Aleksandar Saša Lukač, graduated theatre direction from the Faculty of Dramatic Arts in Belgrade.

In late 1980’s he was in the midst of a political theatre controversy caused by his plays Class Enemy and Three Sisters – One Hundred Years Later produced by the theatre troupe Plexus Boris Plinjak, and performed in the Zvezdara Theatre and Boško Buha Theatre (Kod konja). During the same period, he directed in all Belgrade theatres, as well as in the majority of Serbian theatres.

The most important productions:
Brewery and Selector (Šabac), Scolding of the People and 1918 (Kragujevac), Wojzeck and Man Trap (Užice), Madame de Sade (Zaječar), The Trains Depart at Dawn (Atelje 212), The Diary of Young Lukač (JDP), The Crucible (National Theatre)…

In 1992, he left for Canada, where he continued his studies, finished two master programmes and started working on his PhD thesis concerning political theatre. At the York University in Toronto, he teaches theatre science, including Bertolt Brecht’s theatre. In Canada, he also continued his work as a director.

He successfully staged plays Black Magic (M.Vulović), Family Stories (B. Srbljanović), Medea Pastiche (M. Vulović), The Caucasian Chalk Circle (B. Brecht). His play Christmas at the Ivanovs’ (A. Vvedensky) was nominated for the most prestigious Canadian “Dora” prize. Unicorn Horns (M. Major) represented Canada at Festival of Ideas in Hong Kong, while Molière (M. Bulgakov) was included in the programme of the Bulgakov Festival in Kiev. Play The Two Ivans (adaptation of the Gogol’s novel) was, with the great help by the Šabac City Theatre, performed in Belgrade, Šabac, London and Moscow.
Since 2006, he has regularly revisited Serbia, where with a great success he directed plays in the Užice Theatre: Victor, or Power to the Children (R. Vitrac), The Newcomers (M. Uskoković/B.Dimitrijević) – winner of 2007 Joakim Vujić Festival, The Master and Margarita (M. Bulgakov) and Priča (Crimp).

With directing Brecht’s Drums in the Night, he returned, with great satisfaction to the Šabac City Theatre, where he had started his theatrical career. This production was followed by The Good Soldier Švejk’s Postmodern Cabaret, and now Life is a Dream.

Pedro Calderon wrote his drama Life is a Dream in 1635 in Spain. This was actually a time when moral values were militantly firm. As such, they allowed for periodical ignition of political and personal passions to be perceived almost benevolently, optimistically interpreting it as a necessary method of purification, followed by inevitable renaissance for the society.

This adaptation is of today’s moment, when there is obviously nothing that could harness either political or personal passions. Without interference, they intertwine, come into conflict and finally fertilise one another, goading the entire world in the direction of, historically speaking, unprecedented chaos. Theatre is the very last place, of course, to produce a solution for this state, but also the very first to adopt the aestheticism of chaos and, using dream as a paradigm, attempt to entertain its audience, and perhaps inspire them to think.

Thus, tonight, let us dream together.