unmasc

In a moment of profound social awakening in Serbia, Kulturanova brought to life “There Are No Trains Today” (Danas nema vozova)—a powerful devised theatre performance born from the personal stories of young people directly engaged in the protests following the tragic collapse of the Novi Sad railway station canopy.

Directed by Uroš Isak Mladenović, the process provided a vital creative space for youth to confront collective fears, grief, and anger. Through movement, original music, and recorded voiceovers drawn from their own letters and memories, the performers built an intensely intimate and universal performance. Topics such as patriarchal upbringing, gender-based violence, and women’s labour rights were explored with raw honesty, including a deeply moving scene based on a participant’s letter to her rapist.

The performance resonated strongly in Novi Sad, moving audiences to tears and sparking thoughtful post-show dialogues. Its success lies in its authenticity and symbolic physicality, which—without relying on spoken text—communicate a shared experience of transience, resistance, and hope.

On tour in Vienna, the piece transformed into a travelling dialogue, carrying the voice of Novi Sad’s youth into new cultural contexts. Each performance was followed by heartfelt conversations, deepening the sense of shared humanity and underlining theatre’s role as a mirror to society and a catalyst for empathy across borders.

The devised performance “There Are No Trains Today” was presented five times between April 29th and June 22nd, 2025, in Novi Sad and on tour in Vienna, engaging a total live audience of 150 people.

UNMASC! thrived on artistic reciprocity. Through short-term residencies, artists embedded themselves within partner communities, fusing methodologies and creating a shared artistic language.

Vienna Through a Kosovar Lens
Kosovar director Zana Hoxha brought her feminist practice to Vienna, co-facilitating a powerful workshop on gender justice and mental health. It honestly confronted a core dilemma: how to safely include heteronormative men without compromising the safer space for FLINTA* voices. The residency was also a strategic mission, weaving UNMASC! into the fabric of Vienna’s cultural institutions through countless meetings and networking events.

“The residency highlighted our shared values, feeling like the beginning of a long-term partnership”, Zana Hoxha.

Prishtina’s Stage for Dialogue
For Serbian artist Attila Antal, a residency at Prishtina’s FemArt Festival was a deep immersion. Co-facilitating a workshop with participants from Kosova, Serbia, and the Roma community, he explored peacebuilding through storytelling. The festival provided a vibrant backdrop for forging future cross-border collaborations.

“As part of the workshop, we learned how to take space, an essential aspect of gender equality. Attila and Shpëtim introduced us to unique ways of discussing peace, gender, and art, outside of conventional concepts. This approach opened new questions and topics for me. The experience was freeing and different from traditional workshop formats”, said Tamara Milanovic from Serbia, participant in the workshop.

Novi Sad’s Collective Creation
Viennese artist Danilo Jovanović brought his “Open Soul” method to Novi Sad, seamlessly collaborating with local director Uroš Isak Mladenović. Their workshops fused movement, music, and personal narrative, empowering participants to become true co-authors of the work and fostering a profound sense of community and ownership.

“Feedback on the sessions we did together was very positive and the exploration of my Open Soul method turned out to be a very valuable source of knowledge for the workshop participants”,  Danilo Jovanović.

26, 27, 28 & 30 July 2025 / Prishtina and Novi Sad

The performance “Memories from the River” had an open presentation for the audience on July 26, 2025, in Prishtina, followed by its official premiere on July 27. A rerun took place the next day, on July 28. Then, on July 30, the river of memories flowed beyond borders, reaching the stage in Novi Sad, where it was embraced as a poetic journey between art and remembrance.

Over the course of these presentations, more than 180 audience members experienced this unique theatrical event.

If childhood is the place where our inner world takes shape, then Memories from the River was a courageous return to that place — joyful and painful at once. In this experimental performance, Zana Hoxha invited us to face what we so often try to forget: the unheard voice of the child within us.

✨With deeply introspective direction and a dramaturgy that interwove poetry with brutal reality, the performance placed the audience on a tender trajectory — from innocence to the violence of a society that fails to embrace “the different.” Mance — portrayed by Edon Shileku — was not just a character; he embodied all those who’ve felt small in the face of scorn, talented yet silenced, a dreamer dismissed.

