PERCHANCE TO DREAM!
What happens when the character from the performance Dreams and Obstacles whirls around and around, only to find herself in the new performance Perchance to Dream?
That spin-off leads to new images that question leaving one's own country, the life in art, the possibility or impossibility of the choice, and the value of the dream.
Perchance to Dream explores the topic of migration, specifically migration or "brain drain" of artists, from a country with challenging conditions for life and work. Through the performance we follow the story of young actress who tries to decide what is more important to her: to go after her artistic dream or to leave the country out of the need for security. While re-enacting her old roles, she faces painful stories of the women whose characters she played: women that survived violence during the wars in her country, the woman whose child went missing, the painter who led her whole life within the visions of her paintings. These stories meet the real stories from her own life, of the young girl whose dream about becoming a ballet dancer had been destroyed, the story about the young woman who tries to find the balance between her life in art and the harsh reality around her. This is a performance that poses the same questions that young people around the world ask today, facing a similar situation. The performance inspires contemplation and a search for one's own answers.
Every day, on her way to her theatre, a young woman meets a man. Surrounded by his unpacked backpack and his instruments, a blanket with exotic ornaments draped over his shoulders, he plays. They do not share their mother tongue, but they share different languages that transcend speech. She tells him, or imagines to tell him, the story of her life. He replies with his music. They try to find the sense of their life choices in a world where people are forced to abandon their countries in order to save themselves, in a world where sometimes, it is more important to follow the thread of Shakespearian dreaming.
ABOUT THE PERFORMANCE PERCHANCE TO DREAM!
Saturday, October 22nd 2016
PERCHANCE TO DREAM! (DAH Theatre, 2016) Vladimir Kolarić, writer, art and film theoretician
UNTIL THE LAST BREATH A totalitarian mind would want our lives and our dreams to be nothing, and not only from the standpoint of some manufactured totality, but for ourselves as well, for each and every one of us individually. However, DAH Theatre's performance Perchance to Dream! (directed by Dijana Milosevic, 2016) opens windows for us and frames (literary - on the stage)those exact small lives of ours and the small dreams, which we must never allow anyone to convince us to be the same as everybody or everybody else's, or to be irrelevant from the standpoint of the entirety. And who is that person who determines what the entirety is and what it has to be? - Somehow we are always failed to be told this. In her mature and developed stage presence, Ivana Milenovic Popovic plays her life and her dreams, and her interaction with the musician (Ugljesa Majdevac) enables the presence to be determined exactly as such - scenic, with their playing prevailing over the dichotomy between reality and fiction, life and art, dream and actuality, day dreaming and wakefulness. And, of course, this is a performance about an artist and art as well. Because, what if we, after a long and hard process of acquiring artistic skills, "working on ourselves", again - but this time really as artists - face the hard wall of reality, when we once again realize that there is no escape for us, nor for us as artists, no way out, no coquetry, and that the burden that we have taken upon ourselves is not light at all. And that everything except voicing our word would be cowardice and crime, and that we, being artists, clearly must do something. And that word is sometimes not only for ourselves, but someone else too, some other people who are looking at us with anticipation and hope, with the feeling that we - basically - owe them something. That as artists we need to be able to put ourselves in someone else's shoes, sometimes in so many shoes, that we can't even count them, because others should never be a number. And there, where no one is a number - that is the place where art should be born. http://vladimirkolaric.blogspot.rs/2016/10/mozda-sanjati-dah-teatar-2016.html
Daily newspaper Danas
Saturday, October 22nd 2016
Hollywood-like Instrument Playing Article by Ivana Stefanović, composer and author from Belgrade
I am walking past the Kalenić green market, then downhill, then turning left at a small bar and walking on, passing houses, hovels and huts that all seem suburban rather than urban (this is Vračar, too!),all the way down to a big school building. There, in Marulićeva Street, is the space where DAH Theatre works - an independent professional theatre laboratory. This small city troupe of variable composition but persistent commitment has been lasting for the impressive 25 years. Tonight's premiere is titled Perchance to Dream! Dijana Milosevic is the director and the playwright, and, after many years, the co-founder of DAH Theatre Jadranka Andjelić is here too, but she is in the audience today. (...) This time it is a monodrama, but played by two performers: an actress Ivana Milenović Popović and a musician Uglješa Majdevac. One might say that this is a performance for the actress with accompanying music. This is because the latter performer is a musician who at times reaches for the clarinet, and sometimes grabs the guitar. The actress plays someone who is familiar to all of us, someone who looks like many people we know, ourselves even, like the people who always wonder why they have to leave their country. In a short scene, which is the dramatic climax of the story, in merely a few minutes, the musician plays percussion and taps his fingers on the taut skin of the small drum. In the small theatre space, with few items and props, few means, and very few words and movements, this is just enough to depict the great excitement that we all recognize, that has marked the madness of our time. http://www.danas.rs/nedelja.26.html?news_id=330957
Last night I was at the premiere, magic show, lasts an hour, amazing 'collage', acting, body language and music ... it is indescribable - a must see! Branislav Jelić, Professor
Exceptional performance ... Thanks so much for the atmosphere and talent and acting skill - directing, scene ... I am thrilled! Nela Antonović, Founder, Director and Artistic Director of MIMART Theatre
Amazing performance! Very sincere and touching. Well done! Well done! Ivana Stanković, Costume Designer
Direction and dramaturgy:
Actress: Ivana Milenović Popović
Musician: Uglješa Majdevac
Music: P. I. Čajkovski, C. Nielsen, D. Brubeck, slovački folklorni motiv, muzička grupa Buldožer, W. Lutoslawski, I. Stravinski, U. Majdevac
Set design: Neša Paripović
Costume: Ivana Stanković
Light: Milomir Dimitrijević
Following texts have been used in the performance: Ivana Milenović Popović, the fragment from Hamlet by W. Shakespeare, text by Irene Meier from the book Women's Side of War, text by Jugoslav Hadžić from performance Dreams and Obstacles
PR and organization: Nataša Novaković
Photo: Una Škandro
DAH Theatre would like to thank to: Jadranka Anđelić, Zoran Lazović, Maja Mitić, Shira Wolfe
DAH Theatre's special thanks go to Irina Kruzhilina for costume concept.