The play “The Blue Flower Fairy Tale” is characterised by the insistence on the “visual” layer of the play (masks and costumes of vibrant colours, colourful curtains, magnified flowers, etc.) and the “recognisability” of the plot (which was created on the basis of famous fairy tale motifs). The visual layer in the play is indeed more pronounced than in the previous performances of the Maska i Pokret theatre: instead of developed, “psychologically” determined characters – recognisable types are present here (Magician, Snake, Sun, etc.) – characters who present themselves in episodic situations, thus creating an exotic world from children’s imagination.

The show wants to evoke the impression of a “revived picture book” with all its elements (not only the mask but also the precise movement and the scenographic elements). We wanted to make a simple, stylistic ‘clean’ play, inspired by backyard plays from childhood, fantasy and “folk” atmosphere, a show that requires the least technical conditions.


The different story segments are linked by the main characters (Boy and Girl), and motivated by the journey.
Free association and variation of Andersen’s Snow Queen: Boy and Girl play and love in the garden of blue flowers. The evil woman in search of the buried treasure destroys the flowers and sends the Girl to find the life-giving water in the land of snow. The boy sets out to find her, and after many troubles and encounters with different characters, finds her, they return to the garden, revive blue flowers and continue their playful childhood love.
In this way developed dramaturgy of the classical type is visually illustrated, appropriate for both children’s perception and children’s concentration. And the basic story told in a child’s language and comprehension naturally engages its viewer in the play process.


This time around, the entire visual element of the play is well suited to children’s visual expression. It is as if, somewhat stylised, the characters from the children’s drawings come to life, in bright and vibrant colours. The masks are created and realised functionally and imaginatively, both in terms of artistic solutions and in terms of dance opportunities. Extremely precise plasticity and light, as well as meticulously crafted movement, give the masks different expressions and dynamics. The single scenographic element – the painted curtain – illustrates the journey and return of the main characters, and creates the ambience for the other characters to appear during the journey.
In this play, the music was composed and performed by Vladimir Kostović. The music was created side by side with the script and thus became an essential part of the play. The music is divided into episodes – just like the script. Each episode carries a certain emotional charge, and by using the leitmotif the play (and musically) remains a compact piece.

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