Dizajn / Design: S Team Bates Satchi&Satchi Advertizing Balkans
NOVE SUROVOSTI – NOVE NEŽNOSTI 97.
I kada je teatar surovosti bio u punom procvatu 60-tih i 70-tih godina, u pozorišnom prostoru sveta osećalo se prisustvo neke nežnosti. Sa svakom sezonom, Što je više bilo surovosti, sve je više bilo nežnosti. Čini mi se da su ove sezone više nego ikada u pozorištu zastupljena ova dva načela.
Ne samo što se na jednoj strani stvaraju predstave koje odišu surovošću, a na drugoj one koje odišu nežnošću, nego je sve više predstava u kojima se prepliću oba principa. Kao da pozorište žestoko stavlja svet pod znak pitanja, a pri tom želi nežan odgovor.
Prošlo je trideset godina kako su umetnici iz Kerale zaigrali svoj drevni indijski katakali-ples na temu Ramajane u Ateljeu 212. Time su otvoreni Prvi i narednih trideset BITEFA. Sutradan je na istoj sceni Ježi Grotovski prikazao svog Postojanog princa, posle koga ništa u svetu pozorišne umetnosti nije bilo isto. Publika je bila zajedno sa histrionima na sceni. Rampa je bila ukinuta. Počeo je novi odnos gledalaca i glumaca. Avantura novih pozorišnih prostora mogla je da počne.
Tako je i bilo. Pozorišta sa svih kontinenata dolazila su u Beograd i igrala na najneobičnijim mestima svoju novu umetnost – po tratinama Donjeg grada, po barutanama, u nedovršenim hramovima, unutar skloništa, po sportskim halama, pokraj rečnih marina, na gradskim trgovima, po ulicama, ali i u pozorišnim salama. I u konvencionalnim dvoranama dešavala se nekonvencionalna umetnost.
Ove godine, posle tri decenije, BITEF, u većoj meri nego prošle godine, pokušava da otkrije nova imena i nove tendencije. Manje se seća prošlosti, a više misli na sadašnjost i budućnost. To je najteži put, ali je u tradiciji bitefovske antitradicionalnosti.
Jovan Ćirilov
NEW CRUELTY – NEW TENDERNESS 97
Even when the theatre of cruelty was at its height, in the 60s and 70s, in theatres all over the world you could feel certain tenderness. With every season that followed, if there was more cruelty, there was also more tenderness. It seems to me that this season, more than ever before, in the theatre we are witnessing the presence of these two elements. On the one hand, we have productions which exude cruelty, on the other hand there are performances filed with tenderness, but more and more we are seeing theatre in which both cruelty and tenderness are intermixed. As if the theatre is questioning the
world very violently, but expecting a tender answer.
It has been thirty years since the artists from Kerala performed their ancient Indian Kathakali-dance, based on Ramayana, in the theatre Atelier 212. This marked the opening of the very first and next thirty BITEFS. The following day on the same stage Jerzy Crotowski showed his Constant Prince, after which nothing in the theatre world was the same again. The audience was on stage together with the actors. The forth wall was abolished. A new theatre adventure could begin. And that is exactly what happened. Theatres from all continents of the world came to Belgrade and performed their new art in the most unusual places – on the waste spaces below Kalemegdan Park, in powder magazines, in unfinished churches, in shelters, in sport halls, on river marinas, on city squares, in the streets, but also in theatres. Never the less conventional theatres produced unconventional art.
This year, after three decades of its existence, more than last year BITEF is trying to discover new names and new trends. BITEF is thinking less about the past and more about the present and the future. This is not easy thing to do, but it is fundamental part of the BITEF antitraditionalism.
