Dizajn / Design: Saveta Mašić / Slobodan Mašić (1939-2016)
LUTALICE I SANJARI 93
Prošle godine održali smo ,,BITEF pod embargom“, prvi BITEF bez stranih trupa. Ove godine, iako su okolnosti još teže, pokušaćemo da organizujemo BITEF kako je to smišljeno od osnivanja, kao međunarodni festival. Biće to festival stranih i naših umetnika, a za publiku susret sa predstavama koje Beograd nije video.
Većina izabranih bile bi na ovogodišnjem BITEFU i da nije embarga, drugim rečima dolaze nam ansambli koji karakterišu današnji pozorišni trenutak u svetu ili, tačnije rečeno, označavaju jedan tok savremenog teatra. Sve tendencije veoma razuđenog svetskog pozorišnog trenutka ni ranije nismo mogli ni da obuhvatimo. Ovoga puta to su pozorišta u tradiciji lutalica-jeretika, nekada izopštenih iz svojih sredina, koji su sve što su imali nosili sa sobom u kolima pod arnjevima i sanjali zajedno sa publikom tamo gde se jedne večeri zaustave, na poljani, trgu ili crkvenoj porti, gdegod ih prihvate. Oni su najbolji dokaz da igranje nije i slaganje sa svojim vremenom.
Sanjari su i klasične lutalice pod nebeskim svodom kao one iz daleke Australije, iz Rusije i Poljske, ali i lažni car na prestolu jedne male zemlje u brdima i Don Kihot na svom Rosinantu, i Brehtovi junaci u potrazi za srećom opasnom prečicom na periferiji Londona.
Ono što nije moglo da pređe stvarnu ili imaginarnu granicu embarga, carinsku ili moralnu, doći će jednim delom u obliku projekcije sa video-trake, kao „senka senke“, kao informacija ili kao znak prijateljstva i solidarnosti svih umetnika sveta, velikog bratstva jeretika.
Šta će se od ovakvih snova jednog festivala sa velikom tradicijom zaista u septembru i dogoditi, više ne zavisi samo od nas. Od nas je samo zavisilo da li ćemo hteti da pokušamo.
Jovan Ćirilov
WANDERERS AND DREAMERS ’93
Last year we organized “BITEF under the Embargo”, the first BITEF without foreign companies. This year, although the circumstances are even more difficult, we shall try to organize BITEF as it was meant to be from its establishment, i.e., as an international festival. It is going to be a festival of Yugoslav and foreign artists, and an occasion for the public to see some of the productions which Belgrade has not seen.
The majority of the productions that have been selected would have been invited to the present BITEF even if there had been no embargo. In other words, the troupes that are coming are representative of the present moment in the theatrical life of the world, or, more precieley, they represent a major trend in the present-day theatre. Even earlier we were not able to encompass all the ramified developments taking place in the theatrical sphere. This time we shall meet companies that are inheritors of the tradition of strolling players and heretics, sometimes excommunicated from their communities, who carried all they had in their waggons or carts and enacted their dreams for their public where they stopped for the day – on the village green, in the town square, in the churchyard, or wherever they were allowed to play. They are the best proof that acting does not necessarily mean conforming to the current time.
Such dreamers are not only the typical wanderers through the wide world, such as those coming from distant Australia, from Russia and Poland; they also include a self-styled emperor enthroned in a small country among the hills, Don Quixote on his Resinante, and Brecht’s heroes in search of happiness on the perilous byways of the London underworld.
What could not pass the real or imaginary boundary of the embargo – administrative or moral – will be partly present
in the form of video projections, as “the shadow of a shadow”, as information or as a token of friendship and solidarity of the artists of the world, of the great brotherhood of heretics. Which of these dreams about a festival with a long tradition will really come true in September, is something that no
longer depends on us only. Ours was to try to make them possible, and that is what we have done.
Jovan Ćirilov
Glavni program / Main programme
390 Stalker Stilt Teatre (Sidnej, Australija); Toycart; režija: Najdžel Kalavej / Stalker Stilt Teatre (Sydney, Australia); Toycart; direction: Nigel Kallaway
391 Teatr Biuro Podrózy (Poznanj, Poljska); Đordano; režija: Pavel Škotak / Teatr Biuro Podrózy (Poznan, Poland); Giordano; direction: Pawel Szkotak
392 Narodno pozorište, Népszníház (Subotica, Jugoslavija); Мiroslav Krleža: Kristofor Kolumbo; režija: Ljubiša Ristić / National Theatre / Népszníház (Subotica, Yugoslavia); Мiroslav Krleža: Kristofor Kolumbo (Christopher Columbo); direction: Ljubiša Ristić
393 Narodno pozorište, Népszníház (Subotica, Jugoslavija); М. de Servantes: Don Kihot; režija: Ljubiša Ristić / National Theatre / Népszníház (Subotica, Yugoslavia); М. de Cervantes: Don Quijote (Don Kihot); direction: Ljubiša Ristić
394 Narodno pozorište, Népszníház (Subotica, Jugoslavija); Lope De Vega: Fuente Ovehuna; režija: Saša Gabrić / National Theatre / Népszníház (Subotica, Yugoslavia); Lope De Vega: Fuenteovejuna; direction: Saša Gabrić
395 Derevo – российский авангардный театр (Sankt-Peterburg, Rusija); Atrakcija ispunjenja želja; režija: Anton Adasinski / Teatre Derevo (Sankt-Peterburg, Russian Federation); Атракцион исполнения желаний (The Side-Show of Fullfiling the Wishes); direction: Антон Адасинский (Anton Adasinski)
396 Crnogorsko narodno pozorište, Dom omladine „Budo Tomović“ (Podgorica, Jugoslavija); Semjuel Beket: Beket Fest; režija: Slobodan Мilatović / Montenegrin National Theatre, Youth Center „Budo Tomovic“ (Podgorica, Yugoslavia); Samuel Beckett: Becket Fest; direction: Slobodan Мilatović
397 Derevo — российский авангардный театр (Sankt-Peterburg, Rusija); Вcадник; režija: Anton Adasinski (Grand Prix Мira Trailović, Nagrada Politike) / Teatr Derevo (Sankt-Peterburg, Russian Federation); Konjanik (The Rider); direction: Антон Адасинский (Anton Adasinski); (Grand Prix Мira Trailović, Politika Award)
398 BITEF teatar (Beograd, Jugoslavija); B. Breht: Opera za tri groša; režija: Ivana Vujić / BITEF theatre (Belgrade, Yugoslavia); B. Brecht: Die Dreigroschenoper (The Threepenny Opera); direction: Ivana Vujić
399 Jugoslovensko dramsko pozorište (Beograd), ATL Beograd, Budva-Grad teatar (Jugoslavija); Petar II Petrović Njegoš: Lažni car Šćepan Мali; režija: Dejan Мijač (Specijalna nagrada) / Yugoslav Drama Theatre (Belgrade); ALT Belgrade; City Theate – Budva (Yugoslavia); Petar II Petrović Njegoš: Lažni car Šćepan Мali (The False Tsar Šćepan Mali); direction: Dejan Мijač (Specijal Award)
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