Dizajn / Design: Saveta Mašić / Slobodan Mašić (1939-2016)
POZORIŠTE FIN DE MILLENAIRE
Izraz „fin de millénaire“ skovali smo po ugledu na jedan drugi poznati termin. Kulturnoistorijski pojam “ fin-de-siècle “ zapravo je naslov jedne zaboravljene komedije zaboravljenih francuskih pisaca Jouvenota i Maicarda iz 1888. godine. Danas je od njihovog naslova ostao samo pojam, koji srećno označava pre svega poeziju i prozu tanane dekadentnosti velikih imena evropske književnosti, kao i stil života u istom periodu. Izraz “ fin-de-siècle “ sadrži svu veličinu pretenciozne reči „stoleće“ i dobrovoljno priznavanje nekog neodređenog „kraja“, kao i slutnju novog. A kakvo je stanje danas, na kraju milenijuma? Pre svega u pozorištu?
Pozorište, kao i uvek, deli sudbinu ostalih umetnosti. Posle 50-tih godina, kada pozorištem vladaju dramski pisci, bilo oni društveno angažovani, kao Brecht, Sartre i Arthur Miller, ili oni koji razaraju postojeće pozorišne oblike izražavanja, kao Beckett i Ionesco, i posle 60-tih godina, kada je pozorištem zavladalo pozorište samo, u kojem je literatura samo povod ili je čak i nema, nastupile su 70-te godine, koje nam se, možda zato što njih još živimo, čine da su neizrazite i bez posebne karakteristike. To bi, inače, odgovaralo zapažanju Kennetha Clarka da su 70-te godine svakog stoleća u novijoj istoriji kulture decenija bez velikih doprinosa umetnosti.
Ako, međutim, ova decenija nema u svetskom pozorištu neku izrazitu karakteristiku, niti su se u njoj pojavila imena koja tu već nisu bila u prethodnoj deceniji (Brook, Planchon, Tovstonogov, Ronconi, Robert Wilson, Schechner, Schumann i dr.), možda će tri preostale decenije do kraja veka (XX) i kraja milenijuma (drugog), ostvariti pozorište izrazitih karakteristika i vrednosti. Ima, čini nam se, razloga da taj period unapred nazovemo „fin de millénaire“, ne samo zato što i jeste kraj hiljaduleća, već što će, po svemu sudeći, taj period karakterisati atmosfera nekog kraja na pragu XXI veka i trećeg milenijuma. Već sada se nazire da se ovih godina s nekom vrstom nove dekadentnosti, poput one iz vremena “ fin-de-siècle „, razlažu pozorišne forme prošlih vremena, i to na najrazličitije načine, često skaredne, katkada briljantne, ređe uzvišene.
BITEF 13 ne može dati kompletnu sliku takvog stanja – ne bi ga mogla dati nijedna celokupna sezona u svetu – ali može pružiti primere nekih pozorišnih kretanja, koji će jednoga dana karakterisati ovaj naš pozorišni period. Da li je pozorište „fin de millénaire“ surovi, gotovo naučni realizam amsterdamskog Werkteatera, ili svesna obnova klasičnog realizma estonskog Vanemuinea, ili poetski realizam pozorišta ,,Ivan Vazov” iz Sofije, ili pompezni sarkazam jednog Carmela Benea, ili anarhistički bunt jednog ,,Squata”, ili totalno pozorište Pine Bausch, ili ironična aktuelizacija klasike Roberta Ciullija ili teatralizacija istorijskih reminiscencija Ljubiše Ristića? Teško je odgovoriti koji će od ovih tako divergentnih pozorišnih poduhvata karakterisati naše vreme.
Sve ove predstave okupiće se septembra 1979. u Beogradu, da bismo i mi svi, stvaraoci i publika, učestvovali u pokušaju odgovora na to pitanje.
