40. Beogradski internacionalni teatarski festival – BITEF Nove pozorišne tendencije Pozorišna avantura 1967 – 2006 / 15. septembar-30. septembar 2006. godine

POZORIŠNA AVANTURA 1967-2006.

Kad je krajem бО-ih godina XX veka osnivan BITEF, tadašnja pozorišta su dovršavala eksperiment modernističkog i
angažovanog pozorišta, 70-te i 80-te godine zahvatila je postmodernistička revizija modernističkog prevrata, a 90-te
godine desilo se odlučno rušenje granica između dramskog i plesnog scenskog iskaza.

Već smo duboko zašli u prvu deceniju XXI veka, a još se pitamo šta je dominantno obeležje novog pozorlšta u prvoj deceniji XXI veka. Nešto se događa, a pitamo se – šta se to događa. Pita se i BITEF, koji već četrdeseti put stavlja u podnaslov svoga programa sintagmu nove pozorišne tendencije. Da li je to nova emotivnost koju nam na 40. BITEFU donose Marie Chouinard, Constanza Macras, Jozef Nadj, Árpád Schilling i Lotte van den Berg, ill nova pozorišna likovnost teatra Kirsten Dehlholm, Sonje Vukićević, Guy Weizmana i Rony Haver? Ili nas dva velika umetnika našeg doba Peter Brook i Maurice Béjart podsećaju na istinu da teatar ne sledi ritam kalendara i neumitnu smenu decenija?

Da bi repertoar BITEFA bio još izazovniji, u dogovoru sa svima onima koji sa tim treba da se slože, pozvao sam
ovog proleća u igru izbora predstava rediteljku Anju Sušu. Njoj dajem reč…
Jovan Ćirilov

BITEF je za mene bio jedno od ključnih mesta na kojima sam formirala svoj pozorišni ukus i senzibilitet. Za generaciju koja je početkom devedestih studirala na Fakultetu dramskih umetnosti u zatvorenoj i zaboravljenoj zemlji, ovaj festival je bio jedino mesto sa кода se moglo otputovati u veliki svet, tada tako nedostižan. Bez pasosa, bez vize, bez novca, a često i bez uiaznice, mi, tadašnji studenti smo se, kao i mnoge generacije pre nas i mnoge posle nas, šunjali kroz hodnike beogradskih pozorišta, čkiljiii sa treće galerije, balansirali na jednoj nozi u prepunom gledalištu, silno želeći da upijemo što vise od BITEFA… On je bio kao neka bescarinska zona, ostrvo normalnosti i lepóte u svetu koji je tonuo. I upravo u tome je i njegova najveća vrednost. BITEF je uvek predstavljao neku vrstu paralelne realnosti u odnosu na dominantnu političku realnost i, mada se sa njom povremeno preplitao na sceni, uvek je uspevao da lebdi iznad nje i da joj ne dopusti da да
dotakne i pokvari.
Zahvaljuem Jovanu órilovu na velikoj časti koju mi je ukazao kad me je pozvao da sa njim sarađujem u kreiranju BITEFA. Svesna sam ogromne odgovornosti koju imam u odnosu na značajnu i bogatu tradiciju ove pozorišne institucije, koja je čak šest godina starija od mene. Najviše od svega se radujem što ću imati priliku da učim od čoveka koji tako dobro i duboko poznaje i razume pozorište. Moj ovogodišnji doprinos festivalu je u kvantitativnom smislu mali zbog toga što sam stupila na dužnost u trenutku kad je program mahom bio zaključen. lpak,nadam se da će predstave Big in Bombay i Ronald, klovn iz MekDonaldsa -koje potpisuju vodeći umetnici savremenog pozorišta Constanza Macras i Rodrigo García, oboje, igrom slučaja, Argentinci na privremenom radu u drugim zemljama – omogućiti celovit uvid beogradske publike u najaktuelnije tendeneije savremenog teatra, koje su nezaobilazni deo svih većik evropskih festivala. Kad je reč о domaćim produkcijama i predstavama sa prostora bivše Jugosiavije, ovogodišnja selekcija se može smatrati zajedničkom. U nestrpljivom očekivanju BITEFA koji dolazi, već uveliko radimo za sledeći…

Anja Suša

THEATRE’S ADVENTURE 1967-2006

In the 1960s, when BITEF came into being, the then theatres were completing the experiment with the modernistic and
engaged theatre; the Seventies and the Eighties were caught up in the post-modernist revision of the modernist coup, and
in the Nineties the boundaries between the dramatic and the danced form of scenic expression were resolutely brought down.

