With: Maša Jelić and Dejan Stojković

PLAVO theatre venue, Boulevard of Vojvoda Misic 17, Belgrade (6th floor) 

Ticket reservation and information: 061 192 79 09

This concert is a kind of tribute to three very extraordinary women. These women were human beings with strong individuality and great empathy. They were great musicians and the preachers of freedom. Through their songs they spoke about love and peace and represented the voice of three generations of ordinary people form three continents, but also the voice of some of us, who came later.

The concert is a part of International educational program Two Open Weeks of PLAVO Theatre


Belgrade, July 17 – 30, 2016


  • Sunday, July 17, 20:00

Concert, by PLAVO Theatre and welcome dinner for the participants of the first week;

  • July 18 – 22, 11:00 – 17:00 with one hour break

Dance of Memory, workshop led by Maša Jelić, actress of PLAVO Theatre.

The workshop will be followed by the additional program:

  • July 18, 18:00 – 20:00 Video presentation of the relevant video material from the history of contemporary theatre;
  • July 19, 20:00 Ema, PLAVO Theatre performance;
  • July 20, 18:00 – 21:00 Open Space, practical or theoretical presentation of the individual artistic experience of the participants, lasting up to 20 minutes each;
  • (OPTIONAL: participants who wish to present their work should apply in advance.)
  • July 21, 18:00 – 20:00 The Seed of Creation, demonstration of the actors’ training by PLAVO Theatre actors;
  • July 22, 20:00 Daydream – A Story from Terezin, PLAVO Theatre performance.


  • July 24, 20:00 Concert, by PLAVO Theatre and welcome dinner for the participants of the second week;


  • July 25 – 29, 11:00 – 17:00 with one hour break

From Myself towards Theatre, workshop led by Nenad Čolić, PLAVO Theatre director.

The workshop will be followed by the additional program:

  • July 25, 18:00 – 20:00 Video presentation of the relevant video material from the history of contemporary theatre;
  • July 26, 20:00 Ema, PLAVO Theatre performance;
  • July 27, 18:00 – 21:00 Open Space, practical or theoretical presentation of the individual artistic experience of the participants, lasting up to 20 minutes each;
  • (OPTIONAL: participants who wish to present their work should apply in advance.)
  • July 28, 18:00 – 20:00 The Seed of Creation, demonstration of the actors’ training by PLAVO Theatre actors;
  • July 29, 20:00 – 21:00 Open rehearsal of PLAVO Theatre performance;
  • July 30, 20:00 I Sing Like a Bird, PLAVO Theatre performance.

 The work will be held in English.

rekvijem TOW2016Registration

Registration fees for participants coming from Albania, Bosnia and Herzegovina, Macedonia, Montenegro, Ukraine, Croatia, Slovenia and Serbia:

Workshop ‘Dance of Memory’: 55€

Workshop ‘From Myself towards Theatre’: 65€

Complete program: 100€

Registration fees for participants coming from all other countries:

Workshop ‘Dance of Memory’: 65€

Workshop ‘From Myself towards Theatre’: 75€

Complete program: 120€

Two Open Weeks 2016 Registration form (download)

Note: The number of participants is limited. There is no a specific application deadline. After sending us registration form and getting a confirmation from us about their participation, interested participants should pay the fee to our bank account in order to book their place.

Please contact us for all additional information including registration form, applying for participation in Open Space program or any practical information.


Two Open Weeks of PLAVO Theatre is an international practical and theoretical program for people interested in work inside of a theatrical laboratory through specific methodology of PLAVO Theatre.

TWO OPEN WEEKS 2016 naslovnaDuring Two Open Weeks PLAVO Theatre will open the doors of its theatrical laboratory, which will be an opportunity for participants to meet with its work through series of events: theatre workshops, performances, presentations, demonstrations, meetings, video presentations. The program will be divided into two parts, in two workshops, and participants will have the possibility to participate in the whole program or in the workshop by their choice.

Our aim is to share with participants the idea of theatre as a place of communication, a place of self-researching and a space of open mind where some important things about us and the world that surrounds us could be said.

