ARCHIVE 2008

Winter Gardens / Nourished Fruits
Bitef Teatar, Belgrade, 19-20 September 2008

Winter Gardens / Nourished Fruits
Open Workshop with Presentation
Co-production: Bitef Theatre (Serbia), La Biennale di Venezia (Italy), Berliner Festspiele (Germany)
Riksteatern, Teater Theatron, Uppsala Stadsteater (Sweden)
Open Workshop: 
8 – 19 September 2008
Presentation: 
19 September 2008, 8 pm
20 September 2008, 5 pm
Bitef Teatar, Belgrade

Concept
Željko Santrac Dramaturge and Director Nikita Milivojevic Composer Dimitris Kamarotos Choreographer Amalia Bennet Performers Danijela Ugrenovic, Andela Stamenkovic, Predrag Damjanovic, Marijana Andelkovic, Miljan Prljeta, Željko Santrac, Adriana Savin, Fyr Thorwald, Viveka Dahlen, Sara Appelberg, Rikard Lekander, Vladimir Aleksic, Tindaro Granata, Nicoletta Fabbri, Elisa Lucarelli
 
Artistic Director Vesna Bogunovic Producers Željko Santrac and Jelena Kneževic PR Manager Tina Peric Financial Consultant Dragana Živanovic Financial Service Jasna Stojkov, Dragan Cosic, Spomenka Patkovic Technical Supervisor Ljubivoje Radivojevic Stage Manager Maja Jovanovic Light Technician Dragan Ðurkovic Sound Technician Miroljub Vladic Props Aleksandar Marinkovic, Vladan Miloševic, Goran Gavrancic Creative Agency New Moment – New Ideas, Belgrade, Serbia
with the participation of Region Skåne, Culture - City of Lund, Swedish Arts Council, The Foundation for the Culture of the Future, The Swedish Arts Grants Committee and Swedish Institute
 
The second of four workshops of the project Winter Gardens / Nourished Fruits will take place during the 42nd Bitef 08, from 8 to 19 September. The workshop will have 15 participants form Serbia, Sweden and Italy.The workshop concludes on 20th of September with the Presentation.
 
The starting point of the workshops is the selection of three scenes from the dramatized and adapted August Strindberg’s story Winter Gardens / Nourished Fruits (with the texts from the Nobel prize winner Ivo Andric’s novel The Bridge On the Drina) which serve as a basis for the performance work: an exploration of the material in various languages and in various cities (Stockholm, Belgrade, Venice, Berlin).
 
The authors believe that this kind of workshop can produce not only a varied theatrical material but could offer interesting answers to a question what kind of associations and problems does the same topic give rise to in various regions with various social and cultural heritage.
 
Calendar of events:
1st stage: 4-16 May 2007, Riksteatern, Stockholm
2nd stage: 8-20 September 2008, Belgrade, 42nd Bitef 08, ENPARTS programme
3rd stage: February 2009, Venice, during the 40th International Theatre Festival at the Venice Biennale, ENPARTS programme
4th stage: end of 2009, Berlin, Berliner Festspiele, ENPARTS programme
 
One morning, when the main character of Strindberg’s novella Nourished Fruit  Sten is told that his house is no longer his, when shortly afterwards his things are taken out into the yard and when…
The story bears an odd resemblance to a very modern story about thousands of people who suddenly, out of the blue, lose their homes and are forced to start searching for a new life.
 
This image of heaps of things once constituting a life, somebody’s reality and now piled up topsy-turvy and become a sad memory, marked the beginning of a fortnight-long workshop in Stockholm’s Rijks Theatre. The project now resumes in Belgrade. The fortnight-long workshop and the resulting presentation will take place during the 42nd Bitef 08, within the framework of ENPARTS. Workshops in Venice and Berlin will follow, ending in a final production.
 
The main idea behind this project is the belief that the world of Strindberg’s protagonists, presented in different languages (Serbian, Swedish, Japanese, Russian, German, Italian, Turkish…) by a company made of people from different countries, different cultures, religions and political options, of different age and sex, with different experiences, can reveal yet another side of the idea about a world without borders in which the whole planet should be our homeland. The authors/performers act in the space in-between, neither empty nor stretching from point A to point B: this space is radial, multilayered, as if digital, pulsating with multifaceted textures, powerful emotions and age-old dilemmas about the meaning of life and the existence of unique identities; between desires and the realisation that life takes place in a seemingly virtual space yet with all our biological and sociological “bodies”, with all the baggage, ballasts, gifts… with all that “matter” that we drag from memory to memories, from furniture factories, warm beds, wardrobes… to our rooms, closets, suitcases, shelves… from public to private, from everyone’s/no one’s to someone’s… those things travel from one meaning to another and we all leave a mark, some as happy and some as sad individuals, as losers or as heirs… those things seem always to be before our doors and testifying… through different “doors” the performers bring them onto the stage where they do not seem to act or speak the memorized text but to honestly live their stories, act for the audience, with the audience, become audience and use our real, genuine experience to bring art back into our lives.
 
Although written back in 1840, Nourished Fruit turns into a very modern story about man and his search for a place where one can live with dignity. Looking for a new place for himself, Sten, as if in some magical, incredible phantasmagoria, passes through what we all feel is the today’s world: an insecure, dangerous place in which too many people no longer find a sanctuary. At the end of his wanderings Sten fetches up at a monastery, the last place where he could hide from the life that happened to him and in which he never managed to find a place for his existence. When even the monastery does not welcome him, Sten realises that such a world is not worthy of his life in it. More than ever before, the world is awash with migrations in which that which is somewhere can be anywhere, and every new day confirms the fickleness and fragility of everything around us… Miloš Crnjanski, one of the most prominent Serbian authors, who was also an immigrant for the major part of his life, said: “There is no life, there are only migrations…”
 
Sten is a character made of various separate identities, subjects who took no notice of the call from the top echelons of the society to obey, to submit, to agree to sympathy, to calmly go to work, produce and last while they are needed… and then to disappear suddenly from that social hegemony and be left only with a pile of things which they don’t know what to do with because there is no more room left for their life… Sten doesn’t choose to make a spectacle, he leaves quietly in a kind of fade-out… he dematerialises and chooses a new, different space in-between, a gap between the existential need to exercise freedom and to exist in a community.
 
This project addresses life and deviation from it and its authors are all of us.
 
Nikita Milivojevic, Director, Direction and Acting Professor
Vesna Bogunovic, Theorist of Arts and Media