Tuesday, September 17th; 20.00 h; Zagreb Dance Centre; 65 minutes; 12+; in Croatian
This is the story of people who lost their essence overnight, buried it deep in the centre of themselves and forgot about it. About people who have become a name and a number. This is a story about people whose purpose was destroyed by bombs, olive-green planes, a leaded whistle of a bullet through the blue sky, an AK-47 in the middle of the living room, a metallic smell of blood in the bedroom, and dust. And they became Nobody. Name and number. Society’s problem. Irrelevant data on paper. Nobody. This is the story of Idris, a little boy with a will strong enough to dig up what others have buried deep in the centre of themselves, to return essence to every being who is a nobody and to find freedom even where fences grow out of the mud, where dust is eaten for breakfast, and people are nobodies. Name and number. Nobody.
CROATIAN NATIONAL THEATRE IN VARAŽDIN, REPUBLIC OF CROATIA
The Croatian National Theatre in Varaždin operates in a city with a very long theatrical tradition: we can trace the theatrical life in Varaždin back to 1637. From then until 1771, performances were continuously performed in the Jesuit Theatre at the grammar school, i.e., as part of the Jesuit studies. The first public theatre in Varaždin was opened in 1788.
The current theatre building was erected in 1873, based on the design of the famous Viennese architect Hermann Helmer. The first Croatian professional ensemble was founded in 1898. From 1898 to 1915, the Croatian Dramatic Society, headed by the renowned philologist and literary historian Ivan Mičetić, managed the theatre and organised its theatrical life.
The Permanent City Theatre was founded in 1915, showing operas and operettas alongside drama.
Based on its repertoire and significance in Croatia, The Croatian National Theatre in Varaždin has all the modern national drama theatre features. The repertoire is dominated by national drama, especially premieres by Croatian writers. The classics are also a fixture of the repertoire. The theatre is special in that it performs classic works in the Kajkavian dialect. The theatre’s contemporaneity is also evident from its tendency to explore stage expression, i.e., stage experimental performances. The fact that the theatre has three scenes (a large scene and two smaller ones) also contributes to its diversity of repertoire, genres, and aesthetics.
