http___www.trikocirkusteatar.com_predstave__2.xml
1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 12.1 13.1 13.2 13.3 13.4 14.1 14.2 14.3 15.1 15.2 15.3 15.4 15.5 15.6 16.1 16.2 17.1 17.2 17.3 18.1 18.2 18.3 19.1 19.2 19.3 20.1 21.1 22.1 23.1 24.1 25.1 26.1 27.1 28.1 29.1 30.1 31.1 32.1 33.1 34.1 35.1 36.1 37.1 38.1 39.1 40.1 41.1 42.1 43.1 44.1 45.1 46.1 47.1 48.1 49.1 50.1 51.1 52.1 53.1 54.1 55.1 56.1 57.1 58.1 59.1 60.1 61.1 62.1 63.1 64.1 64.2 64.3 65.1 66.1 67.1 68.1 69.1 70.1 71.1 72.1 73.1 74.1 75.1 76.1 77.1 77.2 78.1 78.2 79.1 79.2 80.1 81.1 81.2 82.1 83.1 84.1 85.1 86.1 87.1 88.1 89.1 89.2 90.1 90.2 91.1 91.2 92.1 92.2 93.1 94.1 95.1 96.1 96.2 96.3 96.4 97.1 97.2 97.3 97.4 97.5 98.1 98.2 98.3 98.4 98.5 99.1 100.1 101.1 101.2 101.3 101.4 101.5 101.6 102.1 102.2 103.1 103.2 104.1 105.1 106.1 107.1 108.1 109.1 110.1 111.1 112.1 113.1 114.1 115.1 116.1 117.1 118.1 119.1 120.1 121.1 122.1 122.2 122.3 123.1 123.2 123.3 123.4 123.5 124.1 125.1 126.1 126.2 126.3 126.4 127.1 128.1 128.2 129.1 129.2 129.3 129.4 130.1 130.2 130.3 131.1 132.1 132.2 132.3 133.1 134.1 134.2 134.3 135.1 135.2 136.1 137.1 138.1 139.1 140.1 141.1 142.1
NIGHTINGALE NIGHTINGALE – the first Croatian clown show for adults Written and directed by: Lee Delong Clowns: KUPINA – Nikolina Majdak OCTAVIO – Domagoj Šoić PROKOPIJE – Nikola Mijatović VITA MIN – Iva Peter-Dragan Musicians: Davorka Horvat, Frederic Lang, Nicolas Sinković Light design: Milan Kovačević Sound: Tomica Kraljić Art director: Draško Ivezić A word from director…. The song of the nightingale fascinates me. It pierces my heart and sets my fancy soaring. Surrounded by poetry and violence, the nightingale has inspired writers from Sophocles to Keats. It is also the bird on the back of the Croatian one kuna coin. At the moment when I first started searching for a theme for this piece for five clowns with Triko Circus Theter, this seemingly simple serendipity was my spring board. The theme search continued, long and wide afterwards, a cabled space shuttle swinging like a pendulum, now closer to earth, now quite far away. It is a well-known fact that to be simple is complicated. So strip it down. Take away the set and there is only space. Take away the past and there is only the present. Remove dance steps and movement remains. Strip down the actor and find his clown. Open the imagination to see the invisible. The extremely present soundscape creates our space and heightens the moments of great emotion. The musicians are as much a part of the action as the clowns themselves. In Nightingale, there is no thickening or twisting of the plot. There is a simple situation: a family with an unmarried aging daughter who meets a young man who happens along. If a story exists, it is merely the mixing, opposing and entwining of the clowns’ desires, fears, jealousies, love and hope. Each extremely authentic clown can embody cruelty and kindness at almost the same instant. Each one can want to achieve something quite specific while pining for its opposite. They are just like any human being, but much larger than life. The writing of this show was more like painting. We dug deeper and deeper into each clown for the pigment and their bodies became the paintbrushes. We applied the comic laws of repetition, rapidity and exaggeration to render a splash of color as a catalyst for human tears and laughter. As Joni Mitchell says, laughing and crying is the same release. Lee Delong CALEIDOSCOPE CALEIDOSCOPE: FIREFLY street circus spectacle -group creation- Performers: Nikolina Mjadak, Iva Peter-Dragan, Domagoj Šoić, Milan Manić, Darious