Radio Televizija Srbije – Radio Television of Serbia

Radio Beograd - Radio Belgrade

Dramski program - Drama department

Dejan Aleksić:

MUZIKA TRAŽI UŠI

MUSIC SEEKS EARS

Radio drama - Radio play

UK Radio Drama Festival 2019

Radio Televizija Srbije

Radio Beograd

Redakcija Dramskog programa

Autor: Dejan Aleksić:

Naslov: MUZIKA TRAŽI UŠI

Reditelj: Andjelka Nikolić

Urednica: Melina Pota Koljević

Autorka dramatizacije: Kristina Djuković

Muzički saradnik: Dragan Mitrić

Dizajner zvuka: Milan Filipović

Lektor: Nataša Šuljagić

Premijera: 21 maj 2017

Trajanje: 27’10’’

Prevod: Nataša Vujnović

LICA:

Uroš Jakovljević........Doktor

Milica Janketić...........Prazna Priča

Milan Mihailović........Golub, Policajac, Pećinski Čovek, Prvi Vrabac

Dejan Dedić................Dečak, Pećinska Žena, Zmaj, Drugi Vrabac

Teodora Živanović......Prosjakinja, Pećinski Dečak

Radio Television of Serbia

Radio Belgarde

Radio Drama Department

Author: Dejan Aleksić:

Title: MUSIC SEEKS EARS

Director: Andjelka Nikolić

Program editor: Melina Pota Koljević

Author of dramatization: Kristina Djuković

Music editor: Dragan Mitrić

Sound designer: Milan Filipović

Proof reader: Nataša Šuljagić

Premiere: 21 maj 2017

Duration: 27’10’’

Translation: Nataša Vujnović

Characters:

Uroš Jakovljević........Doctor

Milica Janketić...........Empty Story

Milan Mihailović........Pigeon, Policeman, Cave Man, First Sparrow

Dejan Dedić................Boy, Cave Woman, Dragon, Second Sparrow

Teodora Živanović......Old Woman, Cave Boy

DEJAN ALEKSIĆ, autor

Dejan Aleksić, rođen 1972, pesnik, dramski pisac i autor knjiga za decu.

Osnovno i srednje obrazovanje završio je u Kraljevu. Diplomirao je na Filozofskom

univerzitetu, na Katedri za srpski jezik i književnost u Novom Sadu.

Objavio je devet zbirki poezije i više od petnaest knjiga za decu.

Već s prvom knjigom, objavljenom 1999, dobija priznanje čitalačke publike i

književne kritike. U narednim godinama postao je jedan od vodećih predstavnika svoje

generacije i od tada zauzima značajno mesto na pesničkoj sceni. Za svoje književno delo dobio

je najistaknutije nagrade i priznanja u Srbiji i inostranstvu.

Njegove pesme su prevedene na engleski, poljski, makedonski, španski, bugarski

jezik…

Gostovao je na mnogim festivalima poezije u Nemačkoj, Francuskoj, Švedskoj,

Poljskoj, Bosni i Hercegovini, Makedoniji, Crnoj Gori i Bugarskoj.

Pored poezije piše knjige za decu unoseći novu poetiku, ideje i senzibilitet u ovo

književno polje. Književni kritičari tvrde da je on naslednik pisaca koji su ostvarili najviša

dostignuća u srpskoj književnosti za decu. Neka njegova književna dela za decu i mlade su

deo obavezne lektire za osnovnu školu. Dobio je nagradu „Bele vrane“ za zbirku pripovedaka

Koga se tiče kako žive priče, 2015, koju dodeljuje Međunarodna biblioteka za omladinu

(Minhen, Nemačka). Time je njegova knjiga uvrštena u najboljih sto knjiga za decu u svetu.

Radi kao glavni urednik u izdavačkoj kući “Povelja”, pri Narodnoj biblioteci “Stefan

Prvovenčani” u Kraljevu. “Povelja” trenutno predstavlja najznačajnijeg izdavača poezije u

Srbiji.

DEJAN ALEKSIĆ, author

Dejan Aleksic, born in 1972, is a poet, play writer and an author of chidlren literature

books.

He finished his elementary and secondary school in Kraljevo. He graduated from the

University of Philosophy, the Department for Serbian Literature and Language, in Novi Sad.

He published nine poetry books and over fifteen books for children.

With his first book, published in 1999, he had already acquired recognitions of reading

public and literature critics. In the following years he had become one of the leading

representatives of his generation and since then he has taken an important place on the poetry

scene. For his literary works he was awarded with the most significant rewards and

recognitions in Serbia and abroad.

His poems were translated into English, French, Polish, Macedonian, Spanish,

Bulgarian…

He was a guest at many poetry festivals in Germany, France, Sweden, Poland, Croatia,

Bosnia and Herzegovina, Macedonia, Montenegro and Bulgaria.

Along with the poetry he creates literature for children, bringing new poetics, ideas

and sensitivity into this literary field. Literary critics claim he is the descended of the writers

who settled the highest achievements in Serbian literature for children. Some of his literary

works for children and the young are in obligatory reading books for elementary schools. He

was awarded with the prize `White raven` for the book of stories Koga se tice kako zive price

in 2015, which was given by International Youth Library (Munich, Germany). That fact

places this book among the 100 world best books for children.

He works as the Editor in Chief of the Publishing Office `Povelja`, in the Public

Library `Stefan Prvovencani` in Kraljevo. At present, `Povelja` represents the most

significant publisher of poetry books in Serbia.

ANDJELKA NIKOLIĆ, reditelj

Diplomirala je na Katedri za pozorišnu i radio režiju Fakulteta dramskih umetnosti, u klasi

profesora Slavenka Saletovića i Ljubomira Draškića, i na Katedri za francuski jezik i

književnost Filološkog fakulteta u Beogradu.

Režirala je predstave:

-M. Krleža, „Sprovod u Terezijenburgu“, Bitef teatar i Pozorište Deže Kostolanji,

Beograd/Subotica

- „Epske igrice: Ženidba Dušanova“, Hop.La! i Bitef teatar

-N.V.Gogolj: „Mirgorod“, NP Kikinda

- „Šareno drvo“, Pozorište za decu Kragujevac

- „Epske igrice: Zidanje Skadra“, Hop.La! Beograd

- E. Jelinek, „Ljubavnice“, Pozorište Kostolanji Deže, Subotica

-B.Breht, „Čovek je čovek 1 i 2“ , Narodno pozorište Toša Jovanović, Zrenjanin

-E.Jonesko, „Makbet“, Atelje 212, Beograd

-„Guliver“ po Dž.Sviftu, Gledališče Koper i HNK Rijeka (Talijanska drama)

-„Imanje i nemanje“, po J.S.Popoviću, NP „Toša Jovanović“ Zrenjanin

-V.Perić, „Šta je ona kriva nije ništa ona kriva“ HF fond i Bitef Teatar

-B. Nušić, „Knjiga druga“, Narodno pozorište u Beogradu

-R. Marinković, „Glorija“, Narodno pozorište Subotica

-„Dečak koji kaže da, dečak koji kaže ne“, po B.Brehtu, Malo pozorište Duško Radović

-A. Lindgren, „Pipi Duga Čarapa“, SLG Celje

-„Kratka istorija zaboravljanja, prvi deo“, po S. Beketu, Hop.La! Beograd

-O.Dimitrijević, „Radnici umiru pevajući“, HF fond i Bitef Teatar, Beograd

-„Slučaj Kandid“, po Volteru, Narodno pozorište Kikinda

-Sofokle, „Antigona“, SLG Celje

-M.Marković i A.Nikolić, „Da nam živi, živi rad“, Atelje 212, Beograd

-M. Krimp, „Nasrtaji na njen život“, Srpsko narodno pozorište, Novi Sad

-„O nasilju“, po Šekspirovom „Titu Androniku“ , NP Kikinda- Hop.la! Beograd

-S.Semenič, „Nisi zaboravila, samo se ne sećaš više“, Gledališče Glej, Ljubljana

-Ž.L.Lagars, „Pravila ponašanja u modernom društvu“, JDP Beograd

-D.Rajt, “Sam sebi žena”, Hop-la! Beograd

-M. Krleža, „Vučjak“, NP Kikinda

-„Prevareni“ po Jovanu Steriji Popoviću, NP Vršac, Scena na rumunskom jeziku

-N.V.Gogolj, „Ženidba”, NP Kikinda

-I.Vojnović, “Suton” , Bitef Teatar, Beograd

Režirala je radio drame za decu i odrasle na Radio Beogradu, po tekstovima Miše Premovića,

Dejana Aleksića, Džozefa Konrada,Vladimira Simića, Iva Vojnovića i Danila Kiša.

Učestvovala je na festivalima: Zvezdarište, Korčak festival (Varšava), Bitef Polifonija, Mess

(Sarajevo), Joakiminterfest, Sterijino pozorje, Festival profesionalnih pozorišta Vojvodine,

Dani komedije, Bitef Showcase, Die Besten aus dem Osten- Slowenien (Beč), Teden slovenske

drame (Kranj), Prateći program Borštnikovog srečanja (Maribor) i dr.

Za režiju predstave „Epske igrice: Zidanje Skadra“ nagrađena je na Dečjem pozorišnom

festivalu Zvezdarište i na Festivalu nezavisnih produkcija u Kragujevcz. Za predstavu

„Radnici umiru pevajući“ dobila je Sterijinu nagradu za režiju i Specijalnu nagradu Festivala

malih scena u Kikindi. Za predstavu “Vučjak” nagrađena je na Festivalu klasike u Vršcu, za

najbolju režiju i najbolju predstavu u celini. Dobitnica je Godišnje nagrade Malog pozorišta

„Duško Radović“ (za predstavu „Dečak koji kaže da/dečak koji kaže ne“) i Nagrade Pikinog

festivala u Velenju (za „Pipi Dugu Čarapu“). Za predstavu „Šarlota“ dobila je Nagradu za

umetničku hrabrost na festivalu PatosOffiranje u Smederevu. Predstavljala je Sloveniju na

festivalu „Najbolje sa istoka“ u Beču (predstavom „Nisi zaboravila, samo se ne sećaš više“).

Učestvovala je u osnivanju umetničke grupe Hop.la!, u okviru koje realizuje umetničke,

istraživačke i aktivističke projekte. Osmislila je i realizovala više projekata participativne

umetnosti za tinejdžere i sa tinejdžerima: „Lice mesta“, „Tokom leta tokom Save“, „Šekspir u

parku“, „Šekspir u kafiću“. Autorka je projekta samoorganizovanog kreativnog druženja

dece i roditelja pod nazivom Aktiv za decu (Hop.La! i Zadruga Oktobar, Beograd).

Članica je regionalne komisije Eurodrama (evropske mreže pozorišnih prevodilaca) i

izvršnog odbora Asitež Centra Srbije (ogranka međunarodne asocijacije pozorišta za decu i

mlade). Osnivala je O.N.T.D-a (Organisation of Nice Theatre Directors), međunarodne

organizacije pozorišnih reditelja.

ANDJELKA NIKOLIĆ, director

Graduated from Department of Theater and Radio Directing at Faculty of Dramatic Arts, in

the class of professors Slavenko Saletović and Ljubomir Draškić, and from Department of

French Language and Literature at Faculty of Philology in Belgrade.