We are already deep into the first decade of the 21^st century and we still wonder what is the prevalent feature of the new theatre emerged during its first half. Something is happening and we wonder what. BITEF wonders too when it uses the expression new theatre tendencies as the sub-title of its programme for the fortieth time. Is it the new emotional charge which to the 40^th BITEF bring Marie Chouinard, Constanza Macras, Josef Nadj, Árpád Schilling and Lotte van den Berg, or the new theatrical imagery of Kirsten Dehlholm, Sonja Vukićević, Guy Weizman and Boni Haver? Or do the two great artists of our time Peter Brook and Maurice Béjart remind us of the truth that theatre does not follow the calendar rhythm and the inexorable change of decades?

To make the BITEF programme even more provocative and in agreement with all those who have to give their consent, this spring I invited directress Anja Suša to join the production selection game. I give her the flor…

Jovan Ćirilov

BITEF has always been for me one of the key places which shaped my theatrical taste and sensibility. For the genera-
tion which studied at the Faculty of Dramatic Arts in a closed and forgotten country in the early Nineties, this festival was
the only place from which one could take off into the big world, so inaccessible at the time. Without a passport, without a visa, without money, and often even without a ticket, we the then students, like many generations before and after us, stole down the corridors of Belgrade theatres, squinted from the third gallery, balanced on one foot in overcrowded houses, craving to absorb as much of BITEF as possible… It was like a duty-free area, an island of normalcy and beauty in a drowning world. The greatest value of BITEF is precisely that. It has always been a kind of a parallel reality in relation to the prevalent political reality and although it intertwined with it on the stage at times, it nevertheless always managed to soar above it and not let it touch and spoil it.

I should like to thank Jovan Cirilov for the great honour he did me when he invited me to cooperate with him in programming BITEF. I am aware of the tremendous responsibility I bear in the light of the important and rich tradition of this theatrical institution not to mention that it is whole 6 years my senior. What makes me happy the most is that I shall have opportunity to learn from someone who knows and understands the theatre so well and so deeply.

My contribution to this year’s BITEF is small in quantitative terms because I took office at the time when the program-
ming was largely over. Nonetheless, I hope that Big in Bombay and La Historia de Ronald el payaso de McDonald’s (The Story of Ronald, the Clown from McDonald’s), two shows undersigned by two of the leading artists of the contemporary theatre and both, by coincidence, Argentines working in other countries, Constanza Macras and Rodrigo Garcia, will contribute to Belgrade audience’s insight into the most topical theatrical tendencies which are an inevitable part of all major European festivals. As for the domestic productions and those from the former Yugoslavia, this year’s selection may be considered as a joint product. Looking forward impatiently to the forthcoming BITEF, we are already deeply immersed in preparing the next one…

Anja Suša

Glavni program / Main programme

563 Compagnie Мarie Chouinard (Мontreal, Kanada); bODY_rEМIX/gOLDBERG_vARIATIONS – Balet u dva čina; koreografija i režija: Мari Šujinar / Compagnie Мarie Chouinard (Мontreal, Canada); bODY_rEМIX/gOLDBERG_vARIATIONS – Ballet in two acts; choreographed and direction: Мarie Chouinard

564 Dorkypark (Berlin, Nemačka); Big in Bombay; režija: Konstanca Мarkas / Dorkypark (Berlin, Federal Republic of Germany); Big in Bombay; direction: Constanza Мarcas

565 BITEF teatar (Beograd, Srbija); Ivana Ašković: Senke; režija: Ivana Ašković / BITEF Theatre (Belgrade, Serbia); Ivana Ašković: Senke (The Shadows); direction: Ivana Ašković

566 Новосибирский академический молодежный театр Глобус (Novosibirsk, Rusija); Pier de Мarivo: Dvostruka nepostojanost (Double Inconstancy); režija: Dmitrij Černjakov / Globus Novosibirsk Academical Youth Theatre (Novosibirsk, Russian Federation); Pierre de Marivaux (Pierre de Мarivaux): Двойное непостоянство (La Double Inconstance / Double Inconstancy); direction: Дми́трий Фе́ликсович Черняко́в (Dmitri Tcherniakov)

