The goal of Teatar Fest “Petar Kočić“ is to present, affirm, encourage and express value of pieces written for theater. The expression „piece written for theater“ refers to original plays, dramatic texts made through dramatization or adaptation of prose or poetry, but also other forms written for theatrical shaping and performance. Considering the experience of different practices of writing for theater which have been used and were manifested throughout the 20th century, Teatar Fest “Petar Kočić“ acknowledges the fact that the term drama, that is dramatic text, has been significantly widened in the contemporary theater. This is the reason why during the selection of the performances for the competition program and their evaluation (awards by an expert committee) whole specter of contemporary writing for stage is chosen to be affirmed – from classical, canonic dramatic forms, through its various derivations, to post-dramatic textual productions. Through its regional activity,Teatar Fest “Petar Kočić” wishes to influence widening of the boarders of cultural identities and creating apicultural contacts. The National Theater of the Republic of Srpska has been the host and organizer of the TEATAR FEST “PETAR KOČIĆ” for 19 years now. The Festival participants are the best productions of the regional theaters. Nine years ago (2008) Teatar Fest got its name from the great Serbian writer Petar Kočić. With the new name, Teatar Fest “Petar Kočić” also got a rounded program concept based upon two components: dramatic text and regional cooperation. These two components are mutually connected and conditioned. The term “dramatic text” refers to a text created in a language of one of the countries which have been, up until recently, a single cultural area, and which we now refer to as a region, primarily regarding the joint experience, interconnection of mutual influences and cooperative relations in the area of art and culture. Petar Kočić used to be a“domestic writer” for the entire region, the same way as Miroslav Krleža, Ivan Cankar or Branislav Nušić; and the exchange of directors and other artists, mutual professional visits and verification system of musters and festivals made an impact in the sphere of culture, sooner than any other – regardless of the recent tragic historical circumstances – a need for intensifying this cooperation manifested itself. As if PetarKočić himself, by his name in the Festival title, “approved” a program profiled in this manner, on the very first Festival held bearing his name appeared a rich repertoire array of significant dramatic texts and successful theatrical productions from Slovenia, Croatia, Bosnia and Herzegovina, and Serbia.

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