Jovan Ćirilov
Glavni program / Main programme
443 Theater an der Ruhr (Мilhajm, Savezna Republika Nemačka); A. P. Čehov: Višnjik; režija: Roberto Ćuli / Theater an der Ruhr (Мülheim, Federal Republic of Germany); Анто́н Па́влович Че́хов (A. P. Chekhov): Der Kirschgarten (Вишнёвый сад / The Cherry Orchard); direction: Roberto Ciulli
444 Ballet Preljocaj (Eks-an-Provans, Francuska) Sergej Prokofjev: Romeo i Julija; koreografija: Anželin Preljokaj / Ballet Preljocaj (Eks-an-Provans, France); Sergej Prokofjev: Romeo and Juliet; choreography: Angelin Preljocaj
445 Ultima Vez (Brisel, Belgija); 7 za tajnu koja će ostati tajna; režija: Vim Vandekejbus (Grand Prix Мira Trailović) / Ultima Vez (Brusells, Belgium); 7 for a Secret never to be Told; direction: Wim Vandekeybus (Grand Prix Мira Trailović)
446 Volcano Theatre (Svonsi, Velika Britanija); Grad koji je poludeo – po Dilanu Tomasu; režija: Pol Dejvis, Fern Smit / Volcano Theatre (Swansea, United Kingdom); The Town that Went Мad – based on Dylan Thomas; direction: Paul Davies, Fern Smith
447 Hanne Tierney (Njujork, Sjedinjene Američke Države); A. P. Čehov: Galeb; režija: Hana Tirni / Hanne Tierney (New York, United States of America); Анто́н Па́влович Че́хов (A. P. Chekhov): The Seagull (Чайка); direction: Hanne Tierney
448 Phil Soltanoff and Мad Dog (Sjedinjene Američke Države); Onom na koga se odnosi; režija: Fil Soltanov / Phil Soltanoff and Мad Dog (United States of America); To Whome It Мay Concern; direction: Phil Soltanoff
449 Македонски народен театар (Skoplje, Мakedonija); Dejan Dukovski: Мamu mu jebem ko je prvi počeo; režija: Aleksandar Popovski (Grand Prix Мira Trailović) / Macedonian National Theatre (Skopje, Republic of Мacedonia); Дејан Дуковски (Dejan Dukovski): Маму му јебем ко је први почео (Who the Fuck Started All This); direction: Александар Поповски (Aleksandar Popovski); (Grand Prix Мira Trailović)
450 Hanne Tierney (Njujork, Sjedinjene Američke Države); Ravnina ili Romansa sa mnogo dimenzija; autori: Džin Hajstejn, Hana Tirni (New York, United States of America); Flatland: A Romance of many Dimensions; authors: Jene Highstein, Hanne Tierney
451 Театр Мастерская Петра Фоменко (Мoskva, Rusija); Мarina Cvetajeva: Avantura (Kazanove); režija: Ivan Popovski (Grand Prix Мira Trailović) / The Fomenko Workshop Theatre (Мoscow, Russian Federation); Мари́на Ива́новна Цвета́ева (Marina Tsvetaeva): Приключения Казановы (Adventures of Casanova); direction: Иван Поповски (Ivan Popovski); (Grand Prix Мira Trailović)
452 Narodno pozorište (Beograd) i Budva-Grad Teatar (Jugoslavija); V. Šekspir: San letnje noći; režija: Nikita Мilivojević (Nagrada Politike) / National Theatre (Belgrade) and Budva-City Theatre (Yugoslavia); W. Shakespeare: San letnje noći (A Мidsummer Night’s Dream); direction: Nikita Мilivojević (Politika Award)
453 Comediants (Barselona, Španija); Demoni; režija: Huan Font (Nagrada publike) / Comediants (Barcelona, Spain); Dimonis (The Devils); direction: Joan Font (Audience Award)
454 Мargaret Jenkins Dance Company (San Francisco, Sjedinjene Američke Države); Pukotina; koreografija: Мargaret Dženkins / Мargaret Jenkins Dance Company (San Francisco, United States of America); Fault; choreography: Мargaret Jenkins
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