🫂Hana (Qendresa Kajtazi) was the living memory of those no longer with us, a silent bearer of pain, a witness to her inability to save her friend. In her performance, there was a kind of solidified sorrow, making the pain even more palpable.

⛲The play began in an open space — the Fountain at the Palace of Youth — and continued to the Prison of the Ideal, a physical journey that became metaphor for an emotional one. The song “I Know I Will See You” by Minatori accompanied the audience like an unspoken hymn of hope — to see, and to be seen. Actors Elsa Belegu and Flamur Ahmeti not only enriched this collective story, but brought to life, through voice and movement, a memory that never stops speaking. Each scene was a fragment of truth many keep hidden. What set this play apart was not just its experimental structure, but the way it became a shared act of healing.

Memories from the River did not merely aim to tell a story — it offered a safe space for reflection, for feeling, for crying, for sharing. The audience was not simply a spectator. It became a fellow traveler and storyteller. Theatre here was not spectacle. It was collective therapy.

A confrontation with the self. In a society that so often lacks the time — or the will — to listen, Memories from the River became a collective act of hearing. And that very act of hearing was, in itself, a form of healing — a release from the weight of the past.

🤝This performance is part of the project UNMASC! Promoting Gender Justice Through Socially Engaged Theatre, supported by the European Union and Frieda.

📸 Yllka Fetahaj

#MemoriesFromTheRiver #ZanaHoxha #TheaterPremiere #Artpolis #FemArt #ExperimentalTheater #MentalHealth #ContemporaryTheater #Prishtina #UNMASC #creativeeurope

As part of the UNMASC! performances, artist talks were held in all three partner cities—Vienna, Novi Sad, and Prishtina—offering audiences an opportunity to engage deeply with the creative process and themes explored on stage. Moderated by facilitators from Kulturhaus Brotfabrik, Kulturanova, and Artpolis, the talks featured contributions from directors, performers, designers, and other members of the artistic teams.

In Vienna, on April 26, 2025, the conversation focused on the development of the play’s themes—such as toxic masculinity, gender justice, and femicide—and how these were translated into physical performance. The performers shared their collaborative process and the evolution of their roles, while the audience asked questions about the multilingual format, stage design, and artistic choices.

In Novi Sad, on April 29, 2025, the talk became a space of open dialogue, with the audience engaging actively through questions and reflections. Discussions centered around the use of movement, the emotional intensity of the work, and the personal stories that shaped the play. Many participants opened up about their own experiences, making the talk a space of empathy and shared vulnerability.

In Prishtina, on July 26th, 27th & 28th, 2025, the audience explored the real-life inspiration behind the play—a story from the director’s childhood—and how it evolved into a collective creation. Through workshops and storytelling, actors integrated their personal experiences, creating a powerful and emotional performance. The discussion highlighted the therapeutic nature of the play, described by many as a space of healing and reflection.

These talks reinforced the collective power of storytelling and created spaces of connection, dialogue, and healing beyond the stage.

July 18, 2025

During the creation of the performance “Memories from the River – for my friend Mance”, Artpolis organized an Open Lab Day for external participants. This special event offered a behind-the-scenes look into the UNMASC! production process, giving participants the chance to experience selected scenes, hear directly from the creative team, and contribute valuable feedback to the work in progress.

The Open Lab Day in Prishtina was divided into three main parts: Performance of Key Scenes, Creative Insights from the Director/Dramaturge, Feedback & Exchange – Q&A Session

On July 18, 2025, professional and student artists, along with human rights activists, were invited to an intimate presentation of “Memories from the River – for my friend Mance”, written and directed by Zana Hoxha.

Performed by a cast of four, the piece is part of the broader UNMASC! project, which promotes gender justice through socially engaged theatre. Selected scenes introduced the characters Mance, Hana, Elsa, and Flamur, offering a glimpse into the emotional and thematic depth of the work—while preserving the element of surprise for the final premiere.

