By Olga Vujović

Although I make a point of watching all kinds of theatre regardless of the intended age group, I'm still pleasantly surprised when a production aimed at children (3+, in this case) resonates deeply with me as an adult. Such was the case with The Adventures of Little Juju, written by Ivana Đula and Milica Sinkauz, directed by Renata Carole Gatica, and produced by the Rijeka City Puppet Theatre (Rijeka, Croatia). The performance opened the second day of the Novi Sad Theatre Festival 2025 at the Novi Sad Youth Theatre on May 8.

The play is based on a children’s song with lyrics and music by Žarko Roje and Petar Bergamo. Its whimsical beginning—“There was a mother Kukunka, Kukunka / There was a father Taranta, Taranta / There was a little Juju”—might initially suggest a simple tale. But the story quickly deepens when a crocodile, lurking on the banks of the Nile, kidnaps little Juju. His desperate parents negotiate with the crocodile, who agrees to return the child in exchange for a roasted ox. Fortunately, everything ends well: the crocodile gets his meal, and Juju is safely reunited with his parents.

From this charming premise, the authors build a richer narrative about a boy who adores animals and understands their language. Though he spends his days at the zoo among his animal friends, Juju is deeply afraid of the crocodile and avoids its enclosure. The play, narrated by Zlatko Vicić, explores Juju’s evolving relationship with this fear. His conversations with various animals—performed by an energetic and expressive ensemble—are both humorous and touching. The actors impressively mimic animal movements (under the guidance of movement assistant Damian Cortes Alberti) and creatively render animal voices, with particularly inventive portrayals like the "speech" of fish.

Juju is portrayed with charm and sensitivity by Tilen Kožamelj, while Andrea Špindel and David Petrović bring warmth and humor to the roles of his parents. Damir Orlić’s crocodile is a compelling mix of menace and curiosity. The recurring motif of the original song is cleverly woven into the narrative, reinforcing the story's rhythm and emotional arc.

Visually, the production is stunning. Alena Pavlović’s coordination of set design, props, and costumes, alongside Sanjin Seršić’s lighting design, creates a dreamlike world. The white costumes with subtle green accents, a cleverly knitted crocodile mask, and a range of unusual wooden instruments (with music composed by Ivana Đula) contribute to a magical, almost surreal atmosphere.

Director Renata Carole Gatica, who humorously notes that she began learning Croatian through the Juju song, does far more than stage a simple children's story. She delves into the theme of fear and how we confront it. In a particularly moving sequence, Juju dreams of being kidnapped by the crocodile. Motivated to understand his fear, he learns about crocodiles and the Nile, and begins visiting the crocodile to share what he’s learned. The story closes with a poetic twist: the crocodile disappears from the zoo, and Juju receives a postcard—an imaginative symbol of transformation and understanding.

With witty lyrics, an imaginative score, strong performances, and a visually arresting design, The Adventures of Little Juju is a beautifully crafted work that blends drama, music, and elements of puppetry into a theatrical experience that transcends age.

By Borisav Matić

The title of the play by the Duško Radović Little Theatre from Belgrade, In the Ceiling the Stars are Shining, sets the stage for a nostalgic reflection by the protagonist, Jenna, on her carefree childhood—symbolically represented by plastic, glowing stars on her bedroom ceiling. Throughout the story, Jenna often recalls that gentle glow, using her nostalgia for a more peaceful time as a way to temporarily escape a sometimes harsh present. Growing up is hard on everyone, but especially so for Jenna, given her family circumstances.

As a well-established genre aimed at a broad audience—primarily older children and young people in this case—coming-of-age stories usually follow familiar conventions. They depict adolescence as a challenging, sometimes even traumatic period, but one that ultimately leads to maturity and overcoming difficulties. Along this journey, peer friendships that help shape one’s identity are almost inevitable, as are first crushes and increasingly complex relationships with parents. All of these elements are present in In the Ceiling the Stars are Shining. But what elevates any coming-of-age story from a generic example to a uniquely crafted work of art lies in the specificity of character relationships. In this case, it is the protagonist’s relationship with her mother, who is battling breast cancer, which gives the story its distinctive emotional core.

The production is based on the novel of the same name by Swedish author Johanna Thydell, with the stage adaptation by Tijana Grumić, who has previously explored similarly nuanced tales of the pain and beauty of growing up in her plays (Kepler 452-B, The Loneliest Whale in the World, and Stains, among others). The moving direction is by Damjan Kecojević, a member of the theatre’s acting ensemble. The play moved part of the audience to tears at its performance during the Novi Sad Theatre Festival.