Ziensis Scenography: Vedran Jukić (Soda Arhitekti) Light Design and stage: Milan Kovačević Music: Nicolas Sinković VITA MIN SHOW Street show Performed by: Iva Peter-Dragan A street performance with aerial acrobatics and audience participation! NEEDLE NEEDLE Written by: Lana Šarić Director: Ivica Šimić Assitant director: Iva Peter-Dragan Scenography: Dinka Jeričević Costumography: Mirjana zagorec Light design: Željka Fabijanić Šaravanja Music: Igor Karlić Photographer: Ana Šesto Producer: Vitomira Lončar Played by: Nikolina Majdak Iva Peter-Dragan Nikola Mijatović “Needle” sends a clear message that we have to accept people who are different from us as they are and that we, the majority, must make the necessary step and accept those people who will then, with their uniqueness, enrich our own lives. First performance: 31 January 2013 The show is produced in partnership with Theatre Mala Scena. LITTLE WHITCH Based on the novel Little Whitch by Otfrieda Preusslera Dramaturgy: Nina Horvat Director: Ivica Šimić Actors: Nikolina Majdak, Anja Matković, Iva Peter-Dragan Scenography: Mala scena & TRIKO CIRKUS TEATAR Costumography: Tea Bašić Music: Igor Karlić Light design: Milan Kovačević Graphic design: Zita Novaković i Klasja Habjan “on the road” scenograph: Vedran Jukić Photography: Ana Šesto Producer: Vitomira Lončar Assistant producer: Tatjana Lisac This is a story about a young whitch who wants to be accepted in the world of the big whitches, and therefore has to pass an exam. Her misunderstanding of what it means to be “a good whitch” makes her do many a good thing to the people around her. And exactly because she helps people, she puts herself in fight with the older whiches because to be a good whitch traditionally means something not so nice…. The show is produced in partnership with Theatre Mala Scena. The show is aimed for audiences 4 years of age and above…. SNOW QUEEN Director: Iva Peter-Dragan Choreography: Sarah Bebe Holmes Scenography and Chostumography: Jelena Đanko Light design: Milan Kovačević Voice: Maja Posavec This legendary story about friendship and growing up is told through acrobatic movement by eight actresses Ivana Bešker, Maja Krčelić, Josipa Kvaternik, Clementine Schoubrac, Iva Matijević, Dora Pečarić, Ana Tufekčić i Sunčica Lauc. The show is aimed for children, but will also be interesting for their parents, aunts, grandparents, uncles because it reminds us of the importance of love and friendship in an unconventional and fairy way. TWO AND A HALF SISTERS Written and directed by: Lee Delong OFELIJA………….. Adriana Josipović INJA………………… Nikolina Majdak MICA………………. Iva Peter-Dragan musician: PEPE……………….. Pavle Miljenović MUSIC: Dead Song & Midnight Blue – music and lyrics: Lee Delong Cirkus & Burleska – music: Pavle Miljenović, Music arrranged: Pavle Miljenović Midnight Blue sung by Ines Tricković choreography: Lee Delong aerial choreography: Sarah Bebe Holmes costumes……………….. Andrea Kuštović light design……………. Milan Kovačević sound…………………….. Tomica Kraljić art director……………… Draško Ivezić in co-production with KUC Travno DIRECTOR’S NOTE In Anton Chekhov’s THE THREE SISTERS, Masha says, “In the old days when father was alive, every time we had a name-day, thirty or forty officers used to come, and there was lots of noise and fun, and today there’s only a man and a half, and it’s quiet as a desert.” In TWO AND A HALF SISTERS, there is no effort to recreate Chekhov’s masterpiece but only an effort to explore its themes. The longing for life, the call to work, and happiness as a possible future destiny drive our 2 ½ sisters to distraction. The