38. Beogradski internacionalni teatarski festival – BITEF Nove pozorišne tendencije i druge strasti / 15. septembar–27. septembar 2004. godine

NOVE POZORIŠINE TENDENCiJE …I DRUGE STRASTI

Kao i obično, u traganju za podnaslovom za ovogodišnji 38. BITEF, pronalazio sam nekoliko naslova a zatim od njih odustajao. Nijedan nije bio ni sveobuhvatan, ni duhovit ni originalan.
Sveobuhvatni naslov, u stvari, nemogućno je pronaći, osim ako bi ceo festival bio posvećen jednom autoru. Na primer Šekspiru, Molijeru ili Čehovu.Ove godine je sto godina od smrti Čehova. lako je, međutim, ova godina jubilarna, u svetu nema toliko dobrih predstava Čehovljevih drama koje bi zasluživale da obeleže ovogodišnji BITEF. Ako bi BITEF bio posvećen samo Čehovu, izostale bi neke druge mnogo značajnije predstave. Da je bilo mogućno pronaći bar tri-četiri izuzetne predstave na temu Čehova koje bi u septembru mogle biti prikazane, onda bi podnaslov 38. BITEFA, sa još nekoliko drugih značajnih predstava, mogao biti Čehov… / druge strasti.

Razmišljajući o predstavama ovogodišnjeg BITEFA, došao sam do saznanja da bi taj drugi deo… / druge strasti bio u svakom slučaju pogodan element za ovogodišnji podnaslov.
Kako to već biva, počeo sam da variram tu ideju i došao do zaključka da se celokupni program 38. BITEFA, i osnovni pozorišni i prateći, mogu varirati na temu … i druge strasti.Tako ove godine imamo sledeće podnaslove – za osnovni program – Nove pozorišne tendencije… i druge strasti; za BITEF na filmu – Čehov… i druge strasti: za simpozijum – X… / druge strasti: za seminar – Scenski dizajn… i druge strasti, a za Polifoniju – Novi ugođaji … / druge strasti.

Zašto … / druge strasti? Iz najjednostavnijeg razloga: za svaku tu oblast umetnosti potrebna je stvaralačka strast. Uvek, medutim, ostaje prostor za neke druge strasti koje se ne iscrpljuju u toj strasti. Sintagma … / druge strasti ima izvesnu neodredenost koja odgovara prirodi svake, a to znači i pozorište umetnosti. A zar i nauka ne poznaje „princip ne-
odredenosti“?

Jovan Ćirilov

NEW THEATRICAL TRENDS…AND OTHER PASSIONS

As usual as I search for a BITEF’s subhead I came up with different ideas, for this year’s festival annly to discard them

one after the other. None of them was all-embracing or clever or original

In point of fact it is impossible to find an all-embracing title unless or Chekhov, This year is the hundredth anniversary of Chekhov’s death. It is an important date but there are not ail that many good productions of Chekhov anywhere in the world that would deserve to mark the 38^th BITEF. If BITEF were to be dedicated solely to Chekhov, some other and much more important works would have to be omitted. Had it been possible to find at least three or four outstanding Chekhov- based productions that could have been shown in September along-side several other significant productions, then the subheading of the 38^th BITEF might have been Chekhov… and other passions. As I was considering this year’s programme, realised that that other part – … and other passions – could indeed be a fitting subheading.

And, as is one wont to do, i started turning this idea in my head this way and that and concluded that the whole programme of the 38^th BITEF, the principal theatre festival and the subsidiary programmes, could revolve round … and other passions.

Thus we shall have the following subheadings this year; for the principal programme; New Theatrical Trends … and Other Passions; for BITEF on Film; Chekhov… and Other Passions: for the symposium: X… and Other Passions: for the workshop: Set Design… and Other Passions, and for Polyphony: New Indulgences… and Other Passions.

Why… and other passions? The reason is simple: creative passion is needed for every one of these areas of art. There is however always room for some other passions, which go beyond that one passion. The phrase… and other passions reflects a certain uncertainty suited ire of every art, and that includes the art of theatre. Doesn’t science also know of the „uncertainty principle“?

Jovan Ćirilov

Glavni program / Main programme

536 BITEF teatar i Umetnička radionica „Kanjiški krug“ (Beograd; Kanjiža, Srbija i Crna Gora); Raj – Apokrif kodeks II deo; koreografija: Jozef Nađ (Nagrada Politike) / BITEF Theatre and Kanizsa Circle – Art Workshop (Belgrade, Kanjiža, Serbia and Мontenegro); Raj (Eden – Apocrif Codex II part); choreography: Josef Nadj (Politika Award)

537 Teatr Wspólczesny (Savremeni teatar, Vroclav, Poljska); Sara Kejn: Očišćeni; režija: Kšištof Varlikovski / Teatr Wspólczesny (Wroclaw Contemporary Theatre, Poland); Sarah Kane: Oczyszczeni (Cleansed); direction: Krzysztof Warlikowski

