FyraBen – the people

FyraBen are two founding members and three long term associates.


Nina Marković Matthis is a freelancing actress and movement artist, working internationally from her base in Malmö. She graduated from Cantabile2’s School of Stage Arts, Denmark in 2008 and has worked in several constellations, companies and solo projects. As a performer Nina works with various expressions of theatre and movement art, such as physical theatre, drama, storytelling, and also new circus, stage combat, butoh and more.

nina at fyrabenteater.org | ninianina


Milan Marković Matthis is a Malmö based dramaturge, playwright and performer, born 1978 in Belgrade. His plays have been staged in Serbia, Croatia, Slovenia and England and published in English, German and Slovenian and Serbian languages. He worked as a dramaturge in Croatian, Danish, German, Slovenian and Serbian theatre productions. Full bio: tinyurl.com/l9vq795

www.milan-markovic.com | milan at fyrabenteater.org | thisismilansblog | milan0markovic



AnaDubljevicAna Dubljević is a performer and author in expanded field of choreography. Her artistic interest dwells around “dancing” concepts, questions, relations, languages and bodies. Focus of her work is on politicality, on one side – of art and art work, and on the other – politicality of our everyday individual and collective lives, today.

dancestation.org | adubljevic at gmail.com | ana.dubljevic.3



Bojana Lazić is an awarded director of numerous theatre performances, radio dramas and documenaries. Member of ASSITEJ Serbia.


Bojana at Lindedin | lazicbojana at gmail.com | bojana.lazic



Through a conceptual approach, Sally O’Neill deals in her work with accepted codes of society, taboos, moral restraints and gender issues. Her investigation of the ”in-the-moment” and chance is expressed by the use of improvisation. She believes, that instant decision-making and risk-taking together with the possibility of failing brings uncertainty and allows the ”not-knowing” in both performer and audience. She also plays with the authority between performer and audience, as a demonstration of hierarchical, or ”non-hierarchical”, relationships.

sallymoneill.weebly.com | sally.m.oneill at hotmail dot com | sally.oneill.33