The novel WHY ARE YOU SLEEPING ON THE FLOOR is a brilliant and complete prose work (and the whole, says the teacher, is something to which nothing can be added or taken away without disturbing the harmony), so we have given ourselves the freedom to often deviate from the text in the translation from literary to theatrical language, novel to get closer to him. And we were interested in the world of novels. Hence the director's key intervention - the presence of the writer in the role of the Writer, who writes down, organizes and changes his memories in front of us.

GRANDMA HANA: „Sit and write, Darko! The world will not build itself."

In building the world of the play, we all contributed at least one brick at a time, which for the dramaturgical work on the play (Dubravko Mihanović and I) meant to a great extent - observation, absorption, selection and gentle guidance of material that is bigger and heavier than ourselves, that is alive in the writer, which is challenging even to carry collectively because of the importance of the message it carries, and which is so fragile because it arises from the memory of the war.

DARKO: „I wrote down that nothing would ever hurt him again. That nothing would ever hurt anyone again!"

Nobody. Nothing.


That's why we told this story. - Mina Petrić, dramaturge

Novi Sad Serbian National Theatre (SRB), City Drama Theatre Gavella (CRO), Sarajevo National Theatre (BIH) / MESS (BIH)
Directed by: Kokan Mladenović


Performed in Serbian, with Hungarian, Romanian and English surtitles

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