loneliness and the tragedy against a furiously comic background begin at the top of the play as two tall sisters and one short sister perform their star circus act to the music of their degenerate brother. The circus begins well enough but speeds furiously into ridiculousness. Suddenly, another of the great Chekhov themes comes into play: that of time. The clock is broken and we return to the present, realizing that the furious circus was actually in the past and that now the sisters are has-beens. The looming threat of forgetting and being forgotten permeates the action. Their own brother hardly remembers their names, their voices or how many of them there were. Time is no longer important to our sisters because they cannot face the changes that time wrought on them. Remembering becomes their most common action. They remember their circus, their mother, how cute was their brother and how they were talented! The sisters do not understand that constantly remembering prevents them from changing their present circumstances and only makes them victims of the past. While they were happy in the past, the past is not the key to their future happiness. As long as they continue to avoid the future, they will never be happy. FEYDEAU…RE…MI… Directed by: LEE DELONG Feydeau’s newly wealthy characters of the French bourgeoisie inspire laughter and amusement. They continue to amuse today in this world of rags to riches, celebrity worship and hypocrisy. The silly wives, the philandering husbands, the old, and the infirm are all sources of derision. The complicated twists and turns of plot that never cease to surprise lead us through Feydeau’s wacky world where everyone’s got something to hide or a lie to uncover. FEYDEAU…RE…MI is an assortment of tastes of the great master’s work, inspired from several different plays and approached from several different stylistic angles. Most of all, it’s an evening of fun to which you are cordially invited. This exploration of the themes found in the work of Georges Feydeau is designed for actors and performers who have studied Theatrical Clown with Lee Delong in the project CLOWN PLATFORM and who have achieved a certain level of prowess. The skills acquired in the search for the actors’ clown are now transferred to the search for a character combining methods of the Jacques Lecoq School and the Sanford Meisner Technique. As with the Clown, all the work is intended to free the actor to remain completely in the moment and to insure that his attention is on his partner rather than on himself. The rule of thumb, as always, no ‘acting’ please! NIGHT OF THE LIVING CLOWNS Clown cabaret – Written and directed by Lee Delong CLOWNS: Begonia – Fionnuala Gallagher Gospino – Dražen Šivak Kupina – Nikolina Majdak Octavio – Domagoj Šoić Vita Min – Iva Peter-Dragan MUSICIANS: Cormac Beglay – concertina Brid Ni Mhaoileoin – bouzouki & bodhran Nicolas Sinković/Fran Krsto – percussion & drum set Light desing and technical support: Milan Kovačević Sound: Tomica Kraljić Art Director: Draško Ivezić Producers: Fionnuala Gallagher & Iva Peter-Dragan Assistant producer: Iva Boyanovsky Produced by: TRIKO CIRKUS TEATAR & NUI GALWAY This clown cabaret, written and directed by Lee Delong, features five theatre clowns who have been trained in the Jacques Lecoq style and three traditional Irish musicians who accompany the action throughout. The show was devised in Ireland and Croatia and was performed on Hallowe’en Night in Zagreb in 2013. Following February, it was performed in Gallway as part of Muscailt Festival. The action is entirely visual, funny and