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NEBOJŠA BRADIĆ Graduated from the Faculty of Dramatic Arts in Belgrade, class of professor Borjana Prodanović, with the production of A Doll's House by Henrik Ibsen. From 1981 till 1999 he was engaged in the Theatre of Kruševac as a director, artistic director and general director. In 1996 he came to Belgrade to take over the Atelier 212 and the following year he moved to the National Theatre. He brought repertoire and management characteristic of the contemporary European theatre to these theatres. In 2000 he took over the running of the Belgarde Drama Theatre where he stays till today. In that period this theatre has been completely reconstructed and as far as the repertoire is concerned it has specialized in world premieres of contemporary Serbian and foreign plays. Nebojša Bradić has directed over 60 performances in many theatres throughout Serbia, Bosnia and Herzegovina, showing affinity for contemporary Serbian literature and dramatization (Dervish and the Death, Damned Yard, Roots, Golden Fleece). He received a number of theatrical awards: nine awards foe directing at Joakim Vujic Theatre Gathering, award for directing at the Theatre Festival in BIH, several Sterija awards for stage adaptation, dramatization and directing. He is the first recipient of Nikola Peca Petrovic award for the best Yugoslav theatre manager. He published a book of his dramatizations Damned Yard/Dervish and the Death. If you dont know absolutely nothing about the work of Elfride Jelinek first contact might be full of surprises. Nobel awarded sharp tongue writer is very hard to translate, the freedom of her associations, thick texture of meanings and poetic images, the style which doesn't bow to any rules, often brings the reader/spectator to confusion and total misunderstanding of the text - in words which threads in cascades, often with almost no sense. Still, in that play upon words, in that series of images, often, very often, the truthfulness of some thought, the accuracy of some conclusion, the beauty of the phrase, could be deeply smashing. We are talking about very demanding text, very demanding play. The Trilogy is consisted of three plays which are dearly separated, but also interlaced, making one various, deep, even comic analyses of human rendezvous with his own finality, his own death. The Fairy Queen, in fact, in fact dead actress of Burgtheater, contemplate about nature of power, Snow white (the one from the legend) is feeding with her own youth life energy and natural, unrestrained Eros, while the Passenger, like those heroes from medieval drama, is on his way, searching for something that will bring sense into his journey. Moreover, of course, the Death, which untangles all dilemmas, which has answers to all questions, and make or take the sense from all. In that complicated web of meanings and images which does not need to be resolved, the director Nebojsa Bradic handled well. Putting in the choir, multiplying !he Snow white, adding the songs and displaying the titles, simply reaching for numerous directing styles, managed to make the playful play, exiting and swift not taking anything of its signification. He had a great support from extremely inspired actors, very tuned and synchronized, guided by "bigger than life" Djurdjija Cvetic. So, if you decide to see the play, be ready for complex and demanding journey, which, in certain parts, will be hard and incomprehensive, but as every journey, will bring you unforgettable and unique memories. Boban Jevtic, Yellowcab