Director: Ranko Zidarić
Dramatization: Marijana Nola
Set Design: Barbara Borčić Buterin
Costume Design: Marita Ćopo
Lighting: Mijo Kočiš
Sound Design: Julio Šimunković
Photography: Vladimira Spindler
Dramatis Personae:
Sven Šestak
Robert Ugrina / Andrea Glad
Sara Barbieri
Irena Grgurić
djelatnici GDK Gavella:
Ljiljana Dimova
Barbara Borčić Buterin / Ivan Borčić
Đurđa Topolovac
Tomislav Turkalj
Mijo Kočiš
Christian Kanazir / Saša Miočić
Stage Manager and Organizer: Sonja Kovačić
Première – January 24, 2002
The elusiveness of that ''theatrical something'' did not prevent the most significant Czech prose writer in the period between the two great wars, a doctor of philosophy and a journalist, to write, in 1925, a humorous text that takes us on a tour behind the stage, enabling us to see what goes on there. Based on Čapek's text, the production – itself the main theme of the play – puts in its center the actor, the person who is a natural guide through the theatre world and all its hidden corners. However, ''the actors here are not actors. They don't have fake names. They don't play parts. They are really themselves. What is presented here is not a picture or a copy of something, but a slightly exaggerated, but nevertheless credible projection of real life.'' ''How a Theatre Play Comes About'' has so far been performed 82 times.
''By transforming from one role to another, demonstrating an interesting relationship towards school acting in which traces of exalted pathos are found and giving a necessary dose of caricaturing (the ''nervous director''), Sven Šestak fulfilled the most demanding acting task for a young actor: a detachment from the learned mechanisms of acting...'' (Lidija Zozoli, ''Slobodna Dalmacija'')
''Neuroses, chaos, large amount of egotrips that go hand in hand with the creation of a theatre play even before the first reading rehearsal, as amatter of fact, from the moment when casting is done until the final wooden board is hammered into the stage before the premiere and the thrill that follows after that most important moment for an actor; Sven Šestak handled all of this with infinite charm and cool, with well-intended irony of a man who is aware that there is nothing crazier or more in vain, but also nothing that is needed more than the theatre.'' (Gordana Ostović, ''Vijenac'')
''For some enlightening, for some funny, ''How A Theatre Play Comes About'' is an unpretentious play that manages to entertain the audience by talking about the theatre and the spaces within it.'' (Dubravka Vrgoč, ''Vjesnik'')