touching. Clown is the search for what is to be human. All the performers have trained with Lee Delong, who says ‘Losing the fear of being ridiculous is a great step for an actor to take and his work is enriched by that step forever afterwords. The clown has no past and no future so he exists only in THE MOMENT, which is a basic principle of all good acting skills’. These clowns try to frighten each other but end up scaring themselves….. This cross cultural project between Croatia and Ireland was supported by Croatian Ministry of Culture, City Council of Zagreb, Nui Galway, University of Zagreb, VIP Club Zagreb and Duga Print. POPPINS DESCENDING “You will forget because you just can´t help it. There never was a human being who remembered [that]… except, of course, Her…. She`s different. She`s the Great Exception.” excerpt from Mary Poppins by P.L. Traverse This was a sentence that inspired a Croatian director and play writer Dubravka Crnojevic-Caric to put together a bricolage of texts by various writers who dealt with the notion of woman in their work and the phenomenon of remembering and forgetting: “do we inherit the possibility to remember of to forget”. Here is what she writes about the performance: What is happening to a woman when she meets a child? A child that is left to her care, her own child or a child that lies in her personality? How much Magic is needed to raise that child, still leaving it the possibility to be creative? And what is Magic after all? We recognize something as magical just from the position of our everyday lives. But, if we stay open for connecting worlds, connecting different ways of logical thinking – the thing we call Magical sizes to be amazing… Nicest thing to do is to connect something that seems impossible to connect. It is very interesting to question the borders of Rules. Searching for these things, three young acrobats connect real with surreal, everyday and fantastic, thus opening themselves to Magic. They recognize many “identity dresses” that keep them grounded. By freeing themselves from the weight of different identities, they are slowly ascending, naked, to the spheres of height, where the forms are fluid and mutable, just like the clouds. Three young women are playing, but at the same time confessing, searching through the spaces of their memory – entering the memories that exist even beyond their real lives. The show is performed by three actresses and acrobats who fill the space of ground and air, making interesting arial acrobatic on tissue and aerial ring. The music is performed live by one violin and one flute player. The whole shows lies not only on music, text and movement, but also on the visual, namly the light design and scenography. Poppins Descending was first performed on the 27th of November 2009. as a part of the 5th New Circus Festival of Zagreb and was well accepted by audience and critic. DIRECTOR AND WRITER: Dubravka Crnojevic-Caric ACTORS: Nikolina Majdak, Iva Peter-Dragan, Jadranka Zinic-Mijatovic FLUTE: Luka Schram VIOLIN: Isabel COSTUME DESIGNER: Zjena Glamocanin SET DESIGNER: Les Chaussures Rouges LIGHT DESIGNER: Milan Kovacevic
