AWARDS of 5th JoakimInterFest

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5th International Small Scene Theatre Festival

REVELATION OF CONTEMPORANEITY

Selection of this years performances, coming from different cultural, social and political environments, give a new light on relation between drama inheritance and tradition, each in its own way. They are asking essential questions and research the relation between individual and history and the world in an acceptable and contemporary lucid way. Having no intention of embellishing past, they evaluate and critically consider on giving an authentic interpretation of a modern artist in a best possible way.
Dragan Jakovljevic, Selector

Jury of the 5th JoakimInterFest consisted of Boro Draskovic (Chairman), Dragana Boskovic and Slavko Milanovic had seen all plays and unanimously decided:
That the Joakim’s award for the best female character role goes to Mediha Musliovic for the role of Miss Julie in August Strindberg’s drama of the same name, directed by Gradimir Gojer, performed by National Theatre from Sarajevo. The award is given for interpretation of intimate theatre, complex relations between woman and man.
Joakim’s award for the best male character role jury gave to Anastas Popdimitrov for the role of Roman Hludov in Dreaming Of Escape based on Mikhail Bulgakov’s play, directed by Nikolai Poljakov, performed by Dramatic-puppet Theatre from Vratsa, Bulgaria. The award is given for affecting interpretation of human destiny in revolution.
And to Toni Mihajlovski for the role of Jeronimo in play Red Magic, based on Michel de Ghelderode’s work, directed by Vladimir Milicin (Anton Panov, Strumica, Macedonia). The award is given for versatile interpretation of complicated acting score.
Joakim’s award for music goes to Andres Mariano Ortega for the music in Midsummer Night’s Dream, directed by Zoltan Puskas, performed by Ujvideki Szinhaz Theatre from Novi Sad. The music as if it is not written in the musical staff but in the bodies of the actors which are performing.
Joakim’s award for visual identity goes to the play All about Love, directed by Aleksey Kuzhelney, performed by Ukraine theatre Suzirya.
Joakim’s special award Jury gave to the play I Try to Fly by Gianfranco Berardi, Compagnia Berardi-Casolari, Teatro Stabile di Calabria, Festival Internazionale Castel dei Mondi, Associazione Musicale Auditorium (Rome, Italy) for aesthetic emotion, pure and joyful that wascaused in cheerful audience.
Joakim’s award for the best director goes to Ivana Vujic for directining researching of the road towards poetics of new objecitvity through all ellements of scenic expression in play Pioneers in Ingolstadt, based on Marieluise Flaisser, performed by Knjazevsko-srpski Theatre from Kragujevac.
Joakim’s award for the best play is given to the Midsummer Night’s Dream, directed by Zoltan Puskas, performed by Ujvideki Szinhaz from Novi Sad. In this play the magic of Midsummer Night’s Dream was realized without words through myriad forms of movement: hearty rhythm and energy.
Audience award with an average rating of unbelievable 9,94, got the play I Try to Fly performed by Berardi-Casolari Italian Troup from Calabria, second best play according to audience is Shakespeare’s Midsummer Night’s Dream performed by Ujvideki szinhaz from Novi Sad, with average rating 9,70, and the third place with average rating 9,40 is the play The Tale of Ivan vs. Ivan performed by Talk Is Free theatre from Barrie, Canada, directed by Sasha Lukac.


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Boro Drashkovic THE BALANCE JoakimInterFest

