Zoom Festival 2020

Intimate Theatre

Photo: Tanja Kanazir

Bringing together internationally renowned performing artists from Croatia, Slovenia and Spain, the eleventh edition of the Zoom Performing Arts Festival will take place from October 17 to 25 at several locations in Rijeka: the large hall of Filodrammatica, Croatian Cultural Center Sušak, Korzo and Rijeka Breakwater (Molo Longo), Milutin Barač Street and at an unknown location.

This year the program presents the performances by Nina Kurtela, David Espinosa, Siniša Labrović, Pavlica Bajsić Brazzoduro, Neja Tomšič, Marina Petković Liker, Miran Kurspahić & Rona Žulj, Mala Kline and Matija Ferlin. The selector of this year’s program is the artistic director of the Ganz novi festival, producer and curator of performing arts Silvija Stipanov.

The festival takes place in collaboration with Acción Cultural Española (AC/E), in the framework of Create to Connect -> Create to Impact (CtC ->CtI) project.

NEW: some performances are already sold out; find out below in the schedule for which performances we still receive reservations.

“Everything just stopped. And the fact that everything could stop opened up two parallel journeys – one toward reflecting on the causes of what Ivan Krastev calls the already lived future of the past – the present we are experiencing now, and the other, toward imagining the future of the present which, naturally, cannot be predicted by any known means and abilities. Instead of the much anticipated and coveted quantum leap in global (or at least European) openness, solidarity and empathy, we stopped in our tracks at the immediate delineation of our homes, municipalities, counties and states. Well, at least we all stopped in concert. There is another shared characteristic within the European context – we live in an age of choice oversupply; yet, we unambiguously sense that we are being deprived of the ability to access the real choices crucial to us as humans and to our civilization. On the other hand, if we were to consider those who claim that restrictions and limitations stimulate creativity, it could be concluded that we are in the potentially most potent era in the recent past. If that is the case, the experts of this age are the artists themselves.

Hence, Zoom’s 11th edition did not shy away from the realities of the moment. On the contrary. The territorial reality provided an impetus to turn to our underdeveloped co-operation with the independent performing scene in Zagreb, while we crossed borders in order to present the type of theatre we so sorely miss nowadays – intimate theatre. The artists at this years’s festival examine the established systems of value, current processes of nature and natural resources commodification, rudiments of the basic social contract and dominant historical narratives in order to detect the sore spots of today’s society, in an attempt to better equip our communities for envisaging the future of the present tomorrow.”

Silvija Stipanov
program selector of the 11th Zoom Festival

Due to the limited number of seats, all programs (except for the performances of Nina Kurtela and Siniša Labrović) require prior notice and reservation by e-mail at info@drugo-more.hr.

→ Tickets for all programs at Filodrammatica and the Croatian Cultural Center Sušak will be sold at a price of 30 HRK, and can be purchased at the box office at the venue an hour before the start of each performance.

→ Participation in the performances Economics of Spaces, Walking the Abandonment and Car’s New Ear, as well as admission to the play Neither Friend nor Brother, will be free.

Find the detailed schedule of the entire program below, and click “MORE” or scroll further down to find out more about the performances and their authors.

SCHEDULE

Saturday, 17/ 10/ 2020

Nina Kurtela (HR): “Economics of Spaces”

▫ hidden performance: unknown location in Rijeka, at an unknown time of day
▪ free addmission

David Espinosa (ES): “My Great Work (an ambitious project) “

▫ two performances: 18:00 & 21:00, theatre performance @ Filodrammatica (large hall, Korzo 28/1)
▪ admission fee: 30,00 HRK
▪ in English

Siniša Labrović (HR): “Walking the Abandonment”

▫ 10:00 – 13:00, performance @ Korzo & Rijeka Breakwater (Molo Longo)
▪ free addmission

David Espinosa (ES): “My Great Work (an ambitious project)”

▫ two performances: 18:00 & 21:00, theatre performance @ Filodrammatica (large hall, Korzo 28/1)
▪ the 21:00 performance is SOLD OUT
▪ admission fee: 30,00 HRK
▪ in English

Pavlica Bajsić Brazzoduro (HR): “Hoerspiel: small play for listening (and watching)“

