The Expert Jury of 27 th KFTC edition - Ana Tasić, Mirko Radonjić and Morana Dolenc, watched
eleven theatre performances in competitive Theatre program, from July 1 – 11, and they
unanimously reached the following decisions:
eleven theatre performances in competitive Theatre program, from July 1 – 11, and they
unanimously reached the following decisions:
THE AWARD FOR THE BEST THEATER-PERFORMANCE is awarded to the show:
“Feral”, a coproduction by Tortoise In A Nutshell and Cumbernauld Theatre (GB –
Scotland), directed by Ross Mackay.
Explanation:
The performance as a whole brings a rare mixture od impressive, functional, multimedia form,
and the content of particular social significance, which intrique every single viewer, regardless of
their age. The authors create a merciless projection of the world, mercilessly pulverized by
corporations, society where an individual suffers for the interest of the rich who are becoming
more rich.
AWARD FOR THE BEST DIRECTION is awarded to:
Ross Mackay, for the show “Feral”.
Explanation:
The direction ensures a coherent and multifaceted fit of various media into a compact entity that
encourages the imagination of the viewer in multiple plans. The scenic story is built by the
connection of excellent puppet manipulation, filmed with camera and projected directly onto the
screen. In said process, the large plans and video montage capabilities are used with
extraordinary skill, which profoundly justify the live scene production. These elements are
complemented by delicate use of light, music, and performers’ choreography.
“Feral”, a coproduction by Tortoise In A Nutshell and Cumbernauld Theatre (GB –
Scotland), directed by Ross Mackay.
Explanation:
The performance as a whole brings a rare mixture od impressive, functional, multimedia form,
and the content of particular social significance, which intrique every single viewer, regardless of
their age. The authors create a merciless projection of the world, mercilessly pulverized by
corporations, society where an individual suffers for the interest of the rich who are becoming
more rich.
AWARD FOR THE BEST DIRECTION is awarded to:
Ross Mackay, for the show “Feral”.
Explanation:
The direction ensures a coherent and multifaceted fit of various media into a compact entity that
encourages the imagination of the viewer in multiple plans. The scenic story is built by the
connection of excellent puppet manipulation, filmed with camera and projected directly onto the
screen. In said process, the large plans and video montage capabilities are used with
extraordinary skill, which profoundly justify the live scene production. These elements are
complemented by delicate use of light, music, and performers’ choreography.
AWARDS FOR AN OUTSTANDING PERFORMANCE are awarded for:
1. Puppet animation: to Justyna Banasiak, Andre Mello and Tim Velraeds, for their
performance in the show “Monsters”, a coproduction by Duda Paiva Company
and Korzo Theater (Netherlands)
Explanation:
The monsters in this show are a metaphorical expression of our fears, strikingly made of
specific materials that shape creatures between humans and animals. These puppets are
sometimes charming and loveable, and other times wicked, which builds strained stage
relationships, with constant change of attraction and repulsion. The relations between the
animators and the puppets are set as particulary challenging. Performers occasionally get out of
the roles, flirt with the illusion of representation, but also with the meanings of the monsters, and
their game is truly virtuous, between drama, dance and acrobatic expression.
2. Partnership relation to Stefan Bundalo and Aleksandar Milković, in the show
“Kurt, quo vadis?” (Boško Buha Theatre, Belgrade - Serbia)
Explanation:
Father-son relationship is of key importance for its dynamics and sensibility, which is its primary
meaning. The play is based on a delicate expression which creates a very effective relationship
between these two characters, which transforms functionally throughout the play. A display of
their joint journey is at the same time a display of joint maturity and transformation and palpable
mutual influence.
1. Puppet animation: to Justyna Banasiak, Andre Mello and Tim Velraeds, for their
performance in the show “Monsters”, a coproduction by Duda Paiva Company
and Korzo Theater (Netherlands)
Explanation:
The monsters in this show are a metaphorical expression of our fears, strikingly made of
specific materials that shape creatures between humans and animals. These puppets are
sometimes charming and loveable, and other times wicked, which builds strained stage
relationships, with constant change of attraction and repulsion. The relations between the
animators and the puppets are set as particulary challenging. Performers occasionally get out of
the roles, flirt with the illusion of representation, but also with the meanings of the monsters, and
their game is truly virtuous, between drama, dance and acrobatic expression.
2. Partnership relation to Stefan Bundalo and Aleksandar Milković, in the show
“Kurt, quo vadis?” (Boško Buha Theatre, Belgrade - Serbia)
Explanation:
Father-son relationship is of key importance for its dynamics and sensibility, which is its primary
meaning. The play is based on a delicate expression which creates a very effective relationship
between these two characters, which transforms functionally throughout the play. A display of
their joint journey is at the same time a display of joint maturity and transformation and palpable
mutual influence.
AWARDS FOR AUTHOR’S WORK are awarded for:
1. Concept: Siri Dybwik, for the show “LULLA” (Dybwikdans & Dansens Hus, Norway)
Explanation:
The concept is special due to an extremely thought-out scenic wealth in addition to deeply
developed and imaginative each segment of the performance. The set design is dream-like and
seductive, walled up with transparent materials, peculiar details, subtly interweaved with video
projections. Visual plan is organically woven with audio elements and hypnotic music which
charms the viewer, offering strong theatrical experience in total.