In the Ceiling the Stars are Shining deserves praise for tackling a topic still considered taboo in some circles: breast cancer. The mother’s illness not only forces Jenna to grow up quickly but also confronts her with so-called “negative” emotions such as sadness, anger, and even shame—like when her mother, shortly after chemotherapy, shows up at a school party. The play does not pass judgment on Jenna’s shame; rather, it treats it with understanding, recognizing it as a necessary step in her emotional development. 

Historically, coming-of-age narratives—particularly bildungsromans—have been reserved for male protagonists, with female stories gaining ground only in recent times. For that reason, the theatre's choice to bring a story with strong, complex female characters to the stage is also commendable. These characters are convincingly portrayed as both strong and vulnerable, lending them depth and authenticity. Besides the mother, Jenna’s world is most shaped by her grandmother and two school friends, although her first crush also plays a significant role.

The creators add further complexity and diversity to the female experience by choosing to have Jenna portrayed by three actresses. Mina Nenadović plays the teenage Jenna, marked by a mix of youthful volatility and melancholic introspection. Julija Petković plays the older, more composed Jenna, who also serves as the play’s narrator and a kind of guiding voice to her younger self. (Drina Kecojević appears briefly at the beginning and end as the youngest version of Jenna, though the intent behind this brief portrayal remains somewhat unclear.)

The rest of the cast brings their characters to life with a measured, and perhaps necessary, touch of caricature—adding humor for the younger audience while keeping the focus on Jenna’s inner world. From Lana Adžić as the overly nosy classmate, to Filip Stankovski as the "diesel" friend Stefan, and Mladen Lero in the minimalist role of Jenna’s crush, each character serves their purpose well. In some cases, these character types evolve over time—such as Jenna’s friend Ulis (played by Nevena Kočović), who initially appears as a stereotypical popular, sexualized girl but is later revealed to have a vulnerable side due to her relationship with an alcoholic mother, along with her empathetic bond with Jenna.

Though the play runs just 75 minutes, it can feel slightly too long. The narrative starts to drift in the second half—just when the audience is expecting the emotional crescendo that is ultimately delayed. Nevertheless, in theatre for children and youth, the immediate and genuine reactions from the audience can often be a better measure of a play’s impact than in adult theatre. The rapt attention of the audience during the Novi Sad Theatre Festival performance, their enthusiastic and vocal reaction at the end, and the tears visible in some eyes, all attest to the powerful emotional resonance of In the Ceiling the Stars are Shining. Minor criticisms pale in comparison.

By Olga Vujović

The question of how much "difficult" content children’s theater should include is often debated. Some balk at plays dealing with illness, death, or grief — yet don’t seem troubled by fairy tales where a wolf devours a grandmother or an evil queen tries to poison a child. That contradiction was brought into sharp focus on the opening night of the Novi Sad Theater Festival 2025 with the play In the Ceiling the Stars Are Shining, performed by Duško Radović Little Theater (Belgrade), and directed by Damjan Kecojević.

Based on Johanna Thydell’s novel and dramatized by Tijana Grumić, this powerful coming-of-age story tackles the subject of a young girl dealing with her mother’s cancer diagnosis. And judging by the quiet intensity with which the young audience followed every word, it’s clear that plays like this aren’t just “appropriate” — they’re necessary.

The play begins with a gut-punch of a line: “Mom has something to tell you.” Jenna's world — once filled with school and carefree parties — is shattered when her mother reveals she has breast cancer. Three versions of Jenna (played movingly by Drina Kecojević as a child, Mina Nenadović as a teen, and Julija Petković as an adult) guide us through her emotional journey.

She struggles to accept her mother’s decline, further confirmed by the arrival of her grandmother (Jelena Cvetković), pulling away from her friend Susana (Anđela Alavirević) and unable to talk about her fears. Even as she navigates adolescent crushes and school drama — like the quirky Zahe (Mladen Lero) or the pair Ulis and Stefan (Nevena Kočović, Filip Stanković) — Jenna becomes increasingly overwhelmed by grief. At one point, she even contemplates suicide if her mother dies.

But as the illness stretches on, Jenna grows — emotionally and spiritually. In the end, she doesn’t give in to despair. Her mother’s death, she realizes, is not the end of her life but a reason to continue it. The ensemble closes with Konstrakta’s song “Mama,” turning grief into a collective moment of strength.

