About

PLAYgrounds

between facts and fiction: New plays and theatre forms

A performance that tries out the boundaries between fact and fiction, public and private in the middle of a Kosovar private apartment. Productions that are based on personal memories of the war in Kosovo or the events of September 11th 2001. Amateurs and actors who come together in a hostel and play a piece inspired by reality.
Young theatre artists from Belgium, Germany, Israel, the Netherlands, the United States and in particular from the Balkan region come to Pristina to join the theatre meeting “PLAYgrounds between facts and fiction” with texts, projects and plays in their luggage. Together they reflect on the function of theatre in general, on new modes of presentation and perception for the audience, on ways of artistic expression and possible PLAYgrounds for them. In thematic panels as well as stage readings and plays, the role of social and historical reality in the theatre will be reflected. Or vice versa: How the theatre can play its game with reality.

Theatre currently plays an important role in finding new ways of aesthetic presentation and new possibilities of perception for the audience. Documentary theatre in particular has been rediscovered and developed further by different theatre makers, working at the interface between theatre and reality. Their plays deal with historical events, places and personal biographies or with recent social phenomena. But reality does not only enter into the theatres. More and more theatre discovers reality and searches for theatrical aspects in our everyday lives. The classical theatre space is replaced by streets, houses, restaurants, hotels, shops. Instead of professional actors, so-called “everyday experts” are the stars on stage.
Recent events in the Balkans are especially full of volatile history, vivid memories, broken biographies, which have a wide impact on the theatrical work of contemporary directors and playwrights. Since 1990 they are not only confronted with new languages, new social realities, new nations, but also with powerful mechanisms of forgetting or eliminating history on one hand and with the re-writing of historical narratives and national myths on the other hand. The stage becomes a medium to find new artistic ways of expressing and dealing with these challenges.

Panel discussions and presentations of specific projects are accompanied by stage readings and plays. Guests include the performance collective Lunatiks (D) with their apartmentbased play “livingROOMS”. The scene reading of Biljana Srbljanović’s play “Family stories” is about four children on bombed-out playground in the suburbs of Belgrade. Zana Hoxha Krasniqi (KS) presents “Lugina e vuajtjeve te saj” (The valley of her sufferings) based on memories of women on the war. The scenic reading “Another Life” by Karen Malpede (USA) addresses the turmoil in the U.S. since the attacks of September 11.

Lucia Zimmermann

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