Foto / Photo: Vesna Pavlović Dizajn / Design: New Moment, New Ideas Company Vizuelni identitet / Visual Identity: Ivan Savić
USPOMENI JOVANA ĆIRILOVA
„Ovaj uvod, koji posle niza godina prvi put sam potpisujem, napisan je sa uverenjem da pozorište nije sazdano od tako trošne grade kako nam se obično čini.“
Uvodni tekst Jovana Ćirilova posvećen Miri Trailović,
Katalog 23. BITEFA,1989.
Ovo će biti prvi BITEF bez Jovana, iako se već na prošlom, zbog poodmakle bolesti, nijednom nije pojavio. A ja sam se stalno nadala da hoće – svi smo se nadali, iako smo, zapravo, znali da je to malo moguće. Iz večeri u vede sam sedala na svoje mesto u publici osećajući turobnu prazninu, iako je na susednom sedištu uvek sedela neka osoba. Ove godine
će biti isto, samo malo tužnije, jer sada svi znamo da Jovan sasvim sigurno neće doći. Nedostajaće mi iritantno šuškanje celofana tvrdih bombona koje je uvek prevrtao po džepovima, i koje je sa preciznošću i veštinom nindže uspevao da otvori u deliću sekunde usred predstave tako da to valjda niko osim mene nije mogao da primeti, Nedostajaće mi i
blic foto-aparata kojim je stalno beležio dogadaje i ljude oko sebe – uključujući i mene u raznim trenucima koje bas i nisam nameravala da zapamtim. A on je sve čuvao i sve pamtio, ali to svoje dugoveko ijaremenito pamćenje nikada nije zloupotrebljavao.
Čak bi se moglo reći da ga je koristio štedljivo i sa merom – kao skupocen začin, naročito u teškim i traumatičnim trenucima kada smo zajedno brinuli za budućnost BITEFA. Tada bi, obično, izletela neka utešna anegdota koja je uvek uključivala ugledne teatarske ličnosti ili političare, a koju bi Jovan ispričao nekako ležerno kao da se slučajno zatekao baš u toj situaciji i baš sa tim ljudima, iako je često bio jedan od glavnih aktera događaja o kojima je govorio.
Uvek je više voleo da gleda druge – kroz objektiv, iz pozorišne sale, na ulici, na televiziji – nego da njega giedaju. A to ja upravo radim sada dok pišem ovaj tekst koji je posvećeen uspomenama. Gledam Jovanovu sliku, predlog grafičkog rešenja za ovogodišnji plakat. Crno-beli portret, naoko običan. Jovan, savršeni gledalac mnogih predstava, nalakćen, gleda nekud u daljinu, preko nas. Iza nas. Ili iznad? Kada malo bolje pogledate, u očima mu vidite dve BITEFovske plave zvezde. i to je to. To je sve.
BITEF koji je pred nama je u celosti posvećen uspomeni na Jovana Ćirilova, koja je, neizbežno, i uspomena na sam BITEF – onakav kakav je oduvek bio i kakav, uprkos dnevno-političkom šićarenju, mora da o(p)stane. Opstanak BITEFA je šansa za pobedu kosmopolitskog duha nad palanačkim, pobedu slobode izbora nad prinudom svake vrste, pobedu građanskog otpora nad malograđanskom apatijom, pobedu kolektivne kreacije nad kolektivnom destrukcijom. To je Mirin, Jovanov i naš BITEF, čije nas dugo i slavno postojanje sve obavezuje.
Ne znam, Jovane, da li bih mogla da se složim s Vašim uverenjem da pozorište nije sazdano od trošne građe ili potrošenih ideala. Ne znam, iako živim i radim kao da u to ne sumnjam.
Poštovana publiko BITEFA, neću vam ovde reći ništa o predstavama koje su u selekciji – one su tu zato što su, svaka na svoj način, uzbudljive, neposlušne, inspirativne, jeretične, inovativne i hrabre. Kao i BITEF.
Beograd, jun 2015. godine
Anja Suša,
Selektor
IN MEMORY OF JOVAN ĆIRILOV
„This introduction which I undersign alone after very many years, is written in the belief that theatre is not made of such fragile stuff as it usually seems to us.“
The Introduction by Jovan Ćirilov dedicated to Mira
Trailović, Catalogue. 23rd BITEF, 1989
This wll be the first BITEF without Jovan although he never once appeared last year due to his progressing illness. And I nevertheless hoped he would; we all hoped even though we knew that it would be next to impossible. Night after night I would take my seat in the audience sensing ominous void although there was always somebody sitting next to
me. This year it will be the same, only a little sadder because now we all know that Jovan will definitely not come. I shall miss the irritating rustle of cellophane over hard sweets he always toyed with in his pockets and which, with the precision and skill of a ninja, he managed to unwrap in a split second in the middle of a performance so that. I suppose, nobody else ever noticed but me. I shall miss also the flash of the camera with which he invariably recorded events and people around him – including me at different moments that I did not really care to remember. And he kept it all and remembered it all whilst never misusing his long and weighty memory.
One could say even that he used it sparingly and judiciously, as a valuable spice, particularly in those hard and traumatic moments when we worried together about the future of BITEF. On such occasions a comforting anegdote would usually spring forth, always involving prominent theatre personages or politicians, which Jovan would tell somehow off-hand as if he had just happened to be there and with those people even though he was often one of the protagonists of the event he was telling us about. He always preferred to look at others – through the camera objective, from the theatre hall, in the street, on television – rather than to be looked at. And this is precisely what I am doing writing the text dedicated to memories. I watch Jovan’s photograph, the proposed graphic design for our poster this year. Black-and-white, one might say just an ordinary portrait. Jovan, the perfect spectator of many productions, leaning on his elbow, gazes at a distance, over our heads. Or higher? When you look closer, you see two blue BITEF stars in his eyes. And that is it. That is all.
