Dizajn / Design: Saveta Mašić / Slobodan Mašić (1939-2016)
REDITELJ IZMENJENE STVARNOSTI
Dan posle završetka prošlogodišnjeg 28. BITEFA – pripremanog i ostvarenog pod najtežim mogućim okolnostima – kratkoročno su podignute međunarodne sankcije protiv Jugoslavije u oblasti kulture. To privremeno ukidanje sankcija traje tačno do dana kada počinje ovogodišnji 29. BITEF. Posle toga, ponovo neizvesnost i mogućne teškoće. Period od jedanaest meseci bez kulturnih sankcija doneo je bitnu promenu. Većina zemalja sveta bila je spremna da ponovo pošalje svoje najuglednije pozorišne ansamble na BITEF i materijalno pomogne njihov dolazak.
Prema tome, ovogodišnji izbor mogao je ponovo da bude u znaku ravnoteže između velikih stalnih ansambala i samostalnih trupa, što je karakteristika BITEFA od samog osnivanja, 1967. godine. Kako bismo nadoknadili propušteno, prilikom ovogodišnjeg izbora akcenat je stavljen na velika afirmisana rediteljska i koreografska imena. To su reditelji koje BITEF već poznaje (Kresnik, Wilson, Purcarete, Ristić, Unkovski), ili oni koji su u međuvremenu postigli svetsku ili domaću afirmaciju (Dodin, Nađ, Charnock, Milenkovski, Marković, Lečić). Naš vek je vek reditelja. Pozorištem vladaju njihovi koncepti. Svaka predstava je neka vrsta dijaloga sa svojim vremenom. Reditelj s jedne strane ima tekst ili temu (autora koji često pripada nekom drugom vremenu), a sa druge strane glumce i igrače koji su, kao i gledaoci, svi njegovi savremenici.
Današnji reditelj, sa svojim izvođačima i publikom, obreo se u izmenjenom svetu. Te promene su bile dramatične, duboke, bolne, i one još traju. A kod nas su sve bolnije i krvavije. Ruše se sistemi, države, granice, preseljavaju na stotine hiljada ljudi u neizvesnost, a oni najzlosrećniji nestaju bez traga i života. S jedne strane lagodni svet bez granica koji želi da se predstavi kao idealno rajsko naselje, a na drugoj strani – uz sam taj vrli svet – apokalipsa.
Reditelj u toj izmenjenoj stvarnosti nije mogao da ne izmeni pozorište, njegov jezik, oblik i smisao, ma gde živeo. Kako to izgleda kod onih najvećih ili onih najmlađih, posvedočiće ovogodišnji 29. BITEF.
Jovan Ćirilov
THE DIRECTOR OF THE TRANSFORMED REALITY
The day after the last year’s BITEF 28th ended – conceived and created under the most difficult circumstances – the part of the UN sanctions against Yugoslavia concerning cultural events and exchange was suspended. This temporary and partial repeal will expire on the day this year’s BITEF 29th begins. After that, uncertainty and possible obstacles await us again. The eleven months long span without cultural sanctions has brought about a relevant change. Most world countries were again prepared to send their eminent theatre ensembles to BITEF and financially support their participation.
Therefore, these year’s choices could again be made under the sign of the balance between the great established ensembles and independent groups, which was distinctive for the BITEF since its establishment in 1967. In order to catch up with what had passed us over, this year’s selection highlights the renowned outstanding directors and choreographers. BITEF had already welcomed these creative personalities in the past (Kresnik, Wilson, Purcarete, Ristić, Unkovski), or they have in the meantime become acclaimed in the world or here (Dodin, Nadj, Charnock, Milenkovski, Markovid, Lečić).
Our century is the century of the director. Their concepts govern the theatre. Every performance is some sort of dialogue with one’s own time. On the one side the director has the text or the theme (the author who is quite often from another time), and on the other side he has the actors and the dancers who are all, like the audience, his contemporaries.
The director of today, together with his performers and the audience, has found himself in the transformed world. These transformations were dramatic, deep, painful. And they are still happening. Here they are getting even more painful and bloodied day by day. The systems, the states, the borders crumble down, hundreds of thousands of peoples are displaced into distressing uncertainty – while in the mayhem the most misfortunate ones lose their lives and vanish without trace. On the one hand the borderless world of leisurely comfort depicts itself as paradise on earth, and on the other – alongside this gallant world – the apocalypse.In this transformed reality the director could not avoid changing the theatre, its language, form and awareness, regardless of his or her domicile. How it came about with the greatest and the youngest, will be witnessed by this year’s BITEF testimony.
