STRANGE LOVES

STRANGE LOVES

Text written by: Maja Pelević
Directed by: Đurđa Tešić
Set and costume design: Zoran Petrov
Music: Аleksandra Djordjević
Stage movement: Dalija Aćin Thelander

Cast:

Ant, Rabbit: Јovo Maksić
Wolf: Damjan Kecojević
Dog, Lion: Мiloš Samolov
Мouse, Turtle: Јеlena Petrović
Fox: Vladislava Djordjević/ Dubravka Kovjanić
Cricket: Јelena Ilić
Stork, Raven: Sandra Rodić Janković

Age: 3-10
Duration: 55'
Аuthor: Мaja Pelević
Stage: Children Stage

A musical for children, based on Aesop's fables, shows in an interesting way how opposites attract. The show was created on the basis of the original text written by Maja Pelević and directed by Đurđa Tešić. Through the allegorical story of love in the animal world, this show captures the typical behaviours and roles that children assume when they step into puberty. And all of these "animal phases" are an important part not only of the character and identity of some new young generations, but also of a good old growing up process. Animals are different from people in everything except in one thing - the ability to love!

 


ABOUT THE DIRECTOR

Đurđa Tešić graduated in stage and radio directing at the Faculty of Dramatic Arts in Belgrade.
She directed the following performances:
“The Line”, Damir Vijuk (Bitef Theatre, 2000);
”Casanova”, David Greig (Serbian National Theatre in Novi Sad, 2002);
”Black Milk”, Vassily Sigarev (National Theatre in Belgrade, 2003);
“Everyman”, Goran Stefanovski (Atelje 212, 2004);
”Blasted”, Sarah Kane (Belgrade Drama Theatre, 2005);
“Momo”, Michael Ende (Little Theatre Dusko Radovic, 2005);
“The House of Bernarda Alba”, Federico Garcia Lorca (National Theatre of the Republic of Srpska, Banja Luka, 2005);
“Waiting for Godot”, S. Becket (Atelje 212, 2006);
“Miss Julie”, А. Strindberg (National Theatre of the Republic of Srpska, Banja Luka, 2007);
”Three Sisters”, А. P. Chekhov (National Theatre of the Republic of Srpska, 2008);
”Milk”, V. Kаcikonuris (Belgrade Drama Theatre, 2008);
”Pool (No Water)”, М. M. Ravenhill (National Theatre in Belgrade, 2009);
“Lord of the Flies”, W. Golding (Boško Buha Theatre, 2009);
“Marriage”, Ј. S. Popović (National Theatre of the Republic of Srpska, Banja Luka, 2010);
”Novecento-Boka Hotel”, S. Кoprivica (Tivat Culture Centre, 2010);
”State Officials”, R. Harwood (National Theatre in Belgrade, 2010);
”All About My Mother”, S. Adamson (Belgrade Drama Theatre, 2011).
In 2010, she received the Special Award for new theatrical trends at the International Tiba Festival for staging the “Lord of the Flies”.

A WORD FROM THE DIRECTOR

Animals cannot speak.
Animals cannot play any instruments.
Animals do not understand poetry.
Animals cannot grasp science.
Animals do not go to school.
Animals are not like people.
But animals are able to love.
Have you noticed how much humans sometimes resemble animals?
Đurđa Tešić

JOYOUS SYMBOLS, METAPHORES AND ALLEGORIES

We, the humans, have always known that nature is not just a mere ornament in our existence, but that we are its essential and inseparable part. Everything that happens in nature happens also to us.  Humans depend on nature. Not only does it provide us with clothing and food, but it is also our only habitat, our home.
We are all also well aware that nature equally depends on us.  Everything humans do affects nature.  Birds do not like noise, ants do not enjoy moisture, flowers cannot stand darkness, etc.  Not to mention pollution, alienation, violence, wars and so on.
We have gone together through so many literary symbols, metaphors and allegories searching for the truth about mutual closeness.  Millions and millions of pages have been written out exploring the sensitivity of all living creatures.  But we keep not fully recognising that we have similar lives, that by co-existing on Earth we form all together its only living world.
An yet, working and constructing their world, humans have often neglected nature.  For a long time they had not even noticed that they were destroying it.   And when they did notice it, they arrogantly continued doing it. Nowadays, when nature has been destroyed to a considerable extent, when climate has changed, it is more than obvious that we have made a big mistake. Whether in a couple of centuries nature will be a garden of Eden, a wild habitat or perhaps a scorched wasteland depends mostly on humans.
As many times recorded and repeated, and often found in our dreams – trees are mostly green, sunflowers are yellow, and the skies are blue.  Nature has definitely been made to bring joy to all living creatures - plants, animals and especially humans. Indeed, we all worship the sun!”
Milica Novković

