Choreography: Igor Kirov<\/p>\n
Composer: Irena Popovi\u0107 Dragovi\u0107<\/p>\n
Playwriting: \u0110or\u0111e Kosi\u0107<\/p>\n
Stage design: Vesna Popovi\u0107<\/p>\n
Costume design: Dragica Lau\u0161evi\u0107<\/p>\n
Video design: Sanjin \u0106orovi\u0107<\/p>\n
Cast: Danilo Fati\u0107, Olga Crnoseljanski, Dejan Bo\u0161kovi\u0107, Olga Ol\u0107an, Emanuele Frigo, Ivan \u0106osi\u0107, Gala Pamu\u010dar, Aleksandar Polupanov, Sara Pamu\u010dar<\/p>\n
Musicians: Ivan Mirkovi\u0107 (accordion), Nikola Dragovi\u0107 (violin), Aleksandar Jovan Krsti\u0107(flute, saxophone, recorder)<\/p>\n
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In the words of the choreographer:<\/p>\n
\u201cWhy the idea of dancing to the rhythm of Njego\u0161\u2019s words?\u201d- is the question I often get since I\u2019ve announced I will be doing this play. My answer is simple: because Njego\u0161 doesn\u2019t represent mere words- but also \u00a0movements.<\/p>\n
From the first time I\u2019ve read the poem \u201cNo\u0107 skuplja vijeka\u201d (\u201cA Night More Precious than a Century\u201d), its lyrics were not just words on a piece of paper for me. I saw bodies flickering in the moonlight, hands spreading towards something insurmountable, touches that last longer than a split second. It wasn\u2019t the issue of how strong the impact of the \u00a0words on \u00a0the reader was, though it wasn\u2019t to be dismissed. It was the silence in between\u201d. It was that space in which a man remains alone with his\/her definitive fate. It is not without reason that the song\u2019s space, the void, the night, the silence- became the perfect stage for expressing oneself in movement. \u00a0A poem tackling the issues concerning the clash between the earthly and the divine- a night more precious than a century is not literature- it\u2019s a choreography written in words.<\/p>\n
A play titled \u201cNo\u0107 skuplja vijeka\u201d (A Night More Precious than a Century) is a contemporary dancing dialog in which Njego\u0161\u2019s presence can be felt. The dancers don\u2019t just interpret the characters- they become feelings themselves: longing, passion, loneliness, eternity. I want the audience to feel that a moment in art- a movement, a breath of a passing second, one single lyric could be worth more than an entire year. The purpose of the project is to freeze the passing time even just for an hour- just like Njego\u0161 did in his poem. Man is standing in front of the universe- naked, alone, mortal. It is not a state to be described, but one that could only be expressed in dancing through movement, breath and the weight of the body that falls but never \u00a0fails to rise time and time again. My choreography doesn\u2019t follow a certain narrative structure. It follows a pulse- that internal rhythm bordering on the verge of fear and bravery, darkness and light, earth and sky. Each and every movement in this play represents a certain question and each silence an answer which struggles to but never gets answered.<\/p>\n
Nine dancers, three musicians and twelve points in space that come together and fall apart continually. The dancers are not just characters but represent states: uneasiness, longing, realization and acceptance. Their bodies are not just bodies- they serve as maps of one\u2019s entire inner world. When a hand reaches towards the other one but they never touch- it\u2019s not in vain. It tells us the truth about the human loneliness in the universe.<\/p>\n
Let this night be more precious than a century to you.<\/p>\n
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![\"\"](\"https:\/\/gradteatar.me\/wp-content\/uploads\/2026\/06\/noc-skuplja-vijeka-2--300x294.jpg\")
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