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…Predstava “Sestre po oružju” bavi se neobičnim ljudskim sudbinama, dalekim kulturama koje su se srele na našem području, ogromnim razlikama u običajima i navikama, ali i zajedničkim osobinama hrabrosti, požrtvovanja i humanosti. Ispričana je kroz ženski rukopis i ukazuje, pre svega, na besmisao rata, na njegovu strahotu i nakaznost, uz veličanje pojedinačnih primera plemenitosti i čovečnosti i prikazivanje ličnih sudbina isprepletanih u kovitlacu svetskih dešavanja…

B.G.Trebješanin, Politika 20.08.2014.

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U Bitef teatru izvedena je predstava “Sestre po oružju” Sanje Krsmanović Tasić, koja je ostavila snažan utisak neobičnog, jedinstvenog pristupa istraživačkog projekta. Glumci sa Novog Zelanda i iz Beograda ispričali su nam ukrštenu priču o Prvom svetskom ratu kroz dokumentarizam i lične istine. Istorijski trenutak u Srbiji oživljava lik ratnice Sofije Jovanović, koju igra njena praunuka Anastasia Tasić. Veoma spontano odvijaju se sudbinske priče o ženama, o običajima i sve se prožima u završnoj sceni fusnota, kada publika postavlja pitanja i dobija odgovore aktera.“

Nela Antonovic “DANAS”


In BITEF Theatre the performance “Sisters in Arms” directed by Sanja Krsmanovic Tasic was performed, and left a strong impression of an unusual, unique approach to a research project. Actors from New Zealand and Belgrade told us the intervened story about World War One through documentarism and personal histories. The historical moment in Serbia is brought to life by the character of Sofija Jovanovic played by her own great granddaughter. In a most spontaneous way fatal stories about women and customs, and all is condensed in the last scene of endnotes, where the audience asks questions and gets answers of the performers.”

Nela Antonovic “Danas”, Bitef Polyphony, Belgrade

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