Dramatization and Adaptation:<\/strong> Isidora Milosavljevi\u0107<\/p>\n\n\n\n
Starring: Aleksandra Arizanovi\u0107, Julija Petkovi\u0107, Nevena Ko\u010dovi\u0107<\/strong><\/p>\n\n\n\n Stage Speech:<\/strong> Dijana Marojevi\u0107 Premiere: December 26, 2024, Hartefact House<\/p>\n\n\n\n This performance is part of the project “Expanding Theatre Landscapes,” supported by the British Council through the Culture and Creativity for the Western Balkans project (CC4WBs). Funded by the European Union, CC4WBs aims to enhance dialogue in the Western Balkans by strengthening the cultural and creative sector and developing its potential for socio-economic impact in the region.<\/em><\/p>\n\n\n\n DIRECTOR’S NOTE<\/strong> DRAMATURG’S NOTE<\/strong> CRITICS<\/strong><\/p>\n\n\n\n \u201cDirector \u0110or\u0111e Ne\u0161ovi\u0107 leads the narrative and the actresses with sovereignty and authenticity, delicately and stylishly playing with the foundational minimalism through subtly thought-out solutions. The interplay with sound is particularly exciting, creating a unique soundscape where recorded voices intertwine with live speech mediated through microphones. This forms a choral, nightmarish offensive of voices, elusive streams of frenzied thoughts tormenting the protagonist and transferring this unease to the audience.\u201d \u2013 Ana Tasi\u0107, Politika<\/em><\/strong><\/p>\n\n\n\n “This is a modern story about a hungry artist, an exploited writer with no prospect of living off the art she\u2019s proud of. Even the protagonist points out this dangerous stereotype: I know one thing, people love artists who suffer.<\/em> But we like this story and the protagonist not because we celebrate their suffering, but because she thrives and finds meaning in life, in friendships, family love, community, and in being alive, in spite of it all.” – Mina Milo\u0161evi\u0107, SeeStage<\/em><\/strong><\/p>\n\n\n\n !The three Vanjas (and all the other characters) are the already confirmed Julija Petkovi\u0107, Aleksandra Arizanovi\u0107 and Nevena Ko\u010dovi\u0107. Strong, precise, concentrated. Cold and distant as a symbol of an alienated generation, dramatic and emotionally charged, as the members of that generation are. A deeply personal story about depression, a story about the society that leads to that depression. A joint story, and that’s how it ends, with mixed chairs, with the audience descending on the stage, and merging with the actresses into one organism. United both in depressions and in ways out.” – Aleksandra Glovacki, Novi Mazagin<\/strong><\/p>\n\n\n\n AWARDS<\/strong> FESTIVALS\/GUEST PERFORMANCES<\/strong> ABOUT THE DIRECTOR<\/strong> 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.<\/p>\n","protected":false},"author":15,"featured_media":19315,"menu_order":0,"template":"","format":"standard","meta":[],"oznaka":[94,93,22],"class_list":["post-19357","predstave","type-predstave","status-publish","format-standard","has-post-thumbnail","hentry","oznaka-in-the-repertoire","oznaka-plays","oznaka-predstave"],"yoast_head":"\n
Costume Design:<\/strong> Marija Varga
Music:<\/strong> Marija Balubd\u017ei\u0107
Sound Design:<\/strong> Marija Balubd\u017ei\u0107 and Luka Cvetko
Visual Identity:<\/strong> Jelena \u0160u\u0161njar
Photography:<\/strong> Nata Korenovskaia
Lighting Design:<\/strong> Na\u0111a Vukorep
Organization:<\/strong> Ksenija Milutinovi\u0107
Public Relations:<\/strong> Slavica Pe\u0161i\u0107
Student intern:<\/strong> Milica Ivkovi\u0107<\/p>\n\n\n\n
\u201cWhat changes when you step into your thirties? Is that when you become aware of your mortality, confronted with the question: why do we exist if we\u2019re destined to die? The protagonist, Vanja, faces a whirlwind of fears, internal dilemmas, and harsh realities. In this chaos, she tries to find reasons to live while also grappling with the futility surrounding her. Reading Katarina\u2019s novel, Vanja appeared to me as a chorus of young people\u2014a collective voice revealing their inner worlds, offering comfort, and reminding you: you are not alone.\u201d \u2013 \u0110or\u0111e Ne\u0161ovi\u0107, Director<\/strong><\/p>\n\n\n\n
\u201cFrom the moment \u0110or\u0111e expressed his desire to adapt Katarina Mitrovi\u0107\u2019s novel All Good Barbies<\/em>, my main concern was how to reconcile the protagonist\u2019s internal world with the theatrical stage (in this case, even more challenging\u2014the Hartefact House). It was crucial for me to remain faithful to the novel, which was published less than a year ago, and to the protagonist\u2019s contradictions, questions, and complex emotions. Therefore, the first decision was to have Vanja\u2019s family, friends, employers, and other passersby reflect her emotional state. Her inner world is so intense and layered that it felt unnecessary to follow a clear external conflict or narrative flow. Gertrude Stein wrote about the Lost Generation, particularly writers of her era who experienced a deep identity and value crisis after World War I. They felt disillusioned with society, patriotism, and traditional values due to the horrors of war. The sense of disorientation and meaninglessness often became the central theme of their works. Today, it seems that every generation since then has felt lost in some way, and this story is undoubtedly about another lost generation. It\u2019s about confronting personal failures, the fear of responsibility, and finding solace in small moments\u2014a friend\u2019s hand squeeze and the realization that, despite everything, we are alive. Broken, sad, angry, and unsteady, but alive.\u201d – Isidora Milosavljevi\u0107, dramaturgist<\/strong><\/p>\n\n\n\n
9th International Theatre Festival “Days of Jurislav Koreni\u0107<\/strong>,” Sarajevo, November 2025 – \u017dan Marolt Award for Best Young Actresses<\/p>\n\n\n\n
9th International Theatre Festival “Days of Jurislav Koreni\u0107,<\/strong>” Sarajevo, November 2025
16th Joakim Days Theatre Festival<\/strong>, Kragujevac, May 2026<\/p>\n\n\n\n
\u0110or\u0111e Ne\u0161ovi\u0107 completed his undergraduate and master\u2019s studies in theatre and radio directing at the Faculty of Dramatic Arts in Belgrade. He is currently pursuing doctoral artistic studies at the same faculty. He has directed several plays, including The Effect (Lucy Prebble, NP To\u0161a Jovanovi\u0107 Zrenjanin), The Mouse Plague (Aleksandar Popovi\u0107, Serbian National Theatre Novi Sad), George Kaplan (Frederick Sonntag, Slovenian National Theatre Nova Gorica), and The Imaginary Invalid (Moli\u00e8re, Princely Serbian Theatre Kragujevac). During his studies, he directed Where They Sing (Filip Gruji\u0107), LUX IN TENEBRIS (Bertolt Brecht), and Lola Montez (Slobodan Obradovi\u0107). He assisted Milo\u0161 Loli\u0107 on the play Kaspar (Peter Handke, Yugoslav Drama Theatre) and Marko \u0110or\u0111evi\u0107 on the film Enough for Now. He has participated in numerous festivals and workshops and is the recipient of the Dr. Hugo Klajn award for the best theatre directing student in his generation.<\/p>\n\n\n\n![\"\"](\"https:\/\/heartefact.org\/wp-content\/uploads\/2025\/01\/20241223-KRN_0869-scaled.jpg\")
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