Scene: The journalist "sets the scene" for reporting; from a Play CREATION OF A MAN / THEATRE PLAY / photo by NPL
Scene: The journalist "sets the scene" for reporting; from a Play CREATION OF A MAN / THEATRE PLAY / photo by NPL
Scene: The father of the son goes jogging at the beach; from a Play CREATION OF A MAN / THEATRE PLAY / photo by NPL
Scene: The journalist recreates the scene Aylan / Alan Kurdi (born Alan Shenu), two year old Syrian boy that drawned; from a Play CREATION OF A MAN / THEATRE PLAY / photo by NPL
Scene: The Boy and the brothers - one who drawned and one who survived (on the screen, and on the tablet that the Boy holds); from a Play CREATION OF A MAN / THEATRE PLAY / photo by NPL
Scene: The boy delights in "treasures"found on the seabed; from a Play CREATION OF A MAN / THEATRE PLAY / photo by NPL
Scene: Brother who survived escaped the wire and reached the shore - point of departure; from a Play CREATION OF A MAN / THEATRE PLAY / photo by NPL
Scene: The artist exhibits the drawned man as an artwork - Ars Vita Brevis; from a Play CREATION OF A MAN / THEATRE PLAY / photo by NPL
Scene: The revelation of an artipiece; from a Play CREATION OF A MAN / THEATRE PLAY / photo by NPL
Scene: The Boy has a monologue while placing the hands of the drowned; from a Play CREATION OF A MAN / THEATRE PLAY / photo by NPL
Scene: The hands of the drawned; from a Play CREATION OF A MAN / THEATRE PLAY / photo by NPL
Credit list:
Production: Leskovac National Theater, Leskovac, Republic of Serbia
Premiered on 15th of March
Writer: Tijana Grumić
Director: Mia Knežević
Stage / Scenic Designer: Miljena Vučković
Costume Designer: Biljana Grgur
Composer: Aleksandar Spasić
Choreography: Jelena Alempijević
Light Designer: Radomir Stamenković
Cast:
Ataš - young men who swam and survived - Filip Radivojević
Jasir - Ataš's older brother - Filip Radivojević
Dr Strauss - cryptozoologist and researcher of a sea bed - Suzana Grujić
Braca - owner of a cafe at the bay - Dejan Tončić
Urban Urban - conceptual artist, receiver of a golden spoon, prestigious award for the best artist in 21st century - Dragan Marjanović
Father - father of the son - Ivan Janković
The boy - son of the father - Petra Dimitrijević
Journalist - Mina Cocić
Production: Leskovac National Theater, Leskovac, Republic of Serbia
Premiered on 15th of March
Writer: Tijana Grumić
Director: Mia Knežević
Stage / Scenic Designer: Miljena Vučković
Costume Designer: Biljana Grgur
Composer: Aleksandar Spasić
Choreography: Jelena Alempijević
Light Designer: Radomir Stamenković
Cast:
Ataš - young men who swam and survived - Filip Radivojević
Jasir - Ataš's older brother - Filip Radivojević
Dr Strauss - cryptozoologist and researcher of a sea bed - Suzana Grujić
Braca - owner of a cafe at the bay - Dejan Tončić
Urban Urban - conceptual artist, receiver of a golden spoon, prestigious award for the best artist in 21st century - Dragan Marjanović
Father - father of the son - Ivan Janković
The boy - son of the father - Petra Dimitrijević
Journalist - Mina Cocić
https://npl.org.rs/stvaranje-coveka/
ABOUT THE PLAY..
The Play deals with the tragic topic of migrations over the Mediterranean Sea. Sequences of monologues in a postdramatic form, exploring different perspectives - survivor who swam but whose brother drowned, news reporter, smuggler, European scientist and artist, random man and a boy. Attempt was to present these events through personal stories and to challenge official European - often inhuman - responses.
Space of a Play was envisioned as a studio - white box. Idea was to offer an easily changeable framework that serves both as a precise place of particular situation, but also as symbolic space of wider narrative. From the open sea at night, to different shores, mentioned Damascus and an undisclosed European state, borders, camps, beaches, exhibition gallery, etc. Studio is a basic setting, to remind us that we - as an audience and/or as Europeans - can only see constructed narrative, and that no one can escape images, media or social networks. It was also important to create a simple and open stage that offers space for story, without imposing itself.
Some of elements used were studio and ring lights, used also as nautic equipment; black bags, some filled with clothes, used as props but also creating backdrop and creating multiple associations - bags with essentials for fleeing, corpses, graves, pollution, etc.; semolina was used as a beach and sand, but also as smoke and debris from explosion; Light and darkness were equally important for this play and scene design, so enlightened gloves formed the final image, like hands asking for help.