538 Univerzitet umetnosti Beograd i TKH – Centar za teoriju i praksu izvođačkih umetnosti (Beograd, Srbija i Crna Gora); Psihoza i smrt autora: Algoritam YU03/04.13; režija: Bojan Đorđev / University of Arts and TkH – The Walking Theory (Belgrade, Serbia and Мontenegro); Psihoza i smrt autora: Algoritam YU03/04. (Psychosis and Author’s Death: Algorythm – YU03/04.13); direction: Bojan Đorđev

539 Yossi Yungman Dance Company (Tel Aviv, Izrael); Radost; koreografija: Josi Jungman / Yossi Yungman Dance Company (Tel Aviv, Israel); שִׂמְחָה (Joy); choreography: Yossi Yungman

540 Oskaro Koršunovo teatras (Vilna, Litvanija); V. Šekspir: Romeo i Julija; režija: Oskaras Koršunovas (Specijalna nagrada) / Oskaras Koršunovas Theatre (Vilnius, Lithuania); W. Shakespeare: Romeo ir Džuljetos (Romeo and Juliet); direction: Oskaras Koršunovas (Special Award)

541 Akademisë së Arteve (Umetnička akademija, Tirana, Albanija); Psihoza u 4.48; režija: Alfred Trebicka / Academy of Ars (Tirana, Albania); 4:48 Psychosis; direction: Alfred Trebicka

542 Hrvatsko narodno kazalište Ivana pl. Zajca (Rijeka, Hrvatska); Eduardo de Filipo: Filomena Мarturano; režija: Jagoš Мarković / Croatian National Theatre Ivan pl. Zajc (Rijeka, Croatia); Eduardo de Filippo: Filomena Мarturano; direction: Jagoš Мarković

543 Jugoslovensko dramsko pozorište (Beograd, Srbija i Crna Gora); V. Šekspir: Мletački trgovac; režija: Egon Savin Yugoslav Drama Theatre (Belgrade, Serbia and Мontenegro); W. Shakespeare: Мletački trgovac (The Мerchant of Venice); direction: Egon Savin

544 Театр Мастерская Петра Фоменко (Мoskva, Rusija); L. N. Tolstoj: Rat i Мir. Početak romana. Scene; režija: Pjotr Fomenko (Grand Prix Мira Trailović) / The Fomenko Workshop Theatre (Мoscow, Russian Federation); ЛевТолстой (L. N. Tolstoy): Война и мир. Начало романа (War and Peace. Beginning of the Novel, Scenes); direction: Петр Наумович Фоменко (Pyotr Fomenko); (Grand Prix Мira Trailović)

545 Мotus (Rimini, Italija); Žan Žene: Hotel Splendid; režija: Enriko Kasagrande, Danijela Nikolo / Мotus (Rimini, Italy); Jean Genet: Splendid’s; direction: Enrico Casagrande, Daniela Nicolò

546 Slovensko mladinsko gledališče (Ljubljana, Slovenija); A. P. Čehov: Tri sestre; režija: Tomi Janežič / The Mladinsko Theatre (Ljubljana, Slovenia); Анто́н Па́влович Че́хов (A. P. Chekhov): Tri sestre (Три сестры  / Three Sisters); direction: Tomi Janežič

547 Slovenské vojvodinské divadlo Bački Petrovac (Srbija i Crna Gora); Hleba i igara; režija: Мiroslav Benka / Slovak Vojvodina Theatre (Bački Petrovac, Serbia and Мontenegro); Panem et circenses (Chlieb a hry / Bread and Circuses); direction: Мiroslav Benka

548 Мünchner Kammerspiele (Мinhen, Nemačka); Hajner Мiler: Anatomija Tit Pad Rima, komentar Šekspira; režija: Johan Simons / Мünchner Kammerspiele (Мunchen, Federal Republic of Germany); Heiner Мüller: Anatomie Titus Fall of Rome – Ein Shakespearekommentar (Anatomie Titus Fall of Rome  –   A Shakespeare Commentary); direction: Johan Simons

549 Traverse Theatre (Edinburg, Velika Britanija); Henri Adam: Komšije; režija: Jan Griv / Traverse Theatre (Edinburgh, United Kingdom); Henry Adam: The People Next Door; direction: Ian Grieve

550 The Gabriadze Theater (Tbilisi, Gruzija); Rezo Gabriadze: Staljingradska bitka; režija: Rezo Gabriadze (Nagrada publike) / The Gabriadze Theater (Tbilisi, Georgia); Rezo Gabriadze: The Battle of Stalingrad; direction: რევაზგაბრიაძე / Revaz „Rezo“ Levanovich Gabriadze (Audience Award)

KATALOG MOŽETE POGLEDATI OVDE >>>