45. Beogradski internacionalni teatarski festival – BITEF Nove pozorišne tendencije. Na usijanom limenom krovu / 13. septembar–24. septembar 2011. godine

45 BITEF 11
…NA USIJANOM LIMENOM KROVU

U trenutku svog nastanka, 1967. godine, BITEF je osim umetničke igrao i važnu društvenu ulogu. Bio je svojevrsni
most izmedu Istoka i Zapada и svetu koji je bio polarizovan hladnim ratom. BITEF je bio jedan od retkih teatarskih
punktova (u nekim trenucima i jedinil) gde je bilo moguće susresti se, istovremeno, sa produkcijama iz Poljske, Rusije i
Amerike ili Zapadne Nemačke. Takvu privilegiju ovaj festival je dugovao međunarodnoj poziciji SFRJ koja je počivala na
ideji nepripadanja nijednom od dva dominantna politička bloka. Zbog svoje društvene i političke provokativnosti, ovaj
festival je и prvoj deceniji svog postojanja, bio veoma važan inostranim umetnicima i pozorišnim programatorima iz celog
sveta, što mu je donelo zaviđnu medunarodnu reputaciju, koju uprkos raspadu Jugoslavije i postjugoslovenskoj zbunjenosti, ima i dalje.Poslednjih godina, festival je pretežno bio okrenut lokalnoj zajednici kojoj je, zahvaljujući dovođenju velikih i znacajnih
međunarodnih produkcija nekih od najvećih pozorišnih autora današnjice, pružao preko potrebne informacije о
pravcima kretanja savremenog teatra. Namera ovogodišnjeg BITEFA je da, pored etabliranih internacionanih autora,
postane platforma za prezentaciju savremenih regionalnih pozorišnih praksi, koje su, od raspada Jugoslavije i promene
geopolitičkih koordinata, nedovoljno vidljive i prepoznatljive u širem evropskom i svetskom teatarskom kontekstu. Na
ovaj način BITEF će od ove godine obavljati dvostruku misiju – nastaviće da informiše domaću pozorišnu zajednicu, ali će, takođe, nastojati da promoviše pozorišnu umetnost regiona Jugoistočne Evrope u širem geografskom kontekstu. Тако će se ove godine, u glavnoj setekciji festivala ravnopravno naći: Alen Platel, Jan Fabr, Hajner Gebels, Žizel Vijen, Frank Kastorf, Andrej Šerban, Oliver Frljić, Ivica Buljan, Ivana Sajko, Boris Liješević, Jožef Nađ, Selma Spahić, Snježana Abramović, Nataša Rajković i Bobo Jelčić… I BITEF će, ponovo, postati mesto susreta и pravom značenju tog pojma, susreta publike sa temama sa „usijanog limenog krova“, susreta umetnika jednih sa drugima, susreta publike sa umetnicima, susreta Evrope sa njenim „predvorjem“. Beograd će postati pozorišna raskrsnica koja se račva na sve četiri strane sveta.
Provericemo da li su ulice ponovo prohodne…
Anja Suša / Jovan Ćirilov
Jun, 2011.

45 BITEF 11
… ON A HOT TIN ROOF

In the moment of its inception, in 1967, BITEF played not only an artistic but an important social role as well. It used to represent a unique link between East and West in the polarized world of the Cold War. BITEF represented one of the rare meeting points (sometimes, indeed, the only one!) of the productions from Poland, Russia and America or from West Germany. The festival owed the privilege to the international position of the then SPRY, which followed the idea of not belonging to either political bloc. Due to its provocative political and social character, the first decade of the festival existence was marked by a distinct importance it had for the foreign artists and theatre programme-makers from around the world, gaining thus an enviable international reputation that it, despite the break-up of Yugoslavia and a post-Yugoslav confusion, still enjoys.

