Email: tea.alagic@mac.com
Phone: 917 539 3928
Address:
1919 Madison Avenue, Apt 309 New York, NY 10025
Stateless Theater Company
One Day in Moscow
1998
Solo Show, Directed and Performed by Tea Alagic
An adaptation of Mikhail Bulgakov’s The Master and Margarita
Written, adapted, performed, and directed by Tea Alagić
Performances
Colorado College Spa, USA
Mlejn Theatre, Prague, Czech Republic
Solo Performance by Tea Alagić
A solo work in which the performer embodies multiple roles
About the Work
One Day in Moscow is a solo physical theatre adaptation of Mikhail Bulgakov’s novel The Master and Margarita, as well as an artistic response to Bulgakov’s life and imaginative world.
Created, adapted, performed, and directed by Tea Alagić, the work transforms a complex literary text into a physical theatre language combining movement, voice, text, and abstraction.
A single performer moves through a series of rapid transformations, embodying multiple characters, including Ivan, Berlioz, Woland, Margarita, The Master, Pontius Pilate, Jesus, a doctor, a spy, Ivan in the asylum, and Bagamont the cat.
Rather than following a linear narrative, the piece unfolds through shifting states of identity and perception. Interior and exterior worlds overlap as performance, language, and physical action continuously transform.
The stage is designed as a small, intimate apartment-like environment, defined by electrical tram lines, a circus rope, and a chair suspended from above. Action flows fluidly between psychological and physical space.
The audience surrounds the performance on all four sides, seated on risers, creating an immersive and encircling theatrical experience.
Tea Alagić Studio
Acting
Tea Alagić
TEA ALAGIĆ is an internationally acclaimed Bosnian director, writer, producer, actor, and educator. Celebrated for her highly visual, physically dynamic approach, Tea draws on circus and trapeze training, the traditions of Jacques Lecoq, and immersive theatrical techniques to transform text into embodied ritual with bold theatricality. Critics have called her work “vivid, vital, and a lot of fun”, with The New York Times noting her ability to create “a vivid, very recognizable world”, and The New Yorker praising her direction in the North American premier of Elfriede Jelinek’s Jackie, highlighting her skill in finding “infinite variety in Jelinek’s long text… make this smashing of an old icon worth a visit.”