She directed plays:

-M. Krleža, „Sprovod u Terezijenburgu“, Bitef teatar i Pozorište Deže Kostolanji,

Belgrade/Subotica

- „Epske igrice: Ženidba Dušanova“, Hop.La! i Bitef teatar

-N.V.Gogol: „Mirgorod“, NP Kikinda

- „Šareno drvo“, Pozorište za decu Kragujevac

- „Epske igrice: Zidanje Skadra“, Hop.La! Belgrade

- E. Jelinek, „Women as Lovers“, Pozorište Kostolanji Deže, Subotica

-B. Brecht, „Man Equals Man 1 i 2“ , Narodno pozorište Toša Jovanović, Zrenjanin

-E. Ionesco, „Macbett“, Atelje 212, Belgrade

-„Gulliver“ by J.Swift, Gledališče Koper i HNK Rijeka (Talijanska drama)

-„Imanje i nemanje“, by J. S. Popoviću, NP „Toša Jovanović“ Zrenjanin

-V. Perić, „Šta je ona kriva nije ništa ona kriva“ HF fond i Bitef Teatar

-B. Nušić, „Knjiga druga“, Narodno pozorište u Belgradeu

-R. Marinković, „Glorija“, Narodno pozorište Subotica

-“He Who Says Yes, He Who Says No, by B. Brecht, Malo pozorište Duško Radović

-A. Lindgren, „Pippi Longstocking“, SLG Celje

-“A Short History of Forgetting, part I”, by S. Beckett, Hop.La! Belgrade

-O. Dimitrijević, „Radnici umiru pevajući“, HF fond i Bitef Teatar, Belgrade

-„Case Candide“, by Voltaire, Narodno pozorište Kikinda

-Sophocles, „Antigone“, SLG Celje

-M. Marković and A. Nikolić, „Da nam živi, živi rad“, Atelje 212, Belgrade

-M. Crimp, “Attempts on Her Life “, Srpsko narodno pozorište, Novi Sad

-“On Violence”, based on Shakespeare’s “Titus Andronicus”, NP Kikinda- Hop.la! Belgrade

-S. Semenič, „Nisi zaboravila, samo se ne sećaš više“, Gledališče Glej, Ljubljana

- Jean-Luc Lagarce, “Les règles du savoir-vivre dans la société modern”, JDP Belgrade

-D. Wright, “I Am My Own Wife”, Hop-la! Belgrade

-M. Krleža, „Vučjak“, NP Kikinda

-„Prevareni“ by Jovan Sterija Popović, NP Vršac, Scena na rumunskom jeziku

-N. V. Gogol, “Marriage”, NP Kikinda

-I. Vojnović, “Suton” , Bitef Teatar, Belgrade

She directed radio dramas for children and adults for Radio Belgrade, based on texts of Miša

Premović, Dejan Aleksić, Joseph Conrad, Vladimir Simić, Ivo Vojnović and Danilo Kiš.

She participated in festivals: Zvezdarište, Korczak festival (Warsaw), Bitef Polifonija, Mess

(Sarajevo), Joakiminterfest, Sterijino pozorje, Festival profesionalnih pozorišta Vojvodine,

Dani komedije, Bitef Showcase, Die Besten aus dem Osten- Slowenien (Vienna), Teden

slovenske drame (Kranj), Prateći program Borštnikovog srečanja (Maribor) etc.

For directing the play „Epske igrice: Zidanje Skadra“, she received an award in Children’s

Theater Festival Zvezdarište and in Festival nezavisnih produkcija (Festival of Independent

Production) in Kragujevac. For the play „Radnici umiru pevajući“, she received Sterija’s

Award for Directing and Special Award in Small Scenes Festival in Kikinda. For the play

“Vučjak”, she received an award in Classic Theater Festival in Vršac for the best director and

the best overall play. She received the Annual Award of the Little Theater „Duško Radović“

(for the play „Dečak koji kaže da/dečak koji kaže ne“ (“He who says yes/He who says no”)

and Awards in Pikin Festival in Velenje (for „Pippi Longstocking“). For the play „Charlotte“,

she received the Artistic Award of Courage in festival PatosOffiranje in Smederevo. She

represented Slovenia in the festival „Najbolje sa istoka“ (“The Best from the East”) in Vienna

(with the play „Nisi zaboravila, samo se ne sećaš više“ (“You didn’t forget, you just don’t

remember anymore”)).

She is one of the founders of the art group Hop.la!, that organizes art, research, and activist

projects. She designed and organized many participatory art projects for teenagers and with

teenagers:: „Lice mesta“, „Tokom leta tokom Save“, „Šekspir u parku“, „Šekspir u kafiću“.

She is the founder of the self-organized creative gathering of children and parents project

named “Aktiv za decu” (Hop.La! and Zadruga Oktobar, Belgrade).

She is a member of regional committee Eurodrama (European network of theater translators)

and of the Executive Board of ASSITEJ Center Serbia (a branch of International

Association of Theater for Children and Young People). She founded O.N.T.D-a

(Organisation of Nice Theatre Directors), an international organization of theater directors.

MELINA POTA KOLJEVIĆ, scenarista, urednik i reditelj u Dramskom programu Radio

Beograda

OBRAZOVANJE

1987. diplomirala na odseku za Svetsku književnost sa teorijom književnosti na

Filološkom fakultetu u Beogradu.

1995. diplomirala na odseku za Pozorišnu i radio režiju Fakulteta dramskih umetnosti

u Beogradu , predstavom « Centrifugalni igrač » Todora Manojlovića, u Narodnom

Pozorištu u Beogradu.

2007. magistrirala na Filološkom fakultetu u Beogradu, na odseku na svetsku

književnost sa tezom o irskom dramatičaru Džonu Milingtonu Singu.

SCENARIO I FILM

2006. ko-autor scenarija za film “KLOPKA” (zajedno sa Srdjanom Koljevićem)

snimljenog po njenoj radio-drami i romanu Nenada Teofilovica. Film je imao premijeru na

Berlinskom filmskom festivalu 2007.godine, osvojio preko dvadeset nagrada na

internacionalnim festivalima i ušao u izbor 9 filmova na stranom jeziku koji su nominovani za

Oskara.

2007. Prva nagrada za scenario filma „KLOPKA“ (zajedno sa Srdjanom Koljevićem)

na Festivalu filmskog scenarija u Vrnjačkoj Banji, kao i nagrada FIPRESCI žirija.

2008. Godišnja nagrada FIPRESCI za scenario filma „KLOPKA“ (zajedno sa

Srdjanom Koljevićem).

2010. ko-autor scenarija za film „KRUGOVI“ (zajedno sa Srdjanom Koljevićem) koji

je dobio je nagradu za najbolji filmski projekat u procesu realizacije, na Filmskom festivalu u

KANU.

2013 godine učestvovala je na prestižnom filmskom festivalu SUNDANCE, UTAH,

USA, na kojem je film „KRUGOVI“ dobio glavnu nagradu u selekciji stranih filmova.

2013 godine učestvovala je sa filmom KRUGOVI na Filmskom festivalu u BERLINU u

okviru programa FORUM. Film je tamo osvojio Nagradu ekumenskog žirija.

2013 godine na Festivalu scenarija u Vrnjačkoj Banji, Srbija, za film KRUGOVI

dobila je (zajedno sa Srdjanom Koljevićem) glavnu nagradu. Iste godine, takodje za film KRUGOVI, na Filmskom festivalu u Sopotu, Srbija, dobila je (zajedno sa Srdjanom

Koljevićem) glavnu nagradu za scenario.

2014 godine dobija godišnju nagradu FIPRESCI žirija (srpska sekcija) takodje za film

KRUGOVI za 2013 godinu (zajedno sa Srdjanom Koljevićem).

2014 godine dobija na Filmskom festivalu u TEHERANU, IRAN, glavnu nagradu za

scenario za film KRUGOVI (takodje sa Srdjanom Koljevićem).

2015 god. Scenarista slovenačkog filma „IVAN“ (zajedno sa Srdjanom Koljevićem),

reditelja Janeza Burgera (2015).

2017 godine dobija glavnu nagradu za scenario filma „IVAN“ reditelja Janeza

Burgera na 20-om Festivalu slovenskog filma u Portorožu (zajedno sa Srdjanom Koljevićem i

Janezom Burgerom).

U 2015 godini dobila godišnju NIPKOW stipendiju za svoj scenario „PORODICA“ i

bila na studijskom boravku u Berlinu, Nemačka, u periodu izmedju septembra i decembra

2015.

Decembra 2015 godine postala član EFA (Evropske Filmske Akademije)

.

Marta 2015 godine učestvovala kao script advisor na Evropskom scenarističkom

master klasu KONSTELACIJE u mestu Radziejovice, kod Varšave u Poljskoj i u Sigtuni, kod

Stokholma u Švedskoj.

U 2016 godini angažovana kao koscenarista za makedonski dugometražni film

„ŽRTVA“, rediteljke Marije Džidževe. U fazi post-produkcije.

U 2016 godini radila kao saradnik na hrvatskom scenariju za dugometražni film o

Diani Budisavljević, rediteljke Dane Budisavljević. U fazi post-produkcije.

2017 radi kao ko-scenarista (zajedno sa Srdjanom Koljevićem) na slovenačkom filmu

„MEŠTO MALO O METODU“ (reditelj Igor Šterk). U fazi pre-produkcije.

2017 godine radi kao scenarista na slovenačkom filmu „VID“ (rediteljka Siena

Krušić). U fazi pre-rpodukcije.

2016/2019 godine radi kao scenarista na češkom filmu „I’ll BE RIGHT BACK“ u

produkciji Sirena films iz Praga (Artemio Benki i Petra Oplatkova). U fazi pre-produkcije.

2017/2019 godine radi kao koscenarista za crnogorski igrani film Nikole Vukčevića

„OBRAZ“.

RAD NA FAKULTETIMA

1996-2002 radila kao saradnik na predmetu radio režija na Fakultetu dramskih

umetnosti u Beogradu .

Od 2009 do 2012 godine radi kao gostujuci profesor za predmet radio režije na

Akademiji Umetnosti u Novom Sadu.

RADIO DRAMA

Od 2003 godine radi u Dramskom programu Radio Beograda kao urednik i reditelj.

Režirala više desetina radio drama uglavnom po sopstvenim adaptacijama i dramatizacijama

dela iz nacionalne i svetske književnosti.

2002. u saradnji sa Gete Institutom iz Beograda napravila je nezavisni radio projekat

posvećen sudbini nemačkih žena u Jugoslaviji posle Drugog svetskog rata, pod naslovom

« DUNAVSKE ŠVABICE ».

2006. učestvovala na PRIX EUROPA u BERLINU, sa dramom “ŠVABICA”, koju je

režirala i dramatizovala prema priči Laze Lazarevića.

2011.godine učestvovala na festivalu PRIX ITALIA u TORINU kao reditelj radio

drame „JERMA“ po istoimenom Lorkinom delu.

2014.godine učestvovala na festivalu PRIX NOVA u BUKUREŠTU, Rumunija, sa

radio dramom „PANTAGRUELOVO PROROČANSTVO“ , po istoimenom tekstu Fransoa

Rablea, koju je režirala za Dramski program Radio Beograda.

2015 godine učestvovala na festivalu PRIX EUROPA sa radio dramom

« NEPRIJATELJEVO SVETO PISMO » po istoimenoj priči Veljka Petrovića.

MELINA POTA KOLJEVIĆ, screenwriter and program editor at Radio Drama Department

at Radio Belgrade

EDUCATION

1987. Graduated WORLD LITERATURE AND THEORY OF LITERATURE on FACULTY

OF PHILOLOGY in Belgrade, in 1987, where she received M. A. degree.

1995. Graduated THEATER AND RADIO DIRECTING on FACULTY OF DRAMATIC

ARTS, Belgrade, 1995.

FILM SCREENPLAYS

2007. CO-WRITER OF THE SCREENPLAY FOR THE FILM “TRAP”, (director Srdan

Golubović), festivals and prizes:

2007. THE TRAP premiered at BERLIN INTERNATIONAL FILM FESTIVAL at FORUM

program.