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THEATRICAL AUTHOBIOGRAPHY OF BORO DRASHKOVIC

THE BALANCE OF SERBIAN GROTOWSKI

At side programme of the 5th JoakimInterFest, on Monday October 11th, a book ‘The Balance’ written by our famous theatrical and film director and drama pedagogue, Professor Boro Drashkovic, was promoted on the ‘Ljuba Tadic’ stage (small stage), Knazevsko-srpski teatar and the book was published by publishing house ‘KOV’ – Knjizevna opstina Vrsac.
Mirko Demic, writer from Kragujevac, Dragana Boshkovic, theatre expert and dramaturge Slavko Milanovic, spoke at the promotion of Drashkovic’s book.
‘Boro Drashkovic is not only theatrical and film director, he is one of ours unavoidable interpreter and philosopher of theatrical art. In his first text, Boro does not hide his attitude, so he writes: ‘It is good for everyone to begin by taking his heretical obligation, so that everything has lost its control from going to theatre.’ Little further, and more clearly, showing his (dis)satisfaction with the world and its theatre he writes: ‘To be against is same as to be young.’ Boro does not let go anything to the superficial interpreters of his intentions, he is clear:’…to break down the usual manner of speech, movement, comprehension of the rhythm, and again, with all our strength, to show something unusual as the most common thing.’ And finally ‘the balance that makes sense is seen through rebellion’ Demic looked on sentences from Drashkovic’s book and added that through this book, as well as Boro’s previous books, the reader has rare privilege to peer into Boro’s stage directions, from the first row.
‘It is not easy to talk about Boro’s books. Those books were some kind of guide for us who are in this profession. Before, I thought that those books were beyond my artistic experience, and today, I consider that those books are beyond my life experience. With the treasury of his wisdom, through learning us about theatre and film, Boro teaches us about life. Boro is opening a new world for us in his books, and that is the world created for all options, he is not just some historian of theatre, but a man who brings his experience into theatre’ Dragana Boskovic said, and according to her, Boro has a mission in our theatre and therefore he is Serbian Grotowski.
In her opinion, there were not enough Drashkovic’s plays in our theatre in last 30 years, and still, he is director of some of the biggest hits in the history of our theatre.
‘If we had been wise nation, which we are not, and if we had had more consciousness so there was a theatrical institute , Boro would have been its founder’ she concluded.
‘According to me, the book ‘Balance’ is some kind of Drashkovic’s theatrical autobiography because it includes the period of his first professional direction to his latest works.’
Author gave thanks for nice words, and he especially thanked to his closest associate, his wife Maja Drashkovic (who was not here because of business commitments) and to the editor of ‘Insomnia’ edition, in which ‘Balance’ came out, Petar Krdu, who was also announced as a speaker but did not show up from unknown reasons.

Боро Драшковић – ЈоакимИнтерФест
ПОЗОРИШНА АУТОБИОГРАФИЈА БОРА ДРАШКОВИЋА
РАВНОТЕЖА СРПСКОГ ГРОТОВСКОГ

У оквиру пратећег програма 5. ЈоакимИнтерФеста, у понедељак, 11. октобра на Сцени Љуба Тадић (мала сцена) крагујевачког Књажевско-српског театра промовисана је књига нашег познатог позоришног и филмског редитеља и драмског педагога, професора Бора Драшковића Равнотежа коју је објавила издавачка кућа КОВ – Књижевна општина Вршац.
На промоцији Драшковићеве књиге говорили су крагујевачки књижевник Мирко Демић, театролог Драгана Бошковић и драматург Славко Милановић.
– Боро Драшковић није само позоришни и филмски редитељ, он је један од наших незаобилазних тумача и мислилаца позоришне уметности. Већ у првом тексту („Јонеско и антијезик”) Боро не крије свој став, па пише: „Ваљада свако почиње преузимајући јеретичку обавезу да од његова доласка у позориште све изгуби равнотежу”. А мало даље, још јасније, исказујући своје (не)задовољство светом и његовим позориштем: „Бити против је исто што и бити млад”. Боро ништа не препушта површним тумачима својих интенција, он је јасан: „…срушити уобичајени начин говора, покрета, схватања ритма, а опет, упети се свом снагом да оно што је необично покажемо као најсвакидашњију ствар”. И, коначно, „кроз побуну се успоставља равнотежа која има смисла”, осврнуо се Демић на сентенце из Драшковићеве књиге, додавши да кроз ову књигу, као и кроз претходне Борине књиге, читалац има ретку привилегију да завири у редитељеве дидаскалије првог реда.
– Није лако говорити о Бориним књигама. За нас који се бавимо овим послом оне су биле нека врста водиље. Раније сам мислила да оне, на жалост надрастају моје уметничко искуство, данас сматрам да надрастају и моје животно искуство. Ризницом своје мудрости, учећи нас о позоришту и филму, Боро нас учи о животу. У својим књигама Боро нам отвара један нови свет и то свет отворен за све опције и то не само као пуки историчар позоришта већ као неко ко у њега учитава своје искуство, рекла је Драгана Бошковић по којој Драшковић има мисију у нашем позоришту и због чега је он српски Гротовски.
По њој, није било довољно Драшковићевих представа у последњих 30 година, а, ипак је он редитељ неких од највећих хитова у историји нашег позоришта.
– Да смо мудра нација, као што нисмо, и да имамо мало више слуха па да код нас постоји позоришни институт Боро би био његов родоначелник, закључила је она.
За Славка Милановића велика је срећа да је Драшковић, за разлику од многих својих колега и вршњака, рано почео да пише, упоредо се бавећи режијом.
– По мени књига „Равнотежа” је нека врста Драшковићеве позоришне аутобиографије јер обухвата период од његове прве професионалне режије, па све до последњих радова.
Сам аутор захваливши се на лепим речима, посебно се захвалио својој најближој сарадници, супрузи Маји Драшковић (која је због пословних обавеза одсуствовала са промоције) као и уреднику едиције „Несаница” у којој је „Равнотежа” изашла, господину Петру Крдуу који је такође био најављен као говорник али се из непознатих разлога није појавио.

