{"id":71,"date":"2021-09-08T15:09:01","date_gmt":"2021-09-08T15:09:01","guid":{"rendered":"https:\/\/jasnajasnazmak.net\/?page_id=71"},"modified":"2026-01-23T17:12:39","modified_gmt":"2026-01-23T17:12:39","slug":"izvedba","status":"publish","type":"page","link":"https:\/\/jasnajasnazmak.net\/en\/izvedba\/","title":{"rendered":"performing arts"},"content":{"rendered":"\n
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AUTORSKI PROJEKTI<\/a><\/div>\n<\/div>\n<\/div>\n\n\n\n
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this is my truth, tell me yours (2023)<\/a><\/strong><\/p>\n\n\n\n

Iako naizgled nepovezane, teme tinitusa i patrijarhata postaju centralne okosnice ove predstave koja operira na granici stand-upa i izvedbenog predavanja. Staju\u0107i prvi put na scenu u ulozi izvo\u0111a\u010dice, \u017dmak se bavi pitanjima istinitosti i reprezentacije, participativnosti i odgovornosti, provode\u0107i nas kroz vlastita dramatur\u0161ka i seksualna iskustva postavljaju\u0107i pritom sebi i publici pitanja o va\u017enosti i smislu umjetni\u010dke proizvodnje u doba divljeg kapitalizma.<\/em><\/p>\n<\/div>\n<\/div>\n\n\n\n

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TEKSTOVI ZA IZVEDBU<\/a><\/div>\n<\/div>\n<\/div>\n\n\n\n
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Matija Ferlin<\/a><\/strong><\/p>\n\n\n\n

Samice (2011)<\/a><\/strong><\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n

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Matija Ferlin<\/a><\/strong><\/p>\n\n\n\n

The Other at the Same Time (2012)<\/strong><\/a><\/p>\n<\/div><\/div>\n\n\n\n

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TEKSTOVI ZA DJECU<\/a><\/div>\n<\/div>\n<\/div>\n\n\n\n
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Hrvoje Korbar<\/a><\/strong><\/p>\n\n\n\n

Tepih na ra\u017enju (2024)<\/a><\/strong><\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n

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An\u0111elka Nikoli\u0107<\/a><\/strong><\/p>\n\n\n\n

Pisma na kraju \u0161ume (2024)<\/strong><\/a><\/p>\n<\/div><\/div>\n\n\n\n

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DRAMATURGIJE<\/a><\/div>\n<\/div>\n<\/div>\n\n\n\n
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Barbara Kukovec & Minca Lorenci<\/a><\/strong><\/p>\n\n\n\n

Pissed (2026)<\/a><\/strong><\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n

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Mia \u0160tark<\/a><\/strong><\/p>\n\n\n\n

I bit \u0107u ovdje da vam pomognem (2024)<\/a><\/strong><\/p>\n<\/div><\/div>\n\n\n\n

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Irma Omerzo<\/a><\/strong><\/p>\n\n\n\n

Redukcija (2023)<\/a><\/strong><\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n

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Nastasja \u0160tefani\u0107 Kralj & Matija Kralj \u0160tefani\u0107<\/a><\/strong><\/p>\n\n\n\n

Moja babusja ne poznaje izraz biopower (2022)<\/a><\/strong><\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n

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Irma Omerzo<\/a><\/strong><\/p>\n\n\n\n

Nevidljivi (ples) (2021)<\/a><\/strong><\/p>\n<\/div><\/div>\n<\/div>\n<\/div>\n<\/div><\/div>\n\n\n\n

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Koraljka Begovi\u0107 & Jasna Jasna \u017dmak<\/a><\/strong><\/p>\n\n\n\n

Playing Reality (2020)<\/a><\/strong><\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n

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Irma Omerzo<\/a><\/strong><\/p>\n\n\n\n

Spektakl (2020)<\/a><\/strong><\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n

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Romano Nikoli\u0107<\/a><\/strong><\/p>\n\n\n\n

Posljedice (2018)<\/a><\/strong><\/p>\n<\/div><\/div>\n<\/div>\n<\/div>\n<\/div><\/div>\n\n\n\n

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Irma Omerzo<\/a><\/strong><\/p>\n\n\n\n

Opna (2018)<\/a><\/strong><\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n

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Matija Ferlin<\/a><\/strong><\/p>\n\n\n\n

Staging a Play: Tartuffe (2017)<\/a><\/strong><\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n

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Maja Pelevi\u0107 & Igor Koruga<\/a><\/strong><\/p>\n\n\n\n

Nema nade (2017)<\/a><\/strong><\/p>\n<\/div><\/div>\n<\/div>\n<\/div>\n\n\n\n

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Matija Ferlin<\/a><\/strong><\/p>\n\n\n\n

Mi smo kraljevi a ne ljudi (2015)<\/a><\/strong><\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n

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Borut \u0160eparovi\u0107<\/a><\/strong><\/p>\n\n\n\n

55+ (2012)<\/a><\/strong><\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n

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Oliver Frlji\u0107<\/a><\/strong><\/p>\n\n\n\n

Leksikon YU mitologije (2011)<\/a><\/strong><\/p>\n<\/div><\/div>\n<\/div>\n<\/div>\n<\/div><\/div>\n\n\n\n