2008. “THE TRAP” was shortlisted among 9 BEST FOREIGN FILMS nominated for

OSCAR.

2007. First prize as a screenwriter for “THE TRAP” at Serbian National Screenplay Film

Festival in Vrnjačka Banja and FIPRESCI jury prize at the same festival.

2008. Annual FIPRESCI jury prize (Serbian section) for the screenplay of “THE TRAP”.

2008. Member of the Jury at GoEast Festival in Wiesbaden.

2013. CO-WRITER OF THE SCREENPLAY FOR THE FILM “CIRCLES”, (director Srdan

Golubović), festivals and prizes:

2010 First award at “Atelier” (pitching screenwriters session) for CIRCLES during Film

Festival in Cannes in 2010. 2013 SUNDANCE, UTAH, USA, Main prize for “CIRCLES” in the international program.

Main prize of Ecumenical Jury at BERLINALE Film Festival in FORUM program.

2013. Main prize at the Serbian National Screenplay Film Festival at Vrnjačka Banja and First prize for scenario at Film Festival in Sopot.

2014. Annual FIPRESCI jury prize for screenplay (Serbian section).

2014. Main prize for screenplay at FAJR FILM FESTIVAL, TEHRAN IRAN.

2015. Script advisor for the screenplay of Petar Mitrić “STRAWBERRY JAM” at the

European residential Master Class CONSTELLATIONS, in Poland and Sweden

2015. CO-WRITER OF THE SCREENPLAY FOR SLOVENIAN MOVIE “IVAN”(director

Janez Burger). 2017.

Film had premiere at “Black nights” TALLIN FILM FESTIVAL, November 2017.

First prize for the scenario of IVAN at 20th edition of Slovenian Film Festival Portorož.

2015. She got NIPKOW fellowship for her screenplay “FAMILY” that she was developing in

Berlin from September till December 2015.

2015. She became member of EUROPEAN FILM ACADEMY.

2016. Assistant to the script for Macedonian feature “SECOND CHANCE”(director Marija

Džidževa). In post-production.

2016. Assistant to the script for Croatian feature “DIANA’S LIST” (director Dana

Budisavljević). In post-production.

2017 Co-writer (together with Srdjan Koljević) on Slovenian film “SOMETHING LITTLE

ABOUT METOD” (director Igor Šterk). In pre-production.

2017. Writer of the screenplay for Slovenian movie “VID” (director Siena Krušić). In pre-

production.

2016-2019 Writer of the screenplay “I’LL BE RIGHT BACK” for Czech production

Company Sirena Films (Artemio Benki, Petra Rut Oplatkova) In pre-production.

2017/2019 Co-writer of the screenplay for Montenegrian film “HONOR” (director Nikola

Vukčević)

PROFESSORSHIP

From 1996 till 2002 she worked as Assistant Professor of Radio Directing, on Faculty of

Dramatic Arts in Belgrade.

From 2009 till 2012 she worked as a guest professor of radio directing at the Faculty of Arts

in Novi Sad.

RADIODRAMA. DIRECTING AND WRITING

From 2003 she works as a program editor at Drama Department of Radio Belgrade and

directs radio-drama, mostly her own adaptations and dramatizations from national and

world prose.

2002. Independent radio-project “DANUBE GERMAN WOMEN”, in cooperation with

Goethe Institute Belgrade about the destiny of German women in Yugoslavia after Second

World War in Voivodina.

2006. She took part as director of radio-drama “THE GERMAN GIRL, after famous Serbian

19th century story” at PRIX EUROPA, BERLIN.

2012. She took part as director of radio-play “YERMA” (after Lorca’s famous play) at PRIX

ITALIA festival. She was also member of the jury for documentary drama at the same

festival.

2015 She took part as director of radio-play “THE FOE’S HOLY SCRIPTURE” at PRIX

EUROPA festival in Berlin.

KRISTINA DJUKOVIĆ, autor dramatizacije

Rođena 1981. godine u Beogradu. Diplomirala na Fakultet dramskih umetnosti (odsek

dramaturgija).

Autor je scenarija za TV film «Zajedničko putovanje» (RTS, 2002), pozorišnog komada za

decu «Izgubljeni dugmići» (Multiart klub, Studentski Grad, 2003), scenarija za nekoliko

kratkih filmova, radio drama i, kao spoljni suradnik RTS-a, scenarija za nekoliko igranih i

igrano-dokumentarnih emisija za decu i mlade. Radila kao dramaturg i urednik u Dramskom

program Radio Beograda i kao scenarista redakcije Zabava na Happy televiziji.

Pisala filmske kritike i eseje za web magazin Popboks gde je od 2009. do 2011. godine radila i

kao urednik rubrike “Film”. Kao filmski kritičar, sarađivala sa redakcijom filmskog časopisa

„Filaž“ (Niški kulturni centar), „Književnim listom” i redakcijom časopisa „Huper“. Sa

grupom autora, radila na knjizi filmskih eseja «Novi kadrovi – skrajnute vrednosti srpskog

filma» (CLIO, 2008, esej „Jovan Rančić - vuk samotnjak srpskog dečjeg filma“).

2007. bila je član žirija FIPRESCI-ja na Festivalu autorskog filma u Beogradu. U par navrata

(2008, 2009. i 2012. godine) bila član žirija na konkursu Dramskog programa Radio Beograda

za radio dramu.

Dobitnik je nagrade za najbolji scenario na Internacionalnom televizijskom festivalu u Baru,

2002. (za TV film «Zajedničko putovanje», RTS), Nagrade Dramskog programa Radio

Beograda za najuspešnijeg mladog radiofonijskog stvaraoca, «Vitomir Bogić» u 2006. godini i

Nagrade za najbolju dečiju radio dramu na Konkursu Radio Beograda za radiodramska dela

za 2014/2015. godinu, za radio dramu “20/44”. Na FCS-ovom konkursu u kategoriji

Sufinansiranje unapređenja i razvoja filmskog scenarija za 2014. godinu, podržan joj je

scenario za dečiji igrani film “Hunsko leto”.

Od 2013. godine radi kao dramaturg na RTS-u.

MILAN FILIPOVIĆ, dizajner zvuka

rođen je 1963. godine. Već 20 godina radi kao snimatelj u Radio Beogradu, od toga osam

godina u Dramskom programu Radio Beograda. Kao ton-majstor uradio je preko 300-ne

radio drama od kojih su mnoge išle na prestižne međunarodne radiofonske festivale.

KRISTINA DJUKOVIĆ, author of dramatization

Born in Belgrade in 1981. She graduated from the Faculty of Dramatic Arts (Dramaturgy

Department).

She wrote scripts for the TV movie "Travelling Together" («Zajedničko putovanje» RTS,

2002), for the children's theatre play "Lost Buttons" («Izgubljeni dugmići» Multiart Club,

Studentski Grad, 2003), scripts for several short films, radio dramas and, as RTS external

associate she wrote screenplays for several feature films and feature-documentaries for

children and teenagers. She worked as a playwright and editor at the Radio Belgrade Drama

Department and as a script writer for the Happy TV Entertainment Department.

She wrote film reviews and essays for Popboks Web Magazine where she was the editor of the

"Film" column from 2009 to 2011. As a film critic, she has written for the "Filaž" film

magazine (Nis Cultural Center), "Literary Journal" and "Huper" magazine. She is one of the

contributors for the book of film essays entitled "New Film Frames - Sidelined Merits of

Serbian Film" (CLIO 2008, essay entitled "Jovan Rančić - a Lone Wolf of Serbian Children's

Film").

In 2007 she was the member of FIPRESCI jury at the Auteur Film Festival in Belgrade. On

several occasions (2008, 2009 and 2012) she was the jury member in the Radio Belgrade

Drama Department Competition for the best radio drama.

She won the award for best screenplay at the 2002 International Television Festival in Bar (for

the TV movie "Travelling Together ", RTS), in 2006 she won the Radio Belgrade Drama

Department Award "Vitomir Bogić" for the best young radio dramaturge, and the prize for

the best children's radio drama in the 2014/2015 Radio Belgrade Competition for her radio

drama entitled "20/44". In the 2014 FCS competition in the category Co-financing

Improvement and Development of Film Scripts, her script for the children's film "Hunish

Summer" ("Hunsko leto") was supported.

Since 2013 she has been working as a playwright at the Radio Television of Serbia.

MILAN FILIPOVIĆ, sound designer

was born in 1963. He has been working on recording for Radio Belgrade, for 20 years, eight of

which in Drama programe of Radio Belgrade. As a sound engineer, he did more than 300

radio-plays which went on prestigeous international radio-phonic festivals.

DRAGAN MITRIĆ, kompozitor i muzički urednik

Kompozitor rodjen u Beogradu 1960, diplomirao kompoziciju na FMU u Beogradu u klasi

prof. Rajka Maksimovića. Tokom karijere najviše se posvećuje rok muzici, primenjenim

radiofonskim i scenskim formama, kao i studijskim i producentskim radom. Sa svojom

matičnom grupom “Spori ritam bend”, a ranije grupama “Zvuk ulice”, “Bulevar”,

“Propaganda”, “Bajaga i instruktori” ostvario je preko 20 diskografskih LP i CD izdanja i

ogroman broj koncerata. U oblasti primenjene muzike najviše se bavio radiofonijom.

Saradjujući sa svim najznačajnijim rediteljima ostvario je veliki opus radio drama u zemlji i

inostranstvu. U Dramskom programu Radio Beograda učestvovao je u realizaciji i

komponovanju muzike u velikom broju radio drama (preko 500), od kojih su neke postigle

uspeh u zemlji (Fedor 1989, Ohrid 1989) i inostranstvu (Prix Futura - Berlin 1989). U proteklih

20 godina radio je sa mnogim značajnim rediteljima i autorima. Sarađujući sa rediteljem

Darkom Tatićem, komponovao je muziku za radio dramu Vaska Pope “Sporedno nebo”, u

realizaciji Finskog radija (1989). Dobitnik je i nagrade festivala u Varni za emisiju “Kako

zabavljati gospodina Martina” (1990). Redovno učestvuje na relevantnim svetskim

radiofonskim festivalima (Prix Italia, Prix Europa, Premios Ondas,…) Poslednjih godina bio

muzički saradnik mnogih radio-drama koje su odabrane da učestvuju na medjunarodnim

festivalima (izmedju ostalih : “Beseda na dan Blagovesti” Gavrila Stefanovića Venclovića –

PRIX MARULIC 2003 godine, “Klopka” koja je učestvovala na festivalu PRIX ITALIA 2004.

godine). Drama “Klopka” je napravljena prema istoimenom romanu Nenada Teofilovića, koji

je kasnije poslužio kao pretekst za scenario filma “Klopka”(Berlinski filmski festival, IFF

Sofia, “goEast Wiesbaden).