Mira Trailović i Jovan Ćirilov
FIN DE MILLÉNAIRE THEATRE
We made up the expression “fin de millénaire” after another, well known one. The cultural and historical idea of “fin de siècle” is in fact the title of a forgotten comedy by the forgotten French authors Jouvenot and Maicard of 1888. Today only the idea remains of their title, an idea that happily denotes above all the poetry and prose of the fine decadency of the great names of European literature, as well as the style of life of the same period. The expression “fin de siècle” contains all the greatness of the pretentious word “century” and the voluntary admission of some indefinite “end”, as well as a suspicion of something new. And what is the situation today, at the end of a millenium? Above all in the theatre?
The theatre, as always, shares the fate of other arts. After the fifties, when the theatre was ruled by playwrights, whether socially engaged like Brecht, Sartre and Arthur Miller, or those who destoyed the existing theatrical forms of expression, such as Beckett and lonesco, and after the sixties, when the theatre was ruled by the theatre itself, in which literature was merely a motive, or was even absent, seventies came on, which appear to us, possibly because we still live in them, to be untypical and without and special characteristics. This would otherwise be in accord with the observation made by Kenneth Clark, to the effect that the seventies of every century of the latter cultural history, were decades in which no great contribution to art was made.
If, however, this decade does not have, in the world theatre, some expressive properties, nor have names appeared in it which were not present in the preceding decade (Brook, Planchon, Tovstonogov, Ronconi, Robert Wilson, Schechner, Schuman etc), may be in the three remaining decades, to the end of the century (the XXth) and the close of a millenium (the second) a theatre of expressive characteristics and values may form. There is, we feel, cause to name this period in advance as the “fin de millénaire”, not only because it is in fact the end of a period of a thousand years, but because, judging by everything, this period will be characterised by some kind of an end, at the treshold of the XXl century and the third millenium. It can already be felt that “in the course of” these years with a new kind of decadency, similar to the one of the “fin de siècle” period, theatrical forms of
the past are being disintegrated in the most diverse manner, often crudly, sometimes brilliantly, more rarely sublimely.
BITEF 13 cannot give a complete picture of such a state even a complete world season could not achieve that but it can give examples of some theatrical trends, which will one day characterise this theatrical period of ours. Is the “fin de millénaire” the cruel, almost scientific realism of the
Werkteater of Amsterdam, or the conscious renewal of classical realism by the Estonian “Vanemuine”, or the poetic realism of “Ivan Vazov” of Sofia, or the pompous sarcasm of Carmelo Bene, or the anarchistic revolt of a ”Squat”, or the total theatre of Pina Bausch, or the ironical actualization of
classics by Roberto Ciulli, or the theatralization of historical reminiscences of a Ljubisa Ristić? It is difficult to say which of these so divergent theatrical undertakings will characterise our times.
All these performances will be gathered in Belgrade, in September, 1979, to enable us all, creators and the public, to take part in attempting to give an answer to this question.