Visually, the show strikes a clever balance. Zoran Petrov’s cheerful, yellow-toned set — full of doors that open into Jenna’s memories and experiences — contrasts effectively with the darker emotional themes. Bojana Lazić’s lighting further enhances the mood shifts, while Adde Huumonen’s music supports both the upbeat and tender moments.

Some costume choices by Aleksandra Lalić were slightly uneven — the boys in swimming trunks (to show they’re water polo players) felt a bit forced — but the overall aesthetic supports the play’s layered tone.

Transitions between the younger and older Jennas were particularly well handled. Nenadović and Petković reflect Jenna’s inner and outer changes with clarity and nuance, especially in how her daily routines intersect with her mother’s slow decline. The mother's hospital bed, physically separated on stage, becomes a poignant symbol of both emotional and spatial distance.

Jelena Ilić gives a strong, memorable performance as Ulis's alcoholic, troubled mother, adding depth to the world around Jenna. On the other hand, Lana Adžić’s character — a classmate — felt underdeveloped, a missed opportunity for emotional contrast.

In the Ceiling the Stars Are Shining is a moving and essential piece of theater for young people (recommended for ages 15+). It doesn’t shy away from hard truths, and that honesty is what makes it so impactful. That said, a slightly tighter structure — fewer repeated scenes and more focus on key emotional beats — could have made the play even more powerful.

Sometimes, less really is more.

A rich blend of sound, imagination, and love – that’s how one could describe The Adventures of Little Juju, a play from Rijeka that lit up a rainy day at this year’s Novi Sad Theater Festival.

The cast was agile, musical, and completely immersed in their performance, captivating both young and adult audiences. Children were drawn into its message, while adults were moved by echoes of their own childhoods. After a heartfelt performance, actor David Petrović – who played Dad Taranta – shared his thoughts.

You bring such imagination, warmth, and energy to the stage. How do you maintain that in today’s chaotic world?

You're right – we live in a hectic, overstimulated world. For us, this show is a kind of escape, a chance to become children again and play freely. It’s cathartic. I don’t think it’s hard to stay grounded if you’re willing to work on it. We all have that capacity for calm and connection inside us. It’s about choosing to nurture it and being brave enough to let it grow.

You've been in theater for 20 years. How has audience focus changed, especially among children?

Technology has definitely impacted attention spans. Kids take longer to settle into a story. Interestingly, groups who come with teachers are usually more focused than those who come with parents. Parents often hand over phones or snacks when kids get restless, which can be distracting for both actors and children. Theater should be a space where kids learn how to behave, and parents need to model that. But once they engage, children fully enter the world we create – and that’s magic.

Does performing for children require a different kind of sensitivity?

Definitely – maybe a bit of a pedagogical one. Since becoming a father to two young kids, I relate to children on a deeper level. It’s made roles like playing a father feel more intuitive. But above all, it’s about finding warmth and empathy within yourself.

What’s the best way to perform for children?

Even though we’re performing for children, we shouldn’t talk down to them. They don’t need lecturing. Kids aren’t clueless – they’re just young. They understand a lot if we speak to them clearly and respectfully.

Your play deals with overcoming fear. Do you ever experience fear on stage?

I don’t really get stage fright, but I do feel a kind of positive nervousness – hoping everything goes well. I believe in myself, and that helps. What I do fear are bad shows, ones that don’t connect or feel right. It’s tough to perform something you don’t believe in. That’s why full commitment is crucial – when you're all in, the audience feels it.

Damjan Kecojević, actor, director, and frequent collaborator on stage movement, brings his latest directorial work, In the Ceiling the Stars Are Shining, to open the fourth Novi Sad Theater Festival on May 7. The play, produced by the Little Theater "Duško Radović", explores themes of grief, growing up, and finding hope amid despair.

We spoke to him about the emotional layers of the play, the state of theater for young people in Serbia, and how art can offer truth—and sometimes healing—in uncertain times.

The play centers on a teenage girl, Jenna, dealing with her mother's terminal illness. Can we still see stars shining above us in times like these?

Not only is it possible—it’s necessary. The play is about how life pushes us forward, even in the most painful moments. Social or personal, crises don’t wait. Young people especially can’t pause their development or grief. When protests recently blocked the street near our theater, some of those same young people came to see this play. Even when the topic is difficult, theater can offer a kind of emotional refuge.