Participants will be introduced into PLAVO Theatre methodology of work developed through years, which relies on laboratory theatre tradition and on human experience. This methodology puts into the background talent and artistic exhibitionism not only of an actor but anyone who works in theatre and instead it puts forth inner, organic life of an individual which becomes a field of research and improvement.

The program is opened for professional and semi-professional actors, directors, other theatre artists, dancers, as well as theatre and dance students and other people who are interested in theatre or self-research using the theatrical tools.

After years of experience in theatre pedagogy, our program Two Open Weeks of PLAVO Theatre was created out of the need to bring closer our educational work to international participants and to make theatrical laboratory a place of intercultural communication, theatrical exchange and development. The program has been realized every summer in Belgrade since 2004 gathering participants from three continents. From one year to another, the program has been developed and enriched parallel with growth and development of PLAVO Theatre.

Dance of Memory

workshop, led by Maša Jelić, actress of PLAVO Theatre

MASAThe workshop consists of introducing of participants into basic principles of actor’s work in laboratory theatre:

  • body and voice training – overcoming of individual mental and physical barriers;
  • work on the actor’s aware scenic presence and leadership – building of the intention and initiative, releasing, activating and leading one’s own energy;
  • work with music, song, text, prop and musical instrument;
  • work on actor’s improvisations and creation of actor’s materials, which thematic frame will be defined in the course of the workshop through focusing of the personal reason;
  • team building exercises.

It is important for participants to know well by hart:

  • a text from a favorite part from a favorite book or their own text (5 – 10 sentences long) in their native language or in English;
  • a traditional song from the participant’s country. The work will be held every day from Monday, July 18, to Friday, July 22, from 11:00 – 17:00 with one hour lunch break. Every evening the additional program will be organized in the form of video presentations, demonstrations of work, performances.
  • Participants should have a notebook and wear comfortable working clothes. 

From Myself towards Theatre

workshop, led by Nenad Čolić, director of PLAVO Theatre

NECAParticipants will be introduced into ideological principles of work through series of exercises aimed at exploring of the meeting point between theatre and ritual, discovering theatre as a personal space and space of human experience, researching of individual archetypes as precondition for creation. The work aims to reveal possibilities for deeper levels of communication in theatre, emphasising free individual existence inside of specific conditions of theatre as a collective space, by discovering ecstatic capacities of human being and overcoming of personal obstructions, such are fears, shame or prejudices, which burden human communication even in everyday life.

It is important for participants to know well by hart:

  • a text from a favorite part from a favorite book, or their own text
  • (5 – 10 sentences long) in their native language or in English;
  • a traditional song from the participant’s country.Note: participants attending both workshops can use the same text and song for both workshops.

Participants should have a notebook and wear comfortable working clothes.

The work will be held every day from Monday, July 27, to Friday, July 31, from 11:00 – 18:00 with one hour lunch break. Every evening the additional program will be organized in the form of video presentations, demonstrations of work, performances.



plakat A3Scenario and directing: Nenad Čolić

Performing: Maša Jelić

Scenery and costume design: Ivana Čolić

Executive manager: Dubravka Vujinović

‘The performance is inspired by a short story by F.M. Dostoevsky ’A Gentle Creature’, in which the question of human freedom is revealed through the destiny of a miserable woman, who committed suicide by throwing herself out of a window while holding an icon in her hands. Dostoevsky read about the actual event taking place in the newspapers and from that moment on he was haunted by the question: why did a young woman need to do this? My favorite texts from letters of Marina Tsvetaeva are also used in the performance. Those letters were addressed to her female friends. A voice of an apostate and an eccentric of her time speaks out from those letters. We can recognize in them the inner life of a woman and a suffering, uncompromisingly exposed to the eyes of people. Russian songs that are connected to one period of my childhood, which I spent in Moscow, are also utilized as a part of the performance. There are also a traditional Bosnian ‘sevdah’ song, a Mexican traditional song and one of my favorite songs by Janis Joplin.’

