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2019 Ali: Strah ti pojé dušo

(tekst za program predstave: ovde)

Original Title:Angst essen Seele auf
Stage adaptation of the film Ali: Fear Eats the Soul (Angst essen Seele auf)

Director: Sebastijan Horvat

Adaptation and dramaturgy by Milan Marković Matthis

Translated from German by Urška Brodar

Translated from Serbian by Jernej Potočan

Set designer Igor Vasiljev

Costume designer Belinda Radulović

Composer Drago Ivanuša

Lighting designer* Aleksandar Čavlek

Language consultant Arko

Assistant director Mitja Lovše

Assistant dramaturg Jernej Potočan

Assistant set designer Maruša Mali

Assistant costume designer Bernarda Popelar Lesjak

Student assistant director Maša Pelko


Nataša Barbara Gračner Emmi

Iztok Drabik Jug Salem

Barbara Žefran Mrs Ellis; Frieda

Boris Mihalj/Mitja Lovše Eugen, Doctor

Borut Doljšak Fuad; Bruno

Damjana Černe Mrs Karges; Hedwig

Eva Jesenovec Barbara

Nik Škrlec/Gregor Podričnik Mr Gruber; Waiter

Saša Mihelčič Krista; Mrs Münchmeyer; Jolanda

Tamara Avguštin Katharina; Paula; Angermayerʼs Wife

Vojko Zidar Angermayer; Foreman

* Lighting master Aleš Vrhovec/Matej Kolmanko

Germany, 1970s. A 40-year-old Moroccan, El Hedi Ben Salem MʼBarek Mohammed Mustafa, called Ali, is one of the many migrant workers from his country, trying to pursue happiness in the golden years of economic migrations. Emmi, a 60-year-old widow, earns a living as a cleaning lady. A genuine feeling of warmth and attraction springs up momentarily between her and Ali. However, their relationship stumbles upon strong prejudice and lack of understanding from their environment: Emmi’s female neighbours, co-workers, her grown-up children and even her local shop-keeper. They grow increasingly cold and even hostile. Ali’s origin and his social position of a »guest worker« challenge their narrowly restricted notions of humanity, while they are being equally upset by his relationship with Emmi, 20 years his senior. In his acclaimed movie Ali: Fear Eats the Soul (1974), Rainer Werner Fassbinder divulges a multi-layered and gripping love story set on the margins of society. Using his signature modernist aesthetics he allows the viewer to confront social stereotypes that even today – especially in view of the recent wave of migrations, xenophobia and conservatism – remain neuralgic points of society and humanity.

It’s raining outside. In the bar, Arabian music is playing. Guests are mostly immigrants. An elderly woman enters the bar and orders a coke. A blond waitress taunts a young Arabian man to ask the woman to dance. Emmi and Ali are dancing. Other guests are watching them. We will see their gazes throughout the story many times.
Them against us.
An external refugee and an internal refugee are dancing.
Emmi and Ali are plagued by a series of differences in terms of race and age, and yet they are attracted and bonded into an impossible romantic relationship by something more substantial: they are both lonely. Shyly, Emmi says that she’s a cleaner working two shifts and that people look down upon her. Ali, however, puts it more bluntly:
»Work, work, always work, always be drunk. […] German masters, Arab dogs. The Germans are not good with the Arabs. «
»I don’t know. The Germans are not the same people as the Arabs. «
By being a couple, Emmi and Ali are an insult to the entire neighbourhood.
Emmi and Ali are happy when they are on their own, but they can nonetheless escape their toxic environment. The story toys with the genre of melodrama, but what prevents it to become one is silent despair. Happiness isn’t always fun.
»Why are you crying?«
»I’m so happy and so full of fear too.«
»Have no fear. Fear is not okay. Fear eats your soul.«
»That sounds nice. Is this what the Arabs say?«
»Yes, this is what all Arabs say.«
In Fassbinder, one is used to brutal sexuality, while here we are confronted by stunning tenderness.
»When we’re together, we have to be kind to one another.«
»I don’t want any other women. I only love you. »
»I love you too.«

Sebastijan Horvat

2018 Michelangelo

Premiere: 21 Sept 2018

After Miroslav Krleža’s play Michelangelo Buonarroti

Direction:Sebastijan Horvat
Adaptation and dramaturgy:Milan Marković Matthis
Set and video design:Igor Vasiljev
Costume design:Belinda Radulović
Music:Karmina Šilec
Lighting design:Aleksandar Čavlek
Stage movement:Ivana Kalc
Sound design:Saša Predovan
Assistant to director:Ana Dubljević
Stage manager:Edo Kalebić

