Dogsbody is a modern day adaptation of Homer’s The Iliad told from the point of view of child soldiers, addressing war, the nature of force, and the perpetration of genocide.
I had the opportunity to see an Open Rehearsal of this show a few weeks ago. It was phenomenal. The level of work that Milosevic has been able to accomplish with such young acting talent involved is breath taking. This is a show you will not want to miss. Yugen is powerful, as always and the subject matter hits home. The musicians are some of the best to ever grace the theatrical stage, and their experimental compositions really help to set a tone for the play.
Dogsbody comes through in a big way.
I had the opportunity to see an Open Rehearsal of this show a few weeks ago. It was phenomenal. The level of work that Milosevic has been able to accomplish with such young acting talent involved is breath taking. This is a show you will not want to miss. Yugen is powerful, as always and the subject matter hits home. The musicians are some of the best to ever grace the theatrical stage, and their experimental compositions really help to set a tone for the play.
Dogsbody comes through in a big way.
Dijana Milosevic (Guest Collaborator, Director)
A graduate of the Faculty of Special Psychology at the University of Belgrade, Yugoslavia, worked with autistic children before continuing in theater directing at the Faculty of Dramatic Arts at the same University. In 1991, she co-founded Dah Teater in Belgrade, the first theater laboratory in her country and has been actively involved in it through directing and devising all its performances. In 2007 she and her theater were recipients of prestigious Otto Rene Castillo Award for political theater. She tours with her company, gives workshops and teaches around the world. She also writes for theater magazines and publications.
A graduate of the Faculty of Special Psychology at the University of Belgrade, Yugoslavia, worked with autistic children before continuing in theater directing at the Faculty of Dramatic Arts at the same University. In 1991, she co-founded Dah Teater in Belgrade, the first theater laboratory in her country and has been actively involved in it through directing and devising all its performances. In 2007 she and her theater were recipients of prestigious Otto Rene Castillo Award for political theater. She tours with her company, gives workshops and teaches around the world. She also writes for theater magazines and publications.
Erik Ehn (Artistic Associate - Theatre of Yugen / Playwright)
Erik is married to Patricia Chanteloube-Ehn. Erik’s work includesMaria Kizito, The Saint Plays, Heavenly Shades of Night Are Falling, No Time Like the Present, Wolf at the Door, Tailings, Beginner, Ideas of Good and Evil, and an adaptation of Faulkner’s The Sound and the Fury. He is an Artistic Associate at San Francisco’s Theatre of Yugen, recently writing and directing a Noh-inspired Frankenstein with them (2003, 2004) which received 2 BATCC awards (Costumes, Lighting) and 3 other nominations. Additional work with Yugen includes Crazy Horse (2001), which combined Noh forms with Native American music and dance. Remounted in 2005 as Moon of the Scarlet Plums, the new bi-lingual production opened at Expo Hall at the World’s Fair in Aichi, Japan. His plays have been produced in San Francisco (Intersection, Thick Description, Yugen), Seattle (Annex, Empty Space), Austin (Frontera), New York (BACA, Whitney Museum), Atlanta (7 Stages), San Diego (Sledgehammer), Chicago (Red Moon), the Lincoln Center Festival (NY); elsewhere. He has taught at the U of Iowa, Naropa, UC San Diego, UT Dallas, and Cal Arts (graduate), as well as U San Francisco, SF State, Santa Clara, and Skidmore (undergrad). He currently is Dean of the Theater Department and Head of Writing for Performance at Cal Arts.
Erik is married to Patricia Chanteloube-Ehn. Erik’s work includesMaria Kizito, The Saint Plays, Heavenly Shades of Night Are Falling, No Time Like the Present, Wolf at the Door, Tailings, Beginner, Ideas of Good and Evil, and an adaptation of Faulkner’s The Sound and the Fury. He is an Artistic Associate at San Francisco’s Theatre of Yugen, recently writing and directing a Noh-inspired Frankenstein with them (2003, 2004) which received 2 BATCC awards (Costumes, Lighting) and 3 other nominations. Additional work with Yugen includes Crazy Horse (2001), which combined Noh forms with Native American music and dance. Remounted in 2005 as Moon of the Scarlet Plums, the new bi-lingual production opened at Expo Hall at the World’s Fair in Aichi, Japan. His plays have been produced in San Francisco (Intersection, Thick Description, Yugen), Seattle (Annex, Empty Space), Austin (Frontera), New York (BACA, Whitney Museum), Atlanta (7 Stages), San Diego (Sledgehammer), Chicago (Red Moon), the Lincoln Center Festival (NY); elsewhere. He has taught at the U of Iowa, Naropa, UC San Diego, UT Dallas, and Cal Arts (graduate), as well as U San Francisco, SF State, Santa Clara, and Skidmore (undergrad). He currently is Dean of the Theater Department and Head of Writing for Performance at Cal Arts.
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