Maša Jelić



A Story from Terezin

PLAKAT ENGLScenario and directing: Nenad Čolić

With: Maša Jelić, Dejan Stojković, Jelena Martinović, Marko Potkonjak, Ranko Trifković

Scenery and costume: Ivana Čolić

Executive manager: Dubravka Vujinović

Text: Fragments from: the lecture on trial to Eichmann and ‘The Origins of Totalitarianism’, Hannah Arendt; ‘The Karamazov Brothers’, F.M. Dostoyevsky

Music: spiritual and secular Jewish songs, “Träumerei”, R. Schumann

‘An actress of PLAVO theatre had in her family experience of encounter with consequences of suffering of the Jews. Her grandparents were Holocaust survivors. This left a mark in her childhood memories which she wanted to translate into the actor’s language. This was an initial impulse for working process which lasted more than a year and which soon included other theatre members. The result was a performance Daydream – A Story from Terezin, an attempt to sensitize Jewish question through a different relation of Jews to Christ and with a different outcome. It’s a fictional story from Terezin concentration camp, well known by detaining of prominent members of the Jewish community. We placed Hannah Arendt, Karl Marx, Jesus Christ and Barabbas, as some of the most famous Jewish representatives in that imaginary story and made a scenic-musical piece based on spiritual and secular Jewish songs. Working on this performance was a kind of our debt to humanity, in which history full of tragedies there is one so incomprehensible place such as the Holocaust.’

Nenad Čolić


I Sing Like a Bird

I SING LIKE A BIRD ENGLScenario and directing: Nenad Čolić

Actors: Jelena Martinović, Marko Potkonjak, Maša Jelić, Dejan Stojković

Scenery and costume design: Ivana Čolić

Executive manager: Dubravka Vujinović

Instructor of classical Indian dance: Violeta Purhmajer (Venurati)

Music: Traditional spiritual music of ancient India – Bhajan; W. A. Mozart: Symphony No. 40; Prince: ‘Te Amo Corazon’;

Dances: Classical Indian dances: Bharata-natyam, Rajasthan;

Text: H. Hesse – ‘Steppenwolf’, ‘Essays’, ‘Pilgrimage’; I. Heilbut – ‘Mission of Hermann Hesse in Our Time’.

‘…I Sing Like a Bird is an adventure of a group of artists who do not leave their ground but go on a pilgrimage following the footsteps of Herman Hesse and so arrive to the magic theatre where everything is possible, under condition that you previously leave your problematic personality in the cloakroom. It is possible to erase the boundaries between culture and spirituality, it is possible for joy to oppose to the centuries of fighting, it is possible for emancipation to develop, in spite of xenophobia and possessiveness.

I Sing Like a Bird is a process of meditation within which we tried to influence the cliché of our mental and body system that has been shaped by coordinates of European tradition. Following the traces of our writer we also set off towards the East. We learned and acquired basic knowledge in the field of Indian traditional and spiritual music and Indian classical dances Bharata-natyam and Rajasthan. For us, it was an important acting and human experience. It helped us enter a different civilization space where we encountered many principles and laws we had known little about up to then. It all enriched our lives very much and changed our attitude towards the theatre work…’

Nenad Čolić

Some impressions of participants of the program in previous years:

Ana, actress, Croatia

The most important lesson I learnt was that the obstacle is always mental one – body is always more endurable that we think.

Joanna, actress, Poland

I was day after day more and more fascinated and involved with the work. I started to little understand how important it is for me searching myself through theatre and asking myself why I’m doing it…

Irena, student, Serbia

What I learnt… Many things, but I think I couldn’t express them by words right now.

I remembered myself. Something like that. I remembered myself who was forgotten for a long time, myself who I thought that I lost long time ago.

