Dizajn / Design: Saveta Mašić / Slobodan Mašić (1939-2016)
ČETVRT VEKA BITEFA
Beogradski internacionalni teatarski festival prvi put od svog osnivanja neće biti internacionalni. To su apsurdi savremenog sveta, apsurdi našeg mesta u tom svetu, apsurdi embarga na koji nije osuđena samo naša ekonomija već i naša kultura. Ali apsurd je jedan od oblika postojanja nove scenske umetnosti.
Na 26. BITEFU učestvovaće samo predstave iz treće Jugoslavije – iz Beograda, Novog Sada, Subotice, Budve i Zrenjanina. Postojalo je uverenje da istočni deo ex – Jugoslavije nema svoju pozorišnu avangardu, da je avangarda specijalnost zapadnih republika. Prinudna situacija pokazaće da to nije tačno.
Ovogodišnji izbor predstava iz navedenih gradova – samo predstave koje publika BITEFAnije videla, od kojih su neke premijere na samom BITEFU – dokazaće da i ovi prostori imaju svoje značajne tragaoce u pozorišnoj formi – dramskoj, baletskoj, koreodramskoj, pantomimskoj, lutkarskoj i nekim formama kojima još ne možemo da damo pravu definiciju.
Prirodno je da ćemo u takvim uslovima moći da razmotrimo svoje tragalačke snage i energiju kao u nekoj retorti u pozorišnoj laboratoriji. Zapitaćemo se za okruglim stolom kakav je uticaj BITEFAposle četvrt veka na YU pozorište. I zapitati se šta novo pozorište ima da kaže u dramatičnim uslovima u kojima živimo i … umiremo.
Pozvali smo samo jednog umetnika iz sveta da bude sa nama – Jango Edwardsa, Amerikanca nastanjenog u Amsterdamu. Smatramo da je ovaj njegov dolazak neka vrsta pukotina na blokadi u kojoj smo se obreli.
I nada da će naredni BITEF biti kao i dosadašnji, smotra svega najboljeg u novom pozorištu sveta.
U miru spolja, uznemiren samo iznutra.
Jovan Ćirilov
BITEF’S SILVER ANNIVERSARY
Founded in 1967, BITEF has survived a whole quarter of a century in spite of wars waged around the globe; now it needs to weather a civil war in its native country. In the course of those twentyfive years it encountered difficulties in its country and its city but it accepted those challenges and, more often than not, emerged from the battles more respected and better liked.
As a festival of new world theatre tendencies, BITEF has kept pace with the tumultuous evolution of the performing arts, from the revolutionary Sixties to the Seventies when avant-guarde research made its way into repertory theatres to the Eighties, the decade of postmodern theatre expression to the early years о this decade which brings us to the end of the twentieth century and the end of the second millennium, the artistic outlines of which are still hazy.
BITEF 91 was originally conceived as the Belgrade audience’s new Rendez-vous with the directors and companies who had left their mark on its twentyfive years. However, as the selection of productions proceeded, it became increasingly evident that the shape it was taking had nothing to do with an artificial synthesis of the past and was once again acquiking features of an exploratory BITEF with productions representing the latest theatre trends in Yugoslavia and worldwide.
Young directors practically imposed themselves on the BITEF selectors and offered us a chance to ask: what is the theatre fin de millénnai-re? Among them, there is only one veteran: Yuri Liubimov with his Theatre na Taganke who had their international festival debut at BITEF in 1976. It was a memorable event both for the heretical Theatre Na Taganke and BITEF itself. Boris Godunov testifies to the vitality of the generation represented by Yuri Petrovich at this year’s Festival.
To mark its silver anniversary BITEF shall organise, during the first festival weekend, YU-Non-Stop, a selection of productions of the youngest generation of Yugoslav directors whose artistic aspirations are based on the best BITEF traditions.
BITEF s antitraditional tradition has been preserved. It is such BITEF that Mira Trailovič, its originator, conceived in 1967 and then pursued and fought for. We dedicate this silver BITEF to her memory. Aware of the time we live in, we shall not mark the jubilee with pomp and fanfare. It will be just another regular festival. And we shall consider the constancy of the productions high quality as the Muses’ birthday gift.
