On documentarity in theatre: Post-yu traumas | Intellect Skip to content
Volume 38 Number 213
  • ISSN: 1318-0509
  • E-ISSN: 2050-957X


Let me begin with a brief counter-memory about the first performance I saw of those Zala Dobovšek reviews in her monograph (I saw Izdajalec (The Traitor) a bit later on). It must’ve been in spring 2011 in Belgrade. I was on a student excursion. I haven’t the faintest memory how I chanced upon the performance Rođeni u YU (Born in YU) or where I got the tickets, since I spent most of my days hanging in bookstores, which later on turned out to have a significant influence on my graduation thesis and further studies. But I do remember Radovan Vujović and Branka Petrić, even though the cast included the likes of Mirjana Karanović and Predrag Ejdus,1 and a spectacular applause on an open stage, which I’ve never witnessed before (or since, except in Serbia). About 22 years old, I was dismayed by the outspokenness and emotional charge of the performance, an unforgettable experience that left me profoundly rattled. In theatre, it’s something that happens to me approximately every three years.


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