''It is as grandious and complex as the labyrinths within the palaces of his humour.'' This was once written about the work of the great French and one of the world's greatest comediographers, Jean Baptiste Pouqelin, in literary history remembered as Moli?re, the son of a wealthy royal upholsterer, owner of a law-degree and a passion of an actor and a writer. Don Juan, The Misanthrope, The Miser, The Immaginary Invalid... are but a few of his master-pieces that have been performed since the 17th century, not showing even a trace of fatigue. For human stupidity is eternal and, it seems, indestructible and Moliere's texts feverishly seek to unravel it, whether it is about the insane passion for money, manic cherishing of the cult of integrity, frantic self-admiration, or about the distrust and the hate towards the human kind.

The Valley of Roses, a new text by one of the most performed and ''the most impertinent'' Croatian playwrights, Ivan Vidić, seriously and humorously talks about the tycoon-parvenu Croatia and its obscure characters, who arogantly believe that they have it all, only to wake up one day and realize that what they have in fact is - nothing. Directed by Krešimir Dolenčić The Valley of Roses meanders through the chaos of every person's everyday life, allowing itself to be at the same time socially critical and poetical, realistic and absurd, pensive and mocking. This is a family drama, but also a satire, a ludistic dramatical diagnosis, a theatrical quest for meaning, passionate and cheeky, as a quest should be. We are tangled up in a web that we have woven ourselves, Vidić tells us, and we are to choose among two verbs, two questions: to escape or to fight?

Mostly known as an actor until the end of the 90’s, Filip Šovagović has, from 1998 and the inaugural performance of ‘’The Brick’’ to 2004 and the inaugural performance of ‘’Jazz’’, presented and proven himself as one of our most interesting contemporary dramatists. ‘’The Birdies’’, Šovagović’s second play, like his other texts refuses to escape from the Croatian everyday life and seems to, by following the events in the lives of a group of prisoners who decide to form a band called ‘’The Biridies’’ in prison, enumerate as many things that are wrong in our ‘’here and now’’.

Life is a Dream by Pedro Calderón de la Barca is one of the most beautifully written texts in the whole of dramatic literature. The Spanish poet of the stage used an enchantingly imaginative and admirably focused plot to create a suggestive and fluid play, as modern as the fantasy and the story, freedom and cruelty, darkness and dream. The vibrancy and the bareness of the play's verses go hand in hand, offering the 21st century actors a chance to become total performers, to simultaneously act out a contemplative and theatrical play, to face both the past and the present and speak of illusion and reality.

At ''The Days of Macedonian Theatre'' held in 2006 in Gavella, when Skopje Drama Theatre presented its three productions, the theatre-goers in Zagreb were able to see two plays directed by Alexander Popovski: Goran Stefanovski's Proud Flesh and Molière's Don Juan. Both had shown that behind them stood a director who didn't want to modestly ''transfer the text to the stage'', but approached it as a model he wished to play with and transpose it into visually impressive images on the set. We believe that Shakespeare's classic is a play that invokes precisely that kind of directorial approach, because the play's vividness is unquestionable and its imaginative interpreters are imperative.