▫ 20:00, theatre performance @ Filodrammatica (large hall, Korzo 28/1)
▪ SOLD OUT
▪ admission fee: 30,00 HRK
▪ in Croatian

Neja Tomšič (SI): “Tea for five: Opium Clippers”

▫ two performances: 18:00 & 21:00, visual essay and performance @ Filodrammatica (large hall, Korzo 28/1)
▪ SOLD OUT
▪ admission fee: 30,00 HRK
▪ in English

Neja Tomšič (SI): “Tea for five: Opium Clippers”

▫ two performances: 15:00 & 18:00, visual essay and performance @ Filodrammatica (large hall, Korzo 28/1)
▪ SOLD OUT
▪ admission fee: 30,00 HRK
▪ in English

Marina Petković Liker (HR): “Neither friend nor brother”

▫ 20:00, theatre performance @ private apartment
▪ SOLD OUT
▪ free addmission
▪ in Croatian

Miran Kurspahić & Rona Žulj (HR): “Victims4Life – Žrtve za život”

▫ 20:00, theatre performance @ Filodrammatica (large hall, Korzo 28/1)
▪ admission fee: 30,00 HRK
▪ in Croatian

Mala Kline (SI): “Eden”

▫ 19:00, theatre performance @ Filodrammatica (large hall, Korzo 28/1)
▪ admission fee: 30,00 HRK
▪ in English

Matija Ferlin (HR): “Sad Sam Almost 6”

▫ 19:30, theatre performance @ Croatian Cultural Center Sušak (Strossmayerova 1)
▪ SOLD OUT
▪ admission fee: 30,00 HRK
▪ in English

Pavlica Bajsić Brazzoduro (HR): “Car’s New Ear”

▫ three sessions: 15:00 / 16:00 / 17:00, soundwalk through the city @ Milutin Barač Street
▪ free addmission
▪ in Croatian

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Economics of Spaces

Nina Kurtela (HR)

Saturday, 17/ 10/ 2020
hidden performance

unknown location in Rijeka, at an unknown time of day

– free addmission

Photo: Tanja Kanazir / Drugo more (Flickr gallery)

At which point the city disappears? Where does a space where untouched nature reigns begin? What are the influences of different environments on a given subject, what are their power relations, and which value systems are valid in each of these environments? Given the current processes of commodification affecting nature and natural resources, to what extent is it still possible to see nature as wilderness and a virginal sphere in which the (economic) categories established by the society cease to be valid?

…The performance ‘Economics of Spaces’ consists of walking from the centre of the urban texture – the central square – towards the edge of the city and then further to the forest, whereat the artist maps the landscape, marking the route as she progresses, and leaving traces. In reference to the Hansel and Gretel story, which was canonized by the Grimm brothers in the Romanticist period, she leaves coins along the way instead of pebbles and breadcrumbs, which serves to explore the possibility of abolishing the value of money along with the change in the environment through which she is walking. In the area of the city itself, especially its centre, as it represents the economic and political power, the coins still retain their exchange value: they are accessible to everyone and open up space for interaction. At the periphery, where the urban area gradually fades away, the value of money is questioned; eventually, in the forest, it may be completely abolished, at least on the symbolic level, although not necessarily on the actual one… (N.K.)

Commissioned by BLOK curatorial collective. First time performed at Urban Festival, Zagreb 2014.

Nina Kutela (1981) works in the cross-media field of research and production between visual and performing arts. Her practice does not exclude any medium and her conceptual and multidisciplinary approach provides a chance to all means of production. She is interested in re-evaluating different social, economic and political relationships of power, labour and work. While questioning notions of space, place, territory, identity, belonging and home, through her time-based art practice she works with choreographic and site-specific practices.

http://www.ninakurtela.com

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My Great Work (an ambitious project)

David Espinosa (ES)

FOUR PERFORMANCES:

Saturday, 17/ 10/ 2020
  18:00
  21:00

Sunday, 18/ 10/ 2020
  18:00
  ~~21:00~~ – SOLD OUT

Filodrammatica (large hall, Korzo 28/1)

– admission fee: 30,00 HRK / reservations: info@drugo-more.hr
– in English

Photo: Tanja Kanazir / Drugo more (Flickr gallery)