Cast:Michelangelo / Goran Babić (actor): Rakan Rushaidat
John Doe / Stefan Heinz (producer): Aleksandar Cvjetković
Beatrice / Patricija Žebeljan Horvat (actress): Tanja Smoje
Francesco / Stagehand/ Irrelevant matters/: Nikola Nedić
Pope / Maria (actress): Olivera Baljak
Vienna stockholder/ Krešimir Horvat (director): Jerko Marčić
Conferencier / Davor Marušić Dubois (dramaturge): Jasmin Mekić
Madonna / Sonja (assistent): Jelena Lopatić
Mary Magdalene / Marta (actress): Marija Tadić, Anastazija Balaž
Teenager / Ivica (actor): Dean Krivačić
Jesus / Stagehand: Edi Ćelić
Fanatic / Mirko (composer): Giuseppe Nicodemo
Chorus master:Igor Vlajnić / Nicoletta Olivieri
Chorus of fanatics: Ljubov Košmerl Judčenko / Ana Majdak / Katja Budimčić / Milica Marelja / Iskra Stanojević / Karla Dusovich / Ivana Kajdi / Dominika Glinšek / Savo Orobabić / Krešimir Škunca / Marin Tuhtan / Martin Marić / Igor Doričić / Siniša Oreščanin / Sanjin Mandičić / Bojan Fuštar

Coproduction: CNT Ivan pl. Zajc and Dubrovnik Summer Festival

Michelangelo Buonarroti is a play by Miroslav Krleža’s Legend cycle written in 1918. It belongs to Krleža’s expressionist phase, having taken him to the very top of European dramatic literature. One of the dominant themes in this early phase, so also in Michelangelo, is the idea of a superhuman being, a giant or a genius capable of recreating the society or giving it a decisive impetus for its opening towards the utopian perspective. It is with this intention and vision that the great Michelangelo, shown in the drama in the time of his painting the Sistine Chapel, encounters the challenges and defeats brought about by the down-to-earth reality. Meeting mice, spiders, nuns, a rose, former lovers, visitors of the Sistine Chapel, teachers and students at school, medical doctors and nurses, chefs, cleaners, soldiers with gas masks, clergy, pageboys, a sailor and others, Michelangelo dives into the world of uttermost diversities, not only of the social but also ontological order, this being possible only within the power of theatre folly that enables us to imagine impossible relations. The director of Krleža’s inventive dramatic insight into the tragedy a genius is Sebastijan Horvat, one of the rare directors in the region not to keep away from Mirosla Krleža – bard of the Croatian literature. Michelangelo, Krleža, Horvat and Rushaidat, the first coproduction ever of the Rijeka CNT and Dubrovnik Summer Festival, promise that the Croatian Drama Company is ready to turn the new page of its contemporaneity.

2017 Ovo ostrvo

(scroll down for english)

Ово острво
Расправа о људском стању у три поглавља

Сали О’Нил, Ана Дубљевић, Нина и Милан Марковић Матис

Прогон “вештица”, догађај којим се у историји нико није озбиљније бавио док то нису урадиле феминистичке списатељице седамдесетих година прошлог века, означава крај “мрачног” и непродуктивног Средњег века и почетак нове ере просвећености. Људско тело престаје да буде магично и целовито – под утицајем механицистичке филозофије и продора научног погледа на свет, људско, друштвено тело па и сама природа почињу да се посматрају као машина на чије фунцкионисање се може утицати, и што је још важније, чији се рад и плодови могу експлоатисати.

Погром који је извршен над женама од средине 15. до почетка 18. века нарочито у средњој и северној Европи у новом светлу које нам пружа књига Силвије Федеричи “Калибан и вештица” видимо не као остатке сујеверног Средњег века које је тек Доба разума успело да заустави, већ управо као услов без ког ново буржоаско друштво не би могло да буде успостављено, а друштвени тренутак у коме се данас налазимо као финалну фазу процеса мењања “лењог, неморалног и непродуктивног” друштвеног тела у механизам чији је једини циљ стварање вишка вредности.

Али тај прелазак из vis erotica у vis lavorativa, од еротске снаге у радну снагу, никада није до краја завршен – свака криза Капитала праћена је екплозијом отпора према раду, а сваки тренутак нормализације откривањем новог простора за ограђивање и приватизацију, нових идентитета за стварање разлика и новим таласом насиља према женама.

Представу Ово острво правили смо питајући се зашто радимо и за кога, и колико је заправо стара та превара на коју свакодновно изнова пристајемо.

Ово острво је продукција FyraBen teatra, подржана од Реконструкције женског фонда, Станице – сервиса за савремени плес и Битеф театра. Рад на представи су помогли Inter Arts Center Малмо и Пароброд.