You handle painful topics—illness, loss, death—with great sensitivity. How do younger audiences respond?

Surprisingly, it's often less shocking to them than to adults. They face things more directly, more quickly. Our culture avoids confronting death, but the younger generation is beginning to change that. This play helps make space for conversations we often suppress. It's painful, yes—but it’s also full of life and resilience.

How did the novel by Johanna Thydell come to you?

I first heard about it over a decade ago in Sweden while working on a play. The story stayed with me. A year ago, I came across a stage adaptation and read the novel on a bus trip to Bulgaria—I cried the entire way. I could immediately see it on stage and envisioned the entire cast.

You’ve spoken about the lack of theater infrastructure for young audiences in smaller Serbian towns. Why is that?

It’s not just about money—though budgets are constantly being cut. It’s about priorities. There's no consistent cultural policy here, and often there's no interest in young people developing critical thinking. Every city should have a youth theater, but we keep sidelining these initiatives. Still, I'm hopeful. I see a different kind of persistence in today's youth. They want more than just material success.

What are young audiences looking for in theater today—truth, comfort, entertainment?

They’re looking for recognition, something real they can connect with. Theater for them isn’t about escapism. They can find fun elsewhere. They want meaning, resonance, relevance—and that's what we aim to give them.

How do you talk to your own children about the confusing reality we’re living in?

I try—but it’s hard. The world is overwhelming, even for adults. What matters is preserving some core—family, friends, decency. I see that older kids are thinking deeply and forming strong opinions. But there’s a lack of dialogue in society. We don’t need to agree, but we do need to talk. Silence, especially after tragedies, only deepens trauma.

Some criticize the dark tone of youth theater today. What's your response?

We reflect the times. Comedy for the sake of comedy isn’t enough. Repertoires must evolve with the world, or we become irrelevant. We’re accountable—not just to audiences, but to the city and its public. We can’t offer empty content when reality is anything but light.

In the Ceiling the Stars Are Shining is more than a play about loss. It’s about carrying on—truthfully, openly, and with compassion. And, as Kecojević insists, sometimes in order to move forward, we need to look up.

Snežana Miletić

Photo by: Jelena Janković

The 4th edition of the Novi Sad Theatre Festival, an international theatre festival for children and youth, brings seven remarkable productions from around the world to Novi Sad this May. From May 7 to 11, the Youth Theatre will host performances by artists from Canada, Spain, Croatia, Slovenia, France, the Czech Republic, and Serbia as part of the festival’s competition program. This year’s festival selector is Aleksandar Ćurčić.

The jury includes playwright Divna Stojanov, director Tamara Kučinović, and costume designer Irina Somborac.

The supporting program features three performances by the Youth Theatre: Dragon, Little Red Riding Hood, and The Sourceress from Bonjour Street—an excellent opportunity for visiting theatre professionals to experience some of the ensemble’s finest productions.

This year’s program also includes two insightful public discussions: the panel What Young People Seek In Theatre? and the Young Critics’ Round Table. The lineup is further enriched by a special event with acclaimed children’s author Jasminka Petrović and an exhibition by Milica Grbić Komazec, a long-time collaborator of the Youth Theatre. All four supporting events are free of charge.

Jasminka Petrović belongs to that rare species of dragon-hearted writers—those who love autumn, the sea, and the wind. When she writes, she’s as gentle and attentive as a mother. Her stories brim with irresistible imagination. She’s written about a button, about happiness, about a summer when she learned to fly, about the scariest day of her life, about manners, school, and Giga who creates the sea. She’s also written about the power of reading—and about sex for beginners, which inspired a successful stage adaptation at our very own theatre.

But writing is only part of what Jasminka does. She engages in countless other creative pursuits, always eager to talk, to understand, and to connect. She believes that imagination, play, and laughter are essential for everyone—no matter their age.

This gathering at the Youth Theatre is a chance to awaken our imaginations together.

An Afternoon with Jasminka Petrović begins at 1 PM.
Admission is free.

The panel What Young People Seek In Theatre?” was first held at last year’s festival in 2024 and quickly became one of its standout events. It offered theatre professionals valuable insight into what matters to young audiences: what they want to see on stage, their theatre-going habits, how they experience and interpret theatre, and what role it plays in their lives. The discussion brought together  high school students, high school and university professors, actors, directors, producers, and marketing experts.