Having an unlimited budget, the largest theatre in the world, 300 actors on stage, a military orchestra, a rock band, animals, cars and a helicopter, My Great Work is a large-scale show, in which no expense was spared, all the ideas were developed regardless of the expense, with an unlimited artistic team and financial means at disposal.
But, obviously, with a slight difference in – scale. Thinking big and doing small, David manages to create a miniature theatre of epic dimensions. Continuing the exploration into the limits of theatre and deepening the interest of previous projects on the idea of performing, My Great Work questions the meaning of high-budget artistic creations which most often turn out to be very gimmicky and disingenuous colossal works with questionable substance.

David Espinosa (1976) holds a B.A. from E.S.A.D, Valencia. Since 1994, he has studied Contemporary Dance, Improvisation, CI and Capoeira in Valencia, Brussels, and Barcelona. As a performer, he collaborated with Alex Rigola, Sergi Faustino, Sonia Gómez, Paul Weibel, Carles Alberola, among others. In 2006, together with Africa Navarro, he creates El Local Espacio de Creacion. Their works have been presented at Wiener Festwochen, World Theatre-Varna Summer Bulgaria, Mime Festival-Tate Modern London, Culture Station Seoul 284, Helsinki Festival, Oslo International Teaterfestival, CINARS Montreal, Biennal de Venezia and many others.

https://davidespinosa.org

Created and directed by: David Espinosa

Performance: David Espinosa / Cia. Hekinah Degul

Collaboration: Africa Navarro

Sound and music: Santos Martinez / David Espinosa

Stage design: David Espinosa / Air Models and Architecture Projects

Production: El Local E.C. / C.A.E.T., in collaboration with the Department of Culture of the Generalitat de Catalunya and I.N.A.E.M.-Ministerio de Cultura

Distribution: M.O.M.-El Vivero (Project grant from the Artists in Residence Program of Bilbaoeszena)

Performances in Rijeka are realised with the help of the Mobility Grant – Programme for the Internationalization of Spanish Culture (PICE) of Acción Cultural Española (AC/E).

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Walking the Abandonment

Siniša Labrović (HR)

Sunday, 18/ 10/ 2020
10:00 – 13:00 – performance

Korzo & Rijeka Breakwater (Molo Longo)

– free addmission

Photo: Tanja Kanazir / Drugo more (Flickr gallery)

The underlying caveats of a “gentle” society are solidarity and reciprocity. At their core is an active undertaking that we will stand by each other even when the other has become a burden. Betrayal of that promise or arrangement leaves us devastated. We feel abandoned. Abandonment is particualrly painful for domesticated animals as they are dependent on man. The absolute abandonment is that of a dog because of its loyalty and inability to fend for itself.

Reminiscent of abandoned dogs are abandoned workers who lost their jobs due to the technological and economic/political/mafia-style transition, left to their own devices. The younger ones among them can somehow find their bearings and start anew. The older ones are usually discarded as a dead weight and useless surplus. It’s not easy for an old dog to learn new tricks.

Siniša Labrović (1965) was born in Sinj, Croatia, is a professor of literature and started to get involved in visual arts in 2000. He is a conceptual artist and uses performance to express himself. He naturally enters his artistic practice on his body, which becomes his tool, medium and artwork at the same time. Using his body to express ideas, he does not restrain himself from often drastic and radical moments or interventions into his own body. His work is often socially engaged and major themes are the position of man in these times of the domination of the economy and politics, the relationship of the private and the public and the influence of the media culture, often accompanied by a wry sense of humor and irony.

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Hoerspiel: small play for listening (and watching)

Pavlica Bajsić Brazzoduro (HR)

Monday, 19/ 10/ 2020
~~20:00~~ – theatre performance – SOLD OUT

Filodrammatica (large hall, Korzo 28/1)

– admission fee: 30,00 HRK / reservations: info@drugo-more.hr
– in Croatian

Photo: Stephany Stefan / Drugo more (Flickr gallery)

Hoerspiel: a small audio (and visual) game by Pavlica Bajsić Brazzoduro is a radiophonic theatre play tribute to Zvonimir Bajsić and Ante Perković; it takes us back to the beginning of radio and the time when the then-popular radio drama pieces were broadcast live – with actors, musicians and sound and atmosphere wizzards. Reminiscent of evening fireside gatherings, the bewildered and occasionally doubting audience gathered around the radio device, that wireless enigma, perceiving and creating a completely new world through the vehicle of the ear and mind. In addition to being a unique theatrical story about radio itself and “the little people inside the radio box”, Hoerspiel also evokes the Zeitgeist of Zagreb between the two world wars and later on in an unorthodox way.