In the course of the past years, the main focus of the festival has been to bring some great international productions and some of the most renowned theatre authors and acquaint the local community with the major trends in the field of contemporary theatre. This year, apart from bringing established international authors, BITEF has yet another goal: to expand into a platform where contemporary theatre praxes from the region, obscured after the break-up of Yugoslavia and after the change of geopolitical coordinates, would be presented and made more visible and recognizable in the wider theatre context of Europe and the world. Therefore, BITEF will perform a double function as of this year – it will remain the main source of information for the local audience while promoting the theatre art of southern Europe in the wider geographical context. Consequently, this year’s festival selection will present as equals: Alain Platel, Jan Fahre, Heiner Goebbels, Gisèle Vienne, Frank Castorf, Andrei Ṣerban, Oliver Frljić, Ivica Buljan, Ivana Sajko, Boris Liješević,
Jozef Nadj, Selma Spahić, Snježana Abramović, Nataša Rajković and Bobo Jelčić… And BITEF will, once again, become a real meeting point, a place where audience will be confronted with the topics from „a hot tin roof“, a place where artists will meet each other and their audience and where Europe will, stepping out into its „vestibule“, meet those waiting there. Belgrade will turn into a theatre crossroads branching towards all four cardinal directions.

We will check if the streets are viable again…

Anja Suša / Jovan Ćirilov
June, 2011

Glavni program / Main programme

 620 Troubleyn, Jan Fabre (Antverpen, Belgija); Jeroen Olyslaegers (Ja sam sve-davalac – po Eshilu) i Jan Fabre (Sada su nam potrebni heroji): Prometej pejzaž; koncept, režija i scenografija: Jan Fabr / Troubleyn, Jan Fabre (Antwerp, Belgium); Jeroen Olyslaegers (I Am the All-giver  –  from the Prometheus Bound by Aeschilus) and Jan Fabre (We Need Heroes Now): Prometheus Landscape II; concept, direction and scenography: Jan Fabre*

*(u oviru projekta / within the project:  ENPARTS – European Network of Performing Arts)

 621 Žizel Vijen (Pariz; Grenobl, Francuska); koncept: Žizel Vijen, tekst: Denis Kuper, muzika: Peter Reberg: I Apologize; koncept i koreografija: Žizel Vijen (lutke: Raphaël Rubbens, Dorothéa Vienne-Pollak i Gisèle Vienne) / Gisèle Vienne (Paris; Grenoble, France); concept: Gisèle Vienne,text: Dennis Cooper, musik: Peter Rehberg: Je m’excuse (I Apologize); concept and choreography: Gisèle Vienne (des poupées / dolls: Raphaël Rubbens, Dorothéa Vienne-Pollak et Gisèle Vienne)

622 Beogradski internacionalni teatarski festival – BITEF / BITEF teatar (Beograd, Srbija); Ako bismo svi malo utihnuli; koncept i koreografija: Snježana Abramović Мilković / Belgrade International Theatre Festival – BITEF / BITEF Theatre (Belgrade, Serbia); Ako bismo svi malo utihnuli (If We All Hush Down a Little); concept and choreography: Snježana Abramović Мilković

623 Zagrebačko kazalište mladih (Zagreb, Hrvatska); Izlog; tekst i režija: Nataša Rajković, Bobo Jelčić / Zagreb Youth Theater (Zagreb, Croatia); Izlog (The Store Window); script and direction: Nataša Rajković, Bobo Jelčić

624 Zagrebačko kazalište mladih i Istarsko narodno kazalište Pula (Hrvatska); Rose Is A Rose Is A Rose Is A Rose*; tekst i režija: Ivana Sajko / Zagreb Youth Theatre & Istrian National Theatre Pula (Croatia); Rose Is A Rose Is A Rose Is A Rose*; script and direction: Ivana Sajko

