{"id":20983,"date":"2025-05-05T17:00:35","date_gmt":"2025-05-05T17:00:35","guid":{"rendered":"https:\/\/heartefact.org\/predstave\/they-are-all-gone\/"},"modified":"2026-08-31T11:49:10","modified_gmt":"2026-08-31T11:49:10","slug":"they-are-all-gone","status":"publish","type":"predstave","link":"https:\/\/heartefact.org\/en\/plays\/they-are-all-gone\/","title":{"rendered":"They Are All Gone"},"content":{"rendered":"

WRITTEN BY<\/strong>: Doruntina Basha
\nDIRECTED BY<\/strong>: Andrej Nosov<\/p>\n

STARRING<\/strong>:
\nMirjana Karanovi\u0107
\nSvetozar Cvetkovi\u0107
\nAlban Ukaj<\/p>\n

Maja Salki\u0107, Davor Sabo, Kemal Rizvanovi\u0107, Matea Mavrak, Hana Zrno, Sanin Milavi\u0107, Faruk Hajdarevi\u0107, Alen Konjicija, Natalia Dmitrieva, Dino Hamidovi\u0107<\/p>\n

SET DESIGN<\/strong>: Zorana Petrov
\nCOSTUMES<\/strong>: Selena Orb
\nMUSIC<\/strong>: Dra\u0161ko Ad\u017ei\u0107
\nLIGHT DESIGN<\/strong>: Nemanja Cali\u0107
\nSOUND DESIGN<\/strong>: Nikola Eri\u0107, Luka Cvetko
\nTEHNICAL CREW<\/strong>: Nikola Eri\u0107, Luka Cvetko, Na\u0111a Vukorep, Nemanja Cali\u0107
\nSOUND RECORDING<\/strong>: Mirza Tahirovi\u0107\/Studio “Chelia”
\nPRODUCTION<\/strong>: Aleksandra Lozanovi\u0107, Selena Pleskonji\u0107, Ksenija Milutinovi\u0107
\nDRAMATURGICAL SUPPORT<\/strong>: Nejra Babi\u0107 Halvad\u017eija<\/p>\n

PHOTOGRAPHY<\/strong>: Neboj\u0161a Babi\u0107
\nVISUAL DESIGN<\/strong>: Ismar \u017dalica<\/p>\n

Premiere: May 8, 2025, Heartefact House<\/p>\n

“This play examines the position of all of us in the audience\u2014how we understand and relate to those who survived the genocide in Srebrenica. This perspective is especially important to me as someone coming from Serbia. It is our artistic way of questioning and trying to understand the fates and consequences of the wars that took place across the former Yugoslavia. I deeply believe that without empathy and the acceptance of responsibility, there can be no lasting peace in this region. As this artistic act strips away all the big and somewhat worn-out political words we constantly hear in discourse, we attempt to live on stage the lives that are no longer with us. But we also begin to understand and feel that survival\u2014for those who remain\u2014is not only about the sorrow of loss, but also about a profound fear of being forgotten. Forgetting, both personally and collectively , kills. Forgetting is a punishment for the victims, and a balm for the perpetrators and for those who continue to carry criminal ideologies.<\/p>\n

You will meet Sadika, a fictional character, and her family\u2014also fictional\u2014whom she lost and never truly had. You\u2019ll hear the voices of those who were never born and those who never grew up to celebrate their milestones. On her birthday, in a Dutch nursing home, Sadika becomes a grand tragic heroine, bringing back memories and hopes, preserving birthday gifts and other little things that keep her alive. She is alive, and she hopes she will never forget. Her daily routine is interrupted by Martin, who became her caregiver simply because of a shared language. Although he cannot fully comprehend Sadika\u2019s fate, he tries to be helpful and ease her lonely final days. Azem is there\u2014or perhaps he isn\u2019t. Can people truly continue to live if we remember them? And what happens if we forget? In modern theater, it\u2019s easy to imagine knights, kings, and heroes, but we rarely focus on the small, ordinary lives for whose deaths we may bear some responsibility\u2014or who were our contemporaries, living at the same time as us, tormented by the same anxieties and fears for the future. Now, as this play is being created, we here in the Balkans are once again hearing similar voices\u2014those who hate, who spread fear, and who deepen the consequences of a war that ended thirty years ago. – Andrej Nosov, director<\/strong><\/p>\n

