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x O AUTORKAMA

MAJA PELEVIĆ je diplomirala na Fakultetu dramskih umetnosti u Beogradu 2005. godine i doktorirala na Univerzitetu umetnosti u Beogradu 2012. Bavi se dramskim pisanjem, režijom i autorskim projektima. Drame su joj izvođene u zemlji i inostranstvu. Sa Milanom Markovićem Matisom je, 2012. godine, realizovala projekat Oni žive. Godine 2015, režirala je Moje nagrade Tomasa Bernharda u Narodnom pozorištu u Beogradu. Zajedno sa Srećkom Horvatom pokrenula je Filozofski teatar u Narodnom pozorištu u Beogradu. Dobitnica je mnogih nagrada, medu kojima su „Borislav Mihajlović Mihiz" za dramsko stvaralaštvo i Sterijina nagrada za najbolji dramski tekst.

OLGA DIMITRIJEVIĆ

rodena 1984. godine, diplomirala je drama-

turgiju na Fakultetu dramskih umetnosti u Beogradu, Pisaia je pozorišne kritike za Vreme i Teatron. Izvedeni su njeni tekstovi: Internat (Dadov, 2009), Radnici umiru pevajud (Hartefakt fond i Bitef teatar, 2011), Narodna drama (Pozorište „Bora Stanković“, Vranje 2012) i Stani da se pozdravimo u okviru projekta Protok žudnje (TkH i CDU, Zagreb, 2014). Ostali projekti uključuju kabare Iza ogledala (Kulturni centar Reks, 2012), kouredništvo knjige Medu nama - neispričane price gej i lezbejskih života (Hartefakt fond, 2014), režiju i dramatizaciju romana Crvena //udav Aleksandre Kolontaj (Bitef teatar, 2015), povremeni predavački rad na Ženskim studijama u Beogradu i dramaturški rad u pozorištu. Dobitnica je nagrada Hartefakt fonda, Sterijinog pozorja i Mihizove nagrade za dramsko stvaralaštvo.

x REČ AUTORKI

„Kada govorimo o našem, postjugoslovenskom, istočnoevropskom kontekstu, uvođenje liberalne demokratije najčešće je poslužilo kao izgovor za hegemoniju kapitalizma i transformadju društvene svojine. Ali svojevrsni lajtmotiv, najčešće rabljen u propagandne svrhe tih procesa, jeste pitanje slobode i oslobadanja društva. Narod odredene zemlje trebalo bi da otvori od i shvati da je neslobodan. Ovaj duboko patronizirajući narativ učestvuje u formiranju ideološke matrice po kojoj je neslobodnim narodima dakle, nedovoljno zrelim - neophodna pomoć onih osvešćenijih i razvijenijih. Ideal slobode će tako biti iskorišćen za davanje legitimiteta imperijalnim i neokolonijalnim intervencijama.

Nakon pada Berlinskog zida, raspada sodjalističkog projekta i raspada Jugoslavije, jedino ostrvo koje i dalje opstaje u izolaciji, zbog čega na Zapadu ne prestaje da pobuđuje pažnju i osudu, kao jedini ostatak Hladnog rata, jeste Severna Koreja. Način na koji je predstavljeno 'grcanje pod dzmom totalitarizma’ severnokorejskog naroda u veiikom zapadnom narativu verovatno je jedan od najspektakularnijih i najfantastičnijih. Slika Severne Koreje koja dolazi do Zapada, nacin na koji su predstavljeni njeni enterijeri i spomenici, njena arhitektura, njen državni aparat, njena represija i njene masovne manifestacije, u potpunosti odgovara distopičnim svetovima iz žanra naučne fantastike u kojima je sva sloboda ukinuta. Severna Koreja tako funkdoniše kao neka vrsta nesvesnog zapadnog sveta, onaj mračni deo na koji se projektuju gulazi, tortura, državni nadzor nad pojedindma i sve ostalo.

x THE AUTHORS

MAJA PELEVIC, graduated at the Faculty of Drama Arts in Belgrade in 2005, and obtained her PhD at the University of Arts in Belgrade in 2012. She writes theatre plays, does theatre direction and creates author projects. Her plays have been produced in Serbia and abroad. With Milan Markovic Matthis, she produced They Live project in 2012. In 2015, she directed Thomas Bernhard’s My Prizes at the National Theatre in Belgrade. Together with Srecko Horvat, she has started the Philosophical Theatre at the National Theatre in Belgrade. Among many awards are Mihiz Award for Playwriting and Sterija Award for the Best Play.

OLGA DIMITRIJEVIC.

born in 1984, has graduated in Dramaturgy

at the Faculty of Drama Arts. She used to write theatre reviews for Vreme and Teatron. Produced plays: The Boarding School (Dadov, Belgrade, 2009), Workers Die Singing (Heartefact Fund, Bitef, 2001), National Play (Bora Stankovic Theatre, Vranje, 2012) and Stop to Say Hello within The Crave Flow Project (Tkh, CDU, Zagreb, 2014). Other projects include: cabaret Behind the Mirror (Rex Cultural Centre, 2012), co-editing of the book Among Us Untold Stories of Gay and Lesbian Lives (Heartefact Fund, 2014), dramatization of a novel Red Love by Alexandra Kollontai (Bitef Theatre, 2016), temporary lecturing at the Women’s Studies Centre in Belgrade, dramaturgical work in theatre. Main awards: Heartefact Fund award for the best play, Sterija Award, Mihiz Award for Playwriting.

x AUTHORS’ WORD

“When we talk about our, ex-Yugoslav, East-European context, the introduction of liberal democracy usually meant an excuse for hegemony of capitalism and the transformation of public property. The typical leitmotif used for propaganda in those processes was the question of freedom and the liberation of society. People of a certain country should open their eyes and realize that they are non-free. This deeply patronizing narrative contributes to the formation of ideological matrix according to which the non-free - and therefore insufficiently mature - peoples need to be helped by the more aware and the more developed ones. The ideal of freedom will thus be used for making imperial and neo-colonial interventions legitimate. After the fall of the Berlin Wall, the dissolution of socialist project and the breakup of Yugoslavia, the only island still surviving in isolation, thus constantly arousing interest and contempt in the West as the only remnant of the Cold War, is North Korea. The image of North Korean people ‘suffering under totalitarian oppression’ is one of the most spectacular and most fantastic ones. The image of North Korea which reaches the West, the way its interiors, architecture, monuments, the government, repression and mass events are represented, absolutely equals the dystopias seen in SF movies, where all freedom is abolished. North Korea functions, thus, as a kind of unconscious western world, the dark spot on which all the gulags, torture, state supervision over individuals, etc. are projected. The projection of repression over the Other is ideal for masking one’s own repressive, non-democratic practices, such as the