Jovan Ćirilov
Glavni program / Main programme
412 Малый драматический театр (Sankt-Peterburg, Rusija); Lav Dodin: Klaustrofobija (Claustrophobia); režija: Lav Dodin (Grand Prix Мira Trailović, Nagrada Politike) / Мaly drama Theatre (Sankt-Peterburg, Russian Federation); Лев Абрамович Додин (Lev Dodin): Клаустрофобия (Claustrophobia); direction: Лев Абрамович Додин (Lev Dodin); (Grand Prix Мira Trailović, Politika Award)
413 Theaterhaus (Štutgart, Savezna Republika Nemačka); Johan Kresnik, Ismail Ivo: Frensis Bekon; režija: Johan Kresnik; koreografija: Мara Borba, Tero Sarien, Ismail Ivo, Johan Kresnik / Theaterhaus (Stuttgart, Federal Republic of Germany); Johann Kresnik, Ismail Ivo: Francis Bacon; direction: Johann Kresnik; choreography: Мara Borba, Tero Saarien, Ismail Ivo, Johann Kresnik
414 La Teatrul Naţional din Craiova (Krajova, Rumunija); Seneka; Euripid: Fedra; režija: Silviju Purkarete / National Theatre (Craiova, Romania); Phaedra – scenariu original după Seneca şi Euripide (Phaedra – after Seneca and Euripides original screenplay); direction: Silviu Purcărete (Silviu Purcarete)
415 Dogtroep (Amsterdam, Holandija), KPGT – Kazalište Pozorište Gledališče Teatar (Jugoslavija); Asimil – delimično po Jonesku; režija: Ljubiša Ristić i Trees Schreurs (Specijalna nagrada) / Dogtroep (Amsterdam, Netherlands), KPGT – Kazalište Pozorište Gledališče Teatar (Yugoslavia); Assimil – based on Ionesco; direction: Ljubiša Ristić and Trees Schreurs (Special Award)
416 Centre de Production Chorégraphique (Orlean, Francuska); Jozef Nađ: Anatomija zveri; koreografija: Jozef Nađ (Grand Prix Мira Trailović) / Centre de Production Chorégraphique (Orlean, France); Nagy József (Josef Nadj): L’ Anatomie du Fauve (The Wildcat’s Anatomy); choreography: Josef Nadj (Grand Prix Мira Trailović)
417 La Teatrul Naţional din Craiova (Krajova, Rumunija); Alfred Žari, V. Šekspir: Kralj Ibi sa scenama iz Мagbeta; režija: Silviju Purkarete / Teatrul National (Craiova, Romania); Alfred Jarry, W. Shakespeare: Ubu Rex cu scene din Macbeth după Alfred Jarry şi William Shakespeare (King Ubu with scenes from Macbeth by William Shakespeare and Alfred Jarry); direction: Silviu Purcărete (Silviu Purcarete)
418 Volcano theatre (Kardif, Vels, Velika Britanija); Kako živeti; režija: Najdžel Čarnok (Grand Prix Мira Trailović) / Volcano theatre (Kardif, Vels, United Kingdom); How to Live; direction: Nigel Charnock (Grand Prix Мira Trailović)
419 La Teatrul Naţional din Craiova (Krajova, Rumunija); V. Šekspir: Tit Andronik; režija: Silviju Purkarete / Teatrul National (Craiova, Romania); W. Titus Andronicus de William Shakespeare (Shakespeare: Titus Andronicus); direction: Silviu Purcărete (Silviu Purcarete)
420 Македонски народен театар (Skoplje, Мakedonija); Dejan Dukovski: Bure baruta; režija: Sašo Мilenkovski / National Theatre (Skopje, Republic of Мacedonia); Dejan Dukovski: Буре барут (Powder Keg); direction: Sašo Мilenkovski
421 Jugoslovensko dramsko pozorište (Beograd, Jugoslavija); Dejan Dukovski: Bure baruta; režija: Slobodan Unkovski / Yugoslav Drama Theatre (Belgrade, Yugoslavia); Dejan Dukovski: Bure baruta (Буре барут / Powder Keg); direction: Slobodan Unkovski
422 Robert Vilson (Njujork, Sjedinjene Američke Države); Predavanje / Robert Wilson (New York, United States of America); Workshop
423 BITEF teatar (Beograd, Jugoslavija); Pavlos Мatezis: Balkanska rapsodija; režija: Branislav Lečić / BITEF Theatre (Belgrade, Yugoslavia); Παύλου Μάτεσι (Pavlos Мatesis): Balkanska rapsodija; direction: Branislav Lečić
424 Narodno pozorište (Sombor, Jugoslavija); Vlaho Stulić: Kate Kapuralica; režija: Jagoš Мarković / National Theatre (Sombor, Yugoslavia); Vlaho Stulić: Kate Kapuralica; direction: Jagoš Мarković
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