The fifth festival of drama and theater “Theatre at the Crossroads”, like all the previous ones, is organized with the aim of promoting togetherness and respect for diversity, otherness, particularities, opposites of peoples and countries whose existence is rooted, first of all, in the spiritual determinant “Balkan cultural space”.

At the same time, thanks to the smallest common factor – the theater, it is a representative of exceptional artistic reach and a good example of the permeation and togetherness that belong to the Balkan crossroads and, in particular, opens up the possibility for re-examining the relationship of the theater from these areas to historical time, and the society belonging to it, its ethics and aesthetics.

Therefore, this year’s “Theatre at the Crossroads” does not talk about grand narratives and bom- bastic thematic problems of society, which often echo emptyly in theater and nontheatre spaces, but focuses attention on the individual and his immediate environment.

Antigone from Nova Gorica tells us about the world after the war and the creation of new idols; Saturday, Sunday and Monday of the Kerempuh theater ironizes the lack of communication and brings to the limit the absurdity of business obligations and private lives of three generations of the Priore family; Mister Dollar of the National Theater in Belgrade deludes the so-called wider society to the level of individual primitivism and gluttony; the biographical drama the Poetess of the CI New Fortress Theater and the Serbian National Theater juxtaposes the personal and the historical; the Bald Soprano of the Tivat Culture Center plays with everyday life emphasizing the senselessness of stories about anything; the Elementary Particles of the Ivan Vazov National Theatre of Bulgaria talks about the impossibility/possibility of love in the age of hyper technology.

Even from this, in purpose of the limited and simplified introduction to the competition program of the fifth “Theatre at the Crossroads”, one can sense that the theater detects the absence of human awareness of personal responsibility. No matter how close we are to or already are in some kind of all-out world war and madness, the spaces that are not directly involved in the suffering live as if the whole world wants to be only wonderful and graceful.

Or to quote the words of Scarlett O’Hara: “Tomorrow is a new day.” I’ll think about it tomorrow.”