 Josipa, dancer, Croatia … People from Plavo theatre succeeded to motivate me to try to overcome some of my performing habits and limitations… I have never worked with songs, resonators and isolations of the movements the way we did it in the workshop…

 Jana, dancer, Czech Republic

One of the most important things I have learned about art was to see that … you have to be ready for changing and re-evaluating for all the time. It doesn’t mean to be confused, it means to be open for things around you as well as things inside of yourself…

 Simon, actor and musician, Germany

…Towards the end of the workshop From Myself towards Theatre I thought – and still think, without exaggerating – that it was one of the rare workshops that really made sense to me… We were not taught a lot of exercises, but touched one simple thing out of different perspectives which is the phenomena of a highly elevated attention necessary to work, or what director calls ‘trance-like intention’. We were encouraged to touch every day a kind of limit, a very personal one, and to do one step further.

Leonardo, actor, Italy

… Looking behind at the work in Belgrade, I perceive today that what I have been taking part was something characterised by a constant fresh and positive intensity, an embrace of strong energies…


20 years of PLAVO Theatre


International Theatre Meeting


December 4 – 7, 2015, Belgrade



Friday, December 4th, 2015

20:00 Concert by PLAVO Theatre/ Centre for Cultural Decontamination

Saturday, December 5th, 2015

11:00 – 13:00 A laboratory of diversity, presentation/ lecture: Siegmar Schröder (Theaterlabor Im TOR 6, Bielefeld, Germany)/ PLAVO Theatre

14:00 – 16:00 Motivation and Creativity: Duel or Dance?, seminar: Artistic-Cultural Association Aletheia (Milan, Italy)/ PLAVO theatre

17:00 – 19:00 Within the occasion of a theatrical tradition, session/ PLAVO Theatre

Participants: DAH Theatre, ISTER Theatre, Theatre Objective Drama Project, Theatrical Association Miraz, HLEB Theatre, Jelena Bogavac (theatre director and dramatist of BITEF Theatre), PLAVO Theatre

Moderator: Dijana Milošević (DAH Theatre, Belgrade)

20:00 Camille, performance: Kamila Klamut (Teatr ZAR/ The Grotowski Institute, Wroclaw, Poland)/ Centre for Cultural Decontamination

Sunday, December 6th, 2015

11:00 – 13:00 Grotowsky, past and present. And those who are inspired by him, lecture: Kamila Klamut (Teatr ZAR/ The Grotowski Institute, Wroclaw, Poland) illustrated by film fragments/ PLAVO Theatre

14:00 – 16:00 Motivation and Creativity: Duel or Dance?, seminar: Artistic-Cultural Association Aletheia (Milan, Italy)/ PLAVO Theatre

17:00 – 18:00 Presentation of ‘Santa Libera: centre for development of human and creative dimension’: Massimo Giannetti (Artistic-Cultural Association Aletheia, Milan, Italy)/ PLAVO theatre

18:00 – 19:00 One theatre friendship, talk: Massimo Giannetti (Artistic-Cultural Association Aletheia, Milan, Italy) and Nenad Čolić (PLAVO Theatre, Belgrade)/ PLAVO Theatre

20:00 Séance, performance: Theaterlabor Im Tor 6 (Bielefeld, Germany)/ Cultural Centre REX

Monday, December 7th, 2015

20:00 Ines and Garcin, performance: Artistic-Cultural Association Aletheia (Milan, Italy)/ Cultural Centre REX


Centre for Cultural Decontamination – Birčaninova Street, 21

Cultural Centre REX – Jevrejska Street, 16

PLAVO Theatre – Boulevard of Vojvoda Mišić 17 (BIGZ building, right wing, 6th floor)

All sessions will be held in English.

Daily sessions: free entry.

Seminar Motivation and Creativity: ‘Duel or Dance?’: 20 EUR.

Performances: 300 RSD. 

Information about programs:

Saturday and Sunday, December 5th and 6th, 2015, 14:00

Artistic-Cultural Association Aletheia (Milan, Italy)

Motivation and Creativity: Duel or Dance?


Can these two pushes find a point of great synergy and lead to increasing level of our realization or remain two enemies fighting each other in the battlefield of our soul?

