Yugoslavia, My Country
SNT Drama Ljubljana
Crew
Director: Ivica Buljan
Author of the adaptation: Goran Vojnović
Assistant to the director: Robert Waltl
Dramaturg: Mojca Kranjc
Stage designer: Aleksandar Denić
Costume designer: Ana Savić Gecan
Composers: Rundek Cargo Trio*
Language consultants: Tatjana Stanič
Lighting designers: Son:DA
Assistant to stage designer: Ajda Primožič
Assistant to costume designer: Andrej Vrhovnik
Trainer: Iztok Hodnik
Consultant for Serbian: Iva Babić
Consultant for the dialect of Voivodina: Zoran Knežević
Consultan for Bosnian: Saša Tabaković
* Music for Goran Vojnović’s song "Izdan" [Betrayed] by Darko Rundek.
Music on the recording performed by: Isabel (violin), Dušan Vranić Duco (keyboards, percussions, voice) and Darko Rundek (guitar, voice, mix, editing).
Cast
Nedeljko: Matjaž Tribušon
Duša: Nataša Barbara Gračner
Dušan: Zvone Hribar
Milena: Maja Končar
Soldier: Saša Tabaković
Soldier: Benjamin Krnetić
Emir: Jernej Šugman
Brane: Bojan Emeršič
Young Vladan: Filip Ekart Babić
Macedonian singer: Maja Končar
Enes: Aljaž Jovanović
Žiga: Benjamin Krnetić
Vladan: Marko Mandić
Nadja: Nina Ivanišin
Mediha: Zvezdana Mlakar
Receptionist: Saša Tabaković
Guard: Saša Tabaković
Danilo: Uroš Fürst
Risto: Gregor Baković
Nataša: Lina Ekart Babić
Živka: Nina Valič
Kosa: Iva Babić
Jovana: Gaja Pöschl
Mišo: Aleksander Cavazza/Črt Veselko
Dragan: Valter Dragan
Mladen: Benjamin Krnetić
Guard: Benjamin Krnetić
Dream waitress: Zvezdana Mlakar
Wedding guests: Zvone Hribar, Maja Končar, Saša Tabaković, Jernej Šugman, Bojan Emeršič, Aljaž Jovanović, Nina Ivanišin, Zvezdana Mlakar, Uroš Fürst, Gregor Baković, Nina Valič, Iva Babić, Lina Ekart Babić, Gaja Pöschl, Aleksander Cavazza/Črt Veselko, Benjamin Krnetić
Accordionist: Uroš Jezdić/Dejan Panić
About the performance
Original title: Jugoslavija, moja dežela
baptismal performance of the stage adaptation
Première: 11 April 2015, main stage
190 minutes, one interval
The novel Yugoslavia, My Country, juxtaposes two images of the Balkans. One has been inscribed in a childhood memory, while the other spreads out before the non-blinded eyes of an adult. Certainly, these images can intertwine onstage as diversely as the dimensions of stage realities are limitless. It is the stage that best provides the simultaneousness of the memory and of the real, leaping from one to the other and erasing the borders between them. Vladan’s quest to find general Borojević, a war criminal, is indistinguishably interwoven with the memories of his father Nedeljko, so that one after another are drawn the images of his twofold inner experience, as well as the images of his inner chasm. Perhaps, this may bring us closer to the core of the problem of our confrontation with crimes that have been committed in the name of the people by our good fathers, brothers, uncles, neighbours and friends.
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