Боро Драшковић – ЈоакимИнтерФест

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ПОЗОРИШНА АУТОБИОГРАФИЈА БОРА ДРАШКОВИЋА
РАВНОТЕЖА СРПСКОГ ГРОТОВСКОГ

У оквиру пратећег програма 5. ЈоакимИнтерФеста, у понедељак, 11. октобра на Сцени Љуба Тадић (мала сцена) крагујевачког Књажевско-српског театра промовисана је књига нашег познатог позоришног и филмског редитеља и драмског педагога, професора Бора Драшковића Равнотежа коју је објавила издавачка кућа КОВ – Књижевна општина Вршац.
На промоцији Драшковићеве књиге говорили су крагујевачки књижевник Мирко Демић, театролог Драгана Бошковић и драматург Славко Милановић.
– Боро Драшковић није само позоришни и филмски редитељ, он је један од наших незаобилазних тумача и мислилаца позоришне уметности. Већ у првом тексту („Јонеско и антијезик”) Боро не крије свој став, па пише: „Ваљада свако почиње преузимајући јеретичку обавезу да од његова доласка у позориште све изгуби равнотежу”. А мало даље, још јасније, исказујући своје (не)задовољство светом и његовим позориштем: „Бити против је исто што и бити млад”. Боро ништа не препушта површним тумачима својих интенција, он је јасан: „…срушити уобичајени начин говора, покрета, схватања ритма, а опет, упети се свом снагом да оно што је необично покажемо као најсвакидашњију ствар”. И, коначно, „кроз побуну се успоставља равнотежа која има смисла”, осврнуо се Демић на сентенце из Драшковићеве књиге, додавши да кроз ову књигу, као и кроз претходне Борине књиге, читалац има ретку привилегију да завири у редитељеве дидаскалије првог реда.
– Није лако говорити о Бориним књигама. За нас који се бавимо овим послом оне су биле нека врста водиље. Раније сам мислила да оне, на жалост надрастају моје уметничко искуство, данас сматрам да надрастају и моје животно искуство. Ризницом своје мудрости, учећи нас о позоришту и филму, Боро нас учи о животу. У својим књигама Боро нам отвара један нови свет и то свет отворен за све опције и то не само као пуки историчар позоришта већ као неко ко у њега учитава своје искуство, рекла је Драгана Бошковић по којој Драшковић има мисију у нашем позоришту и због чега је он српски Гротовски.
По њој, није било довољно Драшковићевих представа у последњих 30 година, а, ипак је он редитељ неких од највећих хитова у историји нашег позоришта.
– Да смо мудра нација, као што нисмо, и да имамо мало више слуха па да код нас постоји позоришни институт Боро би био његов родоначелник, закључила је она.
За Славка Милановића велика је срећа да је Драшковић, за разлику од многих својих колега и вршњака, рано почео да пише, упоредо се бавећи режијом.
– По мени књига „Равнотежа” је нека врста Драшковићеве позоришне аутобиографије јер обухвата период од његове прве професионалне режије, па све до последњих радова.
Сам аутор захваливши се на лепим речима, посебно се захвалио својој најближој сарадници, супрузи Маји Драшковић (која је због пословних обавеза одсуствовала са промоције) као и уреднику едиције „Несаница” у којој је „Равнотежа” изашла, господину Петру Крдуу који је такође био најављен као говорник али се из непознатих разлога није појавио.

