Dizajn / Design: Saveta Mašić / Slobodan Mašić (1939-2016)
BITEF 78
Miroslav Krleža je 1928. godine u Osijeku pred početak proba komada ,,U agoniji“ rekao da se mogu smatrati propalim sve one predstave i „drame, kojima nije suđeno da se održe na repertoaru dulje od jedne sezone. Takve drame ne žive dulje od kakve prolazne, ženske pomodne kaprice, takve drame propadaju, kao što je propao onaj prošlogodišnji, jesenji, toliko razvikani „toque a la Lindberg“, šešir jesenjeg korza, što smo imali čast da ga gledamo na svakom koraku, a danas mu nema ni traga“.
BITEF već dvanaest godina, na početku svetske pozorišne sezone, otvara put prošlogodišnjim pozorišnim novostima da prekorače tu kritičku granicu koju jedno umetničko delo razlikuju od „toque a la Lindberg“. Svetska pozorišna novost, jedne kratke sezone, kao da se preko BITEFA „kanonizuje“ u klasiku svetske novosti, to jest počinje da se smatra novom tendencijom koja ima prava na dalji život, svoj ili, za koju sezonu, u predstavama drugih umetnika. Nije li takva uloga BITEFA protivurečna: s jedne strane „festival novih pozorišnih tendencija“, s druge – festival koji je u potrazi za trajnim vrednostima toga novog.
Čini nam se da je upravo u toj protivurečnosti sva vitalnost BITEFA koja privlači gledaoce i umetnike sveta, Jugoslavije i Beograda. Naš glavni grad je u septembru mesecu jedno od ključnih mesta u pozorišnom svetu, gde inače efemerna umetnost pozoišta dobija relativno pravo na trajnost, upravo zato što je jedna grupa umetnika na novi način izrazila neko emotivno stanje današnjeg trenutka u dodiru sa nekom vrstom ljudske bitnosti.
I zato ni na BITEFU, kao i nigde drugde, nema apsolutne novosti, pa su svi oni slogani koji se neprestano ponavljaju: ,,Pa to nije novo, to smo već videli!“, tačni, kao što su još više u pravu oni koji su, u istinski velikim vrednostima BITEFA za ovih dvanaest godina, otkrivali onu relativnu, ali signifikativnu novost kroz koju umetnost i traje već stolećima.
Mira Trailović, Jovan Ćirilov
BITEF 78
Before the beginning of rehearsals of the play “In Agony”, in 1928, Miroslav Krleža told to the actors that one may consider as failures all performances and “dramas, which are not fated to survive longer than a single season. Such dramas do not live longer than a passing, female fashion whim. Such dramas vanish like the last year’s autumn, so much aclaimed ’’toque à la Lindberg” hat of the autumn promenade, which we had the honour of encountering at every step, yet today there is no trace of it”.
For twelve years now BITEF at the beginning of the world theatre season, through its doors, opens the way to last year’s theatre novelties to cross that critical line which distinguishes a work of art from a “toque à la Lindberg”. A world theatre novelty, of a short season, appears to get “cannoinsed” through BITEF into a classical theatre novelty, in other words, it starts being considered a new trend which has a right to further life, its own, or, in a few seasons, through the performances of other artists. Is not such a role of BITEF contradictory: on the one hand a “festival of new theatre trends”, and on the other, a festival which is in search of permanent values of this phenomenon of novelty?
It appears to us that the full vitality of BITEF in fact lies in this very contradiction, which attracts the public and artists of the world, Yugoslavia and Belgrade. In September our capital becomes one of the key places of the theatre world, where the otherwise ephemeral art of the theatre attains a relative right to existence, just because a group of artists expressed a state of emotions of the present moment, in contact with some kind of eternity and human essentiality, in a new way.
Thus, neither at BITEF, nor anywhere else, is there any absolute novelty, and therefore the constantly repeated “But this is not a novelty, we have seen this!”, is correct, as are indeed even more correct those who have discovered, in the truly great values of BITEF, in the course of these twelve years, that relative, but significant, novelty through which art endures even through centuries.
