• “A theater [Qendra Multimedia] in Kosovo is not afraid of using art to confront entrenched prejudices and to build empathy” – George Soros

  • “Brave and honest theater performance. One of the most interesting theater company from the South Eastern Europe” – Kazaliste.Hr

  • “...a true story that sets an example for all the hope for freedom, happiness and prosperity in the Europe of our days. And the disappointment.” - Frankfurter Allgemeine Zeitung

  • “This is not the first attempt to use cultural events to bridge the gap between the countries. Polip, a literary festival in Pristina, first held in 2010, has Serbian writers among those regularly invited to participate.” - The Guardian

  • “…the play is an explosion of burlesque, music and possibly offensive humor; it is simply a riot.” - Prishtina Insight

  • “A Play with Four Actors and Some Pigs...,” […] is a playfully absurd, crude, and incredibly clever portrayal of Kosovo’s political scene.” - The Theater Times

In Paradise artists can fly



postdramatic musical performance

Concept and composition: Gabriele Marangoni
Text: Jeton Neziraj
Critical interventions: Anna Maria Monteverdi
Conductor: Dario Garegnani
Soprano: Federica Napoletani
Viol: Susanna Tognella
Harmonic: Ylenia Volpe
Percussion: Komugi Matsukawa

Sound and lighting: Dargo Raimondi
Coordinator for Kosovo: Lendita Idrizi
Technical collaborator: Denis Berisha

Photo by: Elisabeth Wiegner
Produced by: Qendra Multimedia, Prishtina


“In Paradise Artists can fly” was created as an experimental musical performance from September to November 2014, with artists from Kosovo and Italy.

The world premiere was held in “Adriana” Theater in Ferizaj (Kosovo), and further performances were presented in different cities in Kosovo and in Italy.


“in paradise artists can fly” is a postdramatic text made up of four performative and musical scenes, which, within the concept of “diffraction” do generate sensations, images, sounds and words.
The written text of this performance creates a new frame of context when met with musical rhythms, soprano vocal, gestures and other performative and musical elements. In fact, this “new performative context” is experimental and the final result is the consummation of a process of research and harmonization of the entire creative arsenal at our disposal: words, musical instruments, the bodies of musicians/performers, voice, space, images, and other elements.
By collecting words from two different sets of experiences and circumstances, the text aims to become a sign that reflects the differences between a world “being born” and a world “growing old.” What gets born and what grows old in Prishtina and Milan, two cities that served as our runways of research and exploration? The colors of the facades, the customs, the monuments, the parks, the smoke, the movement of people, the landscape, the heads of stray dogs, the walks, the legends, the noise, the running, the yelling, and many other things differ in Prishtina and Milan.
The four scenes of this postdramatic performance do assemble direct experiences, be they paradoxical, comical, irrational, or any other kind. But first and foremost, the scenes are entertaining…