THEATRICAL AUTHOBIOGRAPHY OF BORO DRASHKOVIC

THE BALANCE OF SERBIAN GROTOWSKI

At side programme of the 5th JoakimInterFest, on Monday October 11th, a book ‘The Balance’ written by our famous theatrical and film director and drama pedagogue, Professor Boro Drashkovic, was promoted on the ‘Ljuba Tadic’ stage (small stage), Knazevsko-srpskog theatre and the book was published by publishing house ‘KOV’ – Knjizevna opstina Vrsac.
Mirko Demic, writer from Kragujevac, Dragana Boshkovic, theatre expert and dramaturge Slavko Milanovic, spoke at the promotion of Drashkovic’s book.
‘Boro Drashkovic is not only theatrical and film director, he is one of ours unavoidable interpreter and philosopher of theatrical art. In his first text, Boro does not hide his attitude, so he writes: ‘It is good for everyone to begin by taking his heretical obligation, so that everything has lost its control from going to theatre.’ Little further, and more clearly, showing his (dis)satisfaction with the world and its theatre he writes: ‘To be against is same as to be young.’ Boro does not let go anything to the superficial interpreters of his intentions, he is clear:’…to break down the usual manner of speech, movement, comprehension of the rhythm, and again, with all our strength, to show something unusual as the most common thing.’ And finally ‘the balance that makes sense is seen through rebellion’ Demic looked on sentences from Drashkovic’s book and added that through this book, as well as Boro’s previous books, the reader has rare privilege to peer into Boro’s stage directions, from the first row.
‘It is not easy to talk about Boro’s books. Those books were some kind of guide for us who are in this profession. Before, I thought that those books were beyond my artistic experience, and today, I consider that those books are beyond my life experience. With the treasury of his wisdom, through learning us about theatre and film, Boro teaches us about life. Boro is opening a new world for us in his books, and that is the world created for all options, he is not just some historian of theatre, but a man who brings his experience into theatre’ Dragana Boskovic said, and according to her, Boro has a mission in our theatre and therefore he is Serbian Grotowski.
In her opinion, there were not enough Drashkovic’s plays in our theatre in last 30 years, and still, he is director of some of the biggest hits in the history of our theatre.
‘If we had been wise nation, which we are not, and if we had had more consciousness so there was a theatrical institute , Boro would have been its founder’ she concluded.
‘According to me, the book ‘Balance’ is some kind of Drashkovic’s theatrical autobiography because it includes the period of his first professional direction to his latest works.’
Author gave thanks for nice words, and he especially thanked to his closest associate, his wife Maja Drashkovic (who was not here because of business commitments) and to the editor of ‘Insomnia’ edition, in which ‘Balance’ came out, Petar Krdu, who was also announced as a speaker but did not show up from unknown reasons.

FIVE YEARS OF JOAKIMINTERFEST

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FIVE YEARS OF JOAKIMINTERFEST

Proclaiming the idea Kragujevac Teatropolis, Knjazevsko-srpski theatre and Direction of JoakimFest, iniciated foundation of JoakimInterFest (International Small Scene Theatre Festival) in 2006, with the idea to represent every year some of the essential theatrical values connected with research and inovative tematic.
JoakimInterFest is held every year from October 7th to 15th on scenes of Knjazevsko-srpski Theatre and other places in Kragujevac Teatropolis. Selector of the festival is Dragan Jakovljevic.
At the previous Festivals (including the fifth one coming) participated theatres from 19 countries (Russia, USA, Great Britain, Italy, Spain, Denmark, Romania, Slovakia, Poland, Bulgaria, Slovenia, Croatia, Macedonia, Serbian Republic Bosnia and Herzegovina, Montenegro, Serbia, Ukraine and Canada) and was performed 61 play.
In a very short time JoakimInterFest becomes Festival of a special meaning for Serbia, and according to number of participants from world theatrical centers one of the prestigious Festivals in central Europe.
Sponsors of Festival are Ministry of Culture Republic of Serbia and the City of Kragujevac.

REVELATION OF CONTEMPORANEITY

Repertoire of the 5th JoakimInterFest is composed of performances of different genres and director’s poetics, based mostly on classic plays of classic drama writers in contemporary theatrical interpretation. Whether they are basics, literal specimen, or only an inspiration for inventive director’s imagination or an extremely unconventional theatrical approach, performances testify to marvelous esthetic energy.
Selection of this year’s performances, coming from different cultural, social and political environments, give a new light on relation between drama inheritance and tradition, each in its own way. They are asking essential questions and research the relation between individual and history and the world in an acceptable and contemporary lucid way. Having no intention of embellishing past, they evaluate and critically consider on giving an authentic interpretation of a modern artist in a best possible way.
In an exceptional profusion of themes and diversity of ideas, attempting to search for a new interpretation of theatrical expressions in works of Shakespeare, Bulgakov, Strindberg and Gogol, and some younger, but nonetheless important authors like Marieluise Fleisser, Michel de Ghelderode, Mircea Stefanescu, Alexander Olsen, performed in a new director’s and acting tonality, we will dream another Joakim’s dream in Kragujevac Teatropolis, becoming and staying a part of Europe and the world in these hard times. Our friends from Macedonia, Romania, Bulgaria, Italy, Ukraine, Bosnia and Herzegovina, Canada, Russia and Serbia will help us with this, like they did previous years.

