PRISHTINA. The Premeditated Killing of a Dream - Qendra Multimedia (XK)

Event

This play starts with a crime committed 25 years ago in a recently liberated Prishtina. With sixty percent of Albanian villages destroyed by the war, shelter was a pressing issue. Exploiting this urgency for profit, the underworld and construction firms rushed in. Buildings rose overnight without urban planning, turning parks and public spaces into skyscrapers. Rexhep Luci, Pristina’s head of spatial planning, tried to establish control. Like Ibsen’s Dr. Stockmann, he fought for the truth but paid a higher price: after numerous threats, he was killed in September 2000.

Today, illegal construction has reached catastrophic dimensions. “PRISHTINA. The Premeditated Killing of a Dream” addresses this institutionalized destruction, inviting us to rethink our responsibility for the city. Over the last 25 years, Prishtina has transformed into a massive construction site, overshadowed by a parallel ghost city that threatens the future.

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TICKETS
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director Blerta Neziraj cast Armend Smajli, Verona Koxha, Shpëtim Selmani, Kushtrim Qerimi, Afrim Muçaj Set design Alice Vanini costumes Njomza Luci composer Tomor Kuçi choreographer Gjergj Prevazi video Besim Ugzmajli assistant director Gëzim Hasani art director Aurela Kadriu researcher and artistic collaborator Agron Demi & Instituti Atlas dramaturg Jeton Neziraj lights Mursel Bekteshi development support Sven Skoric translator Alexandra Channer coordination Flaka Rrustemi technical support Bujar Bekteshi, Adem Salihu, Nikolas Pipero, Arbresha Caka, Njomza Rexha.

 

Het nieuwstedelijk is part of “Future Narratives for Planet Earth” — a European network of theatre houses collaborating to develop new stories about the relationship between humans and nature. The main goal of the project is to once again view the future as a space full of possibilities. Within “Future Narratives,” seven new theatre productions are being created, which will be presented in Leuven at Shakespeare is dead.

PRISHTINA. The Premeditated Killing of a Dream - Qendra Multimedia (XK)

Programme

LAB FUTURE NARRATIVES #2: cultural organisations in times of climate crisis ENG

Since 2022, Leuven has been in the vanguard as a European mission city. The goal of the mission is 100 climate-neutral and smart cities by 2030. The first Leuven Climate Contract contains an action plan towards climate neutrality in 2030, commitments by partners to implement the actions, and a financial model to pay for them. What are the roles that the cultural sector can play here? What expertise can we share?

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CANCELED - Nico Boon lecture performance - About Playwrighting 1

caceled today due to a conflict in the programme

 

About Playwriting (A Lecture) was created as part of Nico Boon’s doctoral thesis at the Associated Faculty of the Arts (KU Leuven/LUCA School of Arts). In this lecture, Boon approaches playwriting as a practice of continuous improvisation, in which chance, rhythmic intuitions, auditory awareness, bodily impulses, shapeshifting, and experimenting are more important than fixed narrative structures, or clear meanings, or distinct boundaries. He views playwriting as a transgressive enterprise that always refuses to choose a definitive form.

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ZOÉ - An Immersive Science Fiction Poem - UniT (AT)

The music performance ZOE imagines a speculative future in which the stage becomes a living landscape and an active system of encounter. Electronic music, voice, bodies, and space form a nonlinear, multisensory web of human and more-than-human perspectives. ZOE is a science-fiction poem beyond the Anthropocene — a polyphonic narrative of the Earth’s ongoing becoming and the life forms it sustains.

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Nico Boon lecture performance - About Playwrighting

About Playwriting (A Lecture) was created as part of Nico Boon’s doctoral thesis at the Associated Faculty of the Arts (KU Leuven/LUCA School of Arts). In this lecture, Boon approaches playwriting as a practice of continuous improvisation, in which chance, rhythmic intuitions, auditory awareness, bodily impulses, shapeshifting, and experimenting are more important than fixed narrative structures, or clear meanings, or distinct boundaries. He views playwriting as a transgressive enterprise that always refuses to choose a definitive form.

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