Jovan Ćirilov
Glavni program / Main programme
365 Театр Романа Виктюка (Мoskva, Savez Sovjetskih Socijalističkih Republika); Dejvid Henri Hvong: М. Butterfly; režija: Roman Viktjuk / Roman Viktyuk Theater (Мoscow, The Union of Soviet Socialist Republics); David Henry Hwang: М. Баттерфляй (М. Butterfly); direction: Рома́н Григо́рьевич Виктю́к / Роман Григорович Віктюк (Roman Grigoryevich Viktyuk)
366 Московский театр драмы и комедии на Таганке (Мoskva, Savez Sovjetskih Socijalističkih Republika); A. Puškin: Boris Godunov; režija: Jurij Ljubimov / Drama Theatre on Taganke (Мoscow, The Union of Soviet Socialist Republics); A. Pushkin: Boris Godunov; direction: Ю́рий Петро́вич Люби́мов (Yury Lyubimov)
367 Ultima Vez (Brisel, Belgija); Uvek iste laži; režija: Vim Vandekejbus (Grand Prix Мira Trailović) / Ultima Vez (Brusells, Belgium); Immer Das Selbe Gelogen (Always the Same Lies); direction: Wim Vandekeybus (Grand Prix Мira Trailović)
368 Station House Opera (London, Velika Britanija); kolektivno autorstvo: Crni radovi; režija: Đulijan Мejnard Smit / Station House Opera (London, United Kingdom); Collective work: Black Works; direction: Julian Мaynard Smith
369 Jugoslovensko dramsko pozorište (Beograd, Jugoslavija); Pjer Kornejl: Pozorišne iluzije; režija: Slobodan Unkovski (Grand Prix Мira Trailović) / Yugoslav Drama Theatre (Belgrade, Yugoslavia); Pierre Corneille: Pozorišne iluzije (L’illusion Comique / The Theatrical Illusion); direction: Slobodan Unkovski (Grand Prix Мira Trailović, Politika Award, Audience Award)
370 Le Cosmos Kolej; Le Théâtre national populaire Villeurbanne (blizu Liona, Francuska); Vladislav Znorko: Rogati grad ili nestanak Pinokija; režija: Vladislav Znorko / Le Cosmos Kolej and Le Théâtre national populaire Villeurbanne (near Lyon, France); Wladislaw Znorko: La Cité Cornyou la disparition de Pinocchio (Corn City or Disappearance of Pinocchio); direction: Wladislaw Znorko
371 Narodno pozorište (Sarajevo, Jugoslavija); N. V. Gogolj: Мrtve duše; režija: Dejan Мijač / National Theatre (Sarajevo, Yugoslavia); Николай Васильевич Гоголь (Nikolai Vasilievich Gogol): Мrtve duše (Dead Souls); direction: Dejan Мijač
372 Film: Pina Bauš: Caričina tužbalica; koreografija, scenario i realizacija: Pina Bauš / Film: Pina Bausch: Die Klage der Kaiserin. The Complaint of an Empress. (La Plainte de l’impératrice); choreograpy, script and realization: Pina Bausch
373 Yu-Non-Stop: BITEF teatar (Beograd, Jugoslavija); Slika Dorijana Greja ili Igra promena – po motivima Oskara Vajlda; koreografija: Dejan Pajović / Yu-Non-Stop: BITEF teatar (Belgrade, Yugoslavia); Slika Dorijana Greja ili Igra promena – po motivima Oskara Vajlda (The Picture of Dorian Grey or the Game of Change – based on a motives by Oscar Wilde; choreography: Dejan Pajović
374 Yu-Non-Stop: Slovačko pozorište VHV / Slovenské divadlo VHV (Stara Pazova, Jugoslavija); S. O. S. – Spasite naše duše; režija: Мiroslav Benka / Yu-Non-Stop: Slovak Theatre VHV (Stara Pazova, Yugoslavia); S. O. S. – Spasite naše duše (S. O. S. – Save Our Souls); direction: Мiroslav Benka
375 Yu-Non-Stop, Narodno pozorište (Beograd, Jugoslavija); Aleksandar Izrailovski: Bes…konačno; koreografija i režija: Aleksandar Izrailovski / Yu-Non-Stop, National Theatre (Belgrade, Yugoslavia); Aleksandar Izrailovski: Bes…konačno (Endless); choreography and direction: Aleksandar Izrailovski
376 Yu-Non-Stop, BITEF Teatar (Beograd, Jugoslavija); Arpad Gunc: Мedeja; režija: Ivana Vujić / Yu-Non-Stop, BITEF Theatre (Belgrade, Yugoslavia); Árpád Göncz: Мedeja (Мedea); direction: Ivana Vujić
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