DEAR DADDY
Milena Bogavac

Director Boris Liješević

Premiere: 12th of March 2006 at 20.30, Studio YDT Stage. Revivals: 13th, 16th and 20 th of March at 20.30.
Duration: approximately 1 hour 20 minutes.

ABOUT THE DEAR DADDY

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ABOUT THE AUTHOR

MILENA BOGAVAC – writer, playwright, slam poetess.

She was born in Belgrade in 1982. She is undergraduate elligible for her degree finals at Faculty of Dramatic Arts, department of dramaturgy. Since 1999 she works as playwright, dramaturge, screenwriter, performance artist and assistant director within avantgarde group DMS (Drama Mental Studio). She is one of the founders of that group. Some of projects of that group are: Toržestvo Šaljapinu (National theatre); playflashbeck@beton (Beton hala theatre); Tišina (played all over Europe); 442 (Club Spunk in the National library of Croatia, Zagreb); Yes to art (street event at the opening of 36th Bitef); Bezdan i Bezdan update (played all over The Balkans as part of the project «Mir u izgradnji» («Peace under construction»)); JMBG... and others.
Performed and/or published plays:
North Force (Bitef theatre, director: Jelena Bogavac, DMS), Crvena: seks i posledice (Red one: sex and consequences, Bitef theatre, director: Jelena Bogavac, DMS), TDŽ ili Prva trojka (published in magazine Teatron), Svi drugi (one-act play presented at National theatre in Oslo, as part of the omnibus Septembar 11th in which six students of dramaturgy from Serbia and Norwey took part; as radio-play it was recorded at Radio Beograd 2 (Radio Belgrade 2)), The Overperformance (one-act play written in English; presented at project EUROPA AM PARK Theatrical  biennale, Wisbaden, Germany), Fake Porno (omnibus written with J. Bogavac, M. Pelević and F. Vujoševićem; Bitef theatre, director: Jelena Bogavac), Dragi tata (Dear Daddy, this play has won first award at the competition for the best contemporary play organized by Yugoslav Drama Theatre and Gorenje; before premiere in Yugoslav Drama Theatre it was presented at festivals in Leeds, London and at the Hot Ink festival in New Yorkl, USA).
The first book of collected poems Ekonomsko propagandna poezija (Economic Propaganda poetry) was  published by SKC in Novi Sad. She has won award «Josip Kulundžić» for «an excellent success in theatre» at the Faculty of Dramatic Arts in 2003.

Regular associate of BITEF theatre. Member of project NADA for developing of dramatic plays and one of the founders of the site  www.nova-drama.org where you can find an archive of plays written by the youngest playwrights from this part of the world.

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ABOUT THE DIRECTOR

BORIS LIJEŠEVIĆ – was born in 1976. He had finished elementary and high school in Budva. He graduated in 2004 from the department of intermedial direction in the class of professor Boro Drašković at the Arts Academy in Novi Sad. He has directed plays of the following authors: Nikolai Evreinov (Theatre of the soul, Academic Theatre «Promena»), Christopher Fry (A Phoenix Too Frequent, Academic Theatre «Promena»), Branislav Nušić (County's child, NP Kikinda), Fedor Šili (Belgrade-London, part of trilogy Belgrade stories 04, SKC), David Harrower (Absence), Lutz Huebner (Gretha, page 89, SNP Novi Sad).

WORD OF THE DIRECTOR

BORIS LIJEŠEVIĆ (this is part of the interview given for the programme): I think that Sarah Kane and Mark Ravenhill made breakthrough in representing of violence. When the curtain rises in Cleansed we see violence all over the place, but nothing yet happened... I think that the violence is consequence of something that is happening in the sphere of roughness of spirit, at time when we are losing ourselves, but it is not important for Dear Daddy. Personal hope of the heroine is very important to me and that hope is cause of dramatic turn in the end. I think that in this play she believes in returning of her father and in the end, with the power of her faith, she brings back her daddy. Violence in our society is result of lost of faith, hope and spirit.  Violence that we can see in contemporary Serbian dramaturgy derives from there, it is social, empiric and basically political violence, while in Sarah Kane's plays it is metaphysical violence. Those circumstanecs had hit us in the quitessence of ourselves and, when the essence is changed, violence and lack of normality is what you get.

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