36. Beogradski internacionalni teatarski festival – BITEF Nove pozorišne tendencije eros@ethos / 15. septembar–26. septembar 2001. godine

JEDANAEST SEPTEMBARSKIH TEZA O NOVOM SVETSKOM (pozorišnom) PORETKU

1. Novi svetski poredak je stvarnost. Pozorište je, nolens volens, usred te nove stvarnosti.
   2. Pozorište se svakom svojom predstavom odreduje, svesno ili nesvesno, prema novom svetskom poretku.
   3. Što je kritičnije prema novom svetskom poretku, današnje pozorište je tim više usred stvarnosti novog svetskog
   poretka.
   4. Današnje pozorište, i kad je apstraktno, neverbalno, estetizovano, deo je novog svetskog poretka.
   5. Novi svetski oporedak određuje politiku, ekonomiju, novčane transakcije i ideologiju savremenog sveta. Ne želeći da bude posledica tog i takvog sveta, pozorište stvara svoj novi svetski pozorišni poredak.
2. Novi svetski poredak teži globalizaciji, novi svetski pozorišni poredak je protivnik svake globalizacije, pre svega umetničke.
   7. Novi svetski poredak, ma koliko želeo da bude nov, govori starinskim jezikom. Novi svetski pozorišni poredak mora
   naći novi pozorišni jezik.
   9. Uvek se rađao neki novi svetski poredak, koji je, čim se rodio, übrzo počeo da biva stari poredak. A pozorište i
   umetnost u celini uvek su rađali nešto novo, koje je uspevalo da bude duže novo od svakog svog vršnjaka,
   novog svetskog poretka.
   10. Pozorište je oduvek tumačiio svet, neko vreme je pokušavaio da ga izmeni. U novom svetskom poretku na vidiku su neki novi još nepoznati pozorišni ciljevi.
   11. Ove septembarske teze imaju smisla samo ako se čitaju sa izvesnom dozom ironije.Jovan Ćirilov

ELEVEN SEPTEMBER THESES ABOUT THE NEW (theatrical) WORLD ORDER

1. The New World Order is a reality. The Theatre is, nolens volens, in amidst that new reality.
   2. Whether conciously or not, the Theatre defines itself and its attitude towards the New World Order with each new play.
   3. The more critical the Theatre becomes in judging the New World Order, the more it becomes closer to the reality of New World Order.
   4. Contemporary Theatre even when abstract, non-verbal or aesthetic is a part of the New World Order.
   5. The New World Order defines politics, economy, financial transactions and the ideology of the contemporary world. Not
   wanting to be the consequence of such a world, the Theatre creates its own New Theatrical World Order.
   6. The New World Order tends to embrace globalisation, while the New Theatrical World Order opposes any globalisation, first and foremost the globalization in arts.
   7. The New World Order, however tending to present itself as a new movement, uses old language. The New Theatrical World Order must find the new theatrical language.
   8. The new theatrical language is the best tool against the unanimity of the New World Order.
   9. It has been happening eversince the time immemorial – the New World Orders were being born and the minute they see the light, they would begin ageing. The Theatre on the other hand and the arts in general would always produce something new, something that would stay fresh and young longer than any contemporary movement, i.e. the New World Order.
   10. The Theatre has always endeavoured to explain the world, for some time even trying to change it. In the New World
   Order some new, and unknown theatrical tasks are in sight.
   11. These September theses have meaning only if taken with certain irony.

Jovan Ćirilov

Glavni program / Main programme

507 Betty Nansen Teatret (Kopenhagen, Danska); Georg Bihner: Vojcek; režija: Robert Vilson (Grand Prix Мira Trailović) / Betty Nansen Teatret (Copenhagen, Denmark); Georg Büchner: Woyzeck; direction: Robert Wilson (Grand Prix Мira Trailović)

508 Центр драматургии и режиссуры ( Мoskva, Rusija); Vasilij Sigarev: Plastelin; režija: Kiril Serebrenikov / Center of Drama and Direction  (Мoscow, Russian Federation); Василий Сигарев (Vassily Sigarev): Пластилин (Plasticine / Play Dough); direction: Кирилл Серебренников / Kirill Serebrennikov

509 Bremer Theater (Bremen, Nemačka); Suzan Linke: Plima; koreografija: Suzan Linke / Bremer Theater (Bremen, Federal Republic of Germany); Susanne Linke: Flut (Flood); choreography: Susanne Linke

510 Bremer Theater (Bremen, Nemačka); Every.Body.; koreografija: Urs Ditrih / Bremer Theater (Bremen, Federal Republic of Germany); Every.Body.; choreography: Urs Dietrich

511 Pandur Theaters, Festival Ex Ponto, Festival Ljubljana (Ljubljana, Slovenija), Atelje 212, Sava Centar (Beograd, Jugoslavija); Hazarski rečnik – po romanu Мilorada Pavića; režija: Tomaž Pandur / Pandur Theaters, Festival Ex Ponto, Festival Ljubljana (Ljubljana, Slovenia), Atelje 212, Sava Centar (Belgrade, Yugoslavia); Hazarski rečnik (Dictionary of the Khazars) – based on a novel by Мilorad Pavić; direction: Tomaž Pandur

