ТEENAGE CLUB / FACTS ON GROWING UP
ТEENAGE CLUB / FACTS ON GROWING UP
Directed by: Еlizabeta Zemljić
Set design: Zorana Petrov
Costume design: Мaja Mirković
Composer: Аnja Đorđević
Playwright: Мinja Bogavac
Choreographer: Аleksandra Bjelajac
Costume Design Assistant: Biljana Tegeltija Bojanić
Narrator: VLADISLAVA ĐORĐEVIĆ
Marko: МARKO JANJIĆ
Мiroslav: NEMANJA OLIVERIĆ
Маša: ЈELENA PETROVIĆ
Irena: MILA MANOJLOVIĆ
Date of premiere: 27 March 2008
Аuthor: Nikola Zavišić / Мilena Bogavac
Stage: Evening/Youth Stage
The show about teenagers for teenagers deals with the phase of life in which we work, talk and think as if nobody had ever existed before us, and the music is perceived as a matter of "life and death”. The show “Teenage Club / Facts on Growing Up” is created as part of the project “Future” implemented by Uppsala Stadsteater from Sweden and Little Theatre Duško Radović. The implementation of “Future” project began in 2005 and is part of a wider project called "On the Periphery of Europe", sponsored by the Swedish Institute.
ABOUT THE DIRECTOR
Еlizabeta Zemljić was born in 1973 in the formerYugoslavia. She grew up in Malme, Sweden. She graduated in stage directing in the Swedish city of Norcopping.
“Riders to the sea“/ Ј. M. Synge
”The Kiss of the Spiderwoman”/ М. Puig
”The Dumbwaiter”/ H. Pinter
”Knäckebröd med Hovmästarsås” /М. Nilsson
“The Optimist” / G. Nikolić
”Waiting for what?” / Е. Zemljić
Over the past twelve years she has often directed in Serbia, both theatrical plays and films. She directed one of her plays entitled “Dream Ladder” in 1996 for the Children’s Theatre Festival in Kotor.
In 2001, at a film festival in New York, she won the award for her first film “A Picnic at the Cemetery”, produced with actors from Serbia: Milena Dravić, Seka Sabljić, Ljiljana Krstić and Aleksandar Berček.
Her documentary “Gingerbread Land” was shown at the Short and Documentary Film Festival in Belgrade in 2006. The film is the result of a long cooperation between Serbia and Sweden and was shown on the national televisions of Sweden and Finland, and in many towns in Serbia.
For her long theatrical project, in 1996, Elizabeta Zemljić was proclaimed the Personality of the Year in the City of Malme.
Presently she lives in Ireland, which she calls her third homeland, and is preparing her first documentary in Gaelic language for the Irish National Television.
A WORD FROM THE DIRECTOR
I gladly accepted the offer to come to Belgrade and direct a play for young people. I grew up in Sweden and spent most of my teenage years up in the north, but the most important memory from that period of my life is related to Serbia. It was in Serbia that I met my first great love, the love that shakes up every teenager and that everybody believes will last a lifetime, regardless of whether one is happily or unhappily in love.
What is the difference between being a teenager in Sweden and in Serbia? Are there any
differences? Yes, there are. There is one big difference that I recognised while working on this play.
But, let us first mention something more important, and these are similarities; feelings of a teenager are always very profound and serious, regardless of where he or she lives and where he or she
is growing up! Love, school, friends, relationship with adults. The majority pressure – the need to be like everybody else, while at the same time developing into a unique personality. Emotions quiver, both on the surface of the skin, and deep beneath it. We do things, we say things, we think thoughts for which we believe nobody else has ever thought. Music is a matter of “life and death”.
We are formed emotionally by the songs about which, later in life, we will claim to have never listened to. So, what is the difference between being a teenager in Serbia and in Sweden? The young people in Serbia are aware of daily politics in a way that the young people in Sweden will never need to be aware. This is the biggest difference that I see.
Our goal has been to reflect teenage years on the stage. I hope we
have succeeded and that you will enjoy the show!
A dance style that includes jumping and kicking forward and backward according to the beat of the music. The music usually consists of some kind of dance music with loud bass drums. Currently, it is very popular in the Netherlands and Belgium. It originated in Belgium, evolving from “hakken”, which also consists of punching and kicking in the air. Jumpstyle can be seen as a lighter form of “hakken” but it has grown to a style of its own.
The term Jumpstyle refers both to a musical genre (a subgenre of Techno, recognised by its hard beat and playful melodies) and to a type of dance that usually follows this style of music. In the early days of Jumpstyle, many categorised it as a slower variant of Hardcore Techno, but it has since solidified its position as a genre of its own.
ABOUT THE AUTHOR
Nikola Zavišić is a stage director and playwright. He acquired his master’s degree at the Department of Alternative and Puppet Theatre of the Academy of Performing Arts in Prague. He deals with various contents in puppet theatre, children’s theatre and theatre for adults in Serbia, Montenegro, the Czech Republic, the Netherlands, etc.
A WORD FROM THE AUTHOR
It is not an easy task for me, as playwright, to explain briefly how this script was created. The process of writing the play lasted over two years. My assignment was to write a drama on the basis of the experience I had acquired by working with and being around the children from the Primary School “Filip Višnjić” in Karaburma. They are my direct inspiration for this text that you can see now on the stage. I spent with them one and a half school years, become close enough with them to be allowed an insight into their lives, problems, dilemmas and ideas. During all that time with them, this textual mosaic was being gradually developed, which is the essence of what I had found out about these children.
Later on, I used that vivid and important experience to shape this theatrical form, with the great help of stage director Elizabeta Zemljić.
This text is the result of a joint research of Little Theatre Duško Radović and Uppsala Stadtsteater from Sweden.
I extend my gratitude to Little Theatre Duško Radović for the wholehearted support in the creation of this text.
*Special thanks to Miroslav Balać who, as sound designer, gave a significant contribution to the work on this show, beyond his usual duties.