DRAGAN MITRIĆ, composer and music editor

A composer from Belgrade , graduated in composition from the Faculty of Music Arts in

Belgrade , in the class of Professor Rajko Maksimovic. During his career he has devoted

himself mostly to rock music, applied radiophonic and scene forms, as well as to work in

studio and producing. With his main group “ Spori ritam bend”, and before that with bands

“Zvuk ulice”, “Bulevar”, “Propaganda”, “Bajaga I instruktori” he has realized more than

twenty LP records and CDs and a vast number of concerts. In the field of applied art he

mostly worked in radio phony. In cooperation with all most important directors he has

realized a great opus of radio dramas in our country andabroad. In the Drama Department of

Radio Belgrade he took part in realization and composing of music in many radio dramas

(over 500), of which some achieved success in our country (Fedor 1989, Ohrid 1989), and

abroad (Prix Futura – Berlin 1989). In the past twenty years he worked with many significant

directors and authors. In cooperation with director Darko Tatic he composed music for the

radio drama by Vasko Popa ‘Secondary Sky”, realized by Finnish radio (1989). He was

awarded on the Festival of Varna for the broadcast “How to entertain Mr. Martin” (1990). He

participates regularly in all relevant world festivals (Prix Italia, Prix Europa, Premios

Ondas…) In the last couple of years he was music associate of many radio dramas which were

chosen to take part in international festivals (among others – “Oration on the day of

Annunciation” by Gavril Stefanovic Venclovic – PRIX MARULIC 2003, “The Trap”, which

took part in the Prix Italia Festival in 2004). The drama “The Trap” was made according to

the novel of the same name by Nenad Teofilovic, which later served as pre-text for the

screenplay of the film “The Trap” (Berlin Film Festival, IFF Sofia, goEast Wiesbaden )

SINOPSIS DRAME „MUZIKA TRAŽI UŠI“

U drami nastaloj po zbirci priča „Muzika traži uši“ jedna Prazna priča traži lek za svoju

„prazninu“ kod Doktora. Pisac je, zbog dece, ovaploćen i kroz lik Prazne priče i kroz

Doktora, ali i kroz sve inspiracije koje nailaze.

Igrajući se sa preplitanjem sna i jave, ali igrajući se i sa rečima, pisac tako započinje svoju

potragu za temom, odnosno Doktor započinje svoj „pregled“, svoj „tretman“ problema svog

pacijenta, Prazne priče. On je pita gde želi da ode, nadvija se nad Praznu priču kao pravi

Doktor nad pravog pacijenta i mi „uplovljavamo“ u Pariz i san jednog Dečaka koji sanja na

francuskom. Pričajući nam o Dečaku koji u svom snu postaje francuski dečak, Žak, Autor

(Doktor) nam govori nešto o snazi imaginacije koja može da stvori svet isto tako stvaran kao

što je realni svet.

Kada se Dečak probudi zbog budilnika, i mi „prelazimo“ u narednu potragu za pričom u

kojoj se „doktorski pregled“ nastavlja kada se Prazna priča požali da joj nedostaje samo

jedan par Ušiju koji bi je slušao. Tako dolazimo do priče o Klempavoj kući, o Kući sa Ušima

kojoj svi stanovnici jednog mesta dolaze jer kod nje mogu slobodno da ispričaju sve što ih

tišti. Ona ima velike Uši da ih čuje. Medjutim, kada jednom zaduva snažni vetar, uspeva mu

da oduva Klempavu kuću i ona nestane. Stanovnici mesta kojima je Klempava kuća bila

velika uteha jer su mogli da joj ispričaju sve svoje probleme postaju očajni, ali tu je Dečak iz

prethodne priče da im objasni da svako od njih ima uši, pa tako može postati potencijalni,

željeni slušalac. Pisac nas tako podseća, kroz jednu metaforičku anegdotu, da svako od nas

može biti onaj koji priča priču, ali i onaj koji sluša.

Kad Prazna priča zaplače nad svojom sudbinom, nad time što je prazna i hladna kao pećina,

Doktor ponovo započinje svoj „pregled“ svoj „tretman“ i prenosi nas u priču o Pećinskom

Čoveku koji se ubo na glogov trn i ne može više da podnosi bol, a mora u isto vreme da

umiruje svog razmaženog sina, Pećinskog dečaka, koji plače od besa što mu otac iz lova nije

doneo televizor. U toj raspravi Pećinskom čoveku ne pomažu objašnjenja da mu nije mogao

doneti televizor jer još nije izmišljen, ali dok gleda svog sina kako plače Pećinski čovek shvata

da bi i njemu pomoglo da ga povreda od trna manje boli, kada bi zaplakao. I ta priča postaje

poetsko objašnjenje kako je „izmišljen“ plač. I to objašnjenje je u poetskom smislu tačno –

odrasli od dece mogu mnogo da nauče, najviše o osećanjima, pa samim tim i o smislu plača.

Pisac ponovo koristi „dečji“ način da odraslima kaže nešto što su zaboravili. Zaplače se nad

svojom sudbinom i Prazna priča, i Doktor je bodri da plače i da se „isprazni“, ali ona zatim

pobesni jer je ionako prazna i savet da se „isprazni“ nikako nije pravi savet.

U tom trenutku u ordinaciju ulazi Zmaj koji se žali Doktoru da bi hteo da bude deo neke

srećne, priče za laku noć, a umesto toga je uvek deo nekog strašnog prikazanja, nečeg što plaši

decu. Prazna priča mu savetuje da ne konsultuje Doktora jer nije uspeo ni njoj da pomogne.

Njih dvoje započinju razgovor i Doktor ih namerno ostavlja same. Sve liči na susret „srodnih

duša“ jer i Prazna priča i Zmaj brzo shvate da mogu život da nastave dalje zajedno, da Zmaj

može biti sastavni deo Prazne priče i čak postati priča za laku noć, za uspavljivanje. Oboje

vole knedle sa šljivama, oboje zaključuju da se svidjaju jedno drugom i da svakog mogu

lagano da uvedu u san, samo ako počnu da broje, unazad, sve knedle koje mogu da pojedu.

Drama završava srećnim krajem, nalaženjem dvoje nesnalažljivih i zbog toga nesrećnih i

nezadovoljnih i njihovim otkrivanjem da zajedno mogu biti idealna, ispunjena, srećna priča

za kraj i za laku noć.

SYNOPSIS OF DRAMA „MUZIKA TRAŽI UŠI“ („MUSIC SEEKS EARS“)

In this drama, based on the book of stories „Muzika traži uši“ („Music Seeks Ears“), an

Empty Story seeks a cure for its „emptiness“ from a Doctor. The writer is, for children’s sake,

represented in the characters of Empty Story and Doctor, but also in all kinds of inspirations

that appear along the way.

By intertwining dream and reality, and by playing with puns, the writer starts his quest for a

theme, i.e. Doctor starts his “examination”, “treatment” of the problem of his patient Empty

Story. He asks where does it want to go and leans over the Empty Story like a real doctor

when examining a patient, and we “sail into” Paris and into a dream of a boy who dreams in

French. By talking us this story about one Boy that becomes in his dreams French boy,

Jacques, The Author (or Doctor) tells us something about the strength of imagination that

could create the world as real as it is everyday life.

When alarm sounds and the Boy wakes up, we also “transfer” to the next quest for a story

in which the doctor continues his “examination” and Empty Story complains that it needs a

pair of ears that would listen to it. That is how we get to the story of Lop-Ear House, of a

house with ears to which all citizens of a town come to confess their sorrows. It has big ears so

it can hear them. But, a strong wind blows and manages to blow the Lop-Ear House away and

citizens became desperate, but then the Boy from the previous story explained to them that all

of them have ears and therefore can become a potential, desired listener. In that way, the

writer reminds us, through a metaphoric anecdote, that every one of us can be the one who is

telling the story, but also the one who is listening.

When Empty Story starts to cry over its destiny, because it is empty and cold as a cave,

Doctor resumes his „examination“, his „treatment“, and takes us to the story about Caveman

who was pricked by a hawthorn and no longer can stand the pain, but at the same time has to

calm down his spoiled son, Caveboy, who is having a tantrum because his father didn’t bring

him a TV from hunt. As Caveman watches his son crying, he realizes that crying could help

him ease the pain from the injury. And the story becomes the poetic explanation of how the

cry was “invented”. And in the poetic sense, the explanation is correct – adults can learn a lot

from children, most of all about feelings, and therefore about the meaning of cry. Writer

again uses “children’s” method to tell adults something they have forgotten. Empty Story also

cries over its destiny and Doctor offers his support and tells it to “let it all out”, but the story

gets angry because it is already empty and the advice to “let all out” is not real advice.

At that moment a dragon enters the office and complains to Doctor that he would like to be

a part of a happy story, good-night story, but instead of that, he is always included in

something scary that frightens children. Empty Story advises him not to listen to Doctor

because he wasn’t able to help it. The two of them start talking and Doctor intentionally

leaves them alone. Everything looks like an encounter of “soul mates” because both the

Empty Story and the Dragon soon realize that they can continue their lives together and that

the Dragon can be a part of the Empty Story and even become a good-night story. They both

love plum dumplings. They come to the conclusion that they like each other and that they can

gradually make everyone fall asleep if they start counting, backward, all the dumplings they

can eat.

The drama has a happy ending. Two gawky, and therefore unhappy and unsatisfied creatures

find their way and discover that together they can create a perfect, whole, happy-end story

and a good-night story.

1.SCENA

MUZIKA. KUCANJE NA VRATA.

DOKTOR:

Napred!

PRAZNA PRIČA:

Dobar dan, doktore.

DOKTOR:

Uđite, sedite. Raskomotite se, čiviluk je iza vrata, možete

okačiti kaput…

PRAZNA PRIČA:

Nemam kaput.

DOKTOR:

Ili kapu, šal…

PRAZNA PRIČA:

Nemam ni kapu, ni šal.

DOKTOR:

Da pogađam. Vi mora da ste jedna vrlo prazna priča.

PRAZNA PRIČA:

Zar je moja praznina toliko očigledna?!

DOKTOR:

No, nema razloga za potištenost. Na pravom ste mestu – ja sam

doktor koji prazne priče leči od praznine. Najpre mi recite otkad

ste prazni.

PRAZNA PRIČA:

Oduvek. Otkad znam za sebe, nema u meni nijednog slovca!

DOKTOR:

Zinite!

PRAZNA PRIČA:

Aaaa!

DOKTOR (sa osmehom):

Eto, vidite, imate slovo „a“! (zakikoće se, pa pročisti grlo) Šalu

na stranu...

PRAZNA PRIČA:

Aaaa...

SCENE 1

MUSIC. KNOCKING ON THE DOOR.

DOCTOR:

Come in!

EMPTY STORY:

Good afternoon, doctor.

DOCTOR:

Come in, sit. Make yourself comfortable, the coat hanger is behind

the door, you can hang your coat...

EMPTY STORY:

I don’t have a coat.

DOCTOR:

Or a cap, scarf...

EMPTY STORY:

I don’t have a cap or a scarf.

DOCTOR:

Let me guess. You must be one very empty story.

EMPTY STORY:

Is my emptiness so obvious?

DOCTOR:

No, there’s no reason to be depressed. In the first place – I am a

doctor who cures empty stories from emptiness. First, you tell me

since when have you been empty.

EMPTY STORY:

Since forever. Ever since I’ve known myself, there is not a single

letter in me!

DOCTOR:

Say “aah”!

EMPTY STORY:

Aaaah!

DOCTOR (with a smile):

There, you see, you have a letter “A”” (giggles, then clears his

throat) Joking aside…

EMPTY STORY:

Aaah!

DOKTOR:

Ima li koga?

KUCKANJE PISAĆE MAŠINE.

DOKTOR:

Samo da ništa ne ispustimo. (sriče) Nije jednom bio jedan neko. A

ne samo da nije bio taj neko, nego nije bilo ni zamka u kome nije

živeo, ni aždaje koju nije ubio, ni princeze koju nije spasao.

PRAZNA PRIČA (očajno):

E, zato me ni ne primaju u društvo druge priče. One u sebi imaju

vukove, zmajeve i začarane pećine sa blagom..(eho) pećine sa

blagom..pećine sa blagom..pećine sa blagom

MUZIČKI EFEKTI. LEPET KRILA, CVRKUT PTICA

VRABAC 1:

Kapućino sa šlagom?!

VRABAC 2:

Na prazan stomak?!

