The National Theatre of Republika Srpska

Milena Marković

Šine (Tracks) (16+)

Direction: Milan Nešković

Dramaturgy: Aleksandar Vasiljević

Stage design: Dragana Purković Macan

Costume design: Marija Tavčar

Music concept, the choice of music and arrangements: Boris Šavija

Music consultant: Dušan Pokrajčić

Stage movement: Emir Fejzić

Cast: Danilo Kerkez, Ilija Ivanović, Vojin Topalović, Senad Milanović, Anando Čenić, Anđela Rakočević, Dragana Marić, Anđela Tasić, Dana Poletan, Sandra Pravuljac, Boris Šavija, Vladimir Đorđević

Milena Marković’s 2002 play Tracks is one of those dramas that withstand the test of time, maintaining its relevance over many years. Through Milena’s authentic approach to dramatic structure, which spans eleven scenes, she manages to successfully  portray three distinct periods: the pre-war, wartime and post-war one. And  it is precisely with the use of these three periods that, in a brilliant manner, she succeeds in  providing us with a wide array of characters. What is specific of her is that each of the characters’ developmental arcs is dependent, in the most part, on  the circumstances they come face to face with along the way. Synthesizing a plethora of dramatic situations  within a narrative this complex, offers one the unique opportunity for exploring  the anxieties continually afflicting the protagonists from their teenage years and early adolescence, all the way to the more mature years. Are those inner emotional scars no different than the physical ones, having been inflicted on us simply because someone dictated that we shall stand divided, denying in  the process the fact that we are  all humans of flesh and blood? The question of will  we ever be  granted as much as an opportunity to answer for and redeem our sins still remains. Has God finally looked upon us, as the Hero recounts in this play? This is a story which tackles the topic of four different types of love, interconnected with  hope which stems from  great helplessness, confusion and irrationality, all unmistakably present at the climax of each and every scene. And that hope, in fact, always holds a little trickle of light reserved for change. What could be gathered from all this is the notion that not all tracks lead to ruin, but some are just the path to enlightenment.

In the words of Aleksandar Vasiljević, responsible for the play’s dramaturgy

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