Dizajn / Design: Saveta Mašić / Slobodan Mašić (1939-2016)
NOVE DEFINICIJE 88
Prilikom izbora najboljih predstava za Beogradski Internacionalni Teatarski Festival (BITEF) nikada nismo polazili od neke unapred smišljene podteme nego od naše široke formulacije – nove pozorišne tendencije. Izbor predstava za jednu sezonu bio je prepušten našem osećanju novog. I najčešće, kada je izbor postao konačan, pokazalo bi se da većina predstava ima nečeg zajedničkog. Tako su se pojedinih godina iskristalisale manje ili više uspele podteme kao – Teatralizam 74, Postavangarda 77, Pozorište „fin de millenaire“, Retrogarda 84, Pozorište suštine 86.
Ove godine je izbor predstava iz različitih pozorišnih sredina i tradicija takođe pokazao nešto zajedničko. Međutim, to zajedničko, već na prvi pogled, teško je bilo definisati. Većina predstava ove godine spada u široku porodicu neverbalnog teatra, ali se one ne mogu podvesti niti pod klasičan ili moderan balet, niti pod pantomimu, niti pod formulu „pozorište prizora“. Već nedeljama se pitamo kojoj vrsti pozorišta pripadaju neke najbolje i najosobenije predstave ove godine. Došli smo do toga da nam je za definiciju ovih predstava potreban novi pojmovni aparat koji nismo u stanju da sami, na prečac, stvorimo.
Učinilo nam se najboljim da pitanje ostane otvoreno. Podnaslov ovogodišnjeg BITEFA Nove definicije 88 odražava potrebu za novim definicijama. Nadamo se da će na kraju 22. BITEFA te definicije biti pronađene, a neke od njih, već narednih godina, dobro znane, pa i zastarele.
Mira Trailović/Jovan Ćirilov
NEW DEFINITIONS ’88
In selecting the best performances for the Belgrade International Theatre Festival (BITEF) we have never had any preconceived sub-headings in mind, except the one we broadly define as „new theatrical tendencies“. The choice of performances for each season was left to our own feeling of what was new, and we searched for it in each individual case. When a selection was final and affirmed by the Advisory Board of BITEF, it would become evident that most
performances had something in common. That is how more or less successful sub-headings crystallized over years: Theatricalism ’74; Post-avantgarde ’77; The Theatre of the “fin de millénaire”; Retro–garde ’84; The Theatre of Essence ’86...ect.
This year, the choice of performances from various theatrical backgrounds and traditions has again shown much in common. It was difficult, however, to define that “common“ from the very beginning. Most performances this year belong to a large family of the so-called non-verbal theatre, but they cannot be reduced to either classical or modern ballet; to either pantomime or formula of the “theatre of images“. For weeks already we have been asking ourselves, which kind or theatre some of the best and most original performances this year belong to? We have come to the conclusion
that, for defining those performances, we need to have a new categorical apparatus – one that we are unable to immediately create.
We deem it best to let that question stay open. The sub-heading of this year’s BITEF – the “New Definitions ’88“ – reflects our need for new definitions. We hope that, by the end of the 22nd BITEF, such definitions will be found, and that some of them will, in less than a few years time, be known to all, and even outdated.
Mira Trailović/Jovan Ćirilov
Glavni program / Main programme
332 Compagnie de Carolyn Carlson (Pariz, Francuska); Dark; koreografija: Karolin Karlson / Compagnie de Carolyn Carlson (Paris, France); Dark; choreography: Carolyn Carlson
333 Teatr Stary (Krakov, Poljska); Slavomir Мrožek: Portret; režija: Ježi Jarocki / Teatr Stary (Krakow, Poland); Slawomir Мrożek: Portret; direction: Jerzy Jarocki
334 Литовский государственный молодёжный театр / Lietuvos valstybinis jaunimo teatras (Vilna, Litvanija, Savez Sovjetskih Socijalističkih Republika); A. P. Čehov: Ujka Vanja; režija: Eimuntas Nekrošius (Specijalna nagrada, Nagrada Politike) / The State Youth Theatre of Lithuania (Vilnius, Lithuania, The Union of Soviet Socialist Republics); Анто́н Па́влович Че́хов (A. P. Chekhov): Дяая Ваня (Uncle Vanya); direction: Эймунтас Някрошюс (Eimuntas Nekrošius); (Special Award, Politika Award)
335 Tanztheater Heidelberg (Hajdelberg, Savezna Republika Nemačka); Мagbet; režija i koreografija: Johan Kresnik / Tanztheater Heidelberg (Heidelberg, Federal Republic of Germany); Мacbeth; direction and choreography: Johann Kresnik
336 Szigligeti Színház (Szolnok, Мađarska); Boris Pasternak: Doktor Živago; režija: Janos Šikora / Szigligeti Theatre in Szolnok (Hungary); Борис Леонидович Пастернак (Boris Pasternak): Doktor Zsivago (До́ктор Жива́го / Doctor Zhivago); direction: János Szikora
337 Studio Hinderik (Amsterdam, Holandija); Henrik de Grot: Pločnik; režija: Henrik de Grot / Studio Hinderik (Amsterdam, Netherlands); Hinderik de Groot: Stoeprand (Sidewalk Edge); direction: Hinderik de Groot
338 Teatro La Maschera (Rim, Italija); Antonelo Aljoti: Bari Lindon – po V. М. Tekeriju; režija: Antonelo Aljoti / Teatro La Мaschera (Roma, Italy); Antonello Aglioti: Barry Lyndon – based on W. М. Thackeray; direction: Antonello Aglioti
339 La Fura dels Baus (Barselona, Španija); Suz(O)Suz; režija: kolektiv (Grand Prix, Nagrada Politike) / La Fura dels Baus (Barcelona, Spain); Suz(O)Suz; direction; Collective (Grand Prix, Politika Award)
340 La Théâtre Djighite (Pariz, Francuska); Nakaze – po filmu Toda Bravninga; režija: Ženevjev de Kermabon / La Théâtre Djighite (Paris, France); Freaks – based on a film by Tod Browning; direction: Geneviève de Kermabon
341 Hrvatsko narodno kazalište, Splitsko ljeto (Split, Jugoslavija); Euripid: Elektra; režija: Paolo Мađeli / The Croatian National Theatre in Split, Split Summer festival (Split, Yugoslavia); Euripides: Elektra; direction: Paolo Мagelli
342 Festival Barski ljetopis (Bar, Jugoslavija); Aleksandar Popović: Vladimir i Kosara; režija: Slobodan Мilatović (izvan konkurencije) / Festival Barski Ljetopis (Bar, Yugoslavia); Aleksandar Popović: Vladimir and Kosara; direction: Slobodan Мilatović (outside the Competition)
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