1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 12.1 13.1 14.1 15.1 16.1 16.2 17.1 18.1 18.2 19.1 19.2 20.1 21.1 22.1 23.1 24.1 25.1 26.1 27.1 28.1 29.1 30.1 31.1 32.1 33.1 34.1 35.1 35.2 35.3 35.4 35.5 36.1 36.2 37.1 37.2 37.3 37.4 37.5 38.1 38.2 39.1 39.2 39.3 40.1 40.2 40.3 41.1 41.2 41.3 42.1 43.1 44.1 45.1 46.1 47.1 48.1 49.1 50.1 51.1 52.1 53.1 54.1 55.1 56.1 57.1 58.1 59.1 60.1 61.1 62.1 63.1 64.1 65.1 66.1 67.1 68.1 68.2 68.3 68.4 69.1 69.2 69.3 70.1 70.2 70.3 71.1 72.1 73.1 73.2 73.3 73.4 74.1 75.1 76.1 77.1 78.1 79.1 80.1 81.1 82.1 83.1 84.1 85.1 86.1 87.1 88.1 89.1 89.2 89.3 89.4 89.5 90.1 90.2 90.3 91.1 92.1 93.1 94.1 95.1 96.1 97.1 98.1 99.1 100.1 101.1 102.1 103.1 104.1 105.1 106.1 107.1 108.1 109.1 110.1 111.1 112.1 113.1 114.1 115.1 116.1 117.1 118.1 119.1 119.2 119.3 120.1 121.1 122.1 123.1 124.1 125.1 126.1 127.1 128.1 129.1 130.1 131.1 132.1 133.1 134.1 135.1 136.1 137.1 138.1 139.1 140.1 141.1 142.1 143.1 144.1 145.1 146.1 147.1 148.1 149.1 150.1 151.1 152.1 153.1 154.1 155.1 156.1 156.2 156.3 156.4 157.1 158.1 159.1 159.2 159.3 160.1 161.1 162.1 163.1 164.1 165.1 166.1 167.1 167.2 168.1 168.2 169.1 169.2 169.3 169.4 170.1 170.2 170.3 170.4 171.1 172.1
KLAUNSKI CABARET TRIKO CIRKUS TEATRA – večer kazališno klaunskih točaka – mentorstvo i režija: Lee Delong igraju: Nikolina Majdak Sanja Drakulić Davorka Horvat Iva Peter-Dragan Nino Dabac Zoran Vukić Dražen Šivak muzicira: Nicolas Sinković light design: Milan Kovačević produkcija: Triko Cirkus Teatar (Klaunska platforma 2016) Ova večer točaka u maniri kazališnog klauna vrhunac je istraživanja i samostalnog rada na zadanu temu svakog od uključenih klaunova, rad na točkama koje su zamislili i izveli sami ili uz pomoć drgih klaunova, pod budnim okom mentorice, pedagoginje i redateljice Lee Delong… I bez četvrtog zida molim! Jer klaun ne postoji bez publike! A dok se smije klaunu, publika se zapravo smije sama sebi! Triko Cirkus Teatra već sedam godina surađuje s američko-francuskom pedagoginjom Lee Delong. 2013. odlučili smo usustaviti mogućnost rada profesionalnih izvođača u tom polju i započeli projekt Klaunska platforma. Kroz našu su klaunsku platformu prošli mnogi profesionalni izvođači u potrazi za razvijanjem i produbljavanjem svoje izvedbene tehnike. Klaun je neprestani proces traženja, isprobavanja, otkrivanja…. Klaun je životni odabir! www.trikocirkusteatar.com www.cirkusanti.hr Program je ostvaren uz potporu Gradskog ureda za obrazovanje, kulturu i sport Grada Zagreba i Ministarstva kulture RH SLAVUJ SLAVUJ, prva hrvatska cjelovečernja klaunska predstava za odrasle Režija i dramaturgija: Lee Delong Klaunovi: KUPINA – Nikolina Majdak OCTAVIO – Domagoj Šoić PROKOPIJE – Nikola Mijatović VITA MIN – Iva Peter-Dragan Glazbenici: Davorka Horvat, Frederic Lang, Nicolas Sinković Dizajn svjetla: Milan Kovačević Zvuk: Tomica Kraljić Art director: Draško Ivezić Riječ redateljice…. Fascinira me pjev slavuja! Probada mi srce i daje uzlet mojoj mašti. Obavijen poezijom i nasiljem, slavuj je bio inspiracija piscima od Sofokla do Keatsa. To je također i ptica koja se nalazi na poleđini kovanice jedne kune. U trenutku kada sam počela razmišljati o temi ovog komada za pet klaunova TRIKO CIRKUS TEATRA, ova, na prvi pogled nevažna podudarnost, bila mi je odskočna daska. Potraga za temom se nastavila, nadugo i naširoko, kao svemirska letjelica vezana za klatno, čas bliže zemlji, čas daleko od nje. Opće je poznata stvar da je biti jednostavan vrlo komplicirano. Pa skinimo onda sve! Maknimo scenografiju i ostavimo prazan prostor. Izbrišimo prošlost i ostavimo samo sadašnjost, otklonimo ples i ostavimo samo pokret. Ogolimo glumca i ostavimo samo njegovog klauna. Otvorimo maštu da bi se vidjelo ono nevidljivo! Spektar zvukova koji je izuzetno prisutan kreira prostor i naglašava trenutke jakih emocija. Glazbenici su dio predstave u jednakoj mjeri kao i klaunovi. U Slavuju nema zgušnjavanja ili izokretanja radnje. Situacija je jednostavna: obitelj s neudanom kćerkom u srednjim godinama koja upoznaje mladog muškarca koji se slučajno nađe u njihovoj