FIVE YEARS OF JOAKIMINTERFEST

Posted on Updated on

FIVE YEARS OF JOAKIMINTERFEST

Proclaiming the idea Kragujevac Teatropolis, Knjazevsko-srpski theatre and Direction of JoakimFest, iniciated foundation of JoakimInterFest (International Small Scene Theatre Festival) in 2006, with the idea to represent every year some of the essential theatrical values connected with research and inovative tematic.
JoakimInterFest is held every year from October 7th to 15th on scenes of Knjazevsko-srpski Theatre and other places in Kragujevac Teatropolis. Selector of the festival is Dragan Jakovljevic.
At the previous Festivals (including the fifth one coming) participated theatres from 19 countries (Russia, USA, Great Britain, Italy, Spain, Denmark, Romania, Slovakia, Poland, Bulgaria, Slovenia, Croatia, Macedonia, Serbian Republic Bosnia and Herzegovina, Montenegro, Serbia, Ukraine and Canada) and was performed 61 play.
In a very short time JoakimInterFest becomes Festival of a special meaning for Serbia, and according to number of participants from world theatrical centers one of the prestigious Festivals in central Europe.
Sponsors of Festival are Ministry of Culture Republic of Serbia and the City of Kragujevac.

REVELATION OF CONTEMPORANEITY

Repertoire of the 5th JoakimInterFest is composed of performances of different genres and director’s poetics, based mostly on classic plays of classic drama writers in contemporary theatrical interpretation. Whether they are basics, literal specimen, or only an inspiration for inventive director’s imagination or an extremely unconventional theatrical approach, performances testify to marvelous esthetic energy.
Selection of this year’s performances, coming from different cultural, social and political environments, give a new light on relation between drama inheritance and tradition, each in its own way. They are asking essential questions and research the relation between individual and history and the world in an acceptable and contemporary lucid way. Having no intention of embellishing past, they evaluate and critically consider on giving an authentic interpretation of a modern artist in a best possible way.
In an exceptional profusion of themes and diversity of ideas, attempting to search for a new interpretation of theatrical expressions in works of Shakespeare, Bulgakov, Strindberg and Gogol, and some younger, but nonetheless important authors like Marieluise Fleisser, Michel de Ghelderode, Mircea Stefanescu, Alexander Olsen, performed in a new director’s and acting tonality, we will dream another Joakim’s dream in Kragujevac Teatropolis, becoming and staying a part of Europe and the world in these hard times. Our friends from Macedonia, Romania, Bulgaria, Italy, Ukraine, Bosnia and Herzegovina, Canada, Russia and Serbia will help us with this, like they did previous years.

Пет година ЈоакимИнтерФеста

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ПЕТ ГОДИНА ЈОАКИМИНТЕРФЕСТА
Прокламујући идеју Крагујевац Театрополис, Књажевско-српски театар и Дирекција ЈоакимФеста иницирали су 2006. године оснивање ЈоакимИнтерФеста (Међународног позоришног фестивала малих сцена) са идејом да сваке године представе неку од есенцијалних позоришних вредности повезаних пре свега истаживачком и иновативном тематиком.
ЈоакимИнтерФест се сваке године одржава од 7-15. октобра на сценама Књажевско-српског театра и другим просторима у Крагујевцу Театрополису. Фестивал је селективног типа и његов стални селектор је редитељ Драган Јаковљевић.
На досадашњим фестивалима (рачунајући и овај пети који је пред нама) учествовали су театри из 19 земаља (Русија, САД, Велика Британија, Италија, Шпанија, Данска, Румунија, Словачка, Пољска, Бугарска, Словенија, Хрватска, Македонија, Република Српска, Босна и Херцеговина, Црна Гора, Србија, Украјина, Канада) и изведена је 61 представа.
За веома кратко време ЈоакимИнтерФест постаје Фестивал од посебног значаја за државу Србију, а по мишљењу бројних учесника из светских позоришних центара и један од престижнијих Фестивала у централној Европи.
Покровитељи Фестивала су Министарство културе Републике Србије и Град Крагујевац.