Pavlica Bajsić Brazzoduro (1973) is an author, dramaturg and director who has been active in radio, theatre and film since 1995. She received MA in dramaturgy at the Academy of Dramatic Arts in Zagreb and in aesthetics at Paris 8 Saint-Denis on the theme of sound and documentary. In 2013 in Zagreb, she brought together a group of collaborators and launched the project of “radiophonic theatre” exploring possibilities where radio connects with theatre. The first and most known performance was about radio itself which still tours in Croatia and abroad: HOERSPIEL: a small play for listening (and watching). This was followed by AETHER UEBER BERLIN in Berlin in 2016, German version of this performance that has gathered Berlin and Zagreb-based authors and performers and was based on research into the Berlin radio archives. In 2017 in Dubrovnik, she realized ORPHEUS LISTENING TO RADIO, a poetic fantasy inspired by Jean Cocteau’s film Orpheus. She was awarded Prix Marulić Days Award (Split), Grand Prix de Suisse, Ake Blomstrom Memorial Prize (Amsterdam), Prix Europa Guest of Honour (Berlin), and her work is included in the European Broadcasting Union’s anthology “30 Years of World Radio Documentary”.

Dramaturgy and direction: Pavlica Bajsić Brazzoduro

Performers: Jelena Miholjević, Sven Medvešek, Ivana Starčević Rushaidat, Matija Antolić, Ljubica Letinić, Dino Brazzoduro, Nina Bajsić/Jasmina Bojić, Ivan Zelić/Ivor Plužarić/Dalibor Piskrec and Pavlica Bajsić Brazzoduro with voice recordings by Ante Perković and Zvonimir Bajsić

Music: Dino Brazzoduro

Light design: Marino Frankola & Sara Bundalo

Graphic design: Joško Gamberožić & Klasja Habjan

Producer: Katarina Grgić

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Tea for five: Opium Clippers

Neja Tomšič (SI)

15 ceramic pieces, a visual essay and performance

FOUR PERFORMANCES:

Tuesday, 20/ 10/ 2020
  ~~18:00~~ – SOLD OUT
  ~~21:00~~ – SOLD OUT

Wednesday, 21/ 10/ 2020
  ~~15:00~~ – SOLD OUT
  ~~18:00~~ – SOLD OUT

Filodrammatica (large hall, Korzo 28/1)

– admission fee: 30,00 HRK / reservations: info@drugo-more.hr
– in English

Photo: Tanja Kanazir / Drugo more (Flickr gallery)

Looking at colonial drug trade as a vehicle for colonisation, this series of ceramic tea ware attempts to intervene into knowledge landscapes that overlook drug trades as means of accumulation of capital and therefore as significant currents in the shaping of the political world. The 15 ceramic pieces of Tea for five propose a series of historical figures, companies and events from mid 18th to the end of 19th century; they are additions to existing historical narratives that propose an alternative reading of colonial archives that includes the role of drug trades and traces their presence to the present.

The project takes the form of five hand painted ceramics tea sets based on traditional Chinese gongfu tea sets. The work Tea for Five, though, takes the form of a happening, a tea ceremony ritual, during which the artist Neja Tomšič tells true stories about forgotten episodes in the story of the China dream that resulted in conflict and colonisation, and development of capitalism. As the story of the opium ships unfolds, the tea ritual reveals an understanding of profound consequences of tea and opium trade had on the political world today.

Neja Tomšič (1982) is a visual artist, poet, and writer whose interdisciplinary practice merges drawing, photography, poetry and performance. By uncovering overlooked and often hidden stories from history, her passion is to rethink dominant historical narratives, researching into particularities, and creating situations where new understandings of the present can be formed. She approaches histories as maps of starting points and links. Performative elements in her projects explore possible projections of history into the subjective present of individual visitors. She is a member a Nonument Group, an art collective that maps, archives and intervenes in forgotten, abandoned or demolished 20th century monuments, public spaces and buildings, that have undergone a change in meaning.