ANDREJ NOSOV<\/strong> s a theater director. He founded and has led Heartefact since 2009. As a maker of theater, Nosov creates works based on both contemporary plays and on collaborative processes, which opens the space for unconventional language, forms, themes, and approaches in a local context. He uses directing as a way to address issues that trouble contemporary society, without abandoning their political and (po)ethical dimensions. He has directed over twenty productions and has collaborated with leading theaters and festivals across the region. Nosov is a Europe Leader with the Obama Foundation and a Reagan-Fascell Democracy Fellow.<\/p>\n

DORUNTINA BASHA<\/strong> is a playwright and screenwriter from Pristina. She earned her master\u2019s degree at the European Humanities University with a focus on gender studies. Her play The Finger<\/em> (2011) won the Heartefact Award for Best Contemporary Socially Engaged Play and received the Golden Laurel for Best Balkan Play at the MESS Festival (2013). She won the prize Best National Drama in Talia e Flak\u00ebs Festival in 2025 in Gjilan. She wrote the screenplay for the film Vera Dreams of the Sea<\/em> (2021), which premiered in the Orizzonti section of the 78th Venice Film Festival. Today, she works in theater, film, and communications in both her home country and internationally.<\/p>\n

MIRJANA KARANOVI\u0106<\/strong> is a\u00a0renowned Serbian actress, director, screenwriter, and human rights activist, Mirjana Karanovi\u0107 began her film career in 1980 with a leading role in Petrijin venac<\/em>, for which she received numerous awards and accolades. She gained international recognition for her performance in Otac na slu\u017ebenom putu<\/em>, which won the Palme d\u2019Or at Cannes. Her role in Jasmila \u017dbani\u0107\u2019s Grbavica<\/em> earned her a nomination for the European Film Award. In 2016, she made her directorial and screenwriting debut with the film A Good Wife<\/em>, and her second feature film Mother Mara<\/em> released in 2024 . In addition to performing in over a hundred theater and film roles in Serbia and abroad, Mirjana Karanovi\u0107 is also an activist for LGBTI+ rights and the protection of survivors of sexual violence.<\/p>\n

SVETOZAR CVETKOVI\u0106<\/strong> is the recipient of several lifetime achievement awards in theater and film, Svetozar Cvetkovi\u0107 is a longtime member and former director of the iconic Belgrade theater Atelje 212. Over the past 45 years, he has performed more than 70 major roles in modern theatrical repertoire, working with some of the most prominent directors from Serbia and the wider region. He has also appeared in over a hundred feature films, TV series, and television dramas. During his tenure as director of Atelje 212, he revitalized post-war connections with theaters across Southeast Europe, enabling major performance exchanges. He has received acting awards at all the major festivals in Serbia. Cvetkovi\u0107 is a member of the European Film Academy (EFA).<\/p>\n

ALBAN UKAJ<\/strong> is an actor and director, Alban Ukaj is a permanent member of the Sarajevo War Theater (SARTR). He made his film debut in Gori vatra<\/em> and has since built a distinguished career with numerous film roles, awards, and nominations. For his role in Full Moon<\/em>, he received the Best Actor Award at the Cottbus Film Festival in Germany. He appears in the Oscar-nominated film Quo Vadis, Aida?<\/em>, and through his collaborations with the Dardenne brothers, is a two-time Cannes winner with Lorna\u2019s Silence<\/em> and Tori and Lokita.<\/em>\u00a0Ukaj directed the films The Horse<\/em> and The Pit<\/em>, and has performed in productions at the National Theatre Sarajevo, Chamber Theatre 55, Youth Theatre, BNP Zenica, and the Royal Theatre Zetski Dom, among others.<\/p>\n

The play is a co-production of Heartefact<\/strong> (Serbia), Sarajevo War Theater SARTR<\/strong> (BiH) and My Balkans<\/strong> (USA, Serbia), in cooperation with La MaMa Experimental Theatre Club<\/strong> (USA), Ibsen Scope<\/strong> (Norway) and Allianz Foundation<\/strong> (Germany).<\/p>\n

