Andrej Nosov

Andrej Nosov - theater director activist based in Belgrade and Amsterdam. He completed his education at the Faculty of Dramatic Arts in Belgrade. He directed plays, co-created performances, and curated programs in the last years in collaboration with major Western Balkan theaters and art institutions.

As a theater maker, Nosov created theater works based on contemporary plays as well as collaborative processes with actors, dramaturges, and other contributors opening space for unusual language, forms, topics, and ways in the local context.

He is director and founder of Heartefact ( which was established in 2009 in Serbia with the objective to support critical awareness and artistic engagement on current social and political issues with an emphasis on a responsible culture of remembrance, democratic values, and respect for human rights. For the past 10 years, the organization has produced dozens of theatre performances, exhibitions, and artistic competitions; it has promoted regional artistic exchanges and platforms while also supporting young and grassroots artists. He is co-creating with playwright and professor Biljana Srbljanovic Biennale of New Drama which will follow up the legacy of New Plays from Europe (Neue Stücke aus Europa) in Wiesbaden - in Belgrade (2021). Also, he is curating two festivals in Belgrade (Pride Theater Festival and HFestival). Andrej Nosov also created Youth Initiative for Human Rights ( and he collaborated with dozens of artists, activists and organizations on transitional justice, post-war reconciliation and European cooperation.

The third semester of work in DAS is shaped by the continuation of two trajectories from the previous semester. One is focused on examining memory and presence through further work on the SREBRENICA project.

The second phase focuses on personal perception of memory after death - He is already gone. What does a person who is dead have from our memory, when he is already dead, when the memory of us becomes general good?

They are already gone! SREBRENICA 25 years’ after How to stage a genocide? How to use theater to remember - can we use theater to remember the killed ones? Is there PC agenda in that and how to go behind that? In practical: Small things, small steps, small parts. Looking in very practical and very theatrical apparatus questions Key questions/dilemmas: Use my own theatrical poetics to explore ways - how to stage genocide and not to be PC? Using theater situation - facts and features - to create a play.

Anatomy of Ignorance - To be developed