Пети међународни позоришни фестивал малих сцена (5тх Интернатионал Смалл Сцене Тхеатре Фестивал) окупља позоришне ансамбле из: Македоније, Румуније, Бугарске, Италије, Украјине, Босне и Херцеговине, Русије и Србије. Драган Јаковљевић, селектор петог ЈоакимИнтерФеста, одабрао је девет позоришних представа које ће бити на репертоару Међународног позоришног фестивала малих сцена. Представа из Санкт Птербурга (Русија) изводи се у част награђених.

ОТКРИВАЊЕ САВРЕМЕНОСТИ

Репертоар 5.ЈоакимИнтерФеста компонован је од представа различитих жанрова и редитељских поетика које су засноване углавном на делима класичних драмских аутора у савременим позоришним тумачењима. Било да су основа, литерарни предложак, само инспирација за инвентивна редитељска надмаштавања или крајње неконвенционалан позоришни израз, она сведоче и данас чудесном естетском енергијом..
Представе из овогодишње селекције, иако долазе из различитих културолошких, друштвених и политичких окружења, свака на свој начин, бацају ново светло на однос према драматуршкој баштини и традицији. Постављају суштинска питања и на прихватљив и модеран начин луцидно истражују однос појединца према историји и свету. Без намере да улепшавају прошлост оне вреднују и критички промишљају дајући на најбољи могући начин аутентичну интерпретацију савременог тренутка.
У изузетном богатству тема и разноликости идеја, у покушају трагања за новим облицима позоришног изражавања у делу Шекспира, преко Булгакова, Стриндберга и Гогоља, па и до нешто млађих али ништа мање значајних аутора националних драматургија као што су Марилујзе Флајсер, Мишел де Гелдерод, Мирча Стефанеску, Александер Олсен, у новом редитељском и глумачком тоналитету, одсањаћемо у Крагујевцу Театрополису још један Јоакимов сан, постајући и остајући и у овим тешким временима део позоришне Европе и света. У томе ће нам, као и претходних година, помоћи наши пријатељи овог пута из Македоније, Румуније, Бугарске, Италије, Украјине, Босне и Херцеговине, Канаде, Русије и Србије.

JoakimInterFest

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4th International Small Scene Theatre Festival

PROTEUS DREAM


Though we are conscious of the syncretistic theatrical being, this time we have drawn our attention towards the creation of director’s, a creature of protean nature which along with each new performance changes its form and asks many delicate questions. That relentless poet of the stage, of a profound belief, each time, over and over again, re-imagines his story on better and more humane world.
Dragan Jakovljevic, Selector

Selector of Fourth JoakimInterFest 2008 is Dragan Jakovljevic, director of the Knjazevsko-srpski teatar from Kragujevac. At the Festival participate theatrical performances from USA, England, Italia, Romania, Croatia, Republic of Macedonia and Serbia. The performances these theatres are in competing for the awards. The play Dek tagoj de kapetano Postnikov of the Shelter Scene from City of Kragujevac, Serbia will be performed in the honor of the awarded.

Direction of the Festival: Dragan Jakovljevic (director), Aleksandar Miloradovic, Zoran Miljkovic, Mirjana Vujanic, Nenad Miloradovic and Nadica Ognjanovic.

Knjazevsko-srpski teatar from Kragujevac (Serbia) and Theatre Kolectiv from Manchester (England), the play Club New World Order. Writers by Harold Pinter, Hainer Muller, Plato and directed by Aleksandar Dundjerovic.
Theatre Rugantino from Zagreb (Croatia) the play God of Carnage. Written by Yasmina Reza and directed by Franka Prkovic.
Teatul Al. Davila, from Pitesti (Romania) the play Dom Juan. Written by Jean-Baptiste Poquelin Molliere and directed by Bogdan Cioaba.
Theatre Kolectiv Liverpool, Manchester and London (England) the play The Cherry Orchard. Written by Anton P. Chekhov and directed by Aleksandar Dundjerovic.
Mal dramski teatar, Bitola and Nov Teatar, Ohrid from Republic of Macedonia, the play Border. Written by Venko Andonovski and directed by Sofija Ristevska.
Mal dramski teatar from Bitola (Republic of Macedonia), the play Other Side. Written by Dejan Dukovski and directed by Martin Kocovski.
National Theatre from Uzice (Serbia), the play The Patriots. Written by Jovan Sterija Popovic and directed by Larry Zappia.
Serious Play! Theatre Ensemble from Northampton MA. (USA), the play Milosevic at the Hague. Written by Milan Dragicevich and directed by Sheryl Stoodley and Milan Dragicevich.
Teatro Koreja from Lecce (Italia), the play La Passione delle Troiane. Idea and project by Salvatore Tramacere and directed by Antonio Pizzicato and Salvatore Tramacere.
In the honor of the awarded – Shelter Stage from City of Kragujevac (Serbia) the play Dek tagoj de kapetano Postnikov. Written by Mikaelo Bronstein and directed by Milic Jovanovic.