Mira Trailović and Jovan Ćirilov
Glavni program / Main Programme
204 Compagnia Carmelo Bene (Rim, Italija); V. Šekspir, Karmelo Bene: Otelo; režija i adaptacija: Karmelo Bene / Compagnia Carmelo Bene (Roma, Italy); W. Shakespeare, Carmelo Bene: Othello; direction and adaptation: Carmelo Bene
205 Schauspielhaus (Bohum, Savezna Republika Nemačka); Pina Bauš: On je uzeo za ruku i odveo u zamak a drugi su ih sledili; režija: Pina Bauš / Schauspielhaus (Bochum, Federal Republic of Germany); Pina Bausch: Er nimmt sie an der Hand und führt sie in das Schloss die anderen folgen (He Takes Her by the Hand and Leads Her into the Castle, the Others Follow); direction: Pina Bausch
206 Народен театър „Иван Вазов“ (Sofija, Bugarska); Jordan Radičkov: Pokušaj letenja; režija: Mladen Kiselov / Ivan Vazov National Theatre (Sofia, Bulgaria); Йордан Радичков (Yordan Radichkov): Опитзалетене (An Attempted at Flying); direction: Младен Илиев Киселов (Mladen Kiselov)
207 Burgtheater (Beč, Austrija); J. V. Gete: Ifigenija na Tauridi; režija: Adolf Drezen / Burgtheater (Vienna, Austria); J. W. Goethe: Iphigenie auf Tauris (Iphigenia in Tauris); direction: Adolf Dresen
208 Centar za kulturnu djelatnost Socijalističkog saveza omladine (Zagreb, Jugoslavija); 1918 – Miroslavu Krleži; režija i koreografija: Nada Kokotović, Ljubiša Ristić / Center for Cultural Activity of the Socialist Youth of the City of Zagreb (Zagreb, Yugoslavia); 1918 – Miroslavu Krleži (1918. hommage à Krleža); direction and choreography: Nada Kokotović, Ljubiša Ristić
209 Jugoslovensko dramsko pozorište (Beograd, Jugoslavija) V. Šekspir: Kralj Lir; režija: Paolo Mađeli / Yugoslav Drama Theatre (Belgrade, Yugoslavia); W. Shakespeare: Kralj Lir (King Lear); direction: Paolo Magelli
210 Compagnie du Lierre (Pariz, Francuska); Ep o Gilgamešu; režija: Ferid Paja / Compagnie Du Lierre, (Paris, France); L’epopée de Gulgamesh (The Epic of Gilgamesh); direction: Farid Paya
211 Düsseldorfer Schauspielhaus (Diseldorf, Savezna Republika Nemačka); Euripid: Kiklop; režija: Roberto Ćuli (Grand Prix, Nagrada Politike) / Düsseldorf Schauspielhaus (Düsseldorf, Federal Republic of Germany); Εὐριπίδης (Euripides): Κύκλωψ (The Cyclops); direction: Roberto Ciuili (Grand Prix, Politika Award)
212 The Ballet Rambert (London, Velika Britanija); Surovi vrt; koncept i režija: Lindzi Kemp (Grand Prix) / The Ballet Rambert (London, United Kingdom); Cruel Garden; concept and direction: Lindsay Kemp (Award)
213 Squat Theatre (Njujork, Sjedinjene Američke Države); Poslednja ljubav Endija Vorhola; zajedničko delo članova Squat Theatra (Grand Prix) / Squat Theatre (New York, United States of America); Andy Warhol’s Last Love; the joint work of members of the Squat Theatre (Grand Prix)
214 Тартуский театр „Ванемуйне“ (Tartu, Estonija, Savez Sovjetskih Socijalističkih Republika); Оскар Лутс: Gradsko dvorište; režija: Karel Ird / Academic Theatre Vanemuine (Tartu, Estonia, The Union of Soviet Socialist Republics); Оскар Лутс (Oskar Luts) Во дворе (Backyard / Tagahoovis); direction: Каарел Ирд (Kaarel Ird)
215 Atelje 212 (Beograd, Jugoslavija); Mihail Bulgakov: Pseće srce; režija: Aleksandar Popović / Atelje 212 (Belgrade, Yugoslavia); Михаи́л Афана́сьевич Булга́ков (Mikhaíl Bulgakov): Pseće srce (The Heart of a Dog / Собачье сердце); direction: Aleksandar Popović
216 Het Werkteater (Amsterdam, Holandija); Sa tim se treba saživeti; zajedničko delo članova Werkteatra (Grand Prix) / Het Werkteater (Amsterdam, Netherlands); Je moet er mee leven (You’ve got to Live with); the joint work of members of the Werkteater (Grand Prix)
217 Het Werkteater (Amsterdam, Holandija); Na smrt uplašeni; zajedničko delo članova Werkteatra / Het Werkteater (Amsterdam, Netherlands); Scared to Death; the joint work of members of the Werkteater
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