Obe autorke veruju da se istorija krije u sudbini individue; da strahota rata mora biti ispričana rame uz rame sa ličnim pričama prave hrabrosti i velikodušnosti. Priče koje” Sestre po oružju” otkrivaju kroz uzbudljivi fizički teatar i živu muziku, pokazuju ovu hrabrost.(…)

Mali čamci koji prenose upaljene sveće I koje glumci vuku preko bine predstavljaju vojnike koji plove u rat. Ironična repeticija kačenja ordenja podvlači okrutni apsurd vojne ceremonije. Ushićuje me način na koji je telo ranjenog vojnika nošeno od strane svih članova trupe, konstantno premišljajući sve načine na koje ljudsko telo može biti podupreto od strane drugog ljudskog tela.(…)

U predstavi “Sestre po oružju “ otkrivamo jedan direktan, skoro skroman pristup, ali tako uglačan i inovativan. Njihova laka konunikacija sa publikom se završava sa fusnotama. Dvadesetak tema je projektovano na zidu, dok glumci sede ispred nas i pozivaju naša pitanja. Mi biramo da čujemo o srpskim običajima; kada su igrali u Srbiji, publika je želela da sazna nešto više o “ haki”.

Ovo je trascdentno pozorište koje uspeva u tome da ostvari svoj cilj, pomažući ljudima da se međusobno razumeju, zaustavljajući krugove rata i nasilja. Publika je entuzijastična u svom aplauzu. Ovo delo je neverovatno važno. Uzeti nešto strašno kao rat i od toga stvoriti nešto toliko pokretačko i potresno.”

Teri Mekteviš, “Theatre Review”, Dunedin Arts Festival


 

Theatre has always the power to be a dialogue with the dead… A plea for witnessing truth,” says Sanja Krsmanović Tasić, director of Hleb Teatar in Belgrade, Serbia.

This uplifting sense of mission animates Sisters in Arms, the stirring new work of Hleb (Bread) Teatar and its New Zealand collaborator, Ake Ake Theatre Company. Kudos to Creative NZ WW1 Centenary Fund for recognising the worth of supporting this memorable partnership.(…)

Both women, Sanja Krsmanović Tasić and Jessica Latton, believe true history lies in the fate of the individual; that the horror of war must be set against personal stories of real bravery and generosity. The stories that Sisters in Arms unfolds through thrilling physical theatre, accompanied by live music, exemplify this high courage.(…)

Little boats carrying lit candles are towed across the stage to represent the soldiers sailing to war. An ironic repetition of pinning on medals underlines the cruel absurdity of the ceremony. I am enraptured by the way the body of a wounded soldier is carried by each member of the company in turn, transferring the weight, constantly reinventing achingly beautiful ways for bodies to support bodies.(…)

This is transcendent theatre that goes a long way towards the stated aim of helping people understand people, of stopping the circles of war and violence that keep repeating. The audience is enthusiastic in its applause. My mother, a blur of ethereal silver hair in the dark beside me (a dancer herself, who claims she trod grapes in Serbia in the 1930s), says emphatically, “This is significant. To take something as terrible as war and create something so moving, that is significant.”

Terry MacTavish, Dunedin Arts Festival

Advertisements

Vrhunac predstave “Sestre po oružju” je uključivanje “fusnota”, liste koja se pojavljuje na kraju nakon izvođenja predstave, sa svim konceptima koje je predstava istražila. Publika je pozvana da izabere pet odrednica koje zatim glumci objašnjavaju. Pojmovi su, na primer: “Genetsko pamćenje”, “Mihi” ili “Anzak”. Ovo je pravi kraj predstave koja navodi na promišljanje .”

Edrijen Metjus, “Theatre Review”, Nelson Arts Festival


 

Every culture has its own unique history, shaped by monumental events. In Sisters in Arms, the individual is given permission to speak their own and their family’s history. Surprisingly, for two such vastly different cultures, the stories have many similarities.

This gives permission, not just to the actors but also the audience, to explore their own history, realizing that each is as important and as valid as the other. This is a fundamental strength of this work. It is a profound realization that different cultures, and the characters within these cultural groups, can experience the same event in remarkably similar ways, despite being at opposite ends of the globe and, in this case, hundreds of years old (Serbia) and very recent (NZ).

The cast are very physical and every story is represented by carefully choreographed movement with live music providing a haunting accompaniment to the stories which are both spoken and sung. The props are simple yet each is imbued with great meaning.

A highlight of Sisters in Arms is the inclusion of ‘End Notes’, a list that appears on the screen at the play’s conclusion with all the concepts explored in the work. The audience are then asked to choose five items that the players then offer discourse on. Examples are ‘Genetic Memory’, ‘Mihi’ and ‘Anzac’. This is a fitting end to a thought-provoking show and serves to give more flesh to the meaning and experiences behind these concepts.”

Adrienne Matthews, “ Theatre Review”, Nelson Arts Festival

Pažljivo titlovana, ova predstava je sva sastavljena od dobro uklopljenog pokreta, uključujući fantastične akrobacije i fizičkih deonica. Ansambl od šest svestranih izvođača je upečatljivo odglumio mnoštvo uloga.”

Đžudit Paviel, The Nelson Mail


 

Aptly sub-titled, the production was all well-timed movement, including some amazingly stylish acrobatics and physicality. The versatile cast of six gave striking performances in multiple roles.

Rhys Latton’s strength and athleticism were commanding attributes. As well as acting, Jugoslav Hadzić led the atmospheric accompaniment on piano accordion, while diminutive, feisty Anastasia Tasić’ full, earthy voice also led on vocals, along with Jessica Latton, (Ngati Porou, Waitaha) who played the medical lead roles.

Tall, blonde Sanja Krsmanović Tasić was an anchoring presence in this impressive team.

At the end the cast invited the packed audience to choose from a list of 20 end-notes they’d like better explained, which helped connect more dots.”

Judith Paviell, ”The Nelson Mail”