blizini. Ako priča i postoji, očituje se samo u miješanju, suprotstavljanju i zapetljavanju želja i strahova klaunova, njihove ljubomore, ljubavi i nadanja. Svaki autentični klaun može utjeloviti okrutnost i nježnost u gotovo istom trenutku. Svaki klaun može željeti postići nešto određeno dok žudi za nečim sasvim suprotnim. Klaunovi su kao sva ljudska bića, ali veći od života. Pisanje ove predstave bilo je slično slikanju. Kopali smo dublje i dublje tražeći pigment u svakom klaunu, a njihova su tijela postala kistovi. Poštivali smo zakone komedije: ponavljanje, brzinu i pretjerivanje, da bismo postigli spektar boja kao katalizator za ljudske suze i smijeh. Put katarze je jedan isti, put suza i smijeha! Lee Delong KALEIDOSKOP KALEIDOSKOP: KRIJESNICA – ulični cirkuski spektakl za gledanje i uživanje, riječi su suvišne – Izvođači: Nikolina Mjadak, Iva Peter-Dragan, Domagoj Šoić, Milan Manić, Darious Ziensis Scenografija: Vedran Jukić (Soda Arhitekti) Dizajn svjetla i tehnika: Milan Kovačević Glazba: Nicolas Sinković VITA MIN SHOW Street show Izvodi: Iva Peter-Dragan Interaktivni ulični show sa zračnim akrobacijama i participacijom publike! IGLICA Dramaturgija: Lana Šarić Režija: Ivica Šimić Pomoćnica režisera: Iva Peter-Dragan Scenografkinja: Dinka Jeričević Kostimografkinja: Mirjana zagorec Oblikovateljica svjetla: Željka Fabijanić Šaravanja Glazba: Igor Karlić Fotografkinja: Ana Šesto Producentica: Vitomira Lončar IGRAJU: Nikolina Majdak Iva Peter-Dragan Nikola Mijatović Iglica nije obična djevojčica, drugačija je od ostalih. Od rođenja je krasi posebnost – iglice zabodene po cijelom tijelu. Neodvojive od nje, brane je od svih onih koji bi joj htjeli učiniti nažao, ali je i priječe da bude kao i sve druge djevojčice. Iako se trudi i želi biti kao i svi ostali, ne može naći svoje mjesto u društvu jer nitko ne želi imati posla s tako neobičnom djevojčicom koja – bode. U našoj predstavi, priča o Iglici smještena je u svijet cirkusa kao slike svijeta u kojemu živimo. Dva klauna u početku odbijaju bilo kakvu mogućnost da prihvate Iglicu kao prijatelja ili suučesnika u igri no nakon niza pokušaja, uviđaju da je upravo Igličina posebnost njezina prednost i da zbog svojih iglica može ostvariti veliki uspjeh. Na kraju, dva klauna prihvaćaju Iglicu i zajedno s njom ostvaruju uspješnu cirkusku predstavu. U svijetu u kojem živimo često susrećemo “neobične” ljude koji su na ovaj ili onaj način posebni, drugačiji od nas. U susretu s njima često ne znamo kako se postaviti prema njima i kako ih prihvatiti. Najčešće očekujemo da se takvi ljudi konformiraju i prihvate naše standarde ponašanje, bez da se zapitamo jesu li naši obrasci korektni ili ne i mogu li se ti i takvi ljudi/djeca uklopiti u “naš” svijet. “Iglica” šalje nedvosmislenu poruku da ljude koji su drugačiji od nas moramo prihvatiti onakve kakvi jesu i da i mi, većina, moramo učiniti onaj neophodan korak i prihvatiti takve ljude koji će onda, svojom posebnošću, obogatiti i naš vlastiti život. NAGRADE 2013. godine “Iglica” je bila u službenoj konkurenciji festivala ASSITEJ-a u Čakovcu s kojeg se vraćamo s dvije nagrade! Nikolina Majdak proglašena je najboljom glumicom, a za kostimografiju nagradu je dobila Mirjana Zagorec! Čestitamo djevojkama! Jako smo sretni i ponosni! Predstava je nastala u koprodukciji s kazalištem Mala Scena iz Zagreba! MALA VJEŠTICA Slobodna adaptacija knjige Mala vještica Otfrieda Preusslera Dramaturginja: Nina Horvat Redatelj: Ivica Šimić Igraju: Nikolina Majdak, Anja Matković, Iva Peter-Dragan Scenografija: Mala scena i TRIKO CIRKUS TEATAR Kostimografkinja: Tea Bašić Glazba: Igor Karlić