The Jury of the 44th INFANT has worked in the following composition:

Prof. Zoran Djeric, PhD – Theatrologist (Serbia), Chairman

Prof. Hristo Petreski, PhD – theatre critic (Macedonia), member of the Jury

Goran Ibrajter, MA – dramaturge (Serbia), member of the Jury


The 44th INFANT has offered an attractive selection, completely in line with its long-standing concept, committed to the experiment, exploration of various theatre segments and artistic expressions.


At the final session held on 1st July 2017 the Jury reached the following decisions:

The Award for Particular Expressivity in the Border Areas between the Theatre and Other Arts, or creativity in the widest sense, is given to the play RULES OF THE GAME, by Jonah Bokaer (USA). The decision was reached unanimously.

The play RULES OF THE GAME unties the contemporary dance and dramatic expression as a coherent whole with a metaphysical, philosophical charge and distinctive animation of theatrical props and set design. For the most part, it evokes the best productions of this theatrical genre.

Rules Of The Game is a multi-disciplinary work created by Choreographer Jonah Bokaer and Artist Daniel Arsham, with an original score by Pharrell Williams, arranged and co-composed by David Campbell.


The Award for the Most Original Exploration of One Segment of Theatrical Language is given to the play OTHELLO, by the Turkish Theatre from Skopje (Macedonia). The decision was reached unanimously.

The play OTHELLO transforms, in an innovative way, a classical work of art into a theatrical experiment. The most important segment of the play is the use of water, thus elevating it from a successful set design solution to a multi-layered symbol, an effective director’s technique, enhancing the expressivity of the actors and establishing communication with the audience.

The Award for the Most Successful Experiment, a performance as a whole, is given to the play SHAKESPEARE, SONNET 66, by the “Gergely Csiky” Hungarian State Theatre (Romania). The decision was reached unanimously.

Setting off from a sonnet form, through skilled direction and choreography, the play SHAKESPEARE, SONNET 66 develops into a complex, polysemic, dramatic whole. The clear concept of the play is directly expressed on the stage through playing with universal symbols, giving them a contemporary context. Besides the extraordinary collective acting of the cast, the unity and balance of all authorial segments contribute further to the play’s coherence.

Besides these plays, the Jury wishes to mention two more plays characterized by an innovative stage potential: THE CYCLIST CONSPIRACY, by the Novi Sad Theatre /Újvidéki Színház, and IMAGO SONUS, by the “Summer Cinema” Theatre Association (Serbia).