PRAZNA PRIČA:

Bež, mrš!!

DOKTOR:

Ne brinite, to su samo vrapci. Napolju je hladno, duva jak vetar,

a oni moraju nešto da jedu, pa su se snašli tako što jedu jestive

reči.

PRAZNA PRIČA:

Samo mi fale vrapci da pojedu i to malo reči koje imam!

(nervozno): Doktore, kako planirate da rešite moj slučaj?

DOKTOR:

Moraću da vam prepišem neki događaj. Ima li neki na koji ste

alergični?

PRAZNA PRIČA (zbunjeno):

Ne bih znala…

DOKTOR:

Šta ovde imamo? MUZIČKI EFEKAT.Želite li strašan dogadjaj? MUZIČKI

EFEKAT Ili ljubavni događaj?

DOCTOR:

Anybody here?

TYPING ON TYPEWRITER.

DOCTOR:

As long as we don’t omit anything. (spells out) Never in time was

there anyone. And not only there wasn’t anyone, but there was also

no castle in which anyone lived, and no dragon which anyone slew,

and no princess whom anyone saved.

EMPTY STORY (desperate):

That is why other stories don’t want to socialize with me. They

have wolves, dragons, and enchanted caves with treasures..

ECHO..caves with treasures..caves with treasures..

MUSIC EFFECTS. WINGS FLAPPING, BIRDS CHIRPING

SPARROW 1:

Cappuccino with cream?!

SPARROW 2:

On an empty stomach?!

EMPTY STORY:

Shoo!

DOCTOR:

Don’t worry, those are just sparrows. It’s cold outside and they

have to eat, so they decided to eat edible words.

EMPTY STORY:

All I need are sparrows to eat the little words I have! (nervous):

Doctor, how do you plan to solve my case?

DOCTOR:

I will have to prescribe an event. Are you allergic to any?

EMPTY STORY (confused):

I wouldn’t know…

DOCTOR:

What do we have here? MUSIC EFFECT. Do you want a scary event?

MUSIC EFFECT. Or romantic event?

TAJAC

PRAZNA PRIČA (bojažljivo):

Ne bih znala…

DOKTOR (zakikoće se):

I ja sam smešan! Kako prazne priče mogu znati kakav događaj žele?!

EHO žele..žele..žele

VRABAC1:

Žele!

VRABAC2:

Da je bar od maline!

PRAZNA PRIČA (uvređeno):

Bež! Mrš! Pa vama je moj slučaj smešan! Vi mene zamajavate!

Odlazim!

DOKTOR:

Odlična ideja!

PRAZNA PRIČA:

Molim?!

DOKTOR:

Dobra priča mora nekuda da ode, zar ne?! Kuda biste otišli: u

Španiju? MUZIKA Ili u Italiju?

PRAZNA PRIČA:

Ali, ja ne pričam italijanski!

DOKTOR:

Kakve to veze ima kada ionako nemate šta da ispričate.

PRAZNA PRIČA (na ivici besa):

Kako se usuđujete... Kakav ste vi to doktor?! Gde sam ja ovo

došla?! Odlazim!

DOKTOR:

Samo napred!

PRAZNA PRIČA:

Da! Odlazim! Idem u Pariz! Je vais à Paris!

DOKTOR:

Bravo!

PRAZNA PRIČA:

Ju! Šta mi bi?! Qu’est-ce qui se passe? O, više ni samu sebe ne

razumem?!

SILENCE

EMPTY STORY (timid):

I wouldn’t know…

DOCTOR (giggles):

Silly me! How could empty stories know what kind of event they

need?! ECHO need..need..need..

SPARROW1:

Feed!

SPARROW2:

I want raspberries!

EMPTY STORY (insulted):

Shoo!! You think my case is a joke! You are wasting my time! I’m

going!

DOCTOR:

Great idea!

EMPTY STORY:

What?!

DOCTOR:

Good story needs to go somewhere, right?! Where could you go, to

Spain? MUSIC. Or to Italy?

EMPTY STORY:

But, I don’t speak Italian!

DOCTOR:

Why would that even matter when you don’t have anything to say?

EMPTY STORY (on the verge of rage):

How dare you... What kind of a doctor are you?! Where am I?! I’m

going!

DOCTOR:

Go ahead!

EMPTY STORY:

Yes! I’m going! Going to Paris! Je vais à Paris!

DOCTOR:

Bravo!

EMPTY STORY:

Oh my! What was that?! Qu’est-ce qui se passe? Oh, I can’t

understand myself anymore?!

DOKTOR:

Bez panike, bez panike, nešto se dešava! (kroz eho, kao da se

nadvio nad veliku praznu rupu-priču) Žak, Žak, jesi li to ti?!

PRAZNA PRIČA:

Qui est Jacques?

DEČAK (kroz eho, kao sa dna rupe):

Ko je Žak?!

PRAZNA PRIČA:

Doktore, vi ste nešto pobrkali. Taj dečak se uopšte ne zove Žak.

DOKTOR (eho):

Naravno da se ne zove... (brzo) On spava i sanja da je Žak koji se

našao na Ajfelovom tornju!

PRAZNA PRIČA (eho):

Zar to nije malo komplikovano? C’est très compliqué! Uostalom,

dečak deluje nekako ravnodušno!

DEČAK (eho):

Dolazi njemu oduševljenje, ali na francuskom.

PRAZNA PRIČA:

En français!

DEČAK:

Ali,ja ne razumem francuski! Biće da sanjam.

PRAZNA PRIČA:

Učinite nešto, doktore. Dajte mu nešto da radi dok nije pobegao!

DOKTOR (eho):

Evo, evo, dečak jede đevrek...ili bolje, kroasan!

PRAZNA PRIČA:

Mmm...Croissant!

DOKTOR (eho):

A gde je kroasan , tu je i golub! Sleće golub na toranj!

MUZIKA. GUGUTANJE GOLUBOVA. LEPET KRILA.

GOLUB:

Tornjaj se s mog tornja!

DEČAK:

Francuski golub? Ali, kako te onda razumem?

GOLUB:

Ko kaže da me razumeš?! Da me razumeš, već bi se tornjao s mog

DOCTOR:

Don’t panic, don’t panic, something is happening! (through an

echo) Jacques, Jacques, is that you?!

EMPTY STORY:

Qui est Jacques?

BOY (as from a bottom of a hole): Who is Jacques?!

EMPTY STORY:

Doctor, you must have misunderstood something. That boy’s name is

not Jacques.

DOCTOR (echo):

Of course it isn’t... (fast) He is sleeping and dreaming that he

is Jacques who found himself on The Eiffel Tower!

EMPTY STORY (echo):

Isn’t that a little complicated? C’est très compliqué! Besides,

the boy seems somewhat indifferent!

BOY (echo):

He feels the excitement, but in French.

EMPTY STORY: En français!

BOY:

But, I don’t understand French. I must be dreaming.

EMPTY STORY:

Do something, doctor. Give him something to do before he runs

away!

DOCTOR (echo):

Oh, oh, a boy eats a bagel… even better, a croissant!

EMPTY STORY:

Mmm...Croissant!

DOCTOR (echo):

And if you have a croissant, you have a pigeon! A pigeon perched

on the tower! MUSIC. PIGEONS COOING. FLAPPING OF WINGS.

PIGEON:

Scram from my tower!

BOY:

Are you a French pigeon? But, how can I understand you?

PIGEON:

Who says you can understand me?! If you could, you’d already be

tornja!

DEČAK:

Nije ovo tvoj toranj, nego Ajfelov.

GOLUB:

Ma nemoj! A jesi li ti video njegov testament? EHO

testament..testament..testament..

VRAPCI:

Testo sa ukusom mente!

PRAZNA PRIČA (eho):

Chut! Ućutkajte te vrapce, rasteruju mi likove!

GOLUB:

Znaš li ti uopšte šta je testament!

DEČAK:

Znam! To je jedno starinsko testo sa ukusom mente!

GOLUB:

Pa šta ako znaš! Kao da je to neko veliko znanje! I nemoj da

misliš da sam ja neki običan golub!

ZVONO BUDILNIKA

PRAZNA PRIČA (eho):

Chut! Qu’est-ce que c’est?

DOKTOR (eho):

Budilnik. Dečaku je očigledno vreme za buđenje.

PRAZNA PRIČA (eho):

Doktore, neka sanja još malo! Ućutkajte taj budilnik!

ZVONO BUDILNIKA. MUZIKA I GUGUTANJE GOLUBOVA SE MEŠA SA

ZVONOM.ZVONO BUDILNIKA SE PRETVARA U ZVONO NA VRATIMA.

DOKTOR (eho):

Ne mogu! Žak je zalepio žvaku na zvonce!

GOLUB:

A-ha! Ti si dakle taj koji je komšiji Žoržu zalepio žvaku na

zvonce, pa mu je zvonilo dok se nije pokvarilo.

DEČAK:

Čekaj malo. Ja nemam nikakvog komšiju Žorža. Ja i nisam ja. U

stvari, hoću da kažem da ja nisam Žak. Ja samo sanjam da sam on...

gone from my tower!

BOY:

This is not your tower, but Eiffel’s.

PIGEON:

Really? And did you see his testament? ECHO..testament..testament

SPARROWS:

Taste like mint!

EMPTY STORY (echo):

Chut! Hush up those sparrows. They are chasing my characters away!

PIGEON:

Do you even know what a testament is?!

BOY:

I do! It’s an old-fashioned taste of mint!

PIGEON:

So what if you do! As if it’s some big knowledge! And don’t think

I am an ordinary pigeon! SOUND OF A CLOCK ALARM

EMPTY STORY (echo):

Chut! Qu’est-ce que c’est?

DOCTOR (echo):

Clock alarm. Obviously, it’s time for the boy to wake up.

EMPTY STORY (echo):

Doctor, let him dream a little longer! Silence that alarm clock!

SOUND OF ALARM CLOCK. MUSIC AND COOING OF PIGEONS MIXED WITH THE

ALARM CLOCK WHICH TURNS INTO DOOR BELL.

DOCTOR (echo):

I can’t! Jacques stuck gum on the door bell!

PIGEON:

A-ha! You’re the one who stuck gum on neighbor Georges’ doorbell,

so it kept ringing until it broke down.

BOY:

Wait a minute. I don’t have a neighbor called Georges. In fact,

I’m trying to say that I am not Jacques. I’m only dreaming that I

am him...

GOLUB:

Ma nije nego! Pokvario si komšiji Žoržu zvonce. Zato nije mogao da

čuje kad je na vrata došao poštar da mu preda važno pismo.

DEČAK:

Ali ja stvarno nisam Žak...

GOLUB:

Jesi, jesi! Zato je poštar stavio pismo na prag, ali je odletelo

zbog vetra. I Žorž nikad nije pročitao to važno pismo.

ŠUM VETRA.

PRAZNA PRIČA (eho):

Monsieur le docteur, qui est Georges?

DOKTOR:

Molim?

PRAZNA PRIČA:

Ko je sad pa Žorž?

DOKTOR (eho):

Pa, podrazumeva se, mislim, Žorž je...

GOLUB:

Verovatno ne znaš da je tvoj komšija Žorž predsednik Golubarskog

udruženja Pariza. U tom pismu, koje mu je poslala Državna pošta,

stajao je predlog da se golubovi ponovo zaposle kao pismonoše,

zato što je to mnogo romantično. Ali pošto dragi i voljeni Žorž

nikada nije pročitao pismo, ja sam ostao bez posla. A ti si

krivac!

DEČAK:

Žao mi je zbog toga, ali ja stvarno ne živim u Parizu, ne znam

francuski i ne zovem se Žak. I hoću da se probudim.

GOLUB:

Prvo plati štetu!