The whole forthcoming BITEF is dedicated to the memory of Jovan Ćirilov and it is, unavoidably, the memory of BITEF itself – as it has been from the beginning and as it, in spite of daily political haggling, must live on. The survival of BITEF is a chance for the victory of the cosmopolitan over the parochial spirit, the victory of the freedom of choice over any
type of coercion, the victory of civil resistance over the petit bourgeois apathy, the victory of collective creation over collective destruction. It is Mira’s, Jovan’s and our BITEF whose long and glorious existence imposes an obligation on all of us.
Jovan, I don’t know if I could agree with your belief that theatre is not made of fragile material or spent ideals. I do not know although I live and work as if I have no doubts about it.
Distinguished BITEF audience, I shall say nothing about the selected productions. They are here because they are, each in its own way, exciting, disobedient, inspiring, heretical, innovative and brave. Like BITEF itself.
Belgrade, June 2015
Anja Suša,
Curator
Glavni program / Main programme
674 Volksbühne am Rosa-Luxemburg-Platz (Folksbine am Roza-Luksemburg plaz, Berlin, Nemačka); Мurmel, Мurmel – po Diteru Rotu; režija: Herbert Frič / Volksbühne am Rosa-Luxemburg-Platz (Berlin, Germany); Мurmel, Мurmel – based on Dieter Roth; direction: Herbert Fritsch
675 Slovensko narodno gledališče Drama Ljubljana, Мestno gledališče ljubljansko i Cankarjev dom (Ljubljana, Slovenija); Homer: Ilijada; režija: Jernej Lorenci (Nagrada Politike, Nagrada publike) / Slovenian National Theatre Drama Ljubljana, Ljubljana City Theatre and Cankar Hall (Ljubljana, Slovenia); Homer: Ilijada (The Iliad); direction: Jernej Lorenci (Politika Award, Audience Award)
676 Srpsko narodno pozorište (Novi Sad, Srbija); L. N. Tolstoj: Smrt Ivana Iljiča; režija: Tomi Janežič / Serbian National Theatre (Novi Sad, Serbia); Лев Николаевич Толстой (L. N. Tolstoy): Smrt Ivana Iljiča (Смерть Ивана Ильича / The Death of Ivan Ilych);režija: Tomi Janežič
677 Slovensko mladinsko gledališče (Ljubljana, Slovenija), Hrvatsko narodno kazalište Ivana pl. Zajca (Rijeka, Hrvatska), Beogradski internacionalni teatarski festival – BITEF / BITEF teatar (Beograd, Srbija) i МOT (Skoplje, Мakedonija); Kompleks Ristić; režija: Oliver Frljić / Мladinsko Theatre (Ljubljana, Slovenia), Croatian National Theatre Ivan pl. Zajc (Rijeka, Croatia), Belgrade International Theatre Festival – BITEF / BITEF Theatre (Belgrade, Serbia) and МOT (Skopje, Мacedonia); Kompleks Ristić (Complex Ristić); direction: Oliver Frljić
678 Hrvatsko narodno kazalište u Zagrebu (Zagreb, Hrvatska); Мi smo kraljevi, a ne ljudi; režija i koreografija: Мatija Ferlin (Specijalna nagrada) / Croatian National Theatre (Zagreb, Croatia); Мi smo kraljevi, a ne ljudi (We are Kings, not Humans); direction and choreography: Мatija Ferlin (Special Award)
679 Centar za kulturnu dekontaminaciju (Beograd, Srbija) i Ibzen skolaršip (Skien, Norveška); Ibzenov neprijatelj naroda kao Brehtov poučni komad; režija: Zlatko Paković / Centre for Cultural Decontamination (Belgrade, Serbia) and Ibsen Scholarships (Skien, Norway); Ibzenov neprijatelj naroda kao Brehtov poučni komad (Ibsen’s an Enemy of the People as Brecht’s Learning-Play); direction: Zlatko Paković
680 DasArts, Amsterdam, Holandija i TkH – Teorija koja hoda (Beograd, Srbija); Diskretni šarm marksizma (večera-performans od šest jela); autor: Bojan Đorđev / DasArts (Amsterdam, Netherlands), TkH – Walking Theory (Belgrade, Serbia); Diskretni šarm marksizma (večera-performans od šest jela) (The Discrete Charm of Мarxism (a six-course dinner piece)), author: Bojan Đorđev
681 Bureau Cassiopée (Pariz, Francuska); Zbogom; autor i reditelj: Žonatan Kapdevijel (Grand Prix Мira Trailović) / Bureau Cassiopée (Paris, France); Adishatz / Adieu; author and direction: Jonathan Capdevielle (Grand Prix Мira Trailović)
682 Мaksim Gorki Theatar (Berlin, Nemačka); Jael Ronen i ansambl: Common Ground; režija: Jael Ronen / Мaxim Gorky Theatre (Berlin, Germany); Yael Ronen and ensemble: Common Ground; direction: Yael Ronen
683 Гоголь-центр (Мoskva, Rusija); Мrtve duše – po N. Gogolju; režija: Kiril Serebrenikov / Gogol Centre (Мoscow, Russia); Мертвые души – попроизведениямГоголя (Dead Souls–Based on Gogol): direction: Кирилл Серебренников (Kirill Serebrennikov)
Your Content Goes Here