Panem et Circenses ( Bread and Plays )

Photographer Ben Miro is coming back to his birth village from somewhere in Europe. There he find crashed walls of his house, from which restore to life memories of shadows of his ancestors, his wife and memory on his youth …
By touching walls of his ex-house, magic are restoring to life from holes of walls, dead wife, limping man, with a violin, two brides of the fields, four drunken harvesters and bald gentleman - Evil, which is lurking from many sides.
Performance was making in stile of non - verbal theatre, in traditional and ritual manner of Slovak people in province of Vojvodina, on principle of national customs and fairy tales. In performance big attention is taking music “Acoustics Sculptures” of Vladimir Labath Rovnjev and slow motion dance.
Performance was extraordinary accepted on 38th BITEF 2OO4. ( Belgrade International Theatre Festival ), and get call on many theatre festivals…

38th BITEF 04, Belgrade, September ( Festival Catalogue )

The official program of the 38th BITEF 2OO4 ( Belgrade International Theatre Festival ) included the project of the non - verbal theatre, fantastic pictures PANEM ET CICRENSES ( BREAD AND PLAYS ) directed by Miroslav Benka (graduated from the School of Design. BA degree in acting at the Academy of Arts in Novi Sad and BA degree in directing at the Faculty of Drama Arts in Belgrade ), a choreographer who participated in it personally. The production was performed by the Slovak Theatre of Vojvodina. This was a piece of uncommon beauty in which in an artistic studio someplace in Europe, one photographer lives in a world of his dreams. By a swing of a magic stick, the photographic studio becomes the site of different events and scenes in which, poetic and symbolic scenes seek the identity of their character through a bread cult of Vojvodina´s granaries. Floating between dreams and realitz, imagination and emotions, the dance and dramatic scenes are presented in special dance technique ( … ). The picturesque ending indicating diversity in the portrayal of ethnos and acceptance of mythos in the words of the Girl in Aramaic language ( spoken by Jesus Christ ), surpasses the national aspect of the production, giving it a universal dimension.

ORCHESTRA, Dance magazine No 28/29/30, Belgrade 2OO4

The theatrical world is not so uniform as to have just one tendency. However, I can say that in recent years, the phenomenon of non - verbal theater has become more and more common. Sometimes it is not even Dance Theater but Movement Theater. It is interesting that a superb contribution to this kind of theater has come from one of our directors, Miroslav Benka, who, with the Slovakian Vojvodina Theater, has put on a performance about the of life a well - known photographer with elements of the life of the Slovaks living here. The play is an impressive and original example of what our theater is capable of.