DEČAK:

Kako?

GOLUB:

Daj taj kroasan!EHO kroasan..kroasan..

VRAPCI:

Kroasan, kroasan!

PIGEON:

Oh, please! You broke neighbor Georges’ doorbell. That’s why he

couldn’t hear when the postman came to his door to deliver an

important letter.

BOY:

But I really am not Jacques...

PIGEON:

Yes, yes you are! That is why the postman left the letter on the

doorstep, but it flew away because of the wind. And Georges never

got to read that important letter. WIND SIGHS.

EMPTY STORY (echo):

Monsieur le docteur, qui est Georges?

DOCTOR:

Excuse me?

EMPTY STORY:

Who is Georges?

DOCTOR (echo):

Well, it goes without saying, I mean, Georges is...

PIGEON:

You probably don’t know that your neighbor Georges is the

president of The Society of Pigeon Fanciers of Paris. The letter,

sent by the national postal service, contained a proposal for

returning “post pigeons” because it is very romantic. But since

our dear and beloved Georges never got to read the letter, I ended

up unemployed. And you’re to blame!

BOY:

I am really sorry about that, but honestly, I don’t live in Paris,

I don’t speak French, and my name is not Jacques. And I want to

wake up.

PIGEON:

First you need to pay for the damage!

BOY: How?

PIGEON:

Give me that croissant! ECHO croissant..croissant..croissant

SPARROWS:

Croissant, croissant!

PRAZNA PRIČA (eho):

Bež! Mrš! Sve smo upropastili! Dečak se budi!

DOKTOR (eho):

Divno je jutro! Dečaku to privuče pažnju, pa priđe prozoru da

pogleda napolje. Kad, na prozoru...

GUGUTANJE GOLUBA

DEČAK:

Što me tako gledaš? Nisam ti ja tamo neki Žak!

GOLUB:

Znam! Šta se dereš?!

LEPET KRILA.

PRAZNA PRIČA:

A, šta je bilo sa kroasanom?

DOKTOR:

Od kroasana je ostalo samo nekoliko zrna susama.

2.SCENA

PRAZNA PRIČA:

Doktore, ne sviđa mi se da budem priča na francuskom, jedva smo se

sporazumeli.

KUCANJE PO PISAĆOJ MAŠINI

DOKTOR:

Molim? Oprostite, hranio sam vrapce, šteta da se baci tako fin,

francuski susam.

PRAZNA PRIČA:

Doktore, pa, vi mene čak ni ne slušate!

DOKTOR:

Slušam, slušam!

PRAZNA PRIČA:

Pa, kako biste me i slušali kada sam ja jedna prazna priča!

DOKTOR:

Molim vas, ne padajte u očaj! EHO očaj..očaj..očaj

VRAPCI:

Čaj, čaj! To i nije neka hrana!

EMPTY STORY (echo):

Shoo!! We’ve ruined everything! The boy is waking up!

DOCTOR (echo):

It’s a beautiful morning! That draws boy’s attention and he comes

to the window to look outside. And there...

PIGEONS COOING

BOY:

Why are you looking at me like that? I’m not Jacques or anything!

PIGEON:

I know! Why are you shouting?!

WINGS FLAPPING.

EMPTY STORY:

And what happened to the croissant?

DOCTOR:

A few grains of sesame are all that was left of the croissant.

SCENE 2

EMPTY STORY:

Doctor, I don’t like being a story in French. We could barely

communicate.

TYPING ON TYPEWRITER

DOCTOR:

What? Sorry, I was feeding the sparrows. It would be a shame to

waste such nice French sesame.

EMPTY STORY:

Doctor, well, you’re not even listening to me!

DOCTOR: I’m listening, I’m listening!

EMPTY STORY:

Well, how could you listen to me when I’m just an empty story!

DOCTOR:

Please, don’t despair! ECHO despair..despair..despair

SPARROWS:

Tea, tea! Not much of a food!

PRAZNA PRIČA:

Bež! MrŠ! Samo tražim par ušiju koje će da me slušaju! Tražim li

mnogo?

DOKTOR:

Niste ni svesni koliko mnogo tražite! Ali, danas imate sreće! Eno

baš jednog finog para ušiju!

PRAZNA PRIČA:

Zaista? Čije su? Muške ili ženske?

DOKTOR (eho):

Kakve veze ima! Uostalom, ovo su uši na zidu jedne kuće!

PRAZNA PRIČA:

Kakve kuće?!

DOKTOR (eho):

Stare, omanje, trošne, naherene kuće na kraju grada.

PRAZNA PRIČA:

Odakle kući uši? Kako to?

DOKTOR (eho):

Hteli ste par ušiju, pustite me da radim svoj posao ili ćete

zauvek ostati prazni!

PRAZNA PRIČA:

Dobro, izvinite.

DOKTOR (eho):

Tog dana, na kraju grada, dunuo je jak vetar. MUZIKA. ŠUM SVE

JAČEG VETRA Kako bi se sklonila od hladnoće, na prag te kuće sela

je jedna starica.

STARICA:

O, teško meni! Nedelja je i sav svet sedi u svojim toplim kućama,

posle toplog ručka i greje ga ljubav. A, mene i vetar može da

odnese ovako promrzlu i bez zaklona. I svakome bi bilo svejedno

sedim li na tremu ove puste kuće ili ležim negde u parku! Teško

meni, izem ti ovu sudbinu, kad nema nikoga ni da me sasluša!

DOKTOR (eho):

Kako je izgovorila svoje jade naglas, bilo joj je lakše. Bilo joj

je toliko lako da je morala da se uhvati za kvaku kako ne bi

odletela od olakšanja. A, onda je otkrila nešto neverovatno.

MUZIKA

EMPTY STORY:

Shoo!!I’m just looking for a pair of ears to listen to me! Is that

too much to ask?

DOCTOR:

You can’t even imagine how much you are asking! But, today is your

lucky day! There is a nice pair of ears!

EMPTY STORY:

Really? Whose are they? Male or female?

DOCTOR (echo):

Does it matter? Besides, these ears are on the wall of a house!

EMPTY STORY: What kind of house?!

DOCTOR (echo):

Old, kind of small, decayed, lopsided house on the edge of the

town.

EMPTY STORY:

A house with ears? How is that possible? A house can’t have...

DOCTOR (echo):

You wanted a pair of ears. Let me do my job or you’ll stay empty

forever!

EMPTY STORY:

Fine, sorry.

DOCTOR (echo): And on that day, a strong wind started to blow on

the edge of town. MUSIC. THE SOUND OF A STRONG WIND. One old woman

sat on the doorstep of the house to shelter herself from cold.

OLD WOMAN:

Woe is me! It’s Sunday and everyone is sitting in their warm

homes, after a warm meal, warmed by love. And I can be taken by

the wind, all cold and shelterless. No one cares if I’m sitting on

a porch of this decayed house or lying somewhere in a park! Oh,

woe is me! Cursed be my fate, when there’s no one around to listen

to what I have to say!

DOCTOR (echo):

After she expressed his sorrow out loud, Old Woman felt relieved.

She was so relieved that she had to grab the doorknob so she

wouldn’t fly away from such a relief. And then she discovered

something incredible. MUSIC

STARICA:

Jeste li videli?! Kuća ima uši! Na kući su nikle uši! Hej, ljudi!

DOKTOR:

Prave pravcate uši! Kuća je slušala.ZVUK POLICIJSKE SIRENE.Ubrzo

se priča pročula po gradu i ljudi počeše da dolaze da vide čudo.

ZVUK MOTOROLE.

POLICAJAC:

Centrala, centrala, pošaljite patrolu hitno na kraj grada! Imamo

slučaj klempave kuće! Hitno je! Na kući su nikle uši! ZVUK IZ

MOTOROLE Znam da i zidovi imaju uši, inspektore, ali na ovoj kući

su nikle prave pravcijate uši! ZVUK IZ MOTOROLE Uši? Pa, ne znam

da li su muške ili ženske? Nemaju minđuše! Šta rade? Pa, verujem

da nas slušaju, šta bi uši drugo radile? Za sada se pridržavaju

reda i zakona! Kako ušima da stavim lisice?!

MUZIKA.

DOKTOR (eho):

Ljudi su isprva bojažljivo prilazili kući, kao da će ih uši

ugristi. Međutim, pošto behu čuli da one lepo slušaju i da su

pomogle svakom ko im se izjadao, polako počeše da se oslobađaju

straha.

GRAĐANI (prepliću se glasovi):

Žena neće da mi češka tabane... Svake noći sanjam kako me jure

velike zubate krofne... Moja mačka nikako da nauči da igra

engleski valcer...

KLAVIRSKA MUZIKA

DOKTOR (eho):

Iz dana u dan red građana koji su čekali da povere svoju tegobu

čudesnim ušima beše sve veći. Svako bi odlazio zadovoljan i

utešen, jer je napokon našao uši koje su ga pažljivo saslušale.

Svima je bilo lakše.

GRAĐANI (prepliću se glasovi):

Mama neće da mi kupi kućnog ljubimca... Zašto me ona ne

pogleda...Zašto, zašto sam skratila šiške...Na pijaci mi uvek

uvale trule jagode...

MUZIKA

OLD WOMAN:

Did you see?!House has ears! The house grew ears! Hey, people!

DOCTOR (echo, over Old Woman’s shouting):

Genuine ears! The house was listening to him. SOUND OF POLICE

SIREN. Soon the story spread around the town and people started to

come to see the miracle.

SOUND OF POLICE RADIO.

POLICEMAN:

Operator, operator, send a patrol to the other side of the town!

We have a case of a house with lop ears! It’s urgent! The house

has ears! SOUND OF POLICE RADIO I know that walls have ears,

inspector, but this house has grown real genuine ears! SOUND OF

POLICE RADIO Ears? Well, I don’t know if they are male or female?

They don’t have earrings! What are they doing? Well, I believe

they are listening to us, what else could ears be doing? For now,

they are behaving in compliance with the law! How can I cuff

ears?! MUSIC

DOCTOR (echo):

At first, people approached the house with caution, as if the ears

would bite them. But, when they heard how good they listened and

that they have helped everyone who opened up to them, people

stopped being scared.

CITIZENS (voices intertwine):

Wife doesn’t want to scratch my feet... Every night I dream that

giant doughnuts with teeth are chasing me... My cat can’t seem to

learn to dance English waltz... PIANO MUSIC

DOCTOR (echo):

A line of citizens waiting to confess their sorrows to the

fantastic ears was getting bigger every day. Everyone would leave

satisfied and consoled because they would have finally found ears

who would listen to them carefully. Everyone felt relieved.

CITIZENS (voices intertwine):

Mom doesn’t want to buy me a pet... Why she won’t look at me...

Why, why did I cut my bangs... They always sell me rotten

strawberries in the marketplace...

MUSIC.

DOKTOR (eho):

A, kuća je mirno i pažljivo slušala. I od toga su joj uši

svakodnevno rasle. Uskoro su uši toliko narasle da su bile veće

nego prozori na kući. Tako je taj oronuli kućerak dobio ime

Klempava kuća.

ZVUK OLUJE

DOKTOR (eho):

Jedne noći, dok je besnela strašna oluja, dogodilo se nešto

neočekivano. Vetar je silno duvao i nadimao velike zidne uši.

Činilo se da će ih silni vihor iščupati iz zidova. Ali nije. Uši

su se čvrsto držale za svoju rođenu kuću. Ali se zato kuća jedva

držala za svoje temelje.

ZVUK OLUJE SE STIŠAVA. KLAVIRSKA MUZIKA.

GRAĐANI:

Gde je naša klempava kuća? Odletela?! Kako odletela?! Zovite

policiju! Ko je ukrao našu klempavu kuću?! Lopovi!Teško nama!

