---

WHEN: 14. - 15. 04. / 90 min / SME-EL
A theatre-music project with musicians as performers.
At the beginning of the process, director has faced his collaborators with the following formula: the state is a music band, an inhabitant of the state is a musician, and migration from one state to another is like migration of a musician from one band to another. Through a process of improvisation and rehearsals, the creators have been examining the premise that the political, economic, emotional and other kinds of migrations could be talked about through the migration of musicians.
The project theatrises the musical material in order to dissect migration, the impossibility of migration, leaving and staying, reasons for persisting and departing.
The selection of non-theatrical, musical performers enabled conditions for exceptional creative process and presented the director with a unique challenge of theatrising the de-theatricalised musical situation.

---

WHEN: 15. - 23. 04. / 60 min / NUK
A whispered, self-generated and “automatic” performance (Autoteatro) for two at a time, exploiting the particular tension common to any library worldwide; a combination of silence and concentration within which different peoples` experiences of reading unfold.
Two audience members/participants sit side-by-side. Taking cues from words both written and whispered they find themselves burrowing an unlikely path through a pile of books.
The piece exposes the strange magic at the heart of the reading experience, allowing aspects of it we think of as deeply internal to lean out into the surrounding space, and to leak from one reader`s sphere into another`s.
Early booking necessary.

---

WHEN: 15. 04. / 40 min / ŠB
In this piece we subject words to the rules of movement composition and explore the potential of the word as a body, taking into account not only meaning, but also sound plasticity and the relationship to voice, breathing, rhythm and musicality. We place ourselves in that moment where the word repeated loses its meaning and within the possibility of degeneration and transformation.
As other words emerge, we are able to observe how our minds work – in the chaos of sound textures there is always a logical connection to something recognisable. In this way, we free ourselves from semantic and syntax determinism, rearrange the hierarchy of word, voice, movement and gesture, and aspire to new constellations of meaning to reflect the complexity of the human experience.

“Playing with words is merely to examine the way the mind functions, to mirror a particle of the world as the mind perceives it. In the same way, the world is just not the sum of the things that are in it. It is the infinitely complex network of connections among them.” – Paul Auster: The Invention of Solitude

---

WHEN: 16. 04. / 75 min / SMG
Oliver Frljić radically deals with love and hate for theatre in this performance, and the framework for his questioning of the limits of artistic and civic freedom are the fragments of the story about the disintegration of Yugoslavia, a symbolic space inhabited by the actors filled with dilemmas we all encounter, but often willingly turn a blind eye to them. That the topic is universal was confirmed during very successful performances at the prominent festivals in Croatia, Macedonia, Bosnia-Herzegovina (MES), in the USA, Slovakia, Serbia (Bitef), Finland (Stage), Poland (Dialog), Belgium (Kunstenfestivaldesarts), Lithuania, France (Autumn in Normandy) Germany (Theaterformen, Neue Stücke aus Europa, Lessing Days), Canada (TransAmériques) and new invitations to France (Passages), Russia, Portugal…
The text of the performance is based on the improvisations of the actors.
English subtitles.

---

WHEN: 16. 04. / 35 min / GLEJ
The performances we presented the last 9 years have all the same basic idea. We want to find a material that we combine to another or with the location to produce different images.
Through the various rooms and contents the performance differs from other art works. The large volume of material, the changing of place and time and the infinite possibilities of topics make the performances always renewable and expressive. The same work can be monotonous too, if you cannot feel any variations in the created images. In another kind of art, these views for a work are not possible.
We think that the whole performance should be designed to present images, instant images without word translation. We try to perform in this way: images, moments, change, disappearing from the place and staying in the memory. We hope that it’s coming across like this to the spectators.
All the images of a performance have together the target to present our theme. The spectators translate them by feelings and not by the mind. It’s so possible to have a pure mediation.

---

WHEN: 17. 04. / 35 min / GLEJ
The performances we presented the last 9 years have all the same basic idea. We want to find a material that we combine to another or with the location to produce different images.
Through the various rooms and contents the performance differs from other art works. The large volume of material, the changing of place and time and the infinite possibilities of topics make the performances always renewable and expressive. The same work can be monotonous too, if you cannot feel any variations in the created images. In another kind of art, these views for a work are not possible.
We think that the whole performance should be designed to present images, instant images without word translation. We try to perform in this way: images, moments, change, disappearing from the place and staying in the memory. We hope that it’s coming across like this to the spectators.
All the images of a performance have together the target to present our theme. The spectators translate them by feelings and not by the mind. It’s so possible to have a pure mediation.

