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for contemporary
performing arts

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pour les arts du spectacle

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darstellende Künste

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voor hedendaagse

თანამედროვე საშემსრულებლო
საერთაშორისო ქსელი

Rede internacional
para as artes performativas

الشبكة الدولية
لفنون الأداء

í sviðslistum

Xarxa internacional
d'arts escèniques

Rhwydwaith rhyngwladol
ar gyfer celfyddydau
perfformio cyfoes

Rrjeti ndërkombëtar
për artet skenike

Διεθνές δίκτυο
για σύγχρονες
παραστατικές τέχνες

Međunarodna mreža 
za savremene 
scenske umjetnosti

Mezinárodní síť 
pro současné 
divadelní umění

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for kontemporær

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vir kontemporêre
uitvoerende kunste

თანამედროვე საშემსრულებლო
საერთაშორისო ქსელი

Nemzetközi hálózat
a kortárs


líonra idirnáisiúnta
na taibhealaíona

Starptautiskais tīkls
skatuves mākslai

Netwerk internazzjonali
għall-arti performattivi

Międzynarodowa sieć
na rzecz współczesnych sztuk

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för samtida

Međunarodna mreža
savremenih izvođačkih

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за съвременни
сценични изкуства

Rrjet ndërkombëtar
për arte skenike

Міжнародная сетка
перфарматыўных мастацтваў

Međunarodna mreža
za suvremene
izvedbene umjetnosti


kaasaegsete etenduskunstide

현대 공연 예술을 위한 국제 네트워크

Tarptautinis tinklas
scenos menai

Интернационална мрежа
за современа
изведувачка уметност

شبکۀ بین المللی
برای هنرهای نمایشی معاصر

Rețeaua internațională
pentru artele spectacolului

Medzinárodná sieť
pre súčasné
scénické umenie

gösteri sanatları için
uluslararası iletişim ağı

Caravan Kosovo
24 - 29.10.2023
Wed 25.10

Theatre in Times of Crisis

Location: National Theatre of Kosovo

Location: National Theatre of Kosovo

Address: Teatri Kombëtar | Event Map | Venue Accessibility

What can we expect from theatre in times of social and political crisis? Does it need to assume a role beyond its traditional one, such as a sensitiser, healer and propagator? Does it begin to be perceived as a space for solidarity and commemoration, as well as an institution of ‘spiritual resistance’? And if so, are these ‘additions’ something that diminishes the artistic purpose of theatre or strengthens it? 

Simply put - does theatre strive to survive and is its survival in times of war and crisis an act of resistance and resilience?

What expectations do the audience have towards its own theatre, an audience that in their daily lives is confronted with the horror of crisis and war as well as social and political turmoil? And what does the audience expect from their comfort zone – the one that observes the events from a distance?

With the invasion of Russia into Ukraine and the Russian waging war, the theatre world has shifted its focus towards Ukrainian productions, as a symbol of solidarity and support for the victims. It is driven by an almost selfish desire to be on the right side of history. But is theatre merely a space to reproduce the images of war, suffering and terror that people are experiencing in the war zones - a war ‘far away, somewhere in Ukraine’? Perhaps it should go beyond that, to tell us about Ukrainian society, about people’s lives before the conflict, to provide a broader picture of a normalcy that existed and has now been disrupted.

Finally, can and should theatre in a more sincere and profound manner awaken our sense of empathy for others? Not only when this is projected and guided by the media and politics, but when this kind of solidarity and empathy attempts to break through and is ignored by politics and the media – as is the case of the current situation with refugees from the Middle East and Africa.

How can theatre become a detector of human suffering, even when that suffering is not in the spotlight and the interest of politics and the media?


Katya Kisten, Ukraine

Aktina Stathaki, BETWEEN THE SEAS - Festival of Mediterranean Performing Arts, Greece 

Roy Horovitz, Bar-ilan University,Israel

Emma Jordan, PRIME CUT PRODUCTIONS, Northern Ireland, United Kingdom 


Verity Healey, Journalist, writer and photographer, United Kingdom



New Plays, New Worlds

Location: Barabar Centre

Location: Barabar Centre

Address: Zahir Pajaziti Square, Grand Hotel Prishtina, 4th floor | Event Map | Venue Accessibility

A series of presentations of new contemporary plays and readings of excerpts from plays, followed by short discussions with the authors.

‘Volim te’ by Vera Morina (NL)

On a rainy and sleepless night, soon-to-be-mother Ena decides to throw away all of her childhood possessions. Then, a man covered in blood enters her living room -  a man she’s been missing for 27 years. And he wants to tell her where he’s been.

‘The Fabulous Adventures of Absent Ayse’ by Zeynep Kacar (TR) 

‘The Fabulous Adventures of Absent Ayşe’ tells about the ordinary life of a woman from her birth to her mid-fifties in an ironic style. This is the story of unaccomplishment. Ayşe wants to be a singer, but the world around her does not let her. The education system, fairy tales, family and concern for the future shapes this world. Ayşe is hampered every time she tries, and one day she finds herself an old woman. Just like her mother, she has obeyed the rules and could not become the person she wanted to be.

