39. Beogradski internacionalni teatarski festival – BITEF Nove pozorišne tendencije Na tragu bajke i antibajke / 16. septembar–29. septembar 2005. godine

NA TRAGU BAJKE I ANTIBAJKE

Dublja znacenja kriju se u bajkama sto sam ih čuo и detinjstvu nego и istinama kojima me je naučio život.
Šiier

Ovogodišnji BITEF nosi izraziti pečat XXI veka. Decenije se slivaju jedna u drugu, pa, ipak, u umetnosti se periodi najčešće računaju po decenijama. U prošlom veku ekspresionizam, nadrealizam, pozorišce apsurda, pozorišni postmodernizam…

Po ovogodišnjem 39. BITEFU jasno se vidi šta je XXI vek u pozorištu. To nije slučajno, jer već je polovina prve decenije tog veka.
Nije lako reći koje su karakteristike te umetnosti, ali se znatno razlikuju od onoga sto smo imali priliku da vidimo u prošlom
veku.

Kad publika, medutim, bude videla predstave Gebelsa, Poleša, Alvisa Hermanisa, DVB, Ane Tereze de Kersmaker, Diega de Brea, Zurovca, Svajcaraca Mecgera, Cimermana i Peroa, uočiće пеке osnovne karakteristike teatra XXI veka. To je hrabro traganje za novim formama, koje su nekada veoma smele, za пеке čak i nedopadljive, jer ta umetnost nikom ne laska. Budući da je reč о smeloj umetnosti, na granici najrazličitijih scenskih izraza, nastojao sam da odaberem najbolje svetske primere te umetnosti na najvišem profesionalnom nivou. To nisu eksperimenti, to su rezultati.

Kad je pre dve godine BITEF istakao Brehtovu hipotetičnu tezu „Budućnost pozorišta je u filozofiji“, naravno da sam sumnjao u nju kao u apsolutnu isrinu. Danas mi se čini da se pozorište predstavama na ovogodišnjem BITEFU najviše približilo filozofìji, a da nimalo manje nije ostalo pozorište.

39. BITEF će na svoj način obeležiti dve stotine godina od rođenja velikog bajkopisca Hansa Kristijana Andersena (1805 – 1875), koga je svako od nas u detinjstvu doživeo kao svog pisca, pa tako i ovogodišnji pozorišni stvaraoci BITEFA. Kako život nije bajka, tako ni pozorište nije bajka, te podnaslov BITEFA glasi ,,Na tragu bajke i antibajke”*. Neposredno inspirisana Andersenom je predstava iz njegove rodne Danske, našeg dugogodišnjeg prijatelja i velikog umetnika Euđenija Barbe ,,Andersenov san”, kao i naša isto tako tragalačka predstava na tragu i bajke, ali i antibajke ,,No name: Snežana” mladog Bojana Đorđeva. I ostale predstave sadrže elemente večite umetnikove težnje ka nemogućem, ka bajci odraslih, ali ujedno i u susret onome što je sve samo nije bajka.

Dve predstave uokviruju ovogodišnji program. To su predstave „ekskluzivnog kvaliteta, ali ujedno i umetnost za sve“,
kako ih je nazivao Žan Vilar – ,,Foramen magnum” slavnog Kibuc teatra iz Izraela i ,,Douar”, svojevrsna urbana bajka, hip-hop san momaka iz predgrađa Francuske i Alžira.

Andersenu je posvećen BITEF na fìlmu, kao i sve ovogodišnje radionice, seminari, simpozijumi, izložbe, dakle – sve što prati osnovni tok BITEFA.

Jovan Ćirilov
Umetnički direktor I selektor BITEFA

TOWARDS THE FAIRYTALE AND BACK

Deeper meanings are hidden in the fairytales I heard in my childhood than in the truths that life has taught me.
Schiller

This year’s BITEF bears a clear imprint of the 21^st century. Decades blend together yet in the art periods are, as a rule, reckoned in decades. In the century behind us expressionism, surrealism, the theatre of the absurd, theatre postmodernism…

The 39^th BITEF clearly shows what the 21^st century is in the theatre. This is not by accident since we have already reached the middle of the first decade of the 21^st century.

It is not easy to say what the characteristics of this art are but they are undoubtedly different from those we had the opportunity to see during the last century.
However, when the spectators see the productions of Goebbels, Pollesch, Alvis Hermanis, DVB, Anne Teresa De Keersmaeker, Diego de Brea, Zurovac, the Swiss trio Metzger, Zimmermann and Perrot, they will be able to glean at leastone of the chief features of the 21^st century theatre. It is the undaunted search for new forms, at times very daring, maybe even unlikeable to some, because theatre is an art which flatters no one. Since it is a daring art, ever pushing the frontiers of the most diverse scenic expressions, I took care to select the best and the most professional examples of that art in the world. These are not experiments, these are the results.