Zana Hoxha shared the deeply personal origins of the play, inspired by a childhood friend who faced marginalization for their nonconforming gender identity. She described the collaborative process—rooted in research, improvisation, and co-creation with the actors—and emphasized the importance of breaking theatrical conventions to create a space where audiences are not passive observers, but active participants in emotional and social reflection.

The discussion touched on topics such as: The meaning behind the name Mance and its link to self-determination; The symbolic physical distance between two main characters, representing societal and emotional barriers; The decision to use minimal scenography to focus on performance and narrative depth; Plans for international presentations with subtitled versions, etc.

The Open Lab Day gathered 10 carefully selected participants—professional artists, emerging talents, art students, and queer artists—aged 18 to 53. Their feedback went beyond technical analysis, engaging deeply with the play’s exploration of personal memory, toxic masculinity, gender relations, and gender-based violence.

Many participants expressed that the vulnerability shown by the creative team encouraged them to share their own stories. Several queer artists highlighted the importance of a feminist approach in confronting harmful gender norms and the stigma faced by marginalized communities. The process was described as both inspiring and empowering, offering a model for inclusive and transformative art-making.

Even members of the technical and supporting teams reflected on the liberating effect of the process, noting that sharing their own experiences reduced feelings of trauma and shame.

The Open Lab Day was seen as a successful and meaningful step in the development of the performance. Participants praised the ethical, collaborative, and research-driven approach, recognizing the play’s power to provoke empathy, dialogue, and reflection—core goals of the UNMASC! project.

By blending personal storytelling, artistic innovation, and social engagement, Memories from the River – for my friend Mance continues to grow as a powerful piece of theatre capable of inspiring change and healing.

A bold new theatrical work is taking shape — one that speaks to memory, loss, and the fight for gender justice.

With a direction and dramaturgy by Zana Hoxha, “Memories from the River” – MANCE is a powerful and deeply personal theatrical performance that explores the theme of gender justice through a poignant true story. The play is inspired by the director’s own memory of a childhood friend — a boy whose life was tragically cut short because of rigid patriarchal norms, social stigma, and the oppressive expectations placed on individuals who do not conform to traditional gender roles and identities.

The narrative unfolds through the performances of four actors. Qendresa Kajtazi and Edon Shileku bring to life the central characters and the emotional core of the story, evoking a haunting dialogue between the present and the past, drawing attention to the long-lasting impact of injustice on individuals and communities.

The play integrates personal testimonies and real-life accounts of human rights violations, particularly those experienced by marginalized groups. These stories will be incorporated into the script and shared with the audience, not only to raise awareness but also to encourage reflection, empathy, and conversation.

“Memories from the River” is presented in an experimental theater format that breaks the traditional separation between actors and audience. Audience members are not just passive spectators — they are invited to be active participants in the storytelling process. Following the performance, a guided discussion led by the director will create space for dialogue, allowing the audience to process what they’ve witnessed, share their thoughts and memories and explore the deeper social questions raised by the performance.

Premiere of the performance “Memories from the River”  – MANCE is on 27.07.2025 and rerun on 28.07.2025 in Prishtina, Kosova while the second rerun will be on 30.07.2025, in Novi Sad.

29 April 2025

As part of the UNMASC! project, Kulturanova hosted an Open Lab Day—a unique opportunity for external participants to step inside the creative process, experience the artistic work in progress, and contribute valuable feedback.

In Novi Sad, the Open Lab Day took place immediately after the final rehearsal of the performance. Before the show began, the audience was informed about the Open Lab and invited to actively participate in the post-performance discussion.

After the 58-minute performance, the artists and director set the stage for dialogue by bringing out chairs and opening the floor to participants. Attendees were encouraged to share constructive opinions, ask questions, and connect the themes of the work to their own experiences. The conversation also touched on the methods used, the workshops that inspired the performance, and the importance of the project’s transnational character.

The event welcomed 23 participants—mostly young people—who learned about the Open Lab through Kulturanova’s social media channels, including Facebook posts, event listings, and Instagram updates.

