Goran Injac was born in 1973 in Novi Sad in Serbia, and stresses that this fact defined him forever as he grew up surrounded by 20 different nationalities and 10 official languages. He studied art history at the University in Belgrade as well as linguistics and comparative literature at the University in Novi Sad. He also completed post-graduate studies at several European universities in England, Norway and Austria.
Goran Injac is a dramatist, curator, lecturer and scholar (an author of articles published in Poland, Serbia and Slovenia) and since 2014, Director for artistic affairs in the Mladinsko Theatre in Ljubljana. As curator, he has co-operated with many theatres, festivals and cultural institutions around Europe, including Narodowy Stary Teatr in Cracow where from 2012 – 2014 he co-created their international programme and the premieres accompanying the programme. He is also co-creator and curator of the East European Performing Arts Platform (EEPAP). He collaborated as a dramatist with Oliver Frljić on his Polish and Slovenian performances: Nie-Boska komedia. Szczątki [Non-divine comedy. Remains], Nie-Boska komedia. Powidok [Non-divine comedy. Afterimage], The Ristić Complex, Medea and Klątwa [The Curse].
Oliver and I met in Poland at the Dialog festival in 2010, during which he showed the performance Przeklęty niech będzie zdrajca swej ojczyzny [May the traitor of his motherland be cursed]. It was Oliver’s first visit to Poland. At that time, I was preparing various materials for the magazine “Dwutygodnik.com” and wanted to explain the context of that performance, make it more comprehensible to Polish audiences. (Interestingly, that was a performance from the repertoire of the Mladinsko Theatre where I work now as artistic director. I hadn’t thought at that time that something like that would happen.) We began to talk and stayed in touch. Then, we met on the artistic plane preparing Nie-Boska komedia [Non-divine comedy] in Narodowy Stary Teatr in Cracow. I was the dramatist of that performance. I also worked in the management of that theatre. I dealt with international projects and the accompanying programme. Oliver was the first director from abroad we had invited for a new team. Unfortunately, the performance was never held. Rehearsals were brutally disrupted and the performance was cancelled. But it had evoked a major social response. I believe that in a sense the performance did have its premiere. It told us a lot about the place and Poland itself.
archives of Malta Festival Poznań