Mira Trailovic, Jovan Cirilov
Glavni program / Main Programme
186 რუსთაველისთეატრი / Государственный академический драматический театр имени Шота Руставели (Tbilisi, Gruzija, Savez Sovjetskih Socijalističkih Republika); B. Breht: Kavkaski krug kredom; režija: რობერტსტურუა (Robert Sturua) / რუსთაველისთეატრი (Shota Rustaveli State Drama Theatre, Tbilisi, Georgia, The Union of Soviet Socialist Republics); B. Brecht: კავკასიურიცარცისწრე (Der Kaukasische Kreidekreis / The Caucasian Chalk Circle); direction: რობერტსტურუა (Ро́берт Ро́бертович Сту́руа / Robert Sturua)
187 Volksbühne (Berlin, Nemačka Demokratska Republika); V. Šekspir: Hamlet (Sudbina danskog princa); režija: Beno Beson (Grand Prix) / Volksbühne (Berlin, German Democratic Republic); W. Shakespeare: Die tragische Geschichte von Hamlet, Prinz von Dänemark (The Tragicall Historie of Hamlet, Prince of Denmarke); direction: Benno Besson (Grand Prix)
188 Volkbühne (Berlin, Nemačka Demokratska Republika); Hajner Miler: Bitka; režija: Manfred Karge, Matijas Langhof / Volkbühne (Berlin, German Democratic Republic); Heiner Müller: Die Schlacht (The Battle); direction: Manfred Karge, Matthias Langhoff
189 Théâtre National de Belgique (Brisel, Belgija); V. Šekspir: Romeo i Đulijeta; režija: Otomar Krejča / Théâtre National de Belgique (Brusells, Belgium); W. Shakespeare: Romeo and Juliette (Roméo et Juliette / Romeo and Juliet); direction: Otomar Krejča
190 El Teatro de la esperanza (Santa Barbara, Sjedinjene Američke Države); Žrtva; režija: Kolektiv / El Teatro de la Esperanza (Santa Barbara, United States of America); La Victima (The Victim); direction: Collective
191 Schiller Theater (Zapadni Berlin, Savezna Republika Nemačka); August Strindberg: Otac; režija: Ginter Kremer (Grand Prix, Nagrada Politike, Nagrada publike) / Schiller Theater (West Berlin, Federal Republic of Germany); August Strindberg: Der Vater (The Father); direction: Günther Krämer (Grand Prix, Politika Award, Audience Award)
192 Compagnia Teatro la Maschera (Rim, Italija); Frank Vedekind: Buđenje proleća; režija: Meme Perlini / Compagnia Teatro la Maschera (Roma, Italy); Frank Wedekind: Il Risveglio di Primavera (Frühlings Erwachen / Spring Awakening); direction: Memè Perlini
193 Centar za kulturnu djelatnost Saveza socijalističke omladine Zagreba (Zagreb, Jugoslavija); Dušan Jovanović: Oslobođenje Skopja; režija: Ljubiša Ristić / Center for Cultural Activity of the Socialist Youth of the City of Zagreb (Zagreb, Yugoslavia); Dušan Jovanović: Oslobođenje Skopja (The Liberation of Skopje); direction: Ljubiša Ristić
194 Théâtre ses Quartiers D’Ivry (Pariz, Francuska); J. B. Molijer: Škola za žene || Mizantrop || Don Žuan || Tartif; režija: Antoin Vitez / Théâtre ses Quartiers D’Ivry (Paris, France); J. B. Molière: École de femmes || Misanthrope || Don Juan || Tartuffe (School for Wives || The Misanthrope || Don Juan || Tartuffe); direction: Antoine Vitez
195 Schaübuhne am Hallischen Ufer (Zapadni Berlin, Savezna Republika Nemačka); Boto Štraus: Trilogija ponovnog viđenja; režija: Peter Štajn / Schaübühne am Hallischen Ufer (West Berlin, Federal Republic of Germany); Botho Strauß: Trilogie des Wiedersehens (Trilogy of Meeting Again); direction: Peter Stein
196 Slovensko Ljudsko Gledališče (Celje, Jugoslavija); Rudi Šeligo: Čarobnica iz Gornje Davče; režija: Dušan Jovanović / Celje People’s Theatre (Celje, Yugoslavia); Rudi Šeligo: Čarovnica iz Zgornje Davče (The Witch from Zgornja Davča); direction: Dušan Jovanović
197 Yoshi and Company (Tokio, Japan); Joši Oida (Mutsuo Takaši): Ame Tsuchi; režija: Yoshi Oida / Yoshi and Company (Tokio, Japan); Yoshi Oida (Mutsuo Takahashi): Ame Tsuchi; direction: Yoshi Oida
198 Rogaland Teater (Stavanger, Norveška); Henrik Ibzen: Per Gint; režija: Šetil Bang-Hansen / Rogaland Teater (Stavanger, Norway); Henrik Ibsen: Peer Gynt; direction: Kjetil Bang-Hansen
199 Kugla Glumište (Zagreb, Jugoslavija); Mekani Brodovi; Kolektivni rad (Specijalna nagrada) / Kugla Glumište (Zagreb, Yugoslavia); Mekani Brodovi (The Soft Ships); Collective work (Special Award)
200 Teatr Nowy (Lođ, Poljska); Vitold Gombrovič: Opereta; režija: Kazimjež Dejmek / Teatr Nowy (Lodz, Poland); Witold Gombrowicz: Operetka (Operetta); direction: Kazimierz Dejmek
201 Bábszinház (Budimpesta, Mađarska); Bela Bartok: Čudesni Mandarin (Grand Prix) || Semjuel Beket: Komad bez reči || Đerđ Ligeti: Pustolovine || Igor Stravinski: Petruška; režija: Kato Sunji / Bábszinház (Budapest Puppet Theatre, Hungary); Béla Bartók: A csodálatos mandarin (The Miraculous Mandarin); (Grand Prix) || Samuel Beckett: Jelenet szöveg nélkül (Act without Words) || György Ligeti: Aventures (The Adventures) || И́горь Фёдорович Страви́нский (Igor Stravinsky): Petruska (Петрушка / Petrushka); direction: Kató Szönyi
202 Kineski lutkarski ansambl (Peking, Narodna Republika Kina); Pobuna protiv Nebeskog Dvora (prema kineskom klasičnom romanu: Putovanje na zapad) režija: Čao Di, Guan Veiđi, Leng Fuši, Guan Đianđing / Chinese Puppet Ensemble Jong-guo Mi-Ou Yishu Jutuan (Beijing, People’s Republic of China); Playin’ Havoc in Heaven, based on the classic “Journey to the West”; direction: Chou Di, Guan Weiji, Leng Fuji, Guan Jianqing
203 Jugoslovensko dramsko pozorište (Beograd, Jugoslavija); Karlo Goldoni: Trilogija o letovanju; režija: Paolo Mađeli / Yugoslav Drama Theatre (Belgrade, Yugoslavia); Carlo Goldoni: La trilogia della villeggiatura (The Holiday Trilogy); direction: Paolo Magelli
Your Content Goes Here