*Rečenica „Rose is a rose is a rose is a rose“ je citat (deo) pesme Gertrude Stei „Sacred Emily“ / The quotation  (sentence) „Rose is a rose is a rose is a rose“ was written by Gertrude Stein as part of the poem „Sacred Emily”
625 Atelje 212 (Beograd, Srbija); Abdulah Sidran: Otac na službenom putu; režija: Oliver Frljić / Atelje 212 (Belgrade, Serbia); Abdulah Sidran: Otac na službenom putu (When Father Was Away on Business); direction: Oliver Frljić

626 Hartefakt fond & BITEF teatar (Beograd, Srbija); Hipermnezija; režija: Selma Spahić / Hartefact Fund & BITEF Theatre (Belgrade, Serbia); Hipermnezija (Hypermnesia); direction: Selma Spahić

627 Jugoslovensko dramsko pozorište (Beograd, Srbija); Igor Štiks: Elijahova stolica; režija: Boris Liješević (Grand Prix Мira Trailović) / Yugoslav Drama Theatre (Belgrade, Serbia); Igor Štiks: Elijahova stolica (Elijah’s Chair); direction: Boris Liješević (Grand Prix Мira Trailović)

628 Slovensko mladinsko gledališče (Ljubljana, Slovenija); Proklet bio izdajica svoje domovine!; režija: Oliver Frljić / The Mladinsko Theatre (Ljubljana, Slovenia); Preklet naj bo izdajalec svoje domovine! (Proklet bio izdajica svoje domovine! / Damned be the Traitor of His Homeland!); direction: Oliver Frljić

629 Мestno gledališče ljubljansko (Ljubljana, Slovenija); Tenesi Vilijams: Мačka na usijanom limenom krovu; režija: Ivica Buljan / Ljubljana City Theatre (Slovenia); Tennessee Williams: Mačka na vroči pločevinasti strehi (Мačka na usijanom limenom krovu / Cat on a Hot Tin Roof); direction: Ivica Buljan

 630 RKA „Josef Nadj“ & Kiosk (Kanjiža; Beograd, Srbija); Bez naziva; koncept i režija: Jozef Nađ (Nagrada Politike) / RKA „Josef Nadj“, Kanjiža & Kiosk (Kanjiža; Belgrade, Serbia); Bez naziva (Megnevezhetetlen / Untitled); concept and direction: Josef Nadj (Politika Award)

631 Volksbühne am Rosa-Luxemburg-Platz (Berlin, Nemačka); U Мoskvu! U Мoskvu!  – po A. P. Čehovu (Tri sestre i Seljaci); režija: Frank Kastorf (Nagrada publike) / Volksbühne am Rosa-Luxemburg-Platz (Berlin, Federal Republic of Germany); Nach Мoskau! Nach Мoskau! (В Москве! В Москве! / To Мoscow! To Мoscow!); (Анто́н Па́влович Че́хов / A. P. Tschechow; Drei Schwestern und Die Bauern / Три сестры и Мужики / Three Sisters and Peasants); direction: Frank Castorf (Audience Award)

632 Théâtre Vidy-Lausanne E.T.E (Lozana, Švajcarska); Došao sam do kuće ali nisam ušao; koncept, muzika i režija: Hajner Gebels (Specijalna nagrada) / Théâtre Vidy-Lausanne E.T.E (Lausanne, Switzerland); I Went to the House but did not Enter; concept, music and direction: Heiner Goebbels (Special Award)

633 Kolozsvári Állami Мagyar Színház (Kluž, Rumunija); Ingmar Bergman: Krici i šaputanja; režija i adaptacija: Andrei Šerban / Kolozsvári Állami Мagyar Színház (Kluž, Romania); Ingmar Bergman: Suttogások és sikolyok (Viskningar och rop / Cries and Whispers); direction and adaptation: Andrei Ṣerban

634 Les ballets C de la B (Gent, Belgija); Gardenija; režija: Alan Platel, Frank Van Leke; koncept: Vanesa van Durme / Les ballets C de la B (Gent, Belgium); Gardenia; direction: Alain Platel, Frank Van Laecke; concept: Vanessa Van Durme

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