Last week, the Depo.ba portal published a highly commendable review by the famous BH theater critic Indira Kučuk Sorguč.
We are proud that the play we produced with heart and soul with the team of Kamerni Teatar 55 was so expertly analyzed and every aspect of it was given the highest rating. We highlight:
“The play StećakLand, performed in Chamber Theater 55, directed by Kenan Kulenović, represents a rare and precious example of intermediate, post-drama theater in the cultural space of Bosnia and Herzegovina. It is a project that does not thematize the past as a narrative that is explained, but as an experience that is activated — through the body, voice, image, technology and memory.
In this sense, “StećakLand” can be understood as a theater of cultural memory, as defined by Jan Assmann: not as a mere transmission of historical facts, but as a symbolic space in which collective identity is constantly renewed through ritual, art and affect. Stećci, epigraphs, voices and virtual landscapes serve not only to inform the audience, but to remember, in its deepest, existential sense.
Selma Alispahić stands out on stage; her acting expression is suggestive and expressive, undoubtedly carrying the emotional and symbolic weight of the play. Her presence does not depend solely on verbal expression; she gesturally and rhythmically articulates the inner state of the characters, which allows her to move from the real to the virtual dimension with ease. This transitional weave of acting expression reflects the fundamental close connection between the body and the media in contemporary performing arts. |
The play is technically demanding, but imaginatively liberating; for the audience, it is not just a dramatic work, but an experience of memory and imagination. “StećakLand” confirms that theatre can be relevant, reflective and aesthetically courageous even in the digital era.
Special congratulations go to the author of the project Selma Rizvić and the Digi.ba Association, as well as to all the artists and the design team, without whose coordination and visionary approach this synthesis of theatre and digital culture would not have been possible. Thank you to them for making it possible for the past of Bosnia not only to be seen, but also to be brought to life and experienced through an immersive experience.
The audience also recognized this, rewarding it with their presence, and leaving the play satisfied and wondering what is so magical and valuable about this Bosnia that everyone is clamoring for it.”