Why to create? What can motivate us to create? How to use  motivation  to create? Which kinds of motivations exist? How to work on them? Can creativity develop our motivation?

The seminar is led by Artistic-Cultural Association Aletheia:

Massimo Giannetti, director, Daniela Damiani and Saverio Fiano, actors. Contacts for applications and information:, 061 192 79 09, 062 300 180.

Saturday, December 5th, 2015, 20:00

Centre for Cultural Decontamination

Kamila Klamut (Teatr ZAR/ The Grotowski Institute, Wroclaw, Poland)



_MMP_6660Performed by: Kamila Klamut, Ewa Pasikowska

Music: Mariana Sadovska

Directorial assistance: Mariana Sadovska, Carol Brinkmann Ellis, Vivien Wood, Alexandra Kazazou

Lighting design: Bartosz Radziszewski

Set design consultant: Bajka Tworek

Sculptures created by: Marianna Lisiecka, Magdalena Węgrzyn

Duration: 50 minutes

Camille Claudel was a sculptress. She was also a sister of Paul Claudel and for ten years the companion and artist-partner of August Rodin. She died seventy years ago. The last thirty years of her life Camille Claudel spent in a mental asylum.

The last photo ever taken of Camille provided an impulse that directly influenced the final shape of the performance. It features Camille together with a friend who visited her in the hospital. I imagined that the visits, which didn’t occur very often during her 30 years in the asylum, may have evoked in her a cascade of memories. The memories whose shapes I sensed and clothed in my own sensitivity…

 Kamila Klamut

Kamila Klamut

Since the mid-1990s she had been closely associated with the Centre for Study of Jerzy Grotowski’s Work and for Cultural and Theatrical Research, and then, since 2007, with the Grotowski Institute. In 1996, at the invitation of Grzegorz Bral and Anna Zubrzycki, she took part in forming Song of the Goat  Theatre. Since 1999 she has collaborated with Jarosław Fret, with whom she has been on several expeditions searching for the oldest extant forms of music. She co-initiated the founding of

Teatr ZAR, and appears in all three parts of Teatr ZAR’s triptych Gospels of Childhood, which has been performed in numerous cities around the world. She is currently part of Teatr ZAR’s new project Armine, Sister.

Ewa Pasikowska

She was part of the group that formed Teatr ZAR in 2002, and then a member of the company until 2012. While with ZAR she took part in several expeditions to Georgia, Bulgaria, Corsica, Sardinia and performed as an actor-musician in Teatr ZAR’s triptych Gospels of Childhood. In 2012 she moved to London where, with theatre director Andrei Biziorek, she formed Waving Not Drowning!Physical Theatre. She is also a self-taught musician-instrumentalist.

Teatr ZAR

Cultivating an ethos of ensemble work, Teatr ZAR develops productions through a long process of creating its own theatrical language, which draws on music from numerous traditions found in the East and West. The company is a multinational group that was formed during annual research expeditions to Georgia between 1999 and 2003. Teatr ZAR attempts to demonstrate that theatre does not only relate to thea (Greek seeing) but it is something that above all should be heard. Performances are just part of a long process of research, expeditions, personal explorations and transformation. ZAR brings back theatre as it was before art ruptured into different disciplines and styles.

The Grotowski Institute

The Grotowski Institute is a city-funded cultural institution that runs artistic and research projects responding to the challenges laid down by the creative practice of Jerzy Grotowski as well as documenting and spreading knowledge about his achievements. It hosts arts events, with a primary focus on education, theatre and publishing, and supports research and artistic projects of Polish and international artists. The Institute’s program lines are inspired by Grotowski’s work. It is also a platform for the free exchange of knowledge and experiences for exponents of diverse ways of thinking, schools and methodologies.

The Grotowski Institute was established on the basis of the Centre for Study of Jerzy Grotowski’s Work and for Cultural and Theatrical Research, which operated from 1989 in the former home of the Laboratory Theatre in Wrocław.

