The Best European Show

A colourful panel of judges find themselves sitting on a jury for a pan-European theatre festival, based on the Eurovision contest, and are tasked with selecting the best European theatre production. The task seems easy enough, however, the judges come from all over, each with their own view of theatre, each from their own social context and a fully formed opinion – and their opinions are additionally faced with attempts to be steered: by the festival director and by the highest European political powers. When, in this mess, it seems that the situation could not get more confusing, added to the mix are a tragic piece of news, a corruption affair, police, and the furious striking theatre audience. From the point of view of the judges – who each represent a key aspect of theatre (actors, directors, critics, experts, writers, and theatre managers) – the production confronts the modern trends in theatre and shakes the attitude towards the creators, profit, audience and other topical and pertinent themes, such as the #metoo movement, ecology, political theatre and entertainment.

The idea for the international project was born in the Maribor Theatre Festival jury where two of the judges were Norbert Rakowski, the director of the theatre in Opol, Poland, and Bosnian director Haris Pašević. While working on the jury they were toying with the idea of how to use the dilemmas the festival judges encountered to discuss the situation of the theatre in Europe today. With the help of the ETC theatre network we managed to connect five theatres in creating this project that will each participate with two actors, one expert and the postproduction of the performance in their city.

This project is supported with an ETC Development Grant. ETC activities are co-funded by the European Union (Creative Europe). 

The Best European Show is at the same time entertaining and serious overview of certain questions of our time. It questions what the new Europe is and whether we can keep pace with the ever-changing reality. Likewise, we try to find the answer to the question of what theatre is today and what is true human encounter in a world where all known ways of checking reality are under suspicion. Our production is also the celebration of the European spirit of collaboration and diversity. It is a brave, daring production that does not hide behind political correctness. Perhaps the best description for it would be: serious entertainment.

Haris Pašović