Kragujevac Teatropolis

Awards

Joakim’s award for the best play
Joakim’s award for the director
Joakim’s awards for the actors
Joakim’s award for the visual effects
Joakim’s special award
Audience Award

Jury of the Festival at the sitting that took place on 14.10.2009. in Kragujevac, the following decissions were made, unanimously:

1. Joakim’s award for the best direction: Salvatore Tramacere and Antonio Pizzicato for the direction of LA PASSIONE DELLE TROIANA, of The Teatro Koreja from Lecce, for well thought out and contemporary reading of classical drama text and impressive audio-visual composition of various artistic elements, from traditional music of Balkan people, through ritual dance untill modern scenic expression.

2.Joakim’s award for the best play: The Cherry Orchard, Theatre Kolectiv, Manchester-London, England. The play The Cherry Orchard, in well conceived direction of Aleksandar Dunđerović, he stresses out, in an innovative and original way, universal values of Chekhov s text and places them into a contemporary context of nowadays world that has reduced spirituality to market merchandise. It is a play of strong emotions and clear message, at the same time entwined with melancholy, irony and cynicism.

3. Special Joakim’s reward (equally): SERIOUS PLAY! THEATRE ENSEMBLE, Northempton, the USA, for daring, skilled and well dramatically assembled, a mltimedial, socially engaged and neutral approach to the painful subjects that the authors, Milan Dragicevich and Sheryl Stoodley, transformed very successfully and artistically coherent into the play Milošević at the Hague, althought in the world and Serbia as well, there are some distinctively divergent, sharpened and exclusive opinions on that and to the play THE OTHER SIDE, of The Small Drama Theatre from Bitol, in which,young, avant-garde director Martin Kočovski, by using experiences of the dramaturgy blood and sperm, with his courageous assembly from Bitol, succeeds, through a clash of generations, to counterpoints the time when we used to be realistic and when we demanded impossible and a decadent and depressive present in which an individual looses himself in his own loneliness.

4. Joakim’s acting awards:
MAUREEN BRYAN, for the role of Madame Ranevsky, in play The Cherry Orchard, of Theatre Kolective, in which the British actress completely evokes the width of a Russian soul, adding to it some of plain English mentality, using the artistic means that are clear, various, emotional and well picked.
To the actors assambly Knjazevsko-srpski teatar for collective performance inthe play Club NewWorld Order, by which they justified the tradition of the oldest Serbian theatre and showed us why THEATROPOLIS in the name of the city points out that they are familiar even with non-realistic structure of the play and that they are capable of performing the play that is complex and contemporary, that gather the experiences of total and political theatre, in their own characteristical way, altogether with the director that follows the tradition of Robert Lepage.

5. Joakim’s award for visual effects: to the play THE PATRIOTS, of The National theatre from Uzice. Larry Zappia, the director, reads this classical, yet always contemporary, uncompromised Sterija’s text, in a radical, innovative way, placing it on the stage with a descent usage of adequate theatric signs: from Brecht s rules, through plain, yet suggestive spectrum of colours, untill the written messages and songs that do not let down, but emphasize the basic meanings of Sterija s text. The assembly of Uzice s national theatre has achieved the maximum of the meaning with the minimum of scenic effects.

The special acknowledgement of the jury should be given to the Direction of the JoakimInterFest for the organization, hospitality towards numerous foreign and local guests, as well as for sustaining logistic support to the festival from its foundation until today.

6. With an average grade of 9,89, the audience award goes to the host s play of Knjazevsko-srpski teatar  and Theatre Kolectiv The Club New World Order, directed by Aleksandar Dundjerovic.

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