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Oliver Frlji\u0107<\/a><\/strong><\/p>\n\n\n\n

Bu\u0111enje prolje\u0107a (2010)<\/a><\/strong><\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n

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Borut \u0160eparovi\u0107<\/a><\/strong><\/p>\n\n\n\n

I fuck on the first date (2009)<\/a><\/strong><\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n

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Borut \u0160eparovi\u0107<\/strong><\/a><\/p>\n\n\n\n

t-faktor (2009)<\/a><\/strong><\/p>\n<\/div><\/div>\n<\/div>\n<\/div>\n\n\n\n

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Borut \u0160eparovi\u0107<\/a><\/strong><\/p>\n\n\n\n

Timbuktu (2008)<\/a><\/strong><\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n

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IZVO\u0110A\u010cICA<\/a><\/div>\n<\/div>\n<\/div>\n\n\n\n
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Oliver Frlji\u0107<\/a><\/strong><\/p>\n\n\n\n

Leksikon YU mitologije (2011)<\/a><\/strong><\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n

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Oliver Frlji\u0107 & Borut \u0160eparovi\u0107<\/a><\/strong><\/p>\n\n\n\n

Zagreb no\u0107u (2009)<\/a><\/strong><\/p>\n<\/div><\/div>\n<\/div>\n<\/div>\n<\/div><\/div>\n\n\n\n

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ISTRA\u017dIVA\u010cKI PROJEKTI<\/a><\/div>\n<\/div>\n<\/div>\n\n\n\n
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Ana Fazeka\u0161, Nina Goji\u0107, Bojan Mucko & Jasna Jasna \u017dmak<\/a><\/strong><\/p>\n\n\n\n

Coworking (2022)<\/a><\/strong><\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n

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Zrinka U\u017ebinec<\/a><\/strong><\/p>\n\n\n\n

O ljupkoj i nasilju (2021)<\/a><\/strong><\/p>\n<\/div><\/div>\n<\/div>\n<\/div>\n<\/div><\/div>\n\n\n\n

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Igor Koruga & Jasna Jasna \u017dmak<\/a><\/strong><\/p>\n\n\n\n

Koreografija smrti u partizanskom filmu (2019)<\/a><\/strong><\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n

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Ivana M\u00fcller<\/a><\/strong><\/p>\n\n\n\n

O!Glasu (2015\/2016)<\/a><\/strong><\/p>\n<\/div><\/div>\n<\/div>\n<\/div>\n<\/div><\/div>\n\n\n\n

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RADIONICE<\/a><\/div>\n<\/div>\n<\/div>\n\n\n\n
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Keep Your Darlings, Kill Your Idols (2025)<\/strong><\/strong><\/p>\n\n\n\n

AGRFT, Ljubljana<\/strong><\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n

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CLICK HERE TO APPLY (2024)<\/a><\/strong><\/strong><\/p>\n\n\n\n

Tiiiit! Inc., Skopje<\/strong><\/p>\n<\/div><\/div>\n<\/div>\n<\/div>\n<\/div><\/div>\n\n\n\n

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Znam \u0161to si radila pro\u0161le sezone (2023-2024)<\/a><\/strong><\/strong><\/p>\n\n\n\n

Modularna \u0161kola, Nomadska plesna akademija, Zagreb<\/strong><\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n

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Olga Dimitrijevi\u0107, Maja Pelevi\u0107 & Jasna Jasna \u017dmak: Contemporary Heroines in Theater Practices<\/a><\/strong><\/strong><\/p>\n\n\n\n

WPI Women Playwrights International, Santiago de Chile<\/a> (2018)<\/a><\/strong><\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n

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Ma\u0161a Grde\u0161i\u0107 & Jasna Jasna \u017dmak: <\/strong><\/a>Draga rodna ideologijo \u2013 perfomativnost epistolarnih feministi\u010dkih narativa<\/a><\/strong><\/strong><\/p>\n\n\n\n

Kreativni kriti\u010dki laboratorij, Zagreb (2018)<\/a><\/strong><\/p>\n<\/div><\/div>\n<\/div>\n<\/div>\n\n\n\n

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Petar Odak & Jasna Jasna \u017dmak: <\/a>POW! Izvedba homoeroti\u010dnosti u stripu<\/strong><\/a><\/strong><\/p>\n\n\n\n

AUT LGBTQ konferencija, Zagreb (2016)<\/strong><\/a><\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n

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Konstantina Georgelou & Jasna \u017dmak: <\/a>Performing Lectures <\/a><\/strong><\/strong><\/p>\n\n\n\n

HZT Berlin (2013)<\/a><\/strong><\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n

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Ivana Ivkovi\u0107, Rok Vevar, Jasna Jasna \u017dmak: <\/strong><\/a>Dramaturgical Workshop for Young Dramaturgs<\/a><\/strong><\/strong><\/p>\n\n\n\n

Pleskavica festival, Ljubljana (2011)<\/a><\/p>\n<\/div><\/div>\n<\/div>\n<\/div>\n\n\n\n

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TRIBINE<\/a><\/div>\n<\/div>\n\n\n\n