Dizajn / Design: Saveta Mašić / Slobodan Mašić (1939-2016)
POZORIŠTE SUŠTINE 86
Kada se pre dvadeset godina rađala ideja o osnivanju Beogradskog Internacionalnog Teatarskog Festivala novih tendencija, ko je mogao pomisliti da će on odista i nastati i trajati, evo već pune dve decenije!
U međuvremenu započeli su i okončali se toliki ratovi, izglasane i oborene mnoge vlade, nastali i nestali razni pokreti, a među nama, koji smo tako često spremni – ili bar sebi tako izgledamo – da nešto započnemo i ubrzo od toga dignemo ruke, traje ideja o okupljanju novog u svetskom pozorištu. U isto vreme, krajem 60-tih godina, rađali su se i drugi festivali kod nas i u svetu, a većina više i ne postoji i čak im je i ime zaboravljeno.
BITEF se, izgleda, rodio u pravo vreme i na pravom mestu. Osnovan je u glavnom gradu zemlje koja ima mnogo prijatelja među umetnicima sveta, oni su u taj pozorišni Beograd gledali sa nadom, u vreme kada je u svetu došlo do poleta društvene misli i do novih podsticaja u pozorišnoj umetnosti. Bilo je to vreme velikih nadanja. Svetsko pozorište se tokom te dve decenije menjalo iz sezone u sezonu, ali tako da ništa nije odlazilo zauvek i nepovratno; ništa se nije desilo uzaludno, već se našlo sadržano u umetnosti onih drugih koji su tek dolazili, sve je to BITEF pratio koliko je mogao i umeo. Ako na BITEFU i nije prikazana svaka velika i značajna predstava, ipak nije izostao nijedan veliki pokret, nijedna važna tendencija za poslednje dve decenije,
Sve što se na BITEFU desilo sadržano je u iskustvu generacija umetnika i gledalaca koje su pratile BITEF; to njihovo iskustvo je značajna energija na kojoj se zasniva većina zbivanja na našem i na svetskom pozorišnom tlu. Beograd je zbog svega toga na pozorišnoj mapi sveta mesto koje emanira vibracije velike avanture moderne umetnosti pozorišta.
Dvadesete sezone BITEFU se kao podnaslov nametnuo izraz koji je skovao njegov stalni posetilac i veliki pozorišni mislilac Jan Kott – pozorište suštine, danas nam se čini da je svih tih dvadeset godina BITEF zapravo samo tragao za pozorištem suštine.
Mira Trailović, Jovan Ćirilov
THEATRE OF ESSENCE ’86
Who would dare to dream twenty years ago, when the idea of an international festival of new theatre tendencies in Belgrade was first conceived, that it would come to life and be still alive after two full decades!
During that span of time many wars began and ended, many governments were voted in and voted out, many different movements sprang out and died out and we who so often eagerly undertake something only to forgot it the next day – or is it how we see ourselves? – are still firmly dedicated to the idea of bringing together all that is new in the world theatre.
The late sixties saw the emergence of many other festivals here and elsewhere but most of them have since disappeared and even their names have passed into oblivion. BITEF, it would seem, emerged at a proper time and at a proper place: in the capital of a country with numerous friends among the artists the world over, at a time when the social thought reached for new heights and the dramatic arts received a new impetus, they turned, hopeful, to theatric Belgrade. It was the time of great expectations.
Over the past twenty years the world theatre changed from one season to the other but nothing was ever relinquished irretrievably and forever; no effort was barren: every experience found its reflection in the art of those who followed. BITEF endeavoured to follow in step. Even if not all the great and significant productions came to BITEF, it nevertheless presented every momentous movement, every tendency of import which appeared during the last two decades.
All that has been happening at BITEF makes part of the experience of generations of artists and audiences and serves as a powerful source of energy setting in motion most events in the Yugoslav and the world theatre, on the world theatre map Belgrade has thus come to stand for a, place reverberating with that great adventure which is the modern theatre,
Theatre of essence, the term coined by Jan Kott, BITEF’s faithful attendant and theatre’s great thinker, sounded like a natural subheading for BITEF’s twentieth anniversary: after all this time it seems to us that all that BITEF aspired to do throughout those twenty years was pursue the theatre of essence.