---

WHEN: 17. 04. / 70 min / SME-EL
We are surrounded by omnipresent objects, both in the grammatical sense and in everyday life. Like sleepwalkers, we move through an obstacle course of gadgets that faithfully carry out their usual functions. They are silent witnesses of our daily actions, and passively accept our need to use them to make coffee, do the laundry or clean the floor. But are they truly so passive?
Three performers enter the world of things, in which first impressions are always deceptive. Not one of the objects lives up to its trusted role. With acrobatic skill and dancers’ expressiveness alongside philosophical wit, the performers explore the new rules of a reliable world.

---

WHEN: 19. - 24. 04. / 20 min / CD-P
A playful and poetic installation, a monumental work of art based on interactive maps. In the play of lights, video projections, pictograms and geographical coordinates, the playground turns into a diverting interactive human mapping.
A journey that takes only a few steps to bring you from your current position into the city, the world ... the sky.
The project was produced by AADN from France and it was premiered at La Fête des Lumières 2011, an event yearly attracting over 2 million visitors to Lyon, France.

---

WHEN: 21. 04. / 60 min / LGL
Gods on Tour or Bestiaires is a show. This theatrical ensemble is no ordinary but composed by Greek Gods, once very popular in their prime. While hosting “daily acts” about the history of their own kind, the clumsy God of Love Cupid is interrupted, along with other Gods, by Zeus’ philosophical advices.
As humans, beasts or monsters they metamorphose themselves into unexpected shapes, they fail, they try again but the show must go on.

---

WHEN: 21. 04. / 80 min / SME-EL
“Let me just say this - tonight is a night of stripping, tonight is a night of peeling away, layer by layer by layer by layer. What will be left? What will we know at the end of it all? Much less! That`s what! Let`s begin…”

A woman in a spotlight, dressed in a sparkling dress and a long grey beard. With the help of two assistants, some small strange dances and a few materials you might or might not have at home, she approaches the big scientific-philosophical questions in a full-on show-biz late-night theatre style, illustrating it`s knotty conundrums: time and gravity, being and not being, thought and the body... through what look suspiciously like a series of improvised home-science experiments.

---

WHEN: 23. 04. / 50 min / ŠB
In Springville we witness the constant metamorphosis of a small universe in which characters, half human, half object, try to function together and alongside one another. By employing an absurd logic and by playing with proportions, these characters move us with the results of their disfunctionality in their poetic game of chaos, expectation and surprise. Along the way they lose their trusted nature and the environment changes into the scene of a still landscape that’s running wild and unfolds into infinity.
Springville is a performance dominated by the visual. Set design, costumes, props and characters are closely interwoven and merge into one another.

---

WHEN: 23. 04. / 70 min / LGL
Who do we become when we are driven into a corner? Who do we become when our opponent appears to be the weaker party? Who do we become when our opponent does not play by the rules?
People try to save themselves by saying “it’s only a game”, but once you’ve uttered the words, it’s too late to turn back to reality.

“To cheat does not mean that we don’t play by the rules, yet neither does it imply fair play. This performances addresses people’s darker sides: that part which everyone hopes, or perhaps believes, is not present within them. We look upon the acting game as a struggle which has ceased to be a part of our daily lives since we have become too civilized.”

---

WHEN: 24. - 24. 04. / 35 min / CD-M1
Cherries have tender skin, meat and a kind of bone inside them. Their juice is red like blood. When you treat them like humans sometimes treat other humans, then they become human themselves or at least animate objects, which invite you to identify yourself with them. Inspired by fairy tales, where sometimes objects come to life and so become a projection screen for your own experiences and fantasies.
In the performance Eva Meyer-Keller has installed sweet cherries as her protagonists. The stalks are removed from the fruit, but they are not washed or stoned. Instead they are being killed. She takes care of this business manually, in a way which turns the everyday into something brutal. .

---

WHEN: 24. 04. / 80 min / CD-LD
“A Cadavre Exquis (exquisite corpse) is a poem (or drawing) written by several poets, without knowing what the others have written. The first writer composes a line of poetry on a piece of paper. He then folds the paper so that only the last word is visible. The second writer continues, guided (or not) by that last word. The third writer follows and so on.”

For this performance, four theatre companies have come together to create a live Cadavre Exquis on stage. Each will create a 15 minute section that starts with the last image of the previous part, without knowing what has taken place previously. In a completely open situation, the set may be changed or even destroyed, a dance performance can suddenly become a film and the story can go any number of unexpected ways.

---

WHEN: 25. 04. / 80 min / SMG
Forced Entertainment’s latest performance explores ideas and clichés of hope. Writing and collecting future scenarios as well as small narratives concerning optimism and despair, the company investigates the speculative nature of anticipation and the myriad possibilities the future holds in store.
Tomorrow’s Parties draws on ideas of utopian and dystopian projections, the optimistic stories we tell ourselves and on the pleasures of invention that arise as the work twists and turns in performance.

---