O PREDSTAVI
Predstava se bavi tragičnom temom migracija (preko Mediterana). Kroz monološke sekvence u postdramskoj formi istražuju se različite perspektive - preživelog koji je preplivao ali čiji se brat udavio, novinarke, krijumčara, evropske naučnice i umetnika, običnog čoveka i dečaka. Pokušali smo da predstavimo ove događaje kroz lične priče i tako preispitamo zvaničan - evropski, često nehuman, odgovor.
Prostor igre je osmišljen kao studio - bela kutija. Ideja je bila da se ponudi lako promenjiv okvir koji istovremeno služi i kao precizno mesto za određenu situaciju, ali i kao simboličan prostor šireg narativa. Od otvorenog mora noću, različitih obala, Damaska i neimenovane evropske zemlje, do granica, kampova, plaža, umetničke galerija, itd. Studio je osnovna postavka koja nas podseća da mi - kao publika i Evropljani - možemo videti jedino konstruisan (izrežiran) narativ, i da niko ne može pobeći slikama, medijima i društvenim mrežama. Takođe, imperativ je bio stvoriti jednostavnu i otvorenu scenu koja nudi prostor i podstiče priču, bez nametanja sebe, odnosno scenografije kao dominante.
Neki od elemenata scenografije/rekvizite su bili studijska i “kružna” (ring) svetla - korišćena i kao nautička oprema; velike crne kese/džakovi - neki ispunjene odećom, važan rekvizit kroz celu predstavu, ali i pozadina koja stvara mnogostruke asocijacije poput kesa sa osnovnim potrepštinama koje nose izbeglice, crnih džakova za leševe, grobova, đubreta odnosno zagađenja, i druge; griz i palenta korišćeni su za plažu, odnosno pesak, ali takođe i kao dim i šut od eksplozija; ligeštul po potrebi postaje medicinsko nosilo a stolica sa natpisom caffee mediterran suprotstavlja indiferentnost turizma prema mnogostrukim licima i ulogama nepreglednog divnog i strašnog mora;
Svetlo i mrak su jednako važni za ovu predstavu i scenski dizajn, zbog čega gumene (“hirurške”) rukavice osvetljene iznutra tvore finalnu sliku, kao ruke koje traže pomoć.
Scene work was presented & exhibited at:
Exhibition
SENA 2020/2022 Southern Eurpean & Nothern Africa Forum Oistat
Rabat, Morocco, hybrid participation
https://www.facebook.com/senaoistat
Presentation
4th International Biennale of Stage Design in Tbilisi
International Symposium About temporality – pandemic, war, theater
Cathegory: Creative experience – scenic space and atmosphere – architectural structure as a tool
Topic: White box and other architectural elements as tools of atmosphere creation - presentation of a Play's scenic design, process of its development and determination of the language od the Play by scenogrpahy;
Topic: White box and other architectural elements as tools of atmosphere creation - presentation of a Play's scenic design, process of its development and determination of the language od the Play by scenogrpahy;
hybrid participation
https://www.facebook.com/profile.php?id=100064960502818
https://www.facebook.com/profile.php?id=100064960502818
Rad - scenografsko rešenje - je prikazano i predstavljeno na:
izložba SENA 2020/2022 Southern Eurpean & Nothern Africa Forum Oistat
Rabat, Maroko, hibridno učešće
Rabat, Maroko, hibridno učešće
4. međunarodno bijenale scenografije u Tbilisiju
Međunarodna konferencija "O privremenosti - pandemija, rat, pozorište
Kategorija: KReativno iskustvo - scenski prostor i atmosfera - arhitektonske strukture kao alat
Tema izlaganja: Bela kocka i drugi arhitektonski elementi kao alati kreiranja atmosfere - predstavljanje scenografije predstave, procesa nastanka, i određivanja jezika predstave scenografijom
Tbilisi, Gruzija, hibridno učešće
The sketch that determined the Space and the Play - interpretation of the text, approach from where we tell the story, way to knit all stories together: pre-invention of the studio; It was all inspired by the fact that trouth is one, media presentation someting comletely different, and out understanding of it again something different. It is also inspored by the fact that the Syrian war is the most documented - and media spinned - conflict in history.
Developing the agreed concept - The sketch that explores main functions of scenic space and possibilities of light. (Media) Studio that turnes into sea shore, beach, gallery space, sea bed, open sea;
Scenic design - Idea develoment
Varios sketches, ideas that didn't make it.
Scene that didn't make it in. Imagined with smoke and lowlights - haze surrounding the empty chair, branded with caffee name.