Mira Trailović, Jovan Ćirilov
Glavni program / Main programme
301 Gledališče Sester Scipion Nasice (Ljubljana, Jugoslavija); Krštenje pod Triglavom / Gledališče Sester Scipion Nasice (The Theatre of Sister Scipion Nasice (Ljubljana, Yugoslavia); Retrogardistični dogodek Krst pod Triglavom (Retrogrde Event Baptism under Triglav)
302 Московский Художественный академический театр имени М. Горького – МХАТ (Moskva, Savez Sovjetskih Socijalističkih Republika); A. P. Čehov: Galeb; režija: Oleg Jefremov / The Moscow Art Theatre – MAT (The Union of Soviet Socialist Republics); Анто́н Па́влович Че́хов (A. P. Chekhov): Чaйka (Seagull); direction: Оле́г Никола́евич Ефре́мов (Oleg Yefremov)
303 La Compagnie Jérôme Deschamps (Pariz, Francuska); Žerom Dešamp: To je nedelja; režija: Žerom Dešamp / La Compagnie Jérôme Deschamps (Paris, France); Jérôme Deschamps: C’est Dimanche (It’s Sunday); direction: Jérôme Deschamps
304 Youkiza (Tokio, Japan); V. Šekspir: Magbet; režija: Makoto Satoh (Specijalna nagrada) / Youkiza (Tokio, Japan); W. Shakespear: Macbeth; direction: Makoto Satō (Special Award)
305 La Cuadra de Sevilla (Sevilja, Španija); Salvador Tavora Triano: Bivolja koža; režija: Salvador Tavora / La Cuadra de Sevilla (Sevilla, Spain); Salvador Távora: Piel de toro (Bull Skin); direction: Salvador Távora Triano
306 Narodno pozorište / Népszínház (Subotica, Jugoslavija); Madač, komentari; režija: Ljubiša Ristić / Theatre City, Népszínház (Subotica, Yugoslavia); Madács, kommentárok (Madach, The Comments); direction: Ljubiša Ristić
307 Kungliga Dramatiska Teatern (Stokholm, Švedska); August Strindberg: Gospođica Julija; režija: Ingmar Bergman (Grand Prix, Nagrada Politike) / Kungliga Dramatiska Teatern (Stockholm, Sweden); August Strindberg: Fröken Julie (Miss Julie); direction: Ingmar Bergman (Grand Prix, Politika Award)
308 Schauspiel Köln (Keln, Savezna Republika Nemačka); Hajner Miler: Kvartet; režija: Dimiter Gočev / Schauspiel Köln (Köln, Federal Republic of Germany); Heiner Müller: Das Quartett (The Quartet); direction: Dimiter Gotscheff
309 Moebius Co (Toronto, Kanada) Moebius / Moebius Co (Toronto, Canada); Moebius
310 Srpsko narodno pozorište (Novi Sad, Jugoslavija); Koštana – san krik (Smrtopis Bore Stankovića) – po Borisavu Stankoviću; režija: Mira Erceg / Serbian National Theatre (Novi Sad, Yugoslavia); Koštana – san krik (Smrtopis Bore Stankovića) – based on Borisav Stanković; direction: Mira Erceg
311 Teatr Studio (Varšava, Poljska); B. Breht: Opera za tri groša; režija: Ježi Gžegoževski / Teatr Studio (Warsaw, Poland); B. Brecht: Opera za trzy grosze (Die Drelgroschenoper / The Three Penny Opera); direction: Jerzy Grzegorzewski
312 Odin Teatret (Holstebro, Danska); Euđenio Barba: Oksirinkus; režija: Euđenio Barba (Grand Prix) / Odin Teatret (Holstebro, Denmark); Eugenio Barba: Oxyrhyncus Evangeliet (The Gospel According to Oxyrhyncus); direction: Eugenio Barba (Grand Prix)
313 Nordisk Teaterlaboratorium Farfa (Holstebro, Danska); Euđenio Barba: Venčanje s Bogom ili nemoguća ljubav; režija: Euđenio Barba / Nordisk Teaterlaboratorium Farfa (Holstebro, Denmark); Eugenio Barba: Bryllup med Gud (Marriage with God or the Impossible Love); direction: Eugenio Barba
314 Theater Essen (Esen, Savezna Republika Nemačka); Gothold Efraim Lesing: Natan mudri; režija: Hansginter Hajme / Theater Essen (Essen, Federal Republic of Germany); Gotthold Ephraim Lessing: Nathan der Weise (Nathan the Wise); direction: Hansgünther Heyme
315 Nordisk Teaterlaboratorium Farfa (Holstebro, Danska); Sesar Bri: Zemlja Naidska; režija: Sesar Bri / Nordisk Teaterlaboratorium Farfa (Holstebro, Denmark); César Brie: Landet Nod (The Land of Nod); direction: César Brie
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