The students’ responses were strikingly mature, refreshingly straightforward, and deeply thought-provoking. “We come to the theatre for a good performance—and to find comfort from the reality we live in,” one of the most moving statements revealed. That moment seemed to mark the beginning of a kind of inner spring for the participants—an awakening that resonated long after.

In 2025, the panel returns with a new group of voices, and we look forward to hearing their honest impressions, critiques, and reflections.

The discussion begins at 3 PM.
Admission is free.

The play Dragon, directed by Russian guest artist Lyudmila Fyodorova, premiered on April 25 and will be featured in the supporting program of the 4th Novi Sad Theatre Festival. Performed by the Youth Theatre ensemble, the show will be staged on May 9 at 7:30 PM.

The premiere received a standing ovation, primarily because it fearlessly speaks truths that demand to be heard. The performance left the audience breathless—tears replaced by a deep, stunned silence. Dragon devastated the soul, yet paradoxically filled it with hope: hope that we can change, grow, and that perhaps we are not as hopeless as we sometimes believe.

The performance was hailed as a masterclass in acting. The ensemble delivered emotionally charged and deeply nuanced portrayals that captivated the audience throughout. Every role, from the leads to the supporting cast, contributed to the play’s overwhelming impact. The production showcased a rare blend of talent, precision, and emotional depth, reminding the audience of the power of theatre at its finest.

It’s been a long time since Novi Sad has seen a play like this—one that reminds us that strength, like weakness, resides within us all. It is up to us to choose which will guide us through life.

Slavica Vučetić is one of the beloved actresses we often see on the stage of the Youth Theatre. She's also someone who warmly welcomes our youngest fellow citizens into the magical world of theater. Whether performing in children’s and youth productions or leading the Youth Theatre’s Acting Studio—attended by kids of all ages—Vučetić plays a key role in nurturing young talent.

For the past three years, she’s also been an integral part of the team behind the "Novi Sad Theater Festival," an international festival dedicated to children and youth. As president of the festival's Artistic Council, Vučetić offers a sneak peek at what’s in store for this year’s edition, taking place from May 7 to 11...

What was the guiding idea behind this year's play selection, and how many productions did you review?

With this year's selection, our goal was to present the young audience in Novi Sad with bold and imaginative takes on classic children's literature, as well as performances that make significant thematic strides in how they address children and youth. We received around 150 applications, mostly from European countries, though there was also notable interest from other continents. The Artistic Council, along with selector Aleksandar Ćurčić, ultimately chose seven productions—from Canada, Spain, the Czech Republic, France, Slovenia, Croatia, and Serbia.

What were the key criteria in the selection process, and what kind of children's and youth theater can audiences expect this year?

Many of the chosen plays fall under the umbrella of puppet theater, which was a key criterion for us, given that the festival is hosted by the Youth Theatre—the oldest puppet theater in Serbia. The selected performances showcase a wide variety of puppetry techniques, but we also included a few dramatic pieces that use playful acting, live music, rhythmic storytelling, and inventive stage movement to reimagine familiar stories for young audiences. One standout is the Canadian production Macbeth Muet, which creatively brings Shakespeare’s classic to life through object animation. Audiences should also look out for The Adventures of Little Juju from Rijeka, and The Pilot and the Little Prince from the Czech Republic. Another highlight is In the Ceiling the Stars Are Shining by the “Duško Radović” Little Theater, which speaks directly to teenagers, exploring the complexities and emotional challenges of growing up.

What age group are this year's shows aimed at?

Most of the selected performances this year are geared toward children around the age of eight. Only three are specifically intended for teenagers and young adults—Macbeth Muet by Canada’s La Fille Du Laitier, Pan by Teatro Plus from Spain, and In the Ceiling the Stars Are Shining from Serbia.

Based on what you’ve seen, are there any new trends in children’s and youth theater—whether in theme, style, or approach?

Honestly, I wouldn't say there's a clear new trend right now. In countries that have established children's and youth theaters with permanent ensembles, productions tend to be more polished and higher in production value, though not always the most innovative. On the other hand, in places where theater for young audiences depends more on private companies and project-based funding, productions are often more modest—favoring smaller-scale or street performances—but they’re often more daring in theme and approach. Globally, we’re seeing an incredible variety in how theater for young people is being created: from classic drama and puppetry to dance theater, interactive and immersive experiences (even for babies!), as well as post-dramatic and socially engaged pieces for teens, and site-specific or street performances. Compared to that, our region still has some catching up to do in terms of experimenting with form and presentation for young audiences.