Sunday, December 6th, 2015, 20:00

Cultural Centre REX

Theaterlabor Im TOR 6 (Bielefeld, Germany)


A one-of-a-kind evocation

Theaterlabor Seance05 Foto_TomDombrowski

By and with: Yuri Birte Anderson, Thomas Behrend, Michael Grunert, Lukas Pergande and Alina Tinnefeld

Direction: Siegmar Schröder

Dramaturgical Counseling: Helge-Björn Meyer

Sound Effects: Stan Pete

Duration: 60 minutes

Five lost souls meet for an evocation of a special kind: SÉANCE portrays stories at the edge of darkness, on the borderline between illusion and reality.

These figures drifting through the night obsessively conjure up life and death. In doing so, they resemble the shadowy, mystically entangled characters that populate the paintings of Edward Hopper. In their songs, texts, and actions they disclose a unique universe of mad nightmares – deeply dark and highly comical, fascinating and disturbing. By changing the perspectives in their thoughts and actions they look at and speak about decay and transience, about their rational motifs for their never-ending voyage and their unfulfilled dreams. Being unpredictable and almost otherworldly they talk about themselves and about the struggle with their own demonic spirits. Heaven and hell – that is not always the others. Or: hope dies last.

Theaterlabor Im TOR 6

Since its foundation by art director Siegmar Schröder in 1983, actors, directors and dramaturges of Theaterlabor have been working on experiencing, exploring and presenting contemporary forms of theatre in all their facets in ever new and surprising ways for their audience. During the first years after the foundation, a focus for the ensemble was being laid on physical, bodily action. Inspired by Jerzy Grotowski, Eugenio Barba, the Commedia dell’ Arte and Asian dance, Theaterlabor developed different modes of expression towards an intense, dynamic, and immediate theatrical language.

For 30 years Theaterlabor has been standing for expressive, cross-border, experimental theatre. They work across genres with different partners: visual artists, musicians. For every play and every event Theaterlabor develops a specific, topic-oriented aesthetic. During the working process intense exchanges between all people involved take place so that every play arises from a communal effort – collective working is one of our goals.

Monday, December 7th, 2015, 20:00

Cultural Centre REX

Artistic-Cultural Association Aletheia (Milan, Italy)

Ines and Garcin

A theatrical performance, based on a free adaptation of Jean Paul Sartre’s text ’Behind Closed Doors’


Directing: Massimo Giannetti

Performed by: Daniela Damiani and Saverio Fiano

Duration: 70 minutes

Two characters, a man, Garcin and a woman, Ines, have been convicted to eternal mutual life in Hell where they recreate conditions of a close and inevitable relationship between two people in an extreme way. The performance bitterly hints that we exist only through and owing to others, whose perception and judgement defines us.  A true punishment of Hell comes out of this metaphor of reality: to be conditioned by the presence and judgement of the other, from whom we long for attention and recognition, aware that whatever we do, the last word always belongs to the other.

The game of needing and rejection. This ’inevitable game’ of relationship with the other doesn’t ever end, just like Hell, and becomes a punishment and a challenge at the same time. A great challenge of life. There are no winners or losers. Only humans.

The dramaturgy of the performance wishes to point out to this metaphor which is apparently bitter, which could and should present an important hint for thinking about conditioning of our freedom, but also to encourage an active and constructive reviving of those conditions.

The other is my Hell, and at the same time the other is my mirror.

Perhaps only that way we can know life better, discover whether it is a dream or not, and go beyond… ourselves…

Artistic-Cultural Association Aletheia

The Artistic-Cultural Association Aletheia was established in 1987 by Massimo Giannetti, a theatre director, dramatist and pedagogue, as the theatrical association Specchi e Memorie.  Its distinguishing characteristic is the use of theatrical instrument for profound research within the human dimension. Over the years, the working process of the organization has been expanded by activities and research that are not strictly theatrical. The association pursues three main directions of creative and pedagogical process including the theatrical process, personal development and human research in Art and Thought. The association has its working space in the city of Milan and the residential centre of Santa Libera in the green hills of Piedmont, where international seminars and meetings take place.

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