Oblikovanje svjetla: Milan Kovačević Grafičko oblikovanje: Zita Novaković i Klasja Habjan Scenografija za gostovanja: Vedran jukić Fotografkinja: Ana Šesto Producentica: Vitomira Lončar Asistentica producentice: Tatjana Lisac Mala vještica imala je samo sto dvadeset sedam godina i živjela je u dubokoj šumi s gavranom Abrakasom, prijateljem i savjetnikom. Svake godine u Valpurginoj noći velike vještice plešu svoj ples na koji malene vještice ne smiju dolaziti. Potaknuta znatiželjom, mala je vještica ipak otišla i – bila je kažnjena. Da bi mogla sudjelovati na plesu sljedeće godine, morala je činiti dobra djela te naučiti mnoge čarolije. I tako je započeo uzbudljiv kovitlac događaja: pomagala je dobrima, kažnjavala zločeste, napravila mnoga dobra djela, ali to se i nije baš sviđalo Vijeću vještica… Ova maštovita i vesela priča namijenjena je mladim gledateljima od 4 godine naviše, a govori o odrastanju, učenju, odgoju, obrazovanju, ali i o opredjeljenju za dobro. U svijetu odraslih, u koji Mala vještica tako silno želi što prije ući, vrijede neka druga pravila od onih koja vrijede u svijetu “malenih”. Mala će vještica našom predstavom poručiti mladoj publici da ne smije izgubiti ideale i svoje snove, da se treba zalagati za dobro, protiviti se zlu i da se jedino činjenjem dobra može odrasti u vrijednu i dostojanstvenu osobu. SNJEŽNA KRALJICA Po priči Hansa Christiana Andersena Režija: Iva Peter-Dragan Koreografija: Sarah Bebe Holmes Scenografija i kostimografija: Jelena Đanko Dizajn svjetlan: Milan Kovačević Glas: Maja Posavec ̌Legendarnu priču o odrastanju i snazi prijateljstva na poseban, akrobatsko-cirkuski način, pričaju vam Ivana Bešker, Maja Krčelić, Josipa Kvaternik, Clementine Schoubrac, Iva Matijević, Dora Pečarić, Ana Tufekčić i Sunčica Lauc. Ova predstava je za djecu, ali i za njihove roditelje, tetke, bake, stričeve, djedove, jer na bajkovit i začudan način prenosi poruku ljubavi i prijateljstva! DVIJE I POL SESTRE DVIJE I POL SESTRE, burleska režija i dramaturgija: LEE DELONG igraju: INJA – Nikolina Majdak MICA – Iva Peter-Dragan OFELIJA – Adriana Josipović glazbenik: PEPE – Pavle Miljenović koreografija: LEE DELONG kostimografija: ANDREA KUŠTOVIĆ dizajn svjetla: MILAN KOVAČEVIĆ glazba: Dead Song & Midnight Blue – tekst i glazba: Lee Delong, Cirkus & Burleska – glazba: Pavle Miljenović, aranžmani: Pavle Miljenović, Midnight Blue pjeva Ines Tricković zračna koreografija: SARAH BEBE HOLMES ton majstor: TOMICA KRALJIĆ art director: DRAŠKO IVEZIĆ marketing: CHRISTIAN PETER produkcija:TRIKO CIRKUS TEATAR i KUC Travno Midnight Blue i Burlesku odsvirali: Neno Grahovac, tombon; Tomislav Rukljić, truba; Marko Rabatić, bubnjevi. Snimljeno u studiju Borisa Fischera. Miks i mastering Luka Banić. Geoffery and Chistian Erickson, Joe Sheridan, Judith Burnett, MASTERFILM, zaposlenici Mcuk-a, Ines Tricković, Nina Violić i Leon Lučev, od srca vam zahvaljujemo! FEYDEAU…RE…MI… Režija i dramaturgija/Directed by: LEE DELONG večer farse i apsurda inspirirana djelima Georgesa Feydeaua kroz koju će vas voditi: Sanja Drakulić & Davorka Horvat – u sceni inspiriranoj djelom Un Fil a la Patte Nikolina Majdak & Dražen Šivak – u sceni inspiriranoj djelom Un Fil a la Patte Nikolina Majdak ulaskom u sferu apsurda Domagoj Šoić i Jadranka Žinić-Mijatović – u sceni inspiriranoj djelom On Purge Bebe Iva Peter-Dragan & Marko Makovičić – u sceni inspiriranoj djelom Djevojka iz Maksima (La Dame de Chez Maxim) Katarina Bistrović Darvaš & Vilim Matula – u prizoru II iz djela Ne hodaj gola uokolo (Ne te Promene pas donc Toute Nu) Glazbenici: Frederic Lange i Nicolas Sinković Dizajn