The group of players in the production of The Lexicon of YU Mythology (Leksikon YU Mitologije), directed by Oliver Frljić, is made up of Macedonians, Albanians, Croats, Slovenes, Montenegrins, and a Serbian. For Mišo Obradović, a young actor from Montenegro, this was his first co-production under the auspices of the New European Theatre Action (NETA), which brings together theatre companies from the region. Oliver Frljić is one of the most productive and sought after theatre directors in the region and this was also the first time he and Mišo Obradović collaborated.

"This is a great and important experience, not only because Frljić is one of the most sought-after directors but because he is one of the most original ones. He is at home with political theatre and he is excellent and adept in using strong provocation as means of inciting a sense of revulsion in one part of the society, while by "producing" scandals he attracts the attention of the general public, which is much wider than that of theatregoers," Obradović told Southeast Europe: People and Culture.

The Lexicon of YU Mythology was based on the book of the same name, but Frljić did not wish to present the audience with something they would expect. "Every myth is a construct and this text was inspiring because it bordered on deconstruction. Many people expected us to sing a few "new wave" numbers (pop-music from the eighties in former Yugoslavia), to imitate commercials for Cedevita (a well-known instant drink from Croatia) and remind them of achievements in sports. This could have been one way of doing it, but not for Frljić. He worked with us on trying to deconstruct a myth right down to the level of gossip," says Obradović.

NETA productions tend to bring together actors from different countries. The Lexicon of YU Mythology is performed in the various languages of the region.

"It has not been easy. We are talking about different generations, mentalities, perceptions of theatre. Every time we had a difficult rehearsal, with tensions and conflict, someone would say that that was the reason why Yugoslavia fell apart. And yet in time, as groups are wont to do, we began to take shape," says Obradović.

The concept of the play being what it is, he was given an opportunity to perform in other languages. "Languages were fantastic. Once I had learned the lines in Slovene and Macedonian, I realized I felt much freer in my play than in Montenegrin. This is probably because these languages for me do not presuppose any kind of frustration which is what gives me more scope," says.

Obradović belongs to the younger generation of Montenegrin actors who have brought new energy to the theatre and, more recently, to the film industry. He is also a member of the National Theatre of Montenegro and is appearing in plays such as Gorski Vijenac (Mountain Wreath, the Montenegrin historic mega-epic), Don Juan and Gogol's Government Inspector, among others.

Obradović graduated in acting from the Theatre Academy in Novi Sad and, thanks to the contacts he made there, he became involved with a documentary-feature film called The Danube Swabians (Podunavske Švabe), directed by Marko Cvejić, which premiered recently in Belgrade.

The Lexicon of YU Mythology was first performed at the EX PONTO festival in Ljubljana and soon afterwards in Croatia, Montenegro, and Kosovo.