A key observation among participants was the clear structural split of the performance into two distinct parts:

Part One – Physical theatre & group scenes: Seen as more abstract and stylized, this section divided opinion. Some viewers described it as “less accessible” or “like a filler,” feeling it lacked emotional anchoring. Others acknowledged its symbolic weight and artistic value, particularly in terms of movement and group dynamics.

Part Two – Personal monologues & letters: This section received unanimous praise for its intimacy, vulnerability, and emotional depth. The direct storytelling and raw audio recordings—complete with genuine emotional reactions—created a powerful bond between performers and audience. One participant remarked that it “elevated the experience to another level.”

Questions about authenticity were addressed directly by the artists, who explained the sensitive and careful creation process, including moments when performers read each other’s letters to protect emotional safety.

The Open Lab Day proved illuminating for both sides:

For artists, it was a chance to understand audience interpretations and gather constructive criticism—particularly suggestions to make the opening scenes clearer and more relatable for a general audience.

For participants, it offered an inside look into the project’s conception, rehearsal methods, and the deeply personal themes of UNMASC! They also learned about the project’s European network and ways to engage in future initiatives.

The Novi Sad Open Lab Day revealed a strong preference for the narrative-driven, emotionally honest second half of the performance. Audience members appreciated the courage and sincerity of the performers, and the feedback suggested that balancing abstract elements with personal storytelling could enhance future iterations.

This exchange reaffirmed the power of theatre not only as an art form but as a space for empathy, dialogue, and social reflection—values at the very heart of UNMASC!

In April 2025, the performative stage production Dream on (original German title: „das kannst du dir abschminken“) premiered at Ankersaal/Kulturhaus Brotfabrik in Vienna, marking the final outcome of the UNMASC! project.

Developed under the artistic direction of Danilo Jovanović, the performance was the result of an intensive 20-day creation process shaped by personal stories, collective reflection, and artistic experimentation. Dream on offered a sharp, yet humorous exploration of masculinity, gender norms, and queer perspectives, turning societal structures inside out through irony, absurdity, and emotional storytelling.

The piece featured diverse performers, including FLINTA* artists, and centered LGBTIQA+ voices to question normative ideas of gender and power. Through its unique approach – blending devised theatre methods with the Open Soul process – the production challenged toxic masculinity not by confronting it directly, but by playfully unraveling its contradictions and limitations.

Visually, the stage design drew on elements of tech culture, evoking themes of gendered labor and presence in male-dominated industries, while lighting and sound design deepened the work’s symbolic layering.

After three well-received performances in Vienna, Dream on continued its journey with an international presentation at ODA Theatre in Pristina, reaching new audiences and inviting critical dialogue across borders.

The project has now come to a close, and we extend our sincere thanks to everyone involved – the performers, creative team, partners, and audiences – for their presence, energy, and trust throughout this meaningful process.

28.04.2025

After the premiere and re-run in Vienna, the performance of Kulturhaus Brotfabrik toured to Kosovo. The international presentation of Dream on at ODA Theatri in Pristina took place on 28th April 2025. 

The performance translated exceptionally well into its new context. The black box stage of ODA Theatre offered an intimate and resonant atmosphere that complemented the production’s minimalist yet emotionally charged aesthetic. The adaptation process was carried out smoothly, thanks to the professional collaboration between Artpolis and the ODA Theatre team, who made the necessary adjustments with great care and clarity, preserving the artistic integrity of the piece throughout.

Representatives from the Austrian and Swiss embassies were in attendance, offering a symbolic diplomatic presence and highlighting the broader cultural and political relevance of the UNMASC! project. Compared to the Viennese audience, spectators in Pristina responded more openly and expressively – sharing emotions, personal stories, and reflections directly with the performers. This openness created a vibrant, honest exchange that enriched the overall experience for everyone involved.

Technical elements such as subtitles were successfully integrated, ensuring accessibility and enabling a shared experience across language barriers. The warm hospitality and generous support from Artpolis played a vital role in the success of the event. This international showing not only reinforced the strength of the performance itself but also deepened cross-border collaboration, paving the way for future partnerships.