be seen in the Serbian movie Land of Truth, Love and Freedom (Zemlja istine ljubavi i slobode) as an actress in a leading role. The premiere of Supermarket, her fourth play, took place in May 2001 at the Festival of Vienna, Austria. It is still staged in many European countries. In late 2003, Srbljanović completed her fifth play, America, Part Two. This became Serbia's most popular play in 2003 and 2004. Srbljanović's next play, Skakavci (Locusts), won the New Theatrical Realities Award, one of Europe's most prominent theatre awards. In the 2005-06 season, German theater magazine Theater Heute proclaimed Srbljanović the best foreign playwright of the season. Her latest play This Grave Is Too Small For Me has attracted international press attention as well as acclaim from various audiences in Europe. Europe Theatre Prize In 2007, she received the IX Europe Prize Theatrical Realities, in Thessaloniki, with the following motivation:For her and for the people of her country which has suffered so much, it is undoubtedly the epithet “European prize” that imports more as a confirmation of the fact that the Serbs are present and will be always present on this continent. Living in Serbia and in Europe at the same time, Biljana Srbljanović is not kind at all towards her compatriots: in the “Belgrad Trilogy”, she revealed their dissimulated, two-faced morality; then, with anger, she draws a caricature of them in the “Family Stories”. This author belongs to the current of the new European drama - courageous, open, brutal and it is not only in her own place that she’s offensive: in “The Supermarket”, she left for the superficial Occident, than she had the courage to attack and criticise “L’Amerika”- it is in this part, that came to maturity her ability to realise character’s deep, psychological characterization. “The Fall” analyzes people living in countries with totalitarian regimes, and in “The Locusts”, she goes back in her own country in the aim to draw a historical picture of four generations which worked out the corroded country’s actual face. Biljana Srbljanović is not the only one politically committed playwright who criticizes with ferocity her own country’s regime and the people supporting this regime: last year, Harold Pinter’s name has proved us that she‘s not alone in her case. At all monochromic, Biljana Srbljanović’s Balkans, have an outstanding environment; - rough, frank, quarrelsome and mystical. More than any of her predecessors, this