ABOUT THE PLAYWRIGHT

Maja Pelević was born on 13 February 1981 in Belgrade. She graduated in playwriting from the Faculty of Dramatic Arts in Belgrade in 2005. She worked as a playwright in the National Theatre in Belgrade in the period 2007-2010. She is a member of New Drama Project.
She writes drama and poetry.
Staged plays: “ESCape”, “Ler”, “Be a Lady for One Day”, “Belgrade-Berlin”, “Orange Peel”, “Me or Somebody Else”, “Jumpgirl”, “Maybe We are Mickey Mouse”.
Her plays have been staged in Serbia and abroad and translated to numerous foreign languages.
She received these awards: Borislav Mihajlović Mihiz, Slobodan Selenić, Božidar Valtrović, Sterija Theatre Award for original script and Sterija Theatre Award for modern script.

SLOWLY

Slowly but surely
Surely but slowly
The sun is now rising
Partly
To be seen
And not to be seen
While scraping the sky
To be seen
And not to be seen
While being created
Slowly but surely
It’s already dark
Nobody saw
How it happened
Nobody saw
What really happened...
Maja Pelević

ABOUT THE COMPOSER

Anja Djordjević acquired her MA degree at the Department of Composing of the Faculty of Music in Belgrade, in the class of Professor Vlastimir Trajković.
She completed specialization under the mentorship of Professor Zoran Erić.
Since 1994, she has performed with double-bass player Vojin Draškoci within the Musical Synthesis project. During the 1990s, she cooperated with Goran Bregović, both as singer and musical arranger. In the period 2000-2004, she was a member of the Balkan music ensemble Marsija, founded by Žorž Grujić. The ensemble recorded an album High Tree, published in 2003 by PGPRTS.  The same year, together with Božidar Obradinović (piano) and Vladimir Pejković (bass), she founded the Flat Sky Trio, which performed their own music.
She performed in various festivals, such as Ring-Ring, Belgrade Summer Festival (BELEF), BEMUS, Kanjiža Jazz festival, Interzone, Exit, International Composers Festival, Ulm Festival (Germany) etc.
She also composed music for numerous theatrical plays, including Beckett’s “Waiting for Godot”, Leonid Andreyev’s “Dog Waltz”, Thomas Bernhard’s “Before Retirement”, Biljana Srbljanović’s “Barbelo, of Dogs and Children”, Goran Stefanovski’s “Everyman”, Tena Štivičić’s “You Can’t Run Away from Sunday”, Dea Loher’s “Innocence”, Goldoni’s “Servant of Two Masters” in the Venice Biennale etc.  She composed music also for a number of contemporary dance plays: “Elevator”, “The Snow Queen”, “Self-Erase”, “The Road to Damascus”, “Paranoia Chic”.
She also composed music for several documentaries (“Djindjic – Ein Leben”, directed by Christoph Sodemann, “Mairin Thomais”, documentary for the Irish TV directed by Elizabeta Zemljić).
Focused on vocal music and musical theatre, she composed many songs and cycles: opera Narcissus and Echo, stage cantata Atlas, three songs dedicated to Nikola Tesla, Si me quitaran, Heat, Shark, Source of Evian, multimedia performance Classified, Tesla-total reflexion, etc.
In 2005, she was a resident composer in Visby, Gotland, Sweden.
In 2003, she won Stevan Mokranjac annual award for her opera Narcissus and Echo.

 

Сцена за децу

Следећа представа >>
Мила Машовић-Николић, Узраст 5-10