{"id":3527,"date":"2024-08-25T18:28:05","date_gmt":"2024-08-25T16:28:05","guid":{"rendered":"https:\/\/sarajevofest.com\/?post_type=event&p=3527"},"modified":"2024-09-02T15:21:53","modified_gmt":"2024-09-02T13:21:53","slug":"how-i-learned-to-drive","status":"publish","type":"event","link":"https:\/\/sarajevofest.com\/en\/events\/how-i-learned-to-drive\/","title":{"rendered":"HOW I LEARNED TO DRIVE"},"content":{"rendered":"

Hartefakt<\/span> Belgrade<\/span><\/span>\u00a0<\/span>
<\/span>\u00a0<\/span>
<\/span>Text: Pola Vogel<\/span><\/span>\u00a0<\/span>
<\/span>Directed by: Tara Mani\u0107<\/span><\/span>\u00a0<\/span>
<\/span>Translation: Ivana \u0110uri\u0107 Paunovi\u0107<\/span><\/span>\u00a0<\/span>
<\/span>Text adaptation: Vuk Bo\u0161kovi\u0107<\/span><\/span>\u00a0<\/span>
<\/span>Starring: Svetozar Cvetkovi\u0107 and Marta Bogosavljevi\u0107<\/span><\/span>\u00a0<\/span>
<\/span>Scenography \/ Costume: Zorana Petrov<\/span><\/span>\u00a0<\/span>
<\/span>Music: Vladimir Pejkovi\u0107<\/span><\/span>\u00a0<\/span>
<\/span>Lighting design: Nemanja <\/span>Cali\u0107<\/span> and Zorana Petrov<\/span><\/span>\u00a0<\/span>
<\/span>Public relations: Slavica Pe\u0161i\u0107<\/span><\/span>\u00a0<\/span>
<\/span>Photo and video production: Marko Stojanovi\u0107<\/span><\/span>\u00a0<\/span>
<\/span>Author of the poster: Marko Stojanovi\u0107<\/span><\/span>\u00a0<\/span>
<\/span>Technical associates: Nemanja <\/span>Cali\u0107<\/span>, Bojan Durutovi\u0107<\/span><\/span>\u00a0<\/span>
<\/span>Executive production: Selena <\/span>Pleskonji\u0107<\/span> and Aleksandra Lozanovi\u0107<\/span><\/span>\u00a0<\/span>
<\/span>\u00a0<\/span>
<\/span>“How I learned to drive” by Pola Vogel is a text that many call “Lolita” written from a female perspective – the character of an adult Malecka, who recalls her childhood. While working on it in the chamber, intimate space of <\/span>Hartefakt<\/span> House, together with <\/span>actress<\/span> Marta <\/span>Bogosavljevi\u0107<\/span> and actor Svetozar Cvetkovi\u0107, as well as with all collaborators, we tried to find a gentle stage language for this complex, <\/span>deep<\/span> and delicate text – which does not even try to match reality, which we live <\/span>everyday<\/span>. It is so much scarier, it happens all around us and it seems discouragingly unstoppable – that through this play we tried to go backwards, step by step, examining the problem that most of the people reading this text have <\/span>encountered<\/span> at some point in their lives. The relationship between these two characters, Malecka and her son, is full of ambivalence: love, tenderness, curiosity, teaching, trust, the formation of authority, mistakes, and <\/span>consequently<\/span>: breaking through boundaries, <\/span>grooming<\/span> and hurting, up to the point of self-destruction. The <\/span>great value<\/span> of this text is the author’s empathy for both characters, which <\/span>opens up<\/span> an important, polemical tone about the causes, not just the consequences, of such a relationship. This is a play about forgiveness, without realizing that it is impossible to forgive. I hope that with this play we will make people awake and at least a little braver – I think that would be more than enough in a society where we make them ashamed and silent.” – Tara <\/span>Mani\u0107<\/span>, director<\/span><\/span>\u00a0<\/span><\/p>\n\n

\n
<\/div>\n

<\/h3>\n \u2039<\/a>\n \u203a<\/a>\n <\/a>\n
    <\/ol>\n <\/div>\n\n