*A key element of the performance is the immersive audio experience, which limits the number of audience members per showing. Close proximity between the stage and the audience is essential. Each audience member receives a personal headset to use during the performance. Due to the abundance of audio content, the performance is currently not accessible to individuals with hearing impairments. We are actively working to improve accessibility in the future. The performance includes English subtitles.<\/strong><\/p>\n

Take a look at the digital booklet<\/b><\/a><\/p>\n

Critics<\/strong><\/p>\n

“Although based on months-long research of real events, this project does not present itself to the audience as documentary theater with an explicit socio-critical stance. They Are All Gone approaches the traumas resulting from the Srebrenica genocide from an intimate perspective, attempting to slightly open the door to the inner worlds of the victims, the survivors, their memories, unfulfilled desires, and fear of oblivion.”<\/em>
\nIvan Medenica<\/strong>, Radar<\/a><\/p>\n

“Andrej Nosov\u2019s direction subtly and skillfully blends an audio-dramatic expression with the psychologically suggestive performance of physically present actors. The sound design is carefully and meticulously crafted, to the point of almost entirely enveloping the viewer. These audio landscapes firmly guide the viewer\u2019s attention toward the emotionality of the performance, especially through focused immersion enabled by the ‘closure’ of headphones.”<\/i>
\nAna Tasi\u0107<\/strong>, Politika<\/a><\/p>\n

“In both theatrical magnitude and thematic depth, in short \u2013 a top-tier artistic uppercut. It is an understatement to say that Mirjana Karanovi\u0107 is extraordinary in the role of a woman, without any explicit personal guilt, crushed by life, who struggles with both the hell of tragedy and the call of a new dawn pulsing through her veins. She delivers an entire spectrum of layers \u2013 from filigree-like subtle yet granite-strong personal levels of the so-called ordinary person crushed by the whirlwind of history, to the reexamination of the deepest, anthropologically enigmatic foundations of the human being, and beyond.”<\/em>
\nTanja Nje\u017ei\u0107<\/strong>, Blic<\/p>\n

“But it\u2019s not only the playfulness with space that connects many Heartefact\u2019s shows, it\u2019s also the idea of giving voice to the marginalized \u2013 gay and trans folks, women and economically constrained millennials. With They Are All Gone, Basha and Nosov have also give a voice to those affected by the genocide in Srebrenica and they have done it in a gentile and empathetic way.<\/em>”
\nBorisav Mati\u0107<\/strong>, SeeStage<\/a><\/p>\n

“Even if someone had no idea what happened in Srebrenica, after seeing this play it will be crystal clear how the survivors feel. They will understand what it means to imagine that your children could have had successful careers, could have become football players, could have had children of their own, could have gotten married \u2014 even divorced… They could have done all of that, if only they hadn\u2019t been killed.<\/em>”
\nMarina Milivojevi\u0107 Ma\u0111arev<\/strong>, Vreme<\/a><\/p>\n

“The future Sadika has constructed in her mind from the crumbs of her past. But even as this note plays again and again, what it viscerally brings home is the way in which genocidal violence destroys a future as well as a past; never forget is one thing, but never live the life you might have had is another. It\u2019s a remarkable piece of technical theater on the part of director Andrej Nosov and sound designers Nikola Eri\u0107 and Luka Cvetko, in terms of both the mix between live and recorded audio and the remarkable work the actors, particularly Karanovi\u0107, are doing, balancing the subtlety and micro-expressions of film acting in the audio with the more broadly accessible physicality of the stage.\u201d<\/em><\/p>\n

Loren Novek,<\/b> Exeunt<\/b><\/a> (New York, USA)<\/p>\n

“The family that we in Western Europe so often try to deconstruct, and that Ibsen presents as a place of \u2018lies and concealment,\u2019 appears in this production as a distorted mirror image\u2014a gift that can be taken away from you. At the same time, past and present genocides are embodied on stage, and the brutal consequences inherent in nationalism’s aggression are portrayed without embellishment. With an excellent text, understated direction, and powerful performances, this is a production I wish many more people could see.”
\n<\/em>
\n<\/i>Cristina Gomez Baggethun<\/b>, (Norway)<\/p>\n

Awards<\/strong>
\n– Award \u201eLjubomir Muci Draskic\u201c to Andrej Nosov<\/strong> for directing the play \u201cThey Are All Gone\u201d, June 2025<\/p>\n

Festivals\/Guest Performances<\/strong>
\n\/<\/p>\n

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