‘Big Deal’ by Mia Efremova (NMK)

'In this play, Mia Efremova speaks the language of Sarah Kane. Her brutal poetics acts as a form of anthropological grammar, whose sentences connect situations that do not move from the construct of the elementary male-female gender relationship, but on the other hand produce a strange genesis that with the development of the action becomes frightening.' – Saso Ognenovski

‘The Man Who Was Missing’ by Zymber Kelmendi (RKS)

Considered a hero, a soldier missing for years suddenly returns home. The celebration of his return will pass very quickly when the life of his family members and close friend - built on the sacrifice and name of the hero - is disturbed. A seemingly simple request for the hero to stay at home for a while will turn the whole situation into a black comedy with shades of absurdity - or maybe even tragedy!

Authors: Vera Morina (NL), Zeynep Kacar (TR), Mia Efremova (NMK), Zymber Kelmendi (RKS) 

Stage readings directed by: Butrint Pasha

Actors: Shpëtim Selmani, Zhaneta Xhemajli, Ermal Sadiku, Zana Berisha, Blin Mani


Jeton Neziraj, Qendra Multimedia, Kosovo


International Theatre Market

Location: Barabar Centre

Location: Barabar Centre

Address: Zahir Pajaziti Square, Grand Hotel Prishtina, 4th floor | Event Map | Venue Accessibility

International Theatre Market is designed to gather international theatre professionals in order to exchange ideas and experiences from their work back home. Theatre leaders, directors and producers unfold their work and talk about the theatre productions they have been working on recently, as well as their visions for the future. A few showcase, network and platform representatives have also been invited to share information about their activities. This is a good opportunity for new collaborations to be born and for existing ones to be strengthened. 


Elżbieta Manthey & Marta Orczykowska, Agencja Dramatu i Teatru "ADiT," Poland 

Giacomo Pedini, Mittelfest, Italy  

Dagmara Gumkowska, OPEN THE DOOR International Festival, Poland

Aktina Stathaki, Between the Seas, Greece 

Aurela Kadriu, Qendra Multimedia, Kosovo 

Amy Sze, LegalAliens Theatre, United Kingdom
Handan Salta, Turkish Theatre Showcase, Turkey

Ása Richardsdóttir, IETM, Belgium/Iceland

Donika Rudi,  European Festivals Association, Kosovo

Tina Hofman, Independent creative, producer, PhD researcher, United Kingdom


Aurela Kadriu, Qendra Multimedia, Kosovo

Fri 27.10

On Trends and the Determinability of Values

Location: City Theatre Hadi Shehu

Location: City Theatre Hadi Shehu

Address: Rrugë Anton Kukeli 2 Gjakovë | Event Map | Venue Accessibility

The European theatre scene is diverse and encompasses a wide range of aesthetics and thematics. Within this scene, there are numerous distinctive and nuanced approaches and such heterogeneity is also reflected in the tastes and expectations of audiences in different regions and countries. 

We often hear of ‘German’, ‘French’, ‘Nordic’ or even ‘English’ or ‘Balkan’ theatre. These categorisations often imply specific aesthetics and thematic approaches, which are regarded as 'trends'.

Who sets the stage to determine and guide these trends? Are there powers at play who have acquired a self proclaimed ‘quality control’? 

One might also ask - who decides what is put on stage? It is assumed that artists - with their instincts - are those who detect current topics, measure the societal pulses and create artistic works that respond to the needs of the audience. However, are they really free to choose, or is their ‘freedom of choice’ conditioned by external agendas of funders? In recent years, we have witnessed an emerging focus of theatre towards topics such as climate change, which is undoubtedly a positive development. However, to which extent are theatre creatives in Europe today free to follow their own gut feelings and artistic instincts, regardless of external agendas (even when they are important)?

Together, we will explore the ultimate question: what is ‘hot’ in the European theatre scene today and who are the gatekeepers?   


Barbara Pocek, IETM/Glej Theatre, Slovenia 

Mark Yeoman, Stichting Noorderzon Festival,  

Ulricha Johnson, Swedish Performing Arts Coalition/Swedish ITI (Scensverige), Sweden


Natasha Tripney, United Kingdom

Sat 28.10

Perform Europe Info Session

Location: National Theatre of Kosovo

Location: National Theatre of Kosovo

Address: Teatri Kombëtar | Event Map | Venue Accessibility

From 2023-2026, Perform Europe will support sustainable, inclusive, balanced and innovative touring of performing arts works in the Creative Europe countries. 

This info session will offer Caravan participants an opportunity to learn about the planned activities and the Perform Europe Open Call, which will grant €2,1 million to a minimum of 35 touring partnerships. 

Perform Europe is funded by the European Union and is lead by IETM, Circostada, EDN, EFA, Pearle* and IDEAconsult


Ása Richardsdóttir, IETM, Belgium/Iceland