PREDSTAVA
J
anoscheva ilustrovana priča Tata Lav i njegova sretna djeca ima podnaslov “mali odgojni priručnik”, tako je i ova predstava mali scenski odgojni priručnik čije je najvažnije pravilo da se kroz igru, najbolje uči. Proces odrastanja u današnje hiperužurbano doba je zapravo konstantno gušenje kreativnosti koja je urođena svakom biću. Naš glavni junak, dobroćudni i nježni Tata Lav upravo glavni naglasak u odgoju stavlja na igru – čistu, direktnu, nesputanu, veselu, ali i istraživačku. Kroz igru se spoznaju zakoni i pravila, tako da je ova predstava namjenjena i roditeljima koji u svom odgojnom pristupu trebaju i moraju razbiti razne predrasude. Treba to još jednom glasno reći: djeca spoznaju svijet kroz igru, a ne kroz unaprijed utvrđena pravila.
REDITELJICA
B
elma Lizde-Kurt rođena je u Sarajevu gdje završava Akademiju scenskih umjetnosti, Odsjek za glumu u klasi prof. Miralema Zubčevića i Aleksandra Jevđevića. Pored veoma uspješne glumačke karijere u zadnjih nekoliko godina, bavi se i ostalim aspektima teatarske umjetnosti: režija, scenografija, kostimografija i koreografija. Važnije uloge: Leonce i Lena, režija Manfred Weber; Die Verlobung von San Domingo, režija Manfred Weber; Woyzek, režija Manfred Weber; Babylon, režija Herbert Gantschacher; Magbeth, režija Dino Mustafić; Košmar o Bosni, režija Faruk Lončarević; Mjera za mjeru, režija Aleš Kurt; Revizor, režija Dritero Kasapi; Trg ratnika, režija Dino Mustafić; Bog, Rat i ostalo, režija Aleš Kurt; Muholovac, režija Aleš Kurt. Režirala je: Pinokio u nevolji, adaptacija A.Kurt, produkcija Aparat teatar (2010); Plumb BO-BO, ZU, koprodukcija Aparat teatar / SARTR (2014); Zaljubljeni vuk, koprodukcija Edus / Aparat teatar / SARTR (2014).
PERFORMANCE
J
anosch’s illustrated story Daddy Lion and Happy Kids is subtitled as a “small educational guide”. Thus, this play serves as a small, scenic educational guide whose most important rule is that children learn the most through playing. The process of growing up in today’s hyper-speed era is, in fact, a continuous suppression of creativity inherent in every being. Our main character, the good-natured and gentle Daddy Lion emphasises the importance of play for education – clean, direct, uninhibited, cheerful, but also exploratory play. The norms and rules are learned through playing, so this play is also aimed at parents who need to break various prejudices in their educational approach. This needs to be said once again, loudly: children learn about the world through play, not through previously determined rules.
DIRECTOR
B
elma Lizde-Kurt was born in Sarajevo, where she graduated from the Academy of Performing Arts, department of acting, under the tutelage of prof. Miralem Zubčević and prof. Alexander Jevđević. In addition to a very successful acting career, in the recent years she worked on other fields of theater: directing, set design, costume design, and choreography. Important roles: Leonce and Lena, directed by Manfred Weber; Die Verlobung von San Domingo, directed by Manfred Weber; Woyzek, directed by Manfred Weber; Babylon, directed by Herbert Gantschacher; Macbeth, directed by Dino Mustafić; A Nightmare about Bosnia, directed by Faruk Lončarević; Measure for Measure, directed by Aleš Kurt; Auditor, directed by Dritero Slashing; Warrior Square, directed by Dino Mustafić; God, War, and the Other Things, directed by Aleš Kurt; Flycatcher, directed by Aleš Kurt. She directed: Pinocchio in Trouble, adaptation Aleš Kurt, produced by the Aparat Theater (2010); Plumb BO-BO, ZU, co-production Aparat Theater / SARTR (2014); The Wolf in Love, co-production Edus / Aparat Theater / SARTR (2014).
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