ZVUK MOTOROLE

POLICAJAC:

Centrala, centrala! Imamo slučaj krađe na kraju grada! Šaljite

patrolu! Šta je ukradeno? Pa, klempava kuća! Nestala je! Centrala,

čujete li me?!

ZVUK MOTOROLE

GRAĐANI (prepliću se glasovi):

Teško nama! ... Kome sada da poverim to što me žulja desna

cipela...Ko će da sasluša moju muku...moj problem...Niko više neće

čuti...MOTOROLA

POLICAJAC: Čujete li me?!

DOKTOR (eho):

Usred te ucveljene grupe pojavi se dečak koji je te večeri sanjao

čudesan san o nekakvom francuskom golubu i kroasanu.

DEČAK: Ljudi, plačete zbog jednog para ušiju, a ovde ih je na

stotine.

GRAĐANI:

Gde? Gde?

DEČAK:

Na vašim glavama.

DOCTOR (echo):

And house just listened calmly and carefully. And its ears kept

growing every day from all that listening. Soon they grew so big

that they were bigger than the house windows, and soon after that,

bigger than the whole house. That is how that decayed small house

became known as a Lop Ear House. SOUND OF STORM.

DOCTOR (echo):

One night, while there was a storm raging, something unexpected

happened. The wind was blowing hard and it inflated big ears on

the walls. It seemed as if the strong blows would rip them out of

walls. But they didn’t. The ears held strong to their own house.

But the house could barely hold on to its foundations.

SOUND OF A STORM CALMING DOWN. PIANO MUSIC.

CITIZENS:

Where is our Lope Ear House? It flew away?! How did it fly away?!

Call the police! Who stole our Lope Ears House?! Thieves! Oh, woe

is us! SOUND OF POLICE RADIO

POLICEMAN:

Operator, operator! We have a case of robbery on the edge of the

town! Send patrol! What was stolen? Well, Lope Ear House! It is

gone! Operator, do you hear me?! SOUND OF POLICE RADIO

CITIZENS (voices intertwine):

Oh, woe is us! ... Whom do I confess now that my right shoe is

giving me blisters... Who will listen to my sorrow?... my

problem... No one will ever hear... SOUND OF POLICE RADIO

POLICEMAN: Do you hear me?!

DOCTOR (echo):

In the middle of the bereaved crowd appeared a boy who had a

strange dream about some French pigeon and a croissant that night…

BOY:

Folks, you’re crying over a pair of ears and there are hundreds of

them here.

CITIZENS:

Where? Where?

BOY:

On your heads.

ŽAMOR

DOKTOR (eho):

Ljudi počeše da zagledaju jedni druge i videše da svako od njih

ima uši.

GRAĐANI:

Eureka! Kakvo otkriće!

STARICA:

Nemam ni kučeta ni mačeta...

DEČAK:

Sinoć sam sanjao goluba koji priča francuski...

POLICAJAC:

Zašto stalno ja moram da zavodim red na kraju grada... Trudim se,

ali nikako da dobijem premeštaj...

STARICA:

Nedeljom, kada zamiriše kokošja supa, a meni hladno...

DEČAK:

Kako to misliš kako znam da je pričao na francuskom...

POLICAJAC:

Da sam čuvar u školi, nego ovako...

KLAVIRSKA MUZIKA

DOKTOR (eho):

I tako je svako pronašao po jedan par ušiju koji će da ga sluša.

4.SCENA

KUCANJE PO PISAĆOJ MAŠINI

PRAZNA PRIČA:

Oh, kada bih samo ja našla par ušiju koji će da me sasluša. Ali,

doktore, šta da čuje kada sam ja i dalje prazna? Ah, koliko je to

tužno! Prosto tragično! EHO prosto tragično..prosto

tragično..prosto tragično..

VRAPCI:

Proso! Magično!

PRAZNA PRIČA:

Bež! MrŠ!

DOKTOR:

Možda ste vi u stvari jedna tužna priča! To je dobar početak!

CLAMOR.

DOCTOR (echo):

People started looking at each other and they noticed that every

single one of them has ears.

CITIZENS:

Eureka! What a discovery!

OLD WOMAN:

I don’t have anyone...

BOY:

Last night I dreamt about a pigeon who spoke French...

POLICEMAN:

Why do I have to bring order on the edge of the town... I keep

trying, but I can’t seem to get a transfer...

OLD WOMAN:

On Sundays, when you can smell chicken soup, and I am cold...

BOY:

What do you mean, how do I know that he spoke French...

POLICEMAN:

I wish I could work a safety guard in a school, and not this...

PIANO MUSIC

DOCTOR (echo):

And then everyone found a pair of ears that will listen to them.

SCENE 4

TYPING ON TYPEWRITER

EMPTY STORY:

Oh, if only I could find a pair of ears that would listen to me.

But, doctor, what’s there to hear when I’m still empty? Ah, how

sad this is! Simply tragic! ECHO simply tragic..simply tragic..

SPARROWS:

Crispy! Magic!

EMPTY STORY: Shoo!!

DOCTOR:

Maybe you are a sad story! That’s a good start!

PRAZNA PRIČA:

Ali, niko ne želi da sluša tužne priče. Volela bih da budem priča

sa srećnim krajem. Ali, da bih imala srećan kraj, moram imati

nekakav početak, a u meni nema ničega za početak – prazna sam i

hladna kao pećina!

PRAZNA PRIČA ZAPLAČE

DOKTOR (eho):

Ali, evo ga, pećinski čovek se upravo vraća iz lova na mamute.

PRAZNA PRIČA (kroz jecaje):

I? I? Šta radi, doktore, recite šta radi?

DOKTOR (eho):

Hramlje! On hramlje!

MUZIKA

PEĆINSKA ŽENA:

Oh, siroti moj pećinski čoveče, zašto hramlješ?

PEĆINSKI ČOVEK:

Ne staj mi na žulj, u lovu sam zgazio na glogov trn!

PEĆINSKA ŽENA:

Dragi moj, stavila bih ti flaster, ali nažalost, još uvek nije

izmišljen!

PEĆINSKI ČOVEK:

Oh, da mi je samo, da mi je samo...

BAT NOGU

DEČAK:

Tata, tatice, šta si mi doneo iz lova? Jesi li mi ulovio

televizor?

PEĆINSKA ŽENA:

Smiri se, televizor još uvek nije izmišljen!

DEČAK:

Hoću televizor! Hoću televizor!

PEĆINSKI ČOVEK:

Razmaženo pećinsko derište! Šta bih ja sve voleo da imam pa nemam.

Štošta još nije izmišljeno: ni vatra, ni točak, ni pertle,

lokomotiva...

PEĆINSKA ŽENA:

Ma, ni knedle sa šljivama!

EMPTY STORY:

But no one wants to listen to sad stories. I would like to be a

story with a happy ending. But, to have a happy ending, I need to

have some kind of beginning, and there’s nothing in me to begin

with – I am empty and cold as a cave!

EMPTY STORY STARTS CRYING.

DOCTOR (echo):

But here he is, a caveman is returning from a mammoth hunt.

EMPTY STORY (sobbing):

And? And? What is he doing? Doctor, tell me what is he doing?

DOCTOR (echo):

Limping! He’s limping!

MUSIC

CAVEWOMAN:

Oh, my poor caveman, why are you limping?

CAVEMAN:

Don’t step on my toe. I stepped on a hawthorn while I was hunting!

CAVEWOMAN:

My dear, I would put a Band-Aid, but unfortunately, it hasn’t been

invented yet!

CAVEMAN:

Oh, if only, if only...

STOMPING OF FEET

BOY:

Dad, daddy, what did you bring me from the hunt? Did you catch a

TV?

CAVEWOMAN:

Calm yourself, TV hasn’t been invented yet!

BOY:

I want a TV! I want a TV!

CAVEMAN:

Spoiled cave brat! I want so many things that I don’t have. So

many things haven’t been invented yet: fire, wheel, shoelaces,

locomotive…

CAVEWOMAN:

Not even plum dumplings!

PEĆINSKI ČOVEK:

A on bi televizor!

DEČAK:

Hoću televizoooor!

DOKTOR (eho, preko dečaka):

Ali, pećinskom čoveku nedostajalo je nešto sasvim deseto da bi

olakšao bol od uboda glogovog trna.

PEĆINSKI ČOVEK:

Toliko me boli! Da mi je samo... da mi je samo... MUZIKA

DEČAK:

Televizoooor (zaplače)

DOKTOR:

Pećinom je odjeknuo plač pećinskog deteta. U ono pećinsko vreme

plač još uvek nije bio izmišljen, pa je čitavo pećinsko pleme

pohrlilo da vidi kakvo se to čudo zbiva u pećini pećinskog čoveka

koji se ubo na glogov trn. Gledali su rasplakano pećinsko dete i

pokušavali da shvate šta to malac radi. Pećinski deran se u

međuvremenu smirio i zadovoljno otišao da se igra svojim pećinskim

igračkama. Isplakao se i bilo mu je mnogo lakše. MUZIKA

PEĆINSKI ČOVEK:

Nije varka, nije trač! Ovo je pravi pravcati plač!

PEĆINSKA ŽENA:

Kakav sad plač?!

PEĆINSKI ČOVEK:

Mogao bih da probam. Možda mi bude lakše ako zaplačem od bola?!

MUZIKA

DOKTOR (eho):

Ali, nije to tek tako – rešiš i zaplačeš. Naročito ako to nikada

nisi radio.

NAPREZANJE PEĆINSKOG ČOVEKA. GROMOGLASAN PLAČ PEĆINSKOG ČOVEKA.

MUZIKA

DOKTOR:

Kada mu je konačno pošlo za rukom da zaplače, pećinski čovek je

plakao skoro petnaest minuta. Ali, pošto u pećinsko doba ni minuti

nisu bili izmišljeni, ne možemo sa sigurnošću reći koliko je

trajao taj muževni plač. MUZIKA

CAVEMAN:

And he wants a TV!

BOY:

I waaant aaaa TV!

DOCTOR (echo, over the boy):

But caveman needed something completely different to ease the pain

from the thorn prick.

CAVEMAN:

It hurts so much! If only I... if only I had...

BOY:

Teeeleevisioon… (cries)

DOCTOR (echo, over the crying caveboy):

The cry of the caveboy resounded in the cave. In those cave times,

crying still hasn’t been invented, so the whole cave tribe rushed

to see the miracle in the cave of a caveman who was pricked by a

thorn. They looked at the crying cave child while trying to

understand what the little rascal was doing. In the meantime, cave

chap has calmed down and went to play with his cave toys. He cried

and now he felt better.

MUSIC

CAVEMAN:

It’s not a bye, nor a sigh, it’s a real and truthful cry!

CAVEWOMAN:

What cry?!

CAVEMAN:

I could try. Maybe I will feel better if I cry in pain?!

MUSIC

DOCTOR (echo):

But it is not that easy – you can’t just decide to do it and cry.

Especially if you have never done it before.

STRAINING OF CAVEMAN. CAVEMAN STARTS CRYING. MUSIC.

DOCTOR (echo, over cry):

When he finally managed to start crying, caveman cried for almost

fifteen minutes. But, since minutes were not yet invented in the

cave time, we can’t say for sure how long did that manly cry last.

MUSIC.

PEĆINSKI ČOVEK:

Uh, uh, pa mene rana od glogovog trna više ni malo ne boli!

MUZIKA

DOKTOR (eho):

Ubrzo je celo pleme počelo da plače jer su ljudi videli da to

pomaže, a svako je imao neku muku.

PEĆINSKI LJUDI

Boli me zub...On me više ne voli...Niko mi nije došao na

rođendan...

