Dizajn / Design: Saveta Mašić / Slobodan Mašić (1939-2016)
USPOMENI MIRE TRAILOVIĆ
23 BITEF je poslednji na kome je Mira Trailović, njegov osnivač i inspirator, neposredno radila i to u doslovnom smislu do poslednjeg daha. Dok je mogla putovala je u potrazi za predstavama. Kad je već mogla manje, činila je mnogo – bdela je svojim duhom i energijom da „najinternacionalniji među svim internacionalnim festivalima“ ostane ono što je uvek bio: izazov svetu, ponos onih koji na njemu učestvuju i naš prozor u nepoznato.
Malo je Jugoslovena čija bi smrt ovog trenutka bila zabeležena u tolikim svetskim listovima i objavljena u tolikim medijima, propraćena sa takvim nekrolozima u svim našim kulturnim centrima.
Svi koji su tim povodom pisali, isticali su njenu energiju. Ta energija je ono što će najviše nedostajati budućnosti BITEFA. Ali ono što će trajati, kao Mirin doprinos BITEF-u, dogod ga bude bilo, njena su misao i intuicija koje je uložila u same temelje ovog velikog događaja evropske i jugoslovenske kulture.
To što je Mira Trailović ugradila u BITEF i pre nego što je on počeo da se odvija, a što je ona u njega ulagala svakim danom, mesecom i godinom, do juče, teško je formulisati. Da je lako, formula pravljenja izuzetno značajnih svetskih festivala bila bi zauvek otkrivena i za svakog ostvarljiva.
Danas je ipak mogućno reći da je deo njenog koncepta BITEFA stalna potraga za novim, ali vođena idejom da je pozorište ozbiljna čovekova igra, koja ima svoja pravila,
Zakone, dostojanstvo i tajne. Ta pravila i zakone treba znati, dostojanstvo valja čuvati profesionalnom etikom, a tajne treba pokušati otkrivati svojom intuicijom i ljubavlju prema fenomenu pozorišta. Tu Mirinu ljubav prema pozorištu i svakom pojedincu koji se na svetu odvažio na pustolovinu pozorišnog čina, osetio je svako ko je jednom došao na BITEF. To je nešto što će takođe nedostajati budućim BITEF-ima. Mada ostaje nada da je u svima nama ostavila deo te njene ljubavi i topline, koje su time postale trajne.
Ovaj uvod, koji posle niza godina prvi put sam potpisujem, napisan je sa uverenjem da pozorište nije sazdano od tako trošne građe kako nam se obično čini. O tome svedoči pozorišna sudbina Mire Trailović i njenog dela.
U to ime 23. BITEF ’89. posvećujemo uspomeni Mire Trailović.
Jovan Ćirilov
TO THE MEMORY OF MIRA TRAILOVIĆ
The 23rd BITEF is the last festival Mira Trailović, its founder and great inspirator, actively worked on. It was virtually to her very last breath that she had been working on the preparations for this year’s festival. For as long as she had been able to, she travelled around in search of the performances interesting for the festival. When her health weakened, she still did a lot to help us – her zeal and energy were vigilantly present among us making sure that “the most international of all international festivals” stayed what it had always been – a challenge to the world, which all its participants took pride in and which we who managed it, always regarded as a great gate that opened to the realm of the unknowun.
There are very few Yugoslavs today who could hope to be mourned like Mira Trailović. Her death echoed through the world’s press and media, she was grieved in virtually all our centres of culture. And all those who wrote about her emphasized her phoenix-like energy. It is that very energy that BITEF will miss the most. However, her ideas which by her impeccable intuition she miraculously managed to build the very foundations of this great Yugoslav and international cultural event will last – they will live on for as long as the festival lives.
It is extremely difficult to put into words all that Mira Trailović had given BITEF even before it originally started. If it were not
so, that is, if it were possible to describe how she devotedly worked on the preparation of every single BITEF held so far, then it would surely be possible to turn any festival into a great international event. And although her formula stays very much a secret one, today it is fairly clear that she saw BITEF as a permanent search of the new, original, state-of-the-art theatrical performances. However, her ideas of the festival never clashed with her ideas of the theatre in general. On the contrary, they were guided by her conviction that the theatre should always be a playhouse; but the games that are played there must be played seriously because they all have their rules, dignity and secrets. Therefore, one must be familiar with the rules and obey them whereas the dignity could be preserved through one’s professional ethic. As for the secrets, one is entitled to try to reveal them and the best way to do so is by means of one’s intuition and candid love for the miraculous phenomenon called the theatre.