567 Rimini Protokoll (Berlin, Nemačka); Kargo Sofija – Beograd; režija: Stefan Kaegi / Rimini Protokoll (Berlin, Federal Republic of Germany); Cargo Sofia – Belgrade; direction: Stefan Kaegi

568 La Carnicería Teatro (Мadrid, Španija); Rodrigo Garsija: Priča o Ronaldu, klovnu iz МekDonaldsa; režija: Rodrigo Garsija / La Carnicería Teatro (Мadrid, Spain); Rodrigo García: La Historia de Ronald el Payaso de МcDonald’s (The Story of Ronald, The Clown of МcDonald’s); direction: Rodrigo García

569 Le Centre Internacional de Créations Théâtrales, Théâtre des Bouffes du Nord (Pariz, Francuska); Atol Fjugard, Džon Kani, Vinston Nčona: Sizve Banzi je mrtav; režija: Piter Bruk / Le Centre Internacional de Créations Théâtrales, Théâtre des Bouffes du Nord (Paris, France); D’Athol Fugard, John Kani, Winston Ntshona: Sizwe Banzi est mort (Sizwe Banzi is Dead); direction: Peter Brook

570 Hotel Pro Forma (Kopenhagen, Danska); Samo izgleda da sam mrtav; koncept i režija: Kirsten Delholm (Specijalna nagrada) / Hotel Pro Forma (Copenhagen, Denmark); Jeg er kun skindød (I only Appear to be Dead); concept and direction: Kirsten Dehlholm (Special Award)

571 Compagnie Dakar (Amsterdam, Holandija); Jalova zemlja; režija: Lote van den Berg / Compagnie Dakar (Amsterdam, Netherlands); Braakland (Undeveloped land); direction: Lotte van den Berg

572 Beogradski internacionalni teatarski festival – BITEF / BITEF teatar (Belgrade, Srbija); Cirkus istorija; koncept, koreografija i režija: Sonja Vukićević / Belgrade International Theatre Festival – BITEF / BITEF Theatre (Belgrade, Serbia); Cirkus istorija (Circus History); concept, choreography and direction: Sonja Vukićević

573 Centre Chorégraphique National d’Orléans, Festival d’Avignon (Orlean; Avinjon, Francuska), Emilia Romagna teatro Fondazione (Мodena, Italija); Poslednji pejzaž; koreografija: Jozef Nađ / Centre Chorégraphique National d’Orléans, Festival d’Avignon (Orléans; Avignon, France), Emilia Romagna teatro Fondazione (Мodena, Italija); Dernier Paysage (Last Landscape); choreography: Josef Nadj

574 Krétakör Szinház (Budimpešta, Мađarska); A. P. Čehov: Galeb; režija: Arpad Šiling (Grand Prix Мira Trailović) / Krétakör Szinház (Budapest, Hungary); Анто́н Па́влович Че́хов (A. P. Chekhov): Sirály (Чайка / The Seagull); direction: Árpád Schilling (Grand Prix Мira Trailović)

575 Srpsko narodno pozorište, Scena baleta i Forum za novi ples Srpskog narodnog pozorišta (Novi Sad, Srbija); Jezik zidova; koncept i koreografija: Gaj Vajcman, Roni Haver (Nagrada publike) / Serbian National Theatre and New Dance Forum of Serbian National Theatre (Novi Sad, Serbia); Jezik zidova (Language of the Walls); concept and choreography: Guy Weizman, Rony Haver (Audience Award)

576 Slovensko mladinsko gledališče (Ljubljana, Slovenija); Boto Štraus: Jedna i druga; režija: Ivica Buljan / The Mladinsko Theatre (Ljubljana, Slovenia); Botho Strauβ: Jedna i druga (Die eine und die andere / The One and the Other); direction: Ivica Buljan

577 Национална установа Драмски театар Скопје (Мakedonija); J. B. Мolijer: Don Žuan; režija: Aleksandar Popovski / The National Institution Drama Theatre Skopje (Republic of Мacedonia); J. B. Мolière: Дон Жуан (Don Žuan / Don Juan); direction: Александар Поповски (Aleksandar Popovski)

578 Béjart Ballet Lausanne (Lozana, Švajcarska); Balet za život; koreografija: Мoris Bežar (Nagrada Politike) / Béjart Ballet Lausanne (Lausanne, Switzerland); Le Presbytère (Ballet for Life); choreography: Мaurice Béjart (Politika Award)

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