Stevan Koprivica




Stevan Koprivica


Ivana Dimic


Milan Karadzic


Geroslav Zaric

Costume Designer

Zora Popovic


Zoran Eric


dr Ljiljana Mrkic-Popovic


Nebojsa Gromilic


Dragisa Curguz

Stage Manager

Dusko Askovic

Lighting Designers

Milomir Dimitrijevic i Radovan Samolov

Sound Designers

Nikola Jovovic i Stefan Andjelic

Makeup Artist

Marijana Golubovic

Property Master

Branislav Roncevic


Lidija Nikolic

Poster Creator

Slavimir Stojanovic

Video Clip Creator

Stevo Mandic


Aleksandra Ilic


Nikola Vukelic i Jakov Simovic






Natasa Ninkovic


Ana Franic


Sloboda Micalovic


Aleksandar Radojicic


Dragan Petrovic Pele


Milutin Mima Karadzic


Stevan Koprivica

A word from the author

When I was a “younger”playwright, I really loved to explain from top to bottom everything I wanted to say. There was almost no need for a spectator to see the play – everything would be drawn to him. Especially not critics, they wouldn’t have liked it anyway – “everything is different from the way it is.” Today, after a handful of decades of writing for the theatre, I have almost developed an aversion to “an introductory word” from the author. Take it or leave it, pretty much everything is in the play, you will see it for yourself. What makes me happy is that the Tre Sorelle are coming back to Zvezdara Theatre, slightly older but equally removed from the grim and dull reality. It gives me joy to see their persistence to – unlike some other sisters, from a more renowned writer – find the strength to rebel, without lamenting over their fate. Perhaps if I were to write the play again, I would be more radical, bolder and cheekier, but to what end? I would only end up writing the same play over and over again, and it has already been written. The new premiere shows that the play can be produced again, and that makes the author feel good. You cannot step in the same water twice, but who’s talking about the same water? The sea is always different, just like the theatre.

Milan Karadzic

A word from the stage director

When I was working on Tre Sorelle for the first time, my intention was to produce a variation on the theme of an essay on female rebellion against conventions, tradition, dogma and the patriarchal world order which, especially in small towns “at the end of the world,” can put beauty and freedom in chains. Three sisters, three beautiful young women, are galvanized into action by the arrival of an enigmatic man and, for the first time in their lives, they win the right to live their dream. The times have changed, and I have remained intrigued by the principal motivation for female action in this play. What if it isn’t a rebellion of youth and spite? What if it is a constant, the eternal pursuit of happiness, however dangerous it may be? That’s why I, knowingly and purposely, have kept the heroines as they are, while adding to them the burden of the years and pitting it against a challenge from a man who possesses the youth of the kind they once had but never lived it. Seeking to avoid the somewhat worn out “pining for youth”motif, in Tre Sorelle I insist on the eternal right, and perhaps a human duty, to find a piece of happiness, regardless of when it happens, and even if it’s only an illusion.

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