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GREAT WHITE CONSPIRACY

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Dimitrije Vojnov GREAT WHITE CONSPIRACY

Directed fay:

Miloš Lolić

Set design;

Jasmina Holbus

Cost um design;

Maria Jelesijević

Choice of music;

Luka Ivanović

Reviser;

dr Ljiljana Mrkić-Popović

Scenic Artist;

Jovana Mirosavljević

Goran liić

Organisation;

Miloš Vlalukin, Aleksandra Janković, Miodrag Krstović, Bojan Žirović, Jovana Mirosavljević, Milutin Milosevic

Cast;

Stage Manager;

Jovana Ivković

Anka Milić

Prompter:

Light Design:

Radomir Stamenković

Duško Kovačević

Light realisation;

Sound realisation;

Nenad Lazarević

- Do you know why Kurt Cobain killed himself? - No. - If you knew why he killed himself, would you tell us? M -№• m ин llr- WORD FROM THE AUTHOR Drama "The Great White Conspiracy" deals with the last three days in the life of The experience of a new release of a favourite band brings joy and impatience. However, in time, it starts to bring fear as well. Fear of failure. Fear of the possibility that the latest release of our favourite band won't live up to the standards due to which they became our favourites in the first place. Fear that they won't provide us with what we think they owe us. Nirvana's album Nevermind managed, in its way, to revive guitar rock-and-roll music, introducing alternative music streams to the main stage and changing lives. However, enormous circulation figures meant the change of many lives. Probably too many. Also, it meant that great number of people will experience fear when they get the latest Nirvana's album. This is a drama about that fear. And the way this fear was cured. This drama is an attempt of dramatic (de)reconstruction of a real event, of a dramatic (de)mystification of an urban myth. Dimitrije Vojnov DIRECTOR'S WORD Yes, Kurt Cobain, officially, committed suicide. In his hometown (Seattle, Washington, U.S.A), he shot himself in the mouth. From that mouth, before it tasted the fire gun, spouted everything that made him a world star; paradoxically or not, the suicide will bestow immortality upon the star. Every story about the life of Kurt Cobain (and the epicenter always lies in the peculiar death; hmm, same as with Sarah Cane?) is a story about the gluttony of (their, musical) system and, at the same time, his intimate story. According to Dimitrije Vojnov, every story about Kurt Cobain, and they are all "generation" stories, is a thriller anda melodrama at the same time. Balancing between the two, the author came up with the script for a В production theatre thriller. In this sharp drama of post-MTV generation he decidedly demands a special kind of stylization (non-realistic, choreographed or, better, confining and imposed on the performers, just like the verbal theatre). It is