Since its foundation in 2002, we have produced and co-produced several theater performances, among which; “One flew Over the Kosovo Theater”, “Yue Madeleine Yue”, “Patriotic Hypermarket”, “The Last Supper”, “War in Times of Love”, “Travel to UNMIKISTAN”, “Enea 06”, “Love. State. Kosovo” “The Demolition of the Eiffel Tower” etc.
We create fresh and innovative theater performances that communicate across lingual and cultural borders and brings these performances to diverse audiences locally and internationally
Some of the theaters and companies with which we have cooperated with are: Volkstheater, Vienna; Markus Zohner Theater Compagnie, Lugano; Nomad theater, London; L'Espace d'un instant, Paris; National Theater of Kosovo, Prishtina; Bitef Theater, Belgrade; CZKD, Belgrade; Oda Theater, Prishtina; National Theater of Albania, Tirana; CTC, Skopje etc.
Our productions have been presented in various festivals throughout Europe, including: Euro-scene Leipzig; Die Besten aus dem Osten, Vienna; Via Modena - Italy; FIT Lugano; Zoom Festival - Croatia; International Theater Festival “JoakimInterFest” Kragujevac - Serbia; Spielart Festival München, Zürcher Theater Spektakel - Switzerland, CULTURESCAPES - Switzerland, Desire Festival Novi Sad - Serbia, Exponto International Theatre Festival – Lubljana ect.
Written by: Jeton Neziraj and Michael Devine
Director: Michael Devine
Actors:
Basri Lushtaku
Anisa Ismaili
Arta Selimi
Shkelzen Veseli
Costumes and scene design: Edi Agagjyshi
Soundscape: Michael Devine
Artistic director: Jeton Neziraj
Production manager: Arben Zharku
Graphic design: Agon Çeta
Translator of the plays: Blendi Kraja
Poster concept: Michael Devine
Coordinator: Zoga Çeta
Light: Skender Latifi
Aeneas 06 is a project that was initiated by Jeton Neziraj and Michael Devine in October 2005. We were interested in the approaches two playwrights from different cultures might take to the legend of Aeneas. The Aeneid was chosen as a basis for our work because of its historical connection to the land of the Illyrians, and because of its use, by the Romans, as a kind of ur-text for their national identity.
Questions of nationhood, nationality, and cultural identity are always of pressing interest in the Balkans, and no more so than in Kosova. Our intention was not to produce polemical texts, but to ask questions about what these terms mean and how they are used. In this sense the plays are political, as all responsible plays are; not in the sense of taking one side and demonizing the other, but by portraying the cost paid by all sides in conflicts of identity….
