Dizajn / Design: Saveta Mašić / Slobodan Mašić (1939-2016)
IZMEĐU MITA I STVARNOSTI
Tokom celog našeg veka pozorište nije prestajalo da se bavi mitom, ali tek poslednjih godina mitu se pristupa sa svešću da se možda u njemu mogu pronaći odgovori o stvarnosti našeg vremena.
Verovatno je iskustvo savremenog strukturalizma i nauke ovih sezona doprlo i do pozorišta, ali je najčešće reč o mitu shvaćenom šire nego što je helenski mit.
Odrazi tog šire shvaćenog mita sadržani su, na primer, u tumačenju Richarda III u Deutsches Theatru, Raskoljnikova u fantazmagoričnoj viziji Jurija Zavadskog, Tartifa i Orgona iz Villeurbanna, ili u ideji o pesniku El Tounsiju koji je svojevrsni mit arapskog sveta, pa i u legendarnom liku heroja Vasilija Tjorkina ili Cepenkova iz Makedonije. Možda je, ipak, u tumačenju upravo helenskog mita u La Mami najbolje sadržana teza o prožimanju stvarnosti i mita, ali je isto tako karakteristično da se reditelj Andrei Serban pomaže afričkim i azijskim mitovima da bi dublje i svestranije izrazio svoju temu.
Predstava Noa iz Tokija stoji kao primer pozorišta koje se vekovima trudi da ne dozvoli da stvarnost prodre u večite pozorišne strukture mita, a ,,Ptice” Karolosa Kouna, po Aristofanu, primer su ljudskog otpora prema mitu u satiričnoj viziji sveta.
I ove godine BITEF nije hteo da liši publiku onih značajnih predstava sveta koje su izvan naknadno pronađene teme. Takve su predstave ,,Na letovanju” iz zapadnog Berlina ili ,,Mesec na selu” iz Poljske. Likovna galerija 212 biće mesto na kome će publika BITEFA videti kako tema mita i stvarnosti izgleda u oblasti likovnih umetnosti kod nas i u svetu u izboru Dragoša Kalajića.
Mira Trailović i Jovan Ćirilov
Between Myth and Reality
hroughout this entire century, the theatre never stop dealing with myth, however, it is only in recent years that myths have open approached with the awareness hat maybe it them can be found an answer to the reality of tur time.
Probably the experience of contemporary structuralism and science has readed the theatre too in recent seasons.
Invariably it is a question of a myth comprehended in a wider sence than in the helenic myfh, aldhough it, above all others, stands as the foundaiion of our civilization.
Reflections of this myth cimprehended in a wider cense is contained, for instance, in the interpretation of ,,King Richard the Third (The Life and Death)” by the Deutsches Theatre; The Tartuffe and the Orgon from Villeurbanne, or the conception of poet el Tounsi which is a myth of its own kind in the Arab world, and even the legendary personality if the hero Vasiliy Tyorkin or Cepankov from Macedonia, nevertheless maybe in the interpretation of helenic myth by La Mama is best contained this theses of the inerlockage of reality and myth, but it is it the same time characteristic that the director Andrei Șerban finds support in African and Asian myths, too in expressing his theme more deeply and more comprehensively.
The noh performance from Tokyo stands as an example of a theatre which ha’s for centuries endeavoured not to permit reality to penetrate into the eternal theattratical structure of myth; while ,,The Birds” of Karolos Koun, after Aristophanes is an example of human resistance against myth in a satirical vision of the world.
Once again, this year BITEF did not want to deprive the public of the outstanding performances of the world which are outside subsequently discovered themes. Such performances are ,,On Summer Holidays, from West Berlin, and ,,A Month in the Country” from Poland.
The art gallery 212 will be a place at which the BITEF pubic will be able to see How the theme of