Dizajn / Design: I&F McCann Ericson, Belgrade, SFRJ Autor / Author: Sanja Rudić
STRAHOVI I NADE 98
Nadežda Mandeljštam je opisala četiri poslednje godine života svoga muža, ruskog pesnika Osipa Mandeljštama. Svoje memoare izdala je 1970. kao samizdat. Nazvala ih je ,,Strah i nada“.
Kada je Nadežda Jakovljevna imala snage da paklene godine koje je sa mužem provela u Sibiru nazove godinama straha ali i nade, onda s puno razloga i bez oklevanja jednu pozorišnu godinu možemo nazvati sezonom strahova i nada. Kakva god se istorija dešavala, svaka zemlja ima svoje strahove i nade. A pozorište te sredine živi u tom znaku.
U nekoj zemlji veći su strahovi, u drugoj nade. Ako u nekoj srećnoj zemlji ne postoji strah od istorije koja se dešava, svugde postoji bar neki individualni strah, od postojanja, od kraja, od ništavila.
Predstave na ovogodišnjem 32. Bitefu svedočanstva su o mnogim strahovima i o mnogim nadama, individualnim, društvenim, antropološkim. Ljudska osećanja nisu jasno omeđena. Pozorišne predstave nisu posvećene jednoj emociji. Strahovi i nade savremenog sveta i čoveka prebivaju u predstavi kao složeni koloplet čiji smisao samo umetnost može da nasluti.
Jovan Ćirilov
FEARS AND HOPES ’98
Nadezhda Mandelstamm, the wife of Russian poet Osip MandeLstamm, recorded the last four years of her husband’s life in her memoirs and called them “Fear and Hope”. She published them as a “samizdat / selfedited” in 1970. If Nadezhda Yakovlevna had the strength to name those years in hell, which she spent with her husband in Siberia, years of fear but also of hope, than we have just cause to name a theater year, without hesitation, the season of fears and hopes. The theater within this surrounding lives under this sign.
In some countries, fears are bigger, in others, hopes. If in some happy land, there is no fear of the history that is being made, then at least everywhere there are individual fears – of existence, of the end, of nothingness. Performances in this 32nd BITEF are testimonies of numerous fears and many hopes – Individual, social, anthropological. Human feelings are not devoted to one limited to sharp contours. Thaetre performances are not contemporary world inhabit a performance like complicated mortal coils, of which only are feels a premonition.
Jovan Ćirilov
Glavni program / Main programme
455 Teatr Polski (Vroclav. Poljska); A. P. Čehov: Platonov, Izostavljeni čin; režija: Ježi Jarocki / Teatr Polski (Wroclaw. Poland); Анто́нПа́вловичЧе́хов (A. P. Chekhov): Płatonow – Akt pominięty (Плато́нов – Пье́са без назва́ния / Platonov, The Deleted Act); direction: Jerzy Jarocki
456 Javier de Frutos Dance Company (London, Velika Britanija); Hipohondrična ptica; koreografija: Javier de Frutos / Javier de Frutos Dance Company (London, United Kingdom); The Hypochondriac Bird; choreography: Javier De Frutos
457 Центр имени Вс. Мейерхольда; Российский государственный театр „Сатирикон” имени Аркадия Райкина (Мoskva, Rusija); Valerij Fokin, Aleksandar Bakši: Мetamorfoza – prema noveli Franca Kafke; režija: Valerij Fokin (Specijalna nagrada) / The Meyerhold Centre; The Satirikon Theatre (Мoscow, Russian Federation); Фокин Валерий Владимирович (Valery Fokin), Бакши Александр Моисеевич (Alexander Bakshi): Превращение – по одноименной новелле Франца Кафки (Die Verwandlung – basierend auf Franz Kafka / Metamorphosis – based on a novel by Franz Kafka); direction: Фокин Валерий Владимирович (Valery Fokin); (Special Award)
458 Centar za kulturnu dekontaminaciju (Beograd, Jugoslavija); Franc Kafka: Proces; аutor: Sonja Vukićević /The Center for Cultural Decontamination (Belgrade, Yugoslavia); Franz Kafka: Proces (Der Prozess / The Trial); author: Sonja Vukićević
459 Volksbühne am Rosa Luxemburg-Platz (Berlin, Savezna Republika Nemačka); Kristof Мartaler: Evropejci, crkli dabogda!; režija: Kristof Мartaler (Grand Prix Мira Trailović) / Volksbühne am Rosa Luxemburg-Platz (Berlin, Federal Republic of Germany); Christoph Мarthaler: Мurx den Europäer! Мurx ihn! Мurx ihn! Мurx ihn ab!; direction: Christoph Мarthaler (Grand Prix Мira Trailović)
460 Krajiško dječije pozorište (Banja Luka, Republika Srpska); Predrag Bjelošević: Tužni princ; režija: Biserka Kolevska / The Children’s Theatre of Republic of Srpska / Kraina Children’s Theatre (Banja Luka, Republika Srpska); Predrag Bjelošević: Tužni princ (The Sad Prince); direction: Biserka Kolevska
461 Divadlo Archa (Prag, Češka Republika); Ravnodnevica; autor: Petr Nikl / Divadlo Archa (Prague, Czech Republic); Slunovrat (The Solstice); author: Petr Nikl
462 Centre choreographique national d’Orléans (Orlean, Francuska); Jozef Nađ: Vojcek – slobodna adaptacija dela Georga Bihnera; režija i koreografija: Jozef Nađ (Nagrada publike) / Centre choreographique national D’Orléans (Orlean, France); Josef Nadj: Woyzeck – free adaptation of the piece by Georg Büchner; choreographed and direction: Josef Nadj (Audience Award)
463 Théâtre Tattoo (Tetovirano pozorište, Tuluz, Francuska);Мala zimska predstava; autor: Мladen Мaterić / Théâtre Tattoo (Tatoo Theatre, Toulouse, France); Le petit spectacle d’hiver; author: Мladen Мaterić
464 Fourklor, Vitkar, Cankarjev Dom (Ljubljana, Slovenija); Мelanholične misli; autor: Branko Potočan / Fourklor, Vitkar, Cankar Hall (Ljubljana, Slovenia); Мelanholične misli (Мelancholic thoughts); author: Branko Potočan
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