Neja also works as a curator and producer and is a co-founder of MoTA (Museum of Transitory Art), a Ljubljana-based research and production platform devoted to transitory art. She lives and works in Ljubljana, Slovenia.

https://ne-ja.com

Concept & painting: Neja Tomšič

Ceramics: Anja Slapničar

Soundscape: Gašper Torkar

Tea: Zisha, Wandering Art Tea Academy

Produced by: MoTA – Museum of Transitory Art

Produced from 2018 by: Glej Theatre.

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Neither friend nor brother

Marina Petković Liker (HR)

Wednesday, 22/ 10/ 2020
~~20:00~~ – theatre performance – SOLD OUT

private apartment

– free addmission / reservations: info@drugo-more.hr
– in Croatian

Photo: Tanja Kanazir / Drugo more (Flickr gallery)

We are in an apartment.
Ours, someone’s, noone’s.
A glance through the window reveals greenery that refuses to let go of summer. And yet, we might not be able to see it, for it is dark outside.
There is an occasional flicker of small lamps that also belong to a different season.
There are two women in the apartment, talking. Or not.
They co-exist.
Instead of dust, there are deposits of some pasts hovering over empty shelves.
Someone else’s? Theirs? Ours, everyone’s?
Every past can be fitted into a plastic bag. Or the pockets of a coat.
And yet, occasionally there isn’t room enough for them in the apartment.

The play follows on from the earlier performing exploration by Marina Petković Liker, examining how existence, co-experience, compassion and interplay lend themselves to performance in yet another way. The story consists of layered fragments, deconstructing the intimate and social relations within a smallish familial and neighbourly community of which there is neither friend nor brother left.

The interplay of different performance elements – acting, audience rapport, space, time, sound and video – turns the atmosphere into an active participant, revealing itself as a discernible essence of the intimate, social and political reality that we create and that fences us in.

Marina Petković Liker is involved in artistic and scientific research on the interrelatedness of voice and body, the female gesture and the female principle of action in art and life, synaesthetic theater, theatrical interplay and synergy of performing artists from different fields. Together with dance artist Sonja Pregrad, she founded artistic organisation Fourhanded that is aimed at opening new fields of theatrical communication and establishing a communication space for authors and/or performers working in various disciplines and their audience. They would like to create opportunities for examining theatre performance as an event in all stages of the artistic, research and performance process, and to inspire empathy and co-creation.

http://cetveroruka.hr/o-nama/marina-petkovic-liker/

Author & director: Marina Petković Liker

Dramaturgy: Maja Sviben

Camera: Eva Kraljević

Sound editor: Luka Gamulin

Technical director: Tomislav Božić

Actors: Lada Bonacci & Aleksandra Naumov

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Victims4Life – Žrtve za život

Miran Kurspahić & Rona Žulj (HR)

Thursday, 22/ 10/ 2020
20:00, theatre performance

Filodrammatica (large hall, Korzo 28/1)

– admission fee: 30,00 HRK / reservations: info@drugo-more.hr
– in Croatian

Photo: Tanja Kanazir / Drugo more (Flickr gallery)

Exactly a decade after the first performance of Geography Victims II, the original team of authors and performers is back with a sequel: Victims4Life. They are older and wiser. Some of them had a taste of contemporary European theatre and a progressive regime of Oliver Frljić. Others gave in to advertising, telenovelas and appearance fees. But one detail remained the same: Victims still have that hunger to belong. This time, not to the distant Europe and its decadent taste. This time, they have to get their homeland to like them and they will prove worthy by all means possible. Treating audience like fictive theatre chief executives, performers take the audience through a journey of making a suitable, convenient piece. While questioning the new national cultural paradigm and air du temps, they fall down the rollercoaster of their own prejudices. Victims4Life will have the audience laughing hard just before they realize they are laughing at their own social position and withdrawal mechanisms.