2. Dramaturgy: Milena Depolo, the show “Kurt, quo vadis?” (Boško Buha Theatre,
Belgrade - Serbia)
Explanation:
Dramaturgy provides a clear and dynamic plot, without surpluses or falls in tempo. The scene
has a virtuous critical construction of narrative about the need to preserve authenticity and
individuality, in a society which systematically nourishes insincerity, snobbery and unhealthy
competitiveness. Particular importance is given to a repertoire breakthrough in this production
and the bravery to put on a stage an unusual piece for youth, beyond expectations and ordinary
narratives.
3. Author’s approach to epic tradition: Anđelka Nikolić, for the show “Epic games:
Building of Skadar” by Art troupe Hop.La! & Bitef Theatre (Serbia)
Explanation:
Starting from an epic poem from Pre-Kosovo cycle, in this interactive play, the authors stimulate
development of critical thinking in viewers, through deconstruction of the starting material. This
thinking refers to justification of victims and crimes as well as gender roles. The concept of the
play is extremely inspirational and functional in educational sense, but also in terms of
spreading boundaries of theatrical performances.
1. Concept: Siri Dybwik, for the show “LULLA” (Dybwikdans & Dansens Hus, Norway)
Explanation:
The concept is special due to an extremely thought-out scenic wealth in addition to deeply
developed and imaginative each segment of the performance. The set design is dream-like and
seductive, walled up with transparent materials, peculiar details, subtly interweaved with video
projections. Visual plan is organically woven with audio elements and hypnotic music which
charms the viewer, offering strong theatrical experience in total.
2. Dramaturgy: Milena Depolo, the show “Kurt, quo vadis?” (Boško Buha Theatre,
Belgrade - Serbia)
Explanation:
Dramaturgy provides a clear and dynamic plot, without surpluses or falls in tempo. The scene
has a virtuous critical construction of narrative about the need to preserve authenticity and
individuality, in a society which systematically nourishes insincerity, snobbery and unhealthy
competitiveness. Particular importance is given to a repertoire breakthrough in this production
and the bravery to put on a stage an unusual piece for youth, beyond expectations and ordinary
narratives.
3. Author’s approach to epic tradition: Anđelka Nikolić, for the show “Epic games:
Building of Skadar” by Art troupe Hop.La! & Bitef Theatre (Serbia)
Explanation:
Starting from an epic poem from Pre-Kosovo cycle, in this interactive play, the authors stimulate
development of critical thinking in viewers, through deconstruction of the starting material. This
thinking refers to justification of victims and crimes as well as gender roles. The concept of the
play is extremely inspirational and functional in educational sense, but also in terms of
spreading boundaries of theatrical performances.
TOWN JURY AWARD
Town Jury Award is awarded to the show: “Beauty and the Beast” by Youth Theater Novi Sad
(Serbia)
The Town Jury consisting of Lidija Begović, Dragana Mažibrada and Dušan Davidović decided
to award this prize to a play as a whole, namely to “Beauty and the Beast” by Youth Theater
Novi Sad (Serbia)
Explanation:
Good set design, solid costumes, good songs, musical background, stage performance,
dynamics of performance which kept the children on their toes the whole time, interaction with
the audience.
The play has an educational character, sends messages of appreciation of true values, victory
of love and justice, and spiritual values compared to material and esthetic ones.
Town Jury Award is awarded to the show: “Beauty and the Beast” by Youth Theater Novi Sad
(Serbia)
The Town Jury consisting of Lidija Begović, Dragana Mažibrada and Dušan Davidović decided
to award this prize to a play as a whole, namely to “Beauty and the Beast” by Youth Theater
Novi Sad (Serbia)
Explanation:
Good set design, solid costumes, good songs, musical background, stage performance,
dynamics of performance which kept the children on their toes the whole time, interaction with
the audience.
The play has an educational character, sends messages of appreciation of true values, victory
of love and justice, and spiritual values compared to material and esthetic ones.
CHILDREN’S JURY AWARD
Special award Dragan Radulović is awarded to the shows “The Little Pirate” by City Theatre
Podgorica & Cultural Centre Tivat (Montenegro) and “2062” by Karla Kracht & Andres Beladiez
(Spain)
Since in the previous 12 days the town keys were in the hands of children, we allowed
ourselves to change the rules of the game. We decided, for the first time this year, that two
plays share the children’s jury award. It is important for our childhood to live fairytales in the
theatre but also to allow the theatre to stimulate our thinking about the world we live in.
Therefore, the children’s jury award which carries the name of our Dragan Radulović, is
awarded to two plays: “The Little Pirate” by City Theatre Podgorica & Cultural Centre Tivat,
directed by Milan Karadžić and “2062” by our dear guests from Spain, Karla Kracht & Andres
Beladiez.
Special award Dragan Radulović is awarded to the shows “The Little Pirate” by City Theatre
Podgorica & Cultural Centre Tivat (Montenegro) and “2062” by Karla Kracht & Andres Beladiez
(Spain)
Since in the previous 12 days the town keys were in the hands of children, we allowed
ourselves to change the rules of the game. We decided, for the first time this year, that two
plays share the children’s jury award. It is important for our childhood to live fairytales in the
theatre but also to allow the theatre to stimulate our thinking about the world we live in.
Therefore, the children’s jury award which carries the name of our Dragan Radulović, is
awarded to two plays: “The Little Pirate” by City Theatre Podgorica & Cultural Centre Tivat,
directed by Milan Karadžić and “2062” by our dear guests from Spain, Karla Kracht & Andres
Beladiez.
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