Dizajn / Design: Saveta Mašić / Slobodan Mašić (1939-2016)
TEATAR NACIJA I DESET BITEFA
Kao u nekom pozorišnom komadu, BITEF preuzima septembra 1976. godine ulogu teatra nacija. Teatar nacija, koji se od prošle godine otisnuo iz Pariza, u kome je osnovan i počeo svoj uzbudljiv život glumca-lutalice u Varšavi, ove godine se u septembru zaustavlja u Beogradu.
Oba festivala imaju svoju prošlost – Teatar nacija je 50-tih i 60-tih godina otkrivao vrednosti širom sveta, a BITEF nekako u isto vreme kada je Teatar nacija privremeno ugasio svoje svetlosti (1967/68) nastavio je da traga za novim tendencijama, koje su se javljale na prelazu 60-tih i 70-tih godina našeg veka.
Po pozornicama, slobodnim prostorima, sportskim halama i ulicama Beograda skupljaće se publika našeg grada i svih gradova sveta da vide glumce iz bliskih i dalekih zemalja. Beogradska publika dolaziće u salu sa devetogodišnjim iskustvom BITEFA. Više nego ranijih godina medu našom publikom naći se se brojna inostrana publika (u liku teatrologa, kritičara, dramskih pisaca i omladine) privučena zvučnom titulom Teatra nacija.
Kako je BITEF, u novoj ulozi, nastavio da traga za novim pozorišnim tendencijama, neće se bitno razlikovati od ranijih godina, ali će svoju fizionomiju dopuniti nekim novim akcijama. Tako će u okviru teatra nacija biti održan Uneskov seminar o formiranju mladog glumca. Trupe iz raznih krajeva sveta (iz Venecuele, Perua, Urugvaja, Jugoslavije, Argentine, Norveške, Belgije, Poljske i Italije) srešće se pod rukovodstvom Eugenia Barbe u Beogradu da razmene iskustva, pokažu svoje rezultate publici širom Beograda na neočekivanim mestima i ostave traga o svojoj delatnosti.
Pored toga u Studentskom Kulturnom Centru stručna pozorišna publika gledaće filmove na temu pozorišta: ,Reditelj na delu (Stanislavski, Reinhardt, Barrault, Grungens, Bergman),Zznakovi i značenja (dokumenti o pozorištu noh, kabuki, bunraku iz Japana), kao i snimljene pozorišne predstave.
Svakog dana održavaće se tradicionalni Susreti stvaralaca sa publikom, a u Galeriji Ateljea 212 biće i ove godine u izboru Dragoša Kalajića likovni program BITEFA.
Mira Trailović i Jovan Ćirilov
THEATRE OF NATIONS AND 10 BITEF
In September 1976, bitef will assume the role of Theatre of Nations, which last year left Paris, began it’s exciting troubadour existence in Warsaw and is now coming to spend three weeks in Belgrade. Both festivals have their past, in the fifties and sixties the Theatre of Nations presented significant theatrical discoveries from all over the world. At about the time when its flame was temporarily extinguished (1967/1968), BITEF continued to track down the new tendencies that appeared at the end of the sixties and early seventies.
Spectators from Belgrade and cities all over the world will gather to see actors from countries near and far on the stage, in free spaces, sports palladiums and the streets of the capital. The Belgrade public has nine years of theatrical experience behind it. More than in latter years audiences will include many foreign observers (drama experts, critics, play wrights and young people) attracted by the resounding title of theatre of nations.
In this new role, BITEF’s continued search for new theatrical trends will not differ from previous years, but the physionomy of the festival will be complemented by a few new activities.
Within the framework of the Theatre of Nations a workshop on the training of young actors will be held under the auspices of UNESCO. Young troupes from different countries of the world (Venezuela, Peru, Uruguay, Yugoslavia, Argentina, Norway, Belgium, Poland and Italy) will meet in Belgrade under the leadership of Eugenio Barba to exchange experiences and show the public the results of their work in highly unconventional settings all over Belgrade. Theatrical experts will follow and keep note of their activities.
At the Students’ centre the experienced theatre-going public will be able to view some visual pedagogical material in the form of films on the theatre: Directors at Work (Stanislavski, Reinhardt, Barrault, Griingens, Bergman); Symbols and Meanings (documentaries on the noh, kabuki and bunraku theatres of Japan), as well as filmed versions of various performances.
The traditional Meeting between creators and public will be held the day after each premiere, and Dragoš Kalajić will once again present exhibitions of his choice in the Gallery of the Atelje 212.