Сали О’Нил је кореографкиња, плесачица и извођачица. Дипломирала је на ArtEZ Hogechool voor de Kunsten у Арнхему, Холандији. Од 2010. године ради као кореографкиња и наступа као извођачица у представама у Европи, Америци и Јерменији. Тренутно живи у Малмеу, Шведска.

Нина Марковић Матис је слободна уметница која живи и ради у Малмеу и Београду. Дипломирала 2008. године је у Cantabile School of Stage Arts u Данској и од онда наступала у бројним соло пројектима као и у сарадњи са другим уметницима. Као извођачица, Нина ствара у различитим гранама извођачких уметности – од театра покрета и бутоа, преко савременог циркуса и техника сценских борби до драмског позоришта и приповедног театра. Кооснивачица театра FyraBen.

Ана Дубљевић је изводјачица и ауторка у пољу плеса, кореографије и кореографије као проширене праксе. Њени уметнички интереси баве се плесом концепата, питања, односа, језика и тела. Фокусира свој рад на питање политичности, с једне стране уметности и уметничког дела, и са друге стране политичности наших свакодневних индивидуалних и колективних живота, данас.

Милан Марковић Матис је драматург, драмски писац и сценски извођач настањен у Малмеу и Београду. Драме су му извођене у Хрватској, Енглеској, Словенији и Србији и објављене на босанском, енглеском, словеначком, српском и немачком језику. Као драматург је радио на представама у Данској, Хрватској, Италији, Немачкој, Словенији и Србији. Кооснивач театра FyraBen. FyraBen театар је колектив из Малмеа који ствара у ширем пољу савременог плеса, перформанса и драмског позоришта.


This Island
a three chapter treatise on human condition

Sally O’Neill, Ana Dubljević, Nina and Milan Marković Matthis

Persecution of “witches”, an event in history that no one seriously addressed until the seventies when feminist authors began writing about it, marked the end of the “dark” and unproductive Middle Ages and the beginning of the new Age of Enlightenment. The human body lost it’s magic (it ceased to be both whole and holly) – under the influence of mechanistic philosophy and breakthrough of the scientific view of the world, human, social body and even nature itself began to be seen as a machine, a machine that can be influenced, improved and analyzed and more importantly, whose work can be ruthlessly exploited.

In the light that Silvia Federici’s book “Caliban and the Witch” sheds on this period, we see pogrom committed against women (since the mid-15th to the early 18th century especially in central and northern Europe) not as remnants of superstitious Middle Ages that ended only with coming of the Age of Reason – but as an establishing Event of the new bourgeois society. Equally, the moment in which we live today reveals itself to us nothing more than a final phase of this process, of changing “the lazy, immoral and unproductive” social body into a mechanism whose sole purpose is creation of surplus value.

But this transition from vis lavorativa to vis erotica, (from erotic power to work force), never quite finished – every crisis of capital was/is accompanied by an explosion of resistance to work, and every moment of normalization by discovery of new areas for enclosures and privatization, new identities for the accumulation of differences and a new wave of violence against women. We created This Island asking the questions why do we work, and for whom, and finally, how old this trick we fall for every day really is.

This Island is a FyraBen production, supported by Reconstruction Women Fond, Station – service for contemporary dance and Bitef theater. This Island was developed with help from Inter Arts Center Malmo and Cultural Center Parobrod Belgrade.

Sally O’Neill is a choreographer, dancer and performer with a BA as Contemporary dancer/maker from ArtEZ Hogeschool voor de Kunsten, Arnhem. Since 2010 she has choreographed and co-choreographed performances in Europe, USA and Armenia. She lives in Malmo, Sweden.

Nina Marković Matthis is a freelancing artist, working internationally from her base in Malmö. She graduated from Cantabile2’s School of Stage Arts, Denmark in 2008 and has worked in several constellations, companies and solo projects. As a performer Nina works with various expressions of theater and movement art, such as physical theater, drama, storytelling, and also new circus, stage combat, butoh and more. She is a co-founder of FyraBen teater.

Ana Dubljević is a performer and author in expanded field of choreography. Her artistic interest dwells around “dancing” concepts, questions, relations, languages and bodies. Focus of her work is on politicality, on one side – of art and art work, and on the other – politicality of our everyday individual and collective lives, today.

Milan Marković Matthis is a Malmö based dramaturge, playwright and performer, born 1978 in Belgrade. His plays have been staged in Serbia, Croatia, Slovenia and England and published in English, German and Slovenian and Serbian languages. He worked as a dramaturge in Croatian, Danish, German, Slovenian and Serbian theater productions. He is a co-founder of FyraBen teater.

FyraBen teatar is a Malmö based collective creating in wider field of contemporary dance, performance art and drama theater.