Miran Kurspahić (1979) is a theatre director known for pieces that deal with questioning the contemporary social mechanisms and criticize civic passivity. Using the means of self-irony, humor and eclectic range of performing styles, Kurspahić has for fifteen years been setting a mirror of common reality and human nature without shying away from sensitive themes.

Rona Žulj (1985) is a playwright and collaborator on most of Kurspahić’s plays, with the role of framing that series of sensitive themes into precise stage darts that hit the point without much damage to the surrounding tissue of the dramatic corpus. In 2018, Rona Žulj and Miran Kurspahić founded Rebel Theatre Company and operate independently under that name.

Text: Miran Kurspahić & Rona Žulj

Direction: Miran Kurspahić

Dramaturgy: Rona Žulj

Author of video: Vanja Vascarac

Performers: Sven Jakir, Dean Krivačić and Miran Kurspahić

Production: Rebel Theatre Company

Coproduction: Ganz New Perforations Festival (Domino)

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Eden

Mala Kline (SI)

Friday, 23/ 10/ 2020
19:00 – theatre performance

Filodrammatica (large hall, Korzo 28/1)

– admission fee: 30,00 HRK / reservations: info@drugo-more.hr
– in English

Photo: Petra Šporčić / Drugo more (Flickr gallery)

EDEN juxtaposes two worlds that are simultaneously present in the meeting between a performer and an audience. The here and now of the theatrical meeting collides with the realm of images that hover in the spaces within, outside and in-between the bodies. Working with these images through a figure of a clown, EDEN collides opposites and stages paradoxes playfully and with a sense of humor. EDEN is not a blissful state of rest. EDEN is a place of healing with a razorblade.

In 2012, Mala Kline has with the performance EDEN won a Moving Cake Award for Best Performance selected by the audience and Ksenija Hribar Award for female choreographer at Moving Cake Festival.

Mala Kline (1977) is a choreographer, performer and writer. All her artistic and theoretical work stems from the practice of dreaming. Dreaming is an experiential method by which the body develops its movement flow from the sensory data by constantly transforming the latter into images. In her choreographic work as well as in her writing, she uses the Saphire® method, working with imagination and dreaming, as a trigger of individual and collective dreaming to create singular worlds through the language of dreaming. Mala Kline is a certified Saphire® practitioner teaching these techniques internationally, across a range of educational, research and production environments. She holds a master’s degree in theater (DasArts, Amsterdam) and a doctorate in philosophy (UL, Ljubljana). Between 2017-19 she did her post-doctoral research on the alternative concepts and the uses of time at the Faculty of Arts and Philosophy (UG). She is the author of two books, Capfico and Theaters of Potentiality: Between Ethics and Politics and is a founder and director of ELIAS – School of Prophecy.

www.malakline.com

Concept, creation and performance: Mala Kline

Space & light: Petra Veber

Music: Alen i Nenad Sinkauz

Song arrangements: Luka Ropret

Sound: Sašo Kalan i Luka Ropret

Asistance and coaching: Lucija Barišić i Adriana Josipović

Advising: Andrea Božić

Technical director: Luka Curk

Executive producer: Žiga Predan

Photos: Thomas Lenden

Design: atelje.Balant

Production: DasArts Amsterdam, Pekinpah – Kink kong i E.P.I. center

Co-production: Kino Šiška, Studentski centar u Zagrebu – Kultura promjene – Teatar &TD, EN-KNAP /Španski borci

Partners: Narodni dom Maribor, SON:DA

Support: Ministarstvo kulture RS, Ministarstvo obrazovanja, znanosti, kulture i sporta RS, Grad Ljubljana

Project is a part of an international production network Modul dance.

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Sad Sam Almost 6

Matija Ferlin (HR)

Saturday, 24/ 10/ 2020
~~19:30~~ – theatre performance – SOLD OUT

Croatian Cultural Center Sušak (Strossmayerova 1)

– admission fee: 30,00 HRK / reservations: info@drugo-more.hr
– in English

Photo: Tanja Kanazir / Drugo more (Flickr gallery)

In his solo performance Sad Sam Almost 6, Matija Ferlin wants to investigate a mind of a child that is not conditioned by anything, not even by his own existence. While growing up, the conscience of existence creates numerous “terrorizing” facts that are results of social conditions and constraints. All fictitious childhood characters become enemies. The fact that we have to grow up results in imperfections that make our lives and modes of existence specific and individual.