Mira Trailović and Jovan Ćirilov
Glavni program / Main Programme
149 Madlen Reno, Žan-Luj Baro: Recital: Ponuđeni život / Madeleine Renaud et Jean-Louis Barrault: La vie offerte
150 Московский театрд рамы и комедии наТаганке (Teatar na Taganke, Moskva, Savez Sovjetskih Socijalističkih Republika); V. Šekspir: Hamlet; režija: Jurij Ljubimov (Grand Prix) / Drama Theatre on Taganke (Moscow, The Union of Soviet Socialist Republics); W. Shakespeare: Гамлет (Hamlet); direction: Ю́рий Петро́вич Люби́мов (Yury Lyubimov); (Grand Prix)
151 Московский театр драмы и комедии на Таганке (Teatar na Taganke, Moskva, Savez Sovjetskih Socijalističkih Republika); Boris Vasiljev: A zore su ovde tihe; režija: Jurij Ljubimov / Drama Theatre on Taganke (Moscow, The Union of Soviet Socialist Republics); Борис Васильев: А зори здесь тихие (The Dawns here are Quiet); direction: Ю́рий Петро́вич Люби́мов (Yury Lyubimov)
152 Московский театр драмы и комедии на Таганке (Teatar na Taganke, Moskva, Savez Sovjetskih Socijalističkih Republika); Džon Rid: Deset dana koji su potresli svet; režija: Jurij Ljubimov / Drama Theatre on Taganke (Moscow, The Union of Soviet Socialist Republics); John Reed: Десятьдней, которые потрясли мир (Ten Days that Shook the World); direction: Ю́рий Петро́вич Люби́мов (Yury Lyubimov)
153 La Compañia Núria Espert (Barselona, Španija); Ramon Valje-Inklan: Božanske reči; režija: Viktor Garsija / La Compañia Núria Espert (Barcelona, Spain); Ramón del Valle-Inclán: Divinas Palabras (Divine Words); direction: Víctor García
154 Schiller Theater (Zapadni Berlin, Savezna Republika Nemačka); Semjuel Beket: Ćekajući Godoa; režija: Semjuel Beket / Schiller Theater (West Berlin, Federal Republic of Germany); Samuel Beckett: Warten auf Godot (Waiting for Godot); direction: Samuel Beckett
155 Odin Teatret (Holstebro, Danska); Dođite i dan će biti naš; Euđenio Barba i kolektiv / Odin Teatret (Holstebro, Denmark); Come! and the Day Will Be Ours; Eugenio Barba and collective
156 El Centro Universitario de Teatro (Meksiko Siti, Meksiko); Luis Tavira, Hulio Kastiljo, Hektor Mendosa: Sveta – po romanu Federika Gamboe; režija: Luis Tavira / El Centro Universitario de Teatro (Mexico City, Mexico); Luis de Tavira, Julio Castillo, Héctor Mendoza: Santa – based on the novel by Federico Gamboa; direction: Luis de Tavira
157 Centre international de créations théâtrales (Pariz, Francuska); Pleme Ik; režija: Piter Bruk (Grand Prix) / Centre international de créations théâtrales (Paris, France); Les Iks (The Ik); direction: Peter Brook (Grand Prix)
158 Théâtre national populaire (Vilerban, Francuska); Marivo: Rasprava; režija: Patris Šero / Théâtre national populaire (Villeurbanne, France); Marivaux: La Dispute (A Matter of Dispute); direction: Patrice Chéreau
159 Das Schauspielhaus Hamburg (Hamburg, Savezna Republika Nemačka); V. Šekspir: Otelo; režija: Peter Cadek / Das Schauspielhaus Hamburg (Hamburg, Federal Republic of Germany); W. Shakespeare: Othello; direction: Peter Zadek
160 Teatr Powszechny (Varšava, Poljska); Stanislava Pšibiševska: Slučaj Dantona; režija: Andžej Vajda / Teatr Powszechny (Warsaw, Poland); Stanislawa Przybyszewska: Sprawa Dantona (The Danton Case); direction: Andrzej Wajda
161 Byrd Hoffman Fondation (Njujork, Sjedinjene Američke Države); Robert Vilson, Filip Glas: Ajnštajn na plaži; režija: Robert Vilson (Grand Prix) / Byrd Hoffman Fondation (New York, United States of America); Robert Wilson, Philip Glass: Einstein on the Beach; direction: Robert Wilson (Grand Prix)
162 Joint Stock Theatre Group (London, Velika Britanija); Hitkot Vilijams: Govornici; režija: Vilijam Gaskil, Maks Staford-Klark / Joint Stock Theatre Group (London, United Kingdom); Heathcote Williams: The Speakers; direction: William Gaskill, Max Stafford-Clark
163 Club-Teatro: Rem & Cap Proposte (Rim, Italija); Vreća; režija: Klaudio Rejmondi, Rikardo Kaporosi / Club-Teatro: Rem & Cap Proposte (Roma, Italy); Sacco (The Sack); direction: Claudio Remondi, Ricardo Caporossi
164 Þjóðleikhússins (National Theatre, Rejkjavik, Island); Inuk – Čovek; režija: Brinja Kritijana Benediktsdotir / Þjóðleikhússins (National Theatre, Reykjavik, Island); Inouk (Inouk – The Man); direction: Brynja Kristjana Benediktsdóttir
165 Mladinsko Gledališče (Ljubljana, Jugoslavija); Dušan Jovanović: Žrtve mode Bum-Bum; režija: Dušan Jovanović / Mladinsko Gledališče (Ljubljana, Yugoslavia); Dušan Jovanović: Žrtve mode Bum-Bum (Victims of the Bang Bang Fashion), direction: Dušan Jovanović
166 Mabou Mines (Njujork, Sjedinjene Američke Države); Svetac i ragbi igrači; koncepcija i režija: Li Brujer / Mabou Mines (New York, United States of America); The Saint and the Football Players; conception and direction: Lee Breuer
167 Jugoslovensko dramsko pozorište (Beograd, Jugoslavija); Marin Držić: Dundo Maroje; režija: Miroslav Belović / Yugoslav Drama Theatre (Belgrade, Yugoslavia); Marin Držić: Dundo Maroje; direction: Miroslav Belović
168 Ljudsko Gledališče (Celje, Jugoslavija); Dušan Jovanović: Igrajte tumor u glavi i zagađivanje vazduha; režija: Ljubiša Ristić /Celje People’s Theatre (Celje, Yugoslavia); Dušan Jovanović: Igrajte tumor v glavi in onesnaženje zraka (Play Tumour in the Head and the Air-Pollution); direction: Ljubiša Ristić
169 Bread and Puppet Theatre (Vermont, Sjedinjene Američke Države); Opera Beli konj; režija: Peter Šuman (Nagrada publike) / Bread and Puppet Theatre (Vermont, United States of America); Opera White Horse; direction: Peter Schumann (Audience Award)
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