Saša Božić (HR): BETTER LIFE

23. 9., 20:30, open rehearsal  (60′)@ &TD semicircular hall

We will embark on a dystopia of the collectiveness. We want to speak out about the fragility of the performance in order to outline the void and create myths about bodies of the theatre and bodies of the TV spectacle, and deal with the passage of time. We want to expose the fiction we encounter in the unfulfilled fantasies about the so-called better life.  As a part of the project On entertainment dealing with the relationship between performers and the audience we want to examine the promise of the fulfillment opposite to the disappointment of the failure, we want to explore ways how to include this failure to fulfill and how to put the disappointment into the function of the political force. We want to play with directness and promiscuity that are more or less typical in the relationship between performers and the audience and are missing in the big television spectacles.

Saša Božić is a director and dramaturge. He graduated from theatre directing at the Academy of Dramatic Art in Zagreb, Croatia. He acquired additional education in contemporary dance and choreography in the non-institutional educational programs. He works in different fields ranging from theater directing, dramaturgy, choreography and creating plays to organizing promotional cultural actions and strategic planning of the cultural projects.

Directed by: Saša Božić

Performers: Future: Petra Hrašćanec, Nataša Dangubić, Jerko Marčić; Game of Thrones: Ugo Korani, Boris Barukčić

Stage movement: Petra Hrašćanec

Production: de facto

Producers: Ivan Mrđen, Mario Gigović

Co-production: Student centre, University of Zagreb – Culture of Change – Theatre &TD (Ganz new festival) as a part of the project apap-Performing Europe 2020 co-founded by Creative Europe Program of the European Union.


1.What would you say Goodbyeto in the social and political context of your own city and country?

To the whole cultural politics system

2.What would you say are good (positive) practices of cultural politics in your city and country? What impact did the implementation of these practices had on the cultural scene in your city and country?