What is the financial status of the "Novi Sad Theater Festival"?

"The festival has been organized each year with the financial support of the City Administration for Culture in Novi Sad," says Slavica Vučetić. "We’re confident that this support will continue, especially since the festival carries forward the spirit of promoting our city as a European Capital of Culture in the most meaningful way."

How have the past three editions of the festival impacted the Youth Theatre and its audience?

From the very first edition, we were confident—as a theater ensemble—that we had the capacity, both in terms of production and organization, to host a high-quality festival. That confidence was quickly validated by the feedback we received from participating theaters, many of whom have continued to apply year after year. It may sound flattering, but it’s true—we’ve had the privilege of presenting some of the world’s most acclaimed plays and prestigious children’s theaters to young audiences in Novi Sad. Each year, the number of applications continues to grow, allowing us to curate an even more exciting and diverse program. The festival has also helped expand our reach internationally. As the city’s only dedicated children’s and youth theater, we’ve built a strong network of collaborators around the world. This not only enriches our own programming, but also creates opportunities for us to represent Novi Sad abroad—bringing our cultural story to a wider audience through return guest performances.

Snežana Miletić

(Unanimously)

Every festival represents competition and socializing, comparison and affinity, and that is what we had at the Third International Festival of Professional Theatres for Children and Youth "Novi Sad Theater Festival", held from May 8 - 15, 2024, at the Youth Theatre in Novi Sad. The selector and director of the Festival was an actor and acting director of the Novi Sad Youth Theatre, Aleksandar Ćurčić, and the main selection, consisting of ten plays, was created (as usual) by a combination of the offered plays, the possibility of their performance at a given time and the personal taste of the selector (as Ćurčić writes, "the festival is a bond between different cultures and countries, different ideas, emotions and perspectives").

In the first two evenings, we saw "diary" performances: the dance-drama "The Diary of Anne Frank" directed by Renata Vidič and produced by the Koper Theatre (Slovenia) and "The Secret Diary of Adrian Mole" by Sue Townsend directed by Tanja Mandić Rigonat and produced by the "Boško Buha" Theatre Belgrade (Serbia). Although set in different settings and environments, the plays talk about the troubles of teenagers: Anne lives with seven other people hidden in an uncomfortable small apartment and is in constant fear of being deported to a concentration camp due to the racial law on Jews, while Adrian lives with his parents, who argue while he is plagued by teenage problems such as unrequited love, pimples on his face and bullying. Although Anne's life is on the edge of existence, she falls in love, reads and studies like girls "out there", so Adrian's troubles, luckily much closer to today's children, have a stronger effect than Anne's. The play "Little Frida" by playwright Jelena Kovačić and director Anica Tomić, produced by the City Theatre "Žar ptica" Zagreb (Croatia), tells about the childhood of the famous Mexican painter Frida Kahlo and her struggle to be accepted as an equal by her peers, despite her lameness. "Complete, harmonious, exceptionally artistic, unobtrusively emotional and excellent in all its segments" the play "Little Frida" was unanimously awarded Grand prix as the best play as a whole, and the quote is part of the explanation of the jury consisting of Zdenka Lacina Pitlik (costume designer), Marija Radovanov (actress) and Sonja Petrović (director). Amanda Prenkaj was awarded the Best Actress award for her role of Little Frida because she managed to show "the spectrum of complex emotions and motivations of the character" and thus created "her own, authentic, free, playful little Frida", while the authors of "Little Frida" Jelena Kovačić and Anica Tomić received the Special Award for the idea and concept. The play "Velvet Revolution" by playwright Matej Sudarić and director Vanja Jovanović, produced by the Osijek Cultural Center (Croatia), dealt with growing up and coping in the "outside world", but even though it dealt with crucial problems in the lives of adolescents (17+), the comments of young critics showed ambiguities in the substantive approach. Based on Camus's essay "The Myth of Sisyphus", which deals with the absurdity of human life, the author and director Veselka Kuncheva created the monodrama "I, Sisyphus" produced by the Sofia Puppet Laboratory (Bulgaria) in which acting and puppets are combined (Special Award for Design and puppet technology for Marietta Golomehova) to tell the story of Sisyphus' futile efforts. Named after the medieval designation for an unknown, dangerous territory, the play "Hic sunt dracones" directed by Pavel Štaurač and produced by the theatre "Continuo" from Malovice (Czech Republic) explores the female body but also the position of man in the world, for which the ensemble received the Award for Animation Mastery, and Štaurač the Award for Best Director. It is an unusual play in which everyone is inclined to experiment at the level of material and movement; although not always everything is clear, it is certainly impressive and memorable. David Zuazola's multimedia project "City of Light" by the Kragujevac Children's and Youth Theatre (Serbia), made the audience nostalgic by the story of vedute and the history of Kragujevac, while the surreal story filled with magic tricks, acrobatics, strange characters and puppets in the play "Hotel“ by Lyubomir Zhelev (Special Award for versatile acting expression) in the production of the State Puppet Theatre of Stara Zagora (Bulgaria) did not relay any particular message, but it pretty much stunned everyone. The play that scared the children with its thunder, darkness and strange story was "Little Red Riding Hood" by Luana Gramegna, Teatro "Zaches" from Florence (Italy), and the play that should not have been in the competition or performed in the theatre building (since it would have been ideal as a street theatre) was "The Clown and His Children" by Zheni Pashova and Petar Pashov, produced by the "Atelier 313" Theatre from Sofia (Bulgaria).

