REPERTOAR OSMOG MEĐUNARODNOG POZORIŠNOG FESTIVALA „SLAVIJA 2009“

 9. mart - OKOLO THEATRE NEAR THE STANISLAVSKY HOUSE,
Moscow, Russian Federation
N.V.Gogol: „THE GAMBLERS“

10. mart - „SLAVIJA“ THEATRE,
Belgrade, Serbia
Branislav Nušić: „IN POWER“

11. mart - SARTR,
Saraievo, Bosnia and Herzegovina
Miodrag Žalica: „THE EMBRACE“

12. mart - BOSNIA AND HERZEGOVINA NATIONAL THEATRE, Saraievo, Bosnia and Herzegovina
Dubravko Jelačić Bužimski: „THE MIDNIGHT GAME“

13. mart - ŠABAC THEATRE,
Šabac, Serbia
Zoran Božović: „THE QUEEN OF LAUGHTER“        

14. mart - EPILOGUE THEATRE, Zagreb and
CRYSTAL CUBE OF BRIGHTNESS TOWN THEATRE, Sisak, Croatia
David Farao: „THE GUEST“

15. mart - YOUTH THEATRE „NIKOLAI BINEV“,
Sofia, Bulgaria
Frank Vedekind: „THE DEATH AND THE DEVIL“

16. mart - NOTTARA THEATRE,
Bucharest, Romania
A. P. Chekhov: „PLATONOV“

17. mart - DRAMA THEATRE SKOPJE,
Skopje, Macedonia
Edward Albee: „THE GOAT: OR, WHO IS SYLVIA?“

“It is about four human beings and a goat… and about the relationships among them.” Edward Albee

The Goat: or, Who Is Sylvia? by Edward Albee ( written in 2002) today is one of the most controversial  drama works. By its simple and concise structure, pure story, firmly established dramaturgic trap and perfectly and fully created characters, The Goat: or, Who Is Sylvia? is an enormous challenge to both, the team and the audience, as well as generally to the world and the time we live in.

The Goat: or, Who Is Sylvia? is a (non)classical marital confrontation of Stevie and Martin, who live in a perfect marriage for 22 years, all until the moment the issue of adultery comes up, after Martin confesses his relationship with “certain Sylvia, who is a goat”. Exactly by this Martin’s choice, which is out of the limits of the acceptable, a metaphysical questioner is presented: Where are the boundaries of the human love? Where is the boundary of the human pain, of the human tolerance? Where is the boundary between what is “painful” and what is “normal”? Who has the right to set that boundary? Stevie, as his wife, is the first one to dare to explore that boundary, and each and every spectator in the audience will immediately follow her – willingly or unwillingly – into that trap, facing a completely new emotional sensation.

Zagorka Pop-Antoska Andovska, dramaturgist