svjetla: Domagoj Šoić Majstor svjetla: Tomislav Šoić Dizajn: Draško Ivezić Produkcija: Iva Peter-Dragan, Nikolina Majdak, Dražen Šivak Asistentica produkcije: Iva Bojanovsky FEYDEAU…RE…MI je izbor iz djela slavnog autora, inspiriran s nekoliko njegovih drama i izveden na nekoliko stilskih načina: tehnikom klauna s crvenim nosom, klauna bez nosa i ekscentričnih likova. Istraživanje tema iz djela Georgesa Feydeaua osmišljeno je za glumce i performere koji rade na tehnici kazališnog klauna s Lee Delong u projektu KLAUNSKA PLATFORMA. NOĆ ŽIVIH KLAUNOVA NOĆ ŽIVIH KLAUNOVA klaunski cabaret REŽIJA I DRAMATURGIJA: Lee Delong KLAUNOVI: Begonia – Fionnuala Gallagher Gospino – Dražen Šivak Kupina – Nikolina Majdak Octavio – Domagoj Šoić Vita Min – Iva Peter-Dragan GLAZBENICI: Cormac Beglay – concertina Brid Ni Mhaoileoin – bouzouki & bodhran Nicolas Sinković/Fran Krsto – udaraljke i drum set Dizajn svjetla i tehnička podrška: Milan Kovačević Ton majstor: Tomica Kraljić Art director: Draško Ivezić Produkcija: TRIKO CIRKUS TEATAR i Sveučilište u Galwayu Ova je predstava plod suradnje izvođača i glazbenika iz Hrvatske i Irske s glumicom i redateljicom Lee Delong. Predstava je zamišljena kao međukulturalni projekt čiji je cilj izričajem, humorom i jezično prelaziti nacionalne granice, te na specifičan način ući u odnos s kulturnom tradicijom ove dvije zemlje. Pet klaunova na predstavi je radilo tijekom listopada 2013. u Galwayu, prvenstveno istražujući irsku tradiciju slavljenja Halloweena – Samhaina (koja je svoj najpopularniji oblik razvila u SAD-u, a sve je popularnija i kod nas), nastavljajući potom rad u Zagrebu. Klaunovi su u ovoj zastrašujućoj noći na sebi svojstven način prizivali sile koje su štovali drevni Kelti i iznijeli svoje shvaćanje “Slavlja mrtvih” uz zvučnu podlogu “živog” banda. Projekt je financiralo Ministarstvo kulture RH, Grad Zagreb i Sveučilište u Galwayu, a podržava ga i Kultura promjene SC-a u Zagreb, Vip-Club Zagreb i Duga Print. POPPINS SILAZI … Zaboravit ćete zato što drugačije ne možete. Nema ljudskog bića koje to pamti…Osim Nje, dakako… Ali ona je drugačija. Ona je Velika Iznimka… REŽIJA I DRAMATURGIJA: Dubravka Crnojević – Carić IGRAJU: Nikolina Majdak, Iva Peter-Dragan, Jadranka Žinić-Mijatović Izvedba i obrada glazbe: Luka Schram i Isabel Scenografija: Les chaussures rouges Kostimografija: Zjena Glamočanin Oblikovanje svjetla: Milan Kovačević Produkcija: Triko Što se događa u ženi kada se sretne s djetetom? Djetetom povjerenim na čuvanje, svojim djetetom ili pak djetetom u sebi? Koliko se čarolija mora pokrenuti ako želimo pripitomiti to dijete, a ostaviti mu radost kreativnost? I što je uopće Čarolija? Nešto se prepoznaje kao Čarolija samo iz pozicija naše ogoljene svakodnevice. No, ukoliko smo otvoreni za spajanje svjetova, spajanje nekoliko različitih logika – ono što nazivamo Čarolijom više nije ni najmanje začudno. Najljepše je spajati naizgled nespojivo. Najuzbudljivije je propitivati granične prostore Pravila. U potrazi za navedenim u predstavi ´Poppins silazi’ tri mlade akrobatkinje spajaju realno i irealno, svakodnevno i fantazmagorično, otvarajući se Čaroliji. Istovremeno propituju vlastitu ženskost, i ponovno se upoznaju s djetetom u sebi. Prepoznaju i skidaju mnoge identitarne haljine, koje ih drže prizemljenima. Oslobađajući se težine zadanih identiteta, polako se uspinju, nage, u prostore Visine, gdje su forme promjenjive i fluidne, poput oblaka. Tri se mlade žene igraju, ali i ispovijedaju, pretražuju riznice sjećanja – ulazeći i u prostore sjećanja koja postoje i mimo njihovih ‘realnih’ života. Dubravka Crnojević – Carić