There were excellent talks with the young audience, the presentation of two puppetry books by the author Livija Kroflin, the promotion of the Master's degree in puppetry at the Academy of Arts Novi Sad and the supporting programme offered a great performance of "Crime and Punishment" by F.M. Dostoevsky directed by Emilija Mrdaković and produced by the Youth Theatre Novi Sad (Serbia), but that is "a different story".

I am looking forward to the fourth Novi Sad Theater Festival.

The favorite phrase "Zucker kommt zuletzt" (German: Sugar comes at the end) means that the best comes at the end, but that's not how I would describe the play "Little Red Riding Hood" by author and director Luana Gramegna, produced by Zaches Teatro from Florence (Italy), the last performance of the competition program of the Third International Festival of Professional Theatres for Children and Youth "Novi Sad Theatre Festival" (May 8-15, 2024).

The audience goes to see fairy tales expecting familiar content, so in the story of Little Red Riding Hood (who got her nickname because she persistently wore a red hat), we have certain default scenes: while bringing food to her sick grandmother, the girl meets a wolf who persuades her to pick flowers for her grandmother, because he wants to get to grandmother before the girl in order to eat her. The wolf, disguised as a grandmother, tricks Little Red Riding Hood and eats her too. The favorite version (Brothers Grimm) has the rescue hunter who pulls the grandmother and granddaughter alive from the wolf's belly, and fills the wolf with stones, while in the other version (Perrault), the story ends with Little Red Riding Hood being swallowed by the wolf. The play "Little Red Riding Hood" by the "Zaches" theater introduces quite a bit of confusion into the understanding of this story, because after the mother and Little Red Riding Hood (Enrica Zampetti, Amalia Ruocco) prepare food for the grandmother with choreographed movements (they knead the dough for an infinite time), Little Red Riding Hood heads through the forest to the grandmother's house (apparently at night?!). In the forest, she is caught by a thunderstorm, which lasts for a very, very long time and causes consternation (and tears) among most of the children in the audience (the music by Stefano Ciardi didn't sound very friendly either). A terrifying storm is accompanied by an ominous rustling of trees (shown by shadows), among which appears the outline of a wolf (Gianluca Gabriele) following Little Red Riding Hood. Their unexpected meeting (also difficult to understand) leads to certain closeness between the two (which is all the more problematic, since the wolf soon rushes to the grandmother's house where, using shadows, it swallows the grandmother). And that's where the story ends... Because, apparently, we didn't watch a fairy tale, but a dream of a little girl whose mother told her a fairy tale about Little Red Riding Hood as a bedtime story, I guess?!

Of course, it is the copyright to intervene in the given content, but I am not entirely sure that it makes sense to choose known content and then twist it beyond recognition, disrupt the atmosphere and fundamentally disrupt the relationships between the characters. I am also unclear about certain directing procedures, because while it is logical to use a mask for the character of the wolf (although the overall impression is not at all "wolfish"), I do not see why the faces of the mother and Little Red Riding Hood are hidden under the mask (the girl seems almost frantic), because that way expression of feelings is blocked (overall design by Francesco Givone).

Occasional poetic scene or a visually appealing picture were not enough to keep the attention of the little ones (7+), nor us adults (x+).

 Olga Vujović

The author is a theater critic from Croatia. She writes for www.kritikaz.com and on the portals wish.hr, fama.com.hr, virovitica.net. She is a member of the Croatian Society of Theatre Critics and Theatrologists.