Mira’s great love of the theatre and attraction to every individual who ventured to undertake the exploration of its functions was felt by all who ever attended BITEF. That is yet another of her virtues which future BITEFS are going to miss. However, let us hope that through her irresistible warmth she managed to pass on to us some of that great love which would thus live on.
This introduction, which for the first time I am to sign alone, is written in the firm belief that what theatre consists of is not as frail as we sometimes tend to think. This belief is best supported by the theatre destiny of Mira Trailović and her achievements. Therefore, we dedicate the 23rd BITEF of 1989 to the memory of Mira Trailović.
Jovan Ćirilov
Glavni program / Main programme
343 Slovensko Mladinsko Gledališče (Ljubljana, Jugoslavija); Ivo Svetina: Šeherezada; režija: Tomaž Pandur (Specijalna nagrada) / The Mladinsko Theatre (Ljubljana, Yugoslavia); Ivo Svetina: Šeherezado (Scheherezade); direction: Tomaž Pandur (Special Award)
344 МТЮЗ / Московский Театр Юного Зрителя (Мoskva, Savez Sovjetskih Socijalističkih Republika); Мihail Bulgakov: Pseće srce (Sobačъe serdce); režija: Henrijeta Janovska / Moscow Young Generation Theater – MTYuZ (Мoscow, The Union of Soviet Socialist Republics); Михаи́л Афана́сьевич Булга́ков (Мikhaíl Bulgakov): Собачье сердце (The Heart of a Dog); direction: Генриетта Яновская (Henrietta Yanovskaya)
345 Katona József Szinház (Budimpešta, Мađarska); N. V. Gogolj: Revizor; režija: Zambeki Gabor (Grand Prix) / Katona József Szinház (Budapest, Hungary); Николай Васильевич Гоголь (Nikolai Vasilievich Gogol): A revizor (Ревизор / The Government Inspector); direction: Zsámbéki Gábor (Grand Prix)
346 МТЮЗ / Московский Театр Юного Зрителя (Мoskva, Savez Sovjetskih Socijalističkih Republika); F. М. Dostojevski: Zapisi iz podzemlja; režija: Kama Ginkas / Moscow Young Generation Theater – MTYuZ (Мoscow, The Union of Soviet Socialist Republics); Фёдор Миха́йлович Достое́вский (F. М. Dostoyevsky): Записки из подполья (Notes from Underground); direction: Ка́ма Миро́нович Ги́нкас (Kama Ginkas)
347 Scena Plastyczna KUL (Lublin, Poljska); Herbarijum, Vlažnost; scenario i režija: Lašek Мondžik / Scena Plastyczna KUL (Lubin, Poland); Zielnik, Wilgošć (Herbarium, Moisture); scenery and direction: Laszek Мądzik
348 Theatre Academy (Pune, Indija); Vijaj Tendulkar: Gaširam Kotval; režija: Jabar Patel / Theatre Academy (Pune, India); Vijay Tendulkar: Ghashiram Kotwal; direction: Jabbar Patel
349 Jugoslovensko dramsko pozorište (Beograd, Jugoslavija); Dozivanje ptica – po Aristofanu; režija: Haris Pašović / Yugoslav Drama Theatre (Belgrade, Yugoslavia); Calling the Birds – based on Aristophanes; direction: Haris Pašović
350 Pekinška opera (Peking, Narodna Republika Kina); Vila iz zelenog jezera; režija: ZhaoYanxia / Beijing Opera (Beijing, People’s Republic of China); The Carp Fairy of the Green Pond; direction: Zhao Yanxia
351 The Fiji Theatre Company (Njujork, Sjedinjene Američke Države); Svedenborgovi anđeli; koncept i režija: Ping Chong / The Fiji Theatre Company (New York, United States of America); Angels of Swedenborg; concept and direction: Ping Chong
352 Theater A. D. Ruhr (Мilhajm, Savezna Republika Nemačka); Peter Handke: Kaspar; režija: Roberto Ćuli (Grand Prix, Nagrada Politike, Nagrada publike) / Theater A. D. Ruhr (Мülheim, Federal Republic of Germany); Peter Handke: Kaspar; direction: Roberto Ciulli (Grand Prix, Politika Award, Audience Award)
353 Theater an der Ruhr (Мilhajm, Savezna Republika Nemačka); Euripid: Bahantkinje; režija: Roberto Ćuli / Theater an der Ruhr (Мülheim, Federal Republic of Germany); Euripides: Die Bakchen (The Bacchae); direction: Roberto Ciulli
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