts, and more. Since 2025, the festival has been led by a collective curatorial team: Silvia Bottiroli, Silvia Calderoni, Ilenia Caleo, and Michele Di Stefano, with the aim of developing a shared artistic and political approach to curation and opening new opportunities for encounters between artists, audiences, and communities.
Some of the most successful and active participants of the Fabulamundi workshops in Belgrade took part in this study visit: Jelena Krdžavac and Stanislava Veljašević, dramaturgy students, as well as Ognjen Dragović, a student of theatre directing. During the visit, they had the opportunity to see the works of artists such as Carolina Bianchi, Nadia Beugré, Giorgia Nardin, Alberto Cortés, and Dewey Dell. They also met with resident artist Giulia Scotti, who is developing her new project during the festival, as well as with curator Silvia Bottiroli, with whom they discussed curatorial practices, selection, and festival organization.
For the students, this was a valuable opportunity to experience different approaches to programming and organizing a festival – one that goes beyond the boundaries of traditional theatre and combines dance, performance, multimedia disciplines, and artistic residencies.
“For a few days, life was theatre more than ever, probably because we were almost living inside it. Stepping outside the conventional theatrical frameworks and spaces brought me closer to the way alternative theatre scenes function, not only creatively, but also in terms of production. The only limit is self-censorship, never external factors,” said Jelena Krdžavac.
“This trip was a theatrical adventure, not only because of the incredible rhythm of a city like Rome, but also because of the exciting encounters with creators from different parts of the world. I was impressed by the dedication and commitment of my colleagues, but it also made me wonder if we here are sometimes spoiled. The essence is to try, to create, and to enjoy the process. It’s an experience I will remember, and I am truly glad I had the opportunity to take part in this journey,” added Ognjen Dragović.
The project Fabulamundi – New Voices is co-funded by the European Union through the Creative Europe program.