The forum "What are young people looking for in the theater", which was held at the Youth Theatre, as part of the Novi Sad Theatre Festival, revealed a number of interesting details, even completely surprising for the theatre profession, about what young people would watch in the theatre, what they do watch, what their habits are regarding theatre, what it means to them and how they understand theater...

The Forum was led precisely and expertly by the playwright Divna Stojanov, and the participants – highschoolers, their teachers, actors, directors, theatre directors, journalists, professors from the Faculty of Philosophy, enjoyed and shared fantastic, extremely useful observations about our theatre.

The strongest impression from the audience is that for young people, theatre is a consolation, solace for the reality in which we live today. They go to the theatre for catharsis, which, they find in a good play. For them, it is the one that has a good story that is important to them at the moment of their life. They are delighted when all segments of the play are good, from the set design and costumes to the direction and acting.

They claimed that they are always hungry for the theater, but that they would not watch just anything. They are very versed in reading the repertoire and finding what concerns them. It is not hardship for them to watch some plays, which they like and consider exceptional, several times, and those they did not like at the first viewing, and others did - they almost always give a second chance to make up their own mind.

They go to all three theatres in Novi Sad, that is, they watch plays that are created at four theatre addresses in Novi Sad (the fourth is the "Promena (Change)" Theatre), and sometimes they take their parents to group outings to the theater as well. They prefer to watch plays in company, because then after them they can discuss what they saw, and the discussions about the plays extend into the Serbian lessons back at school.

Some of the students from the language high school said that they experience the quality of a performance - good or bad - psychosomatically. After some, they cannot come to their senses for days, because of what they had seen deeply shook them. Additionally, the plays that were not to their liking or offended them with their poor quality, they are able to argue about for hours.

For those young people, the best plays in Novi Sad include "Three Winters" at the "Promena" Theatre, "Heavenly Squad", "Lounge", "Who Killed Janis Joplin" and "Not Giving Up" at the Serbian National Theatre, then "Neoplanta" at the Novi Sad Theatre/ Ujvideki Szinhaz, and "39 Steps", "The Twelfth Night", "Hair" and "Crime and Punishment" at the Youth Theatre.

A high school graduate from the language high school, said that she watched as many as ten plays last March alone. They mainly go to the theatre with their teacher, who always chooses carefully. It seems that they like tragedies more than comedies, or so far they haven't come across any very good comedy, except for "39 Steps".

They were categorical in their dislike of commercial performances, that is, as they said, "packaged performances". They don't have a favorite director, but they tend to write to directors on Facebook if their performances have ruined their evening.

They believe that theatre teaches critical thinking and that it can help solve some - seemingly - hopeless life situations, or experiences full of dilemmas, that it can console and remind that some other people have gone through similar dilemmas and problems and that they survived them. They believe that it is important for the theater to talk about something important, which concerns them, which concerns all of us as a society, and not deal with some trivial topics. It is especially important, they pointed out, to deal with topics that are not talked about in this society.

From all that has been said, it seems that children are unfailingly able to feel and recognize quality, not only on the basis of some emotional experience, but on the basis of the factual situation on the stage, which includes all the elements of a work of art. Also, they know how to appreciate the efforts of artists.

To the questioning of the present theater creators, what they would like to see in the theatre, which topics are important to them, Professor Urban, who is largely responsible for the love that her students have for the theater, answered first. She is of the opinion that the theater does not have to and should not be adapted to young people, but that it is enough just to make good performances - to offer them the right things, which include all regular topics. These are themes of growing up, love, the disintegration of the former country and the burden left on the young generations after that historical trauma – trans-generational trauma, themes of individual and collective identity, heritage, but also themes that unite different generations, between which - through theatre, according to the students, healthy communication bridges of understanding can be built. They asserted that there are no taboo topics in the theatre.

Speaking about what is forgivable or unforgivable in a play, they said that they can forgive if some detail in the play is not right, for example costumes or scenography, as well as that they are very sorry when most of the actors are good, and some are clearly not. They wonder if those who don't try, or aren't good, are aware of it, and why someone doesn't tell them if they aren't.

The Youth Theatre, the organizer of this meeting of students and theatre creators, listened carefully to what the exceptional students from the language high school not only ask for, but also what they had to say about the theatre. The Youth Theatre will provide them with free tickets for several performances from the repertoire.

Snežana Miletić