GRUPNI PLAČ

DOKTOR:

Svi su plakali kao kiša i svima je posle bilo lakše. A, kad je

izmišljen plač, i druge stvari su krenule nabolje.

MUZIKA

DOKTOR (eho):

Malo posle izmišljanja plača otkriveni su vatra i točak. Zatim su

izmišljene i mnoge druge korisne stvari. Kao, na primer, pertle,

lokomotiva i knedle sa šljivama. A, naravno, izmišljena je i

televizija.

ŠPICA DNEVNIKA

DOKTOR (eho):

I pored svih tih novotarija, ljudi i dalje plaču. Da bi im bilo

lakše. Plaču čak i na televiziji. (ISEČAK IZ ŠPANSKEE SAPUNICE) U

jednom poznatom filmu jedna devojka plače zato što ju je ostavio

momak. I tako ona plače i plače i kaže za njega da je (ISEČAK IZ

ŠPANSKE SAPUNICE) nevaspitani grubijan. Pa i jeste, kad može tako

da rasplače devojku.

PRAZNA PRIČA PLAČE. ZVUK PISAĆE MAŠINE

5.SCENA

PRAZNA PRIČA:

Uh, uh, sad mi je mnogo lakše. Kako se ranije nisam setila da se

isplačem.

DOKTOR:

Vidite, plač nije izmišljen za badava.

CAVEMAN:

Uh, uh, the injury from the thorn doesn’t hurt me a bit anymore!

MUSIC.

DOCTOR (echo):

Soon the whole tribe started crying because people saw that it

helps and everyone had something that tormented them.

CAVE PEOPLE

I have a toothache...He doesn’t love me anymore... No one came to

my birthday...

GROUP CRYING

DOCTOR:

Everyone cried like a baby and felt relieved. And when crying was

invented, other things started to look better also.

MUSIC.

DOCTOR (echo):

Soon after the crying was invented, people discovered fire and

wheel. Then they invented many other useful things. As for

example, shoelaces, locomotive and plum dumplings. And, of course,

the television.

NEWS JINGLE

DOCTOR (echo): And with all these novelties, people are still

crying. To feel better. They even cry on television.(A CLIP FROM

SPANISH SOAP OPERA) In a famous movie, a girl is crying because

her boyfriend left her. And she’s crying and crying and says that

(A CLIP FROM SPANISH SOAP OPERA) he is a rude ruffian. Well, of

course he is when he can make a girl cry like that.

EMPTY STORY CRIES. SOUND OF TYPEWRITING

SCENE 5

EMPTY STORY:

Uh, uh, now I feel much better. Why didn’t it occur to me earlier

to cry?

DOCTOR:

You see, the crying wasn’t invented for nothing.

PRAZNA PRIČA:

Uh, uh. Avaj! EHO avaj..avaj..avaj..

VRAPCI:

Ajvar!

PRAZNA PRIČA:

Bež! Mrš!

DOKTOR:

Tako, tako, ispraznite se, ispraznite se...

PRAZNA PRIČA:

Da se ispraznim?! Pa, ja sam već prazna! Doktore, kakva je to

neslana šala?!

VRAPCI:

Slano, slano!

PRAZNA PRIČA:

Bež! Mrš!

DOKTOR:

Ne, ne, nisam mislio tako...

PRAZNA PRIČA:

Odlazim! Prevršili ste svaku meru! I da znate, odlazim još

praznija nego što sam ušla u vašu ordinaciju! Zbogom!

MUZIKA. PRAZNA PRIČA UPLAŠENO VRISNE.

ZMAJ:

Dobar dan, jeste li vi pisac?

DOKTOR (zbunjeno):

Mmm, nisam, ali u neku ruku mogu da vam prepišem... Smestite rep

na čiviluk, pa ćemo...

MUZIKA

PRAZNA PRIČA:

Gospodine Zmaju, ovaj čovek, samozvani doktor za prazne priče nije

ni doktor ni pisac. Jedino što taj može da vam napiše je recept za

dobijanje glavobolje!

ZMAJ:

Ah, onda za mene nema nade.

PRAZNA PRIČA:

Ni za mene!

EMPTY STORY:

Uh, uh. Alas! ECHO..alas..alas..alas

SPARROWS:

Apples!

EMPTY STORY (while sobbing):

Shoo!!

DOCTOR:

There, there, let it all out, let it all out...

EMPTY STORY:

Let all out?! I’m already empty! Doctor, what kind of a sick joke

this is?! ECHO.. sick..sick..sick

SPARROWS:

Sick, sick!

EMPTY STORY:

Shoo!!

DOCTOR:

No, no, that is not what I meant...

EMPTY STORY:

I’m leaving! This is too much! And so you know, I’m leaving even

emptier than I was when I first came into your office! Goodbye!

MUSIC. EMPTY STORY CRIES FRIGHTENED.

DRAGON:

Good afternoon, are you the writer?

DOCTOR (confused):

Mmm, no, but in a way, I can prescribe you... Leave the tail on

the coat hanger, and then we can...

MUSIC

EMPTY STORY:

Mister Dragon, this man, the so-called doctor for empty stories is

not a doctor, nor a writer. The only thing he can write is a

prescription for getting a headache!

DRAGON:

Ah, there’s no hope for me then.

EMPTY STORY:

Nor for me!

ZMAJ:

Obišao sam sva mesta i sve moguće audicije u nadi da ću se

zaposliti u priči za laku noć, ali svuda su mi rekli da jedan zmaj

može da radi samo u priči strave i užasa. Ali, ja ne želim da

budem lik u jezivim pričama od kojih se deca plaše!

PRAZNA PRIČA:

Potpuno vas razumem, svi beže od moje praznine!

ZMAJ:

Naporno sam vežbao da budem fin i činim dobra dela! Od te silne

finoće uspeo sam samo da se ogadim drugim zmajevima i sada oni ne

žele da se druže sa mnom.

PRAZNA PRIČA:

Sve ostale priče me izbegavaju zbog moje praznine. Kažu da sam

dosadna i da čovek od mene nema šta da čuje!

ZMAJ/PRAZNA PRIČA (gotovo u glas):

O, kako sam usamljen! Oh, kako sam usamljena!

MUZIKA.

ZMAJ (kroz mucanje):

Ako biste hteli...

PRAZNA PRIČA (stidljivo):

Možda bismo mogli...

ZMAJ:

Hteo sam da kažem, ako ikada poželite da postanete priča za laku

noć...

PRAZNA PRIČA:

Možda bih mogla da...

ZMAJ:

Kažite...

PRAZNA PRIČA:

Ne, mislila sam, možda bismo mogli da odemo zajedno na knedle sa

šljivama...

ZMAJ:

Jao, to je divno, ja prosto obožavam knedle sa šljivama!

DOKTOR:

Pa, ovaj susret uopšte nije slučajan!

DRAGON:

I went to all the places and all auditions hoping to get a job in

a good-night story, but they all told me that a dragon can work

only in a horror story. But I don’t want to be a character in a

creepy story that scares children!

EMPTY STORY:

I completely understand. Everyone is running away from my

emptiness!

DRAGON:

I worked hard to become nice and do good deeds! And all I got from

all that kindness is loathing from other dragons and now they

don’t want to hang out with me.

EMPTY STORY:

All other stories are avoiding me because of my emptiness. They

say I’m boring and that there’s nothing you can hear from me!

DRAGON/EMPTY STORY (almost in unison):

Oh, how lonely I am! Oh, how lonely! MUSIC.

DRAGON (stutters):

If you would want...

EMPTY STORY (shy):

Maybe we could...

DRAGON:

I wanted to say that if you ever decide to become a good-night

story...

EMPTY STORY:

Maybe I could...

DRAGON:

Say it...

EMPTY STORY:

No, I meant, maybe we could go together and have plum dumplings...

DRAGON:

Aww, that’s lovely. I simply adore plum dumplings!

DOCTOR:

Well, maybe this encounter wasn’t an accident after all!

PRAZNA PRIČA:

Ne obazirite se na njega. Gde smo ono stali?

ZMAJ:

Kod knedli sa šljivama!

ZMAJ:

Mnogo volim knedle sa šljivama! Jednom sam se kladio sa pekarom da

ću pojesti dvesta pedeset tri knedle sa šljivama. I to unazad!

PRAZNA PRIČA:

Unazad?!

ZMAJ:

Unazad! Od poslednje do prve! Kladili smo se da, ako mi to uspe,

pekar će svakom dobrom detetu za doručak spremiti palačinke!

PRAZNA PRIČA:

Jao, pa to je divno! Počnimo!

ZVUK MLJACKANJA.

PRAZNA PRIČA:

Dvesta pedeset tri, dvesta pedeset dva, dvesta pedeset jedan... Ne

zabušavaj! Deca nas slušaju. Ona će da broje unazad svaku knedlu!

(kroz smeh) Dvesta pedeset...249..248..247..

PRAZNA PRIČA BROJI ISPOD DOKTOROVOG GLASA. ZMAJEVO MLJACKANJE.

ZVUK PISAĆE MAŠINE.

DOKTOR (eho):

Tako zmaj odskakuta u praznu priču koja je postala priča za laku

noć, iz koje je već dopirao opojan miris divnih knedli sa

šljivama. A vi dobro pazite da li će da pojede svaku od dvesta

pedeset i tri. Treba da brojite unazad...

PRAZNA PRIČA (ispod Doktorovog glasa):

dvesta četrdeset tri, dvesta četrdeset dve, dvesta četrdeset

jedan...

DOKTOR (eho):

Ako slučajno zadremate u tom poslu, neće se desiti ništa strašno.

Samo recite onome ko vam priča ovu priču za laku noć da broji

umesto vas. Zašto biste vi sami brojali kada je to teško raditi

dok se zeva? Dakle, laku noć.

EMPTY STORY:

Pay no attention to him. Where were we?

DRAGON:

At plum dumplings!

DRAGON:

I really like plum dumplings! Once I made a bet with a baker that

I will eat two hundred and fifty-three plum dumplings. Backward!

EMPTY STORY:

Backward?!

DRAGON:

Backward! From the last one to the first! We bet that, if I make

it, the baker will make pancakes for breakfast for all good kids!

EMPTY STORY:

Wow, that’s wonderful! Let’s start!

SOUND OF MUNCHING.

EMPTY STORY:

Two hundred fifty-three, two hundred fifity-two, two hundred

fifty-one... Don’t slack! Children are listening. They will count

all dumplings backward!(laughing)Two hundred fifty..249..248..247

EMPTY STORY COUNTS WHILE DOCTOR IS TALKING. DRAGON MUNCHES. SOUND

OF TYPEWRITING

DOCTOR (echo):

And so the dragon hopped into the empty story which became a good-

night story. You could smell the intoxicating scent of delicious

plum dumplings spreading from it. And you need to watch carefully

if he’s going to eat every single one of the two hundred and

fifty-three... You need to count backward...

EMPTY STORY (while Doctor is talking): two hundred forty-three,

two hundred forty-two, two hundred forty-one...

DOCTOR (echo):

If you happen to fall asleep while doing it, nothing horrible will

happen. Just tell to the person who is reading you this story for

a good night to count instead of you. Why would you count by

yourself when it’s hard to do it while yawning? Good night, then.

PRAZNA PRIČA (eho):

...dvesta trideset...229, 228, 227, 226, 225...

MUZIKA.UZDAH

EMPTY STORY (echo): ...two hundred thirty..229..228..227..226..225

MUSIC. SIGH

Hilandarska 2a, 11000 Beogad, Srbija

Tel/fax 0038111/655.3241, 655.3245

radiodrama@rts.rs

www.rts.rs/radio/drama