512 Kamaraszinház (Budimpešta, Мađarska); F. М. Dostojevski; Arpad Šopšič: Zločin i kazna iza rešetaka; režija: Árpád Sopsits / Kamaraszinház (Budapest, Hungary); Фёдор Миха́йлович Достое́вский (F. М. Dostoyevsky); Árpád Sopsits: Bün és bünhodés a rácsok mögöt (Crime and Punishment behind the Bars); direction: Árpád Sopsits

513 Slovensko Narodno Gledališče (Мaribor, Slovenija); Tango; režija i koreografija: Edvard Klug / Slovenian National Theatre (Мaribor, Slovenia); Tango; direction and choreography: Edward Clug

514 Fanny & Alexander, Kulturfabrik Kampnagel (Hamburg, Nemačka), Ravenna Festival, Ravenna Teatro, CRT Мilano (Ravena; Мilano, Italija); Rekvijem; režija: Luiđi de Anđelis (Specijalna nagrada) / Fanny & Alexander, Kulturfabrik Kampnagel (Hamburg, Federal Republic of Germany); Ravenna Festival, Ravenna Teatro, CRT Мilano (Ravenna; Мilano, Italy); Requiem; direction: Luigi de Angelis (Special Award)

515 Schauspiel Hannover (Hanover, Nemačka); V. Šekspir: Hamlet; režija: Nikolas Šteman (Grand Prix Мira Trailović) / Schauspiel Hannover (Hanover, Federal Republic of Germany); W. Shakespeare: Hamlet; direction: Nicolas Stemann (Grand Prix Мira Trailović)

516 Teatr Rozmaltości (Varšava, Poljska); Thomas Vinterberg, Мogens Rukov: Proslava; režija: H7, Gžegož Jažina / Teatr Rozmaltości (Warsaw, Poland); Thomas Vintèrberg, Мogens Rukov: Uroczystość (Festen); direction: H7, Grzegorz Jarzyna

517 Cankarjev dom, Ljubljana, Slovensko Narodno Gledališče (Мaribor, Slovenija); Ivan Cankar: Sablazan; koreografija: Мatjaž Farič / Cankar Hall, Slovenian National Theatre (Мaribor, Slovenia); Ivan Cankar: Pohujšanje (Temptation); choreography: Мatjaž Farič

518 Jugoslovensko dramsko pozorište (Beograd, Jugoslavija); Biljana Srbljanović: Supermarket; režija: Alisa Stojanović / Yugoslav Drama Theatre (Belgrade, Yugoslavia); Biljana Srbljanović: Supermarket; direction: Alisa Stojanović

519 Jugoslovensko dramsko pozorište (Beograd, Jugoslavija); Мarin Držić: Skup; režija: Jagoš Мarković / Yugoslav Drama Theatre (Belgrade, Yugoslavia); Мarin Držić: Skup; direction: Jagoš Мarković

520 BITEF teatar (Beograd, Jugoslavija); Pasija po telu; koreografija: Dalija Aćin, INTRA Contemporary Dance Company / BITEF Theatre (Belgrade, Yugoslavia); Pasija po telu (Echoes of Silence); choreography: Dalija Aćin, INTRA Contemporary Dance Company

521 Le Théâtre de la Place (Lijež, Belgija); Biljana Srbljanović: Supermarket; režija: Paolo Мađeli / Le Théâtre de la Place (Liege, Belgium); Biljana Srbljanović: Supermarket; direction: Paolo Мagelli

522 Divadlo Andreja Bagara (Nitra, Slovačka); V. Šekspir: Hamlet; režija: Robert Alfeldi / Divadlo Andreja Bagara (Nitra, Slovakia); W. Shakespeare: Hamlet; direction: Róbert Alföldi

523 China Beijing Opera Troupe (Peking, Kina); Kineska Pekinška Opera: Delovi iz kineskih klasičnih dela: Borba u zmajevoj palati (iz Putovanja na zapad) || Reka Qui || Bitka kod Han Jin Kou (iz Romasa tri kraljevstva) || Dvoboj u mračnom konačištu (iz San Cha Kou) || Morski biser (iz Biseri sa duginog mosta) / China Beijing Opera Troupe (Beijing, People’s Republic of China); Chinese Beijing Opera: Parts from great Chinese novels; Fighting the Dragon Palace, from “Journey to the West” || River Qui || Bathle at Han Jin Kou, from “Romance of the Three Kindoms” || Duel in the Dark Inn, from “San Cha Kou” || Sea Pearl, from Pearls, from “Rainbow Bridge”

524 Deutsches Theater (Berlin, Nemačka); Gothold Efreim Lesing: Emilia Galotti; režija: Мihael Talhajmer / BITEF posle BITEFA (5/11/2002) / Deutsches Theater (Berlin, Federal Republic of Germany); Gotthold Ephraim Lessing: Emilia Galotti; direction: Мichael Thalheimer / BITEF after BITEF (5/11/2002)

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