Matija Ferlin (1982) is a theatre director, ensemble dance piece choreographer and performer of his own one-man shows. Graduated from the School for New Dance Development in Amsterdam and subsequently lived and worked in Berlin and Toronto. After returning to his hometown Pula, he focused on researching and rearticulating different concepts of stage performance, collaborating both with actors and dancers. Ferlin presented and performed his own work throughout Europe and America at numerous festivals such as Impulstanz in Vienna, Festival Trans Amerique in Montreal, Young Lions and Gibanica in Ljubljana, Ex-Yu festival in New York, Rhubarb Festival in Toronto, Uovo Festival in Milano, Kunstenfestivaldesartes in Brussels, Festival Infant in Novi Sad, Bitef festival in Belgrade, Mess festival in Sarajevo, Festival Actoral in Marseille, Zero point in Prague and many others.

Created and performed by: Matija Ferlin

Dramaturgy: Katja Praznik

Scenography: Artikl, Silvio Živković

Costums: Artikl

Light design: Urška Vohar, Saša Fistrić

Collaborators: Alexandar Nussbaumer, Mauricio Ferlin, Maja Celija, Maja Delak

Project coordinator: Sabina Potočki

Produced by: Emanat Institute, Ferlin d.o.o.

Co-produced by: Chez Buswick, New York, Bunker – The Old Power Station Elektro Ljubljana

Financial support: Istria Region, Ministry of Culture RS

Supported by: Tanzquartier Wien & KulturKontakt Austria (artist-in-residence programme)

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Car’s New Ear

Pavica Bajsić Brazzoduro (HR)

Sunday, 25/ 10/ 2020
THREE SESSIONS: 15:00 / 16:00 / 17:00, soundwalk through the city

Milutin Barač Street

– free addmission / reservations and further information: info@drugo-more.hr
– in Croatian

Photo: Petra Šporčić / Drugo more (Flickr gallery)

The soundwalk through Rijeka is devised as a search for a Josip Car, crewmember of the Carpathia (one of the ten ships servicing the Rijeka – New York line) which transported European migrants to the brave New World. The early twentieth century fleet from Rijeka was easily recognizable for its red funnels with a black stripe at the top and a white line separating the black and red parts of the hull. Returning form New York on the fatal night of 15 April 1912, it was Car’s ship, the Carpathia, that picked up the SOS signal from the best known shipwreck in world history.

Theatre the soundwalk way, a radiophonic stroll or radio as a treasure hunt are the different ways this project could be described; it aims to turn the urban landscape of Rijeka into a set designed to please the phantasy of its strollers. Led by the voice in their headsets, the strollers encounter the space and themselves, weaving in their mind’s eye the invisible attire of the historic naval drama with the Rijeka seamen appearing as rescuers.

As we dust off the lifevest from the Titanic brought to Rijeka By Josip Car over a century ago, now an exhibit of the Maritime and History Museum, we assign new meanings to it in the light of today’s migrant realities.

(Photo: Petar Milić)

*Mobile device required to follow the performance. Kindly bring your own headset.

Concept: Jakob Hüfner & Pavlica Bajsić Brazzoduro

Texts and voices on recordings: Pavlica Bajsić Brazzoduro

Live Performers: songwriter Nina Bajsić, violinist Jasmina Bojić and students of the Acting and Media study program at Academy of Applied Arts, Rijeka

Sound design: Dino Brazzoduro

The festival program will be held in accordance with the recommended measures to prevent coronavirus infection. The number of visitors to indoor performances is limited. Visitors are invited to maintain an appropriate distance from each other, disinfect their hands and be sure to wear a protective face mask.

Festivala concept: Davor Mišković

Program selector: Silvija Stipanov

Producers: Vanda Velagić & Petra Corva

Assistant producers: Dubravko Matanić, Daria Morosin, Ivana Katić

Technical support: Cyclorama d.o.o.

Graphic design: Ana Tomić & Marino Krstačić-Furić

Photographer: Tanja Kanazir

Reservations and information: info@drugo-more.hr