Two years ago, when BITEF put forward Brecht’s hypothetical thesis that “the future of the theatre is in philosophy”, I, needless to say, doubted that it could be the absolute truth. Today, it seems to me that this year’s productions show that theatre has come very close to philosophy without becoming less of the theatre for that. The 39^th BITEF will mark in its own way the anniversary of the birth of the great fairytale writer Hans Christian Andersen (1805-1875) who was for every child, and that includes this year’s BITEF authors, a writer after his or her own heart. Since life is not a fairytale, the theatre is not a faiiytale either and so BITEF’s subheading is “On the trail of the fairytale and the anti-fairytale / Towards the Fairytale and Back”. Directly inspired by Andersen are “Andersen’s Dream”, a production from his native Denmark by our long-time friend and great artist Eugenio Barba and our production “No Name: Sneiana” by young Bojan Djordjev, just as probingly following the trail the fairytale and that of the anti-fairytale. Other productions also contain elements of artists’ everlasting yearning for the impossible, an adult fairytale, and a meeting with what can be anything but a fairytale.

Two productions form the frame of this year’s programme. They are, in Jean Vilar’s words, “of exclusive quality yet art for everybody”: “Foramen Magnum” of the famed Kibbutz Theatre from Israel and “Douar”, a specific urban fairytale, a hip-hop dream dreamt by lads from French and Algerian suburbs.

BITEF on Film is dedicated to Andersen as well as the workshops, seminars, symposia, exhibitions, that is everything that accompanies the BITEF main stream.

Jovan Ćirilov
Artistic director and selector

Glavni program / Main programme

551 Kibbutz Contemporary Dance Company (Tel Aviv, Izrael); Foramen Мagnum; koreografija: Rami Beer / Kibbutz Contemporary Dance Company (Tel Aviv, Israel); Foramen Мagnum; choreography: רמיבאר / Rami Be’er

552 Théâtre Vidy-Lausanne (Lozana, Švajcarska); Elias Kaneti: Мuzej fraza; režija: Hajner Gebels (Grand Prix Мira Trailović, Nagrada Politike) / Théâtre Vidy-Lausanne (Lausanne, Switzerland); Elias Canetti: Eraritjaritjaka (Мusée des phrases / Museum of Phrases); direction: Heiner Goebbels (Grand Prix Мira Trailović, Politika Award)

553 Odin Teatret (Holstebro, Danska); Andersenov san – po tekstovima Hansa Kristijana Andersena; režija: Euđenio Barba / Odin teatret (Holstebro, Denmark); Andersen’s Dream – based on texts by Hans Christian Andersen; direction: Eugenio Barba

554 Slovensko narodno gledališče Drama (Ljubljana, Slovenija); BITEF teatar (Beograd, Srbija i Crna Gora); Kristofer Мarlou: Edvard Drugi, reditelj: Diego de Brea / Slovenian National Theatre Drama (Ljubljana, Slovenia); BITEF Theatre (Belgrade, Serbia and Мontenegro); Christopher Мarlowe: Edward the Second; direction: Diego de Brea

555 Volksbühne am Rosa-Luxemburg Platz (Berlin, Nemačka); Pablo u Plusfiliali; režija: Rene Poleš / Volksbühne am Rosa-Luxemburg Platz (Berlin, Federal Republic of Germany); Pablo in der Plusfiliale (Pablo in The Plus Chain-Store); direction: René Pollesch

556 Мetzger, Zimmermann, de Perrot (Cirih, Švajcarska); DaNe; koreografija: Gregor Мecger, Мartin Cimerman, Dimitri de Pero / Мetzger, Zimmermann, de Perrot (Zurich, Switzerland); Janei (YesNo); choreography: Gregor Мetzger, Мartin Zimmermann, Dimitri de Perrot

557Jaunais Rīgas Teātris (Riga, Letonija); Alvis Hermanis: Dug život; režija: Alvis Hermanis (Grand Prix Мira Trailović) / The New Riga Theatre (Riga, Latvia); Alvis Hermanis: Garā dzīve (Long Life); direction: Alvis Hermanis (Grand Prix Мira Trailović)

558 Narodno pozorište (Beograd, Srbija i Crna Gora); Dušan Kovačević: Ko to tamo peva; koreografija: Staša Zurovac / National Theatre (Belgrade, Serbia and Мontenegro); Dušan Kovačević: Ko to tamo peva (Who is Singing There); choreography: Staša Zurovac

559 Мalo pozorište „Duško Radović“ (Beograd, Srbija i Crna Gora); Robert Valzer: No Name: Snežana; režija: Bojan Đorđev / Little Theatre “Duško Radović“ (Belgrade, Serbia and Мontenegro); Robert Walser: No Name: Snežana (No Name: Snowhite); direction: Bojan Đorđev

560 Contemporary Dance Company Rosas (Brisel, Belgija); Jednom ( Džoan Bajzna koncertu, deo 2); koreografija: Ana Tereza De Kersmaker / Contemporary Dance Company Rosas (Brusells, Belgium); Once (Joan Baez in Concert, Part 2); choreography: Anne Teresa De Keersmaeker

561 DV8 Physical Theatre (London, Velika Britanija); Just for Show; režija: Lojd Njuson (Specijalna nagrada, Nagrada publike) / DV8 Physical Theatre (London, United Kingdom); Just for Show; direction: Lloyd Newson (Special Award, Audience Award)

562 Compagnie Accrorap (Bezanson, Francuska); Douar; koreografija: Kader Atu / Compagnie Accrorap (Besancon, France); Douar; choreography: Kader Attou

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