Bitef

x 0 AUTORIMA

SEBASTIJAN HORVAT, reditelj i koautor, jedan je od osnivača nezavisne pozorišne zajednice E.P.I center (1997), koji je postao produkcijski centar gde su u koprodukcijama s većim i manjim institucijama nastajali istraživački pozorišni projekti. Od 2005, godine zaposlen je na Akademiji za gledališče, radio, film in televizijo kao profesor pozorišne režije. Značajnije nagrade: Velika nagrada 29. Tjedna slovenske drame za predstavu lON (1999), Borštnikova diploma i posebna nagrada po oceni žirija za režiju predstave Makbet (1999), Montblanc Young Directors Project Award, nagrada za mladog reditelja na salzburškom festivalu Salzburger Festspiele 2005, Nagrada Prešernove zaklade za pozorišne režije u zadnje dve godine (2008), Šeligova nagrada 38, Tjedna slovenske drame za predstavu Romantične duše (2008), Nagrada Tantadruj za pozorišna dostignuća u 2015, godini, za predstavu Sluge (2015).

MILAN MARKOVIĆ MATIS, koautor, je dramaturg, dramski pisac i scenski izvođač nastanjen u Malmeu. Drame su mu izvodene u Hrvatskoj, Engleskoj, Sloveniji i Srbiji i objavIjene na bosanskom, engleskom, slovenačkom, srpskom i nemačkom jeziku. Kao dramaturg radio je na predstavama u Danskoj, Hrvatskoj, Italiji, Nemačkoj, Sloveniji i Srbiji.

x REČ AUTORA

„Kao što sam rekao, bavimo se Europom danas, jer ako umjetnik ne zna gdje se nalazi i ne govori o problemima svijeta u kojem živj, onda to nema smisla. Trudili smo se otvoriti neke prozore - i na političkoj i na osjećajnoj razini. Propitujemo gdje se Hrvatska i Europska unija nalaze u ovom trenutku. Snažno se bavimo sadašnjicom." Sebastijan Horvat, preuzeto iz intervjua Novom listu

x IZVOD IZ KRITIKE

„Krleža je u Hrvatskoj rapsodiji prikazao sudbinu nacije, kao sudbinu jednog vagona koji se vise ne kreće po tračnicama, već odlazi u beskraj, u nepostojanje. Ovaj tekst malo je izvoden na hrvatskim pozornicama (...) Njihova interpretacija ne temelji se na pridržavanju za Krležin predložak, već na slobodnom korištenju motiva iz Hrvatske rapsodije koji su nadopisani suvremenim kontekstom Hrvatske i Europe te glumačkim improvizacijama. Na prvi pogled moglo bi se zaključiti da je riječ o radikalnom odmaku od Krleže, no predstava Hrvatska rapsodija svojim je temeljnim ozračjem i duhom posve krležijanska." Kim Cuculić, Novi list

x THE AUTHORS

SEBASTIJAN HORVAT, director and co-author, is one of the founders of E.P.I center, an independent theatre company (1997), which has turned into a production centre for the creation of experimental theatre projects through co-productions with big and small institutions. Since 2005, he has worked as a professor of Theatre Directing at the Academy for Theatre, Radio, Film and Television in Slovenia. Important awards: Big Award of the 29th Week of Slovenian Drama for the production lON (1999), Borstnik diploma and Special award for Macbeth (1999), “Montblanc Young Directors Project Award", for young director at the “Salzburger Festspiele 2005”, Presern Foundation award for theatre direction (2008), Selig Award at the 38th Week of the Slovenian Drama for Romantic Souls (2008), Tantadruj Award for theatre achievements in 2015 for The Servants.

MILAN MARKOVIC MATTHIS, co-author, is a dramaturge, playwright and performer living in Malmo. His plays have been performed in Croatia, England, Slovenia and Serbia and published in Bosnian, English, Slovenian, Serbian and German. As a dramaturge, he has participated in various productions in Denmark, Croatia, Italy, Germany, Slovenia and Serbia.

x AUTHOR’S WORD

“As I have already stated, we deal with Europe today, because if an artist doesn’t know where he is standing and doesn’t talk about the problems of his world, his work is pointless. We tried to open some windows - both at the political and emotional level. We are questioning where Croatia and the European Union are at this moment. We are devoted to dealing with the present." Sebastijan Horvat, from his interview for Novi list

* FROM A REVIEW

“In his Croatian Rhapsody, Krleza presents the fate of a nation in terms of the fate of a train wagon leaving its tracks and going into the infinity, into non-existence. This play has rarely been produced in Croatian theatres (...) Their interpretation does not adhere closely to Krleza’s text but makes a free use of the motives taken from Croatian Rhapsody and enriches them with the contemporary Croatian and European context, but also with actors’ improvisations. At first glance, one could see this as a radical departure from Krleza, but in its true atmosphere. Croatian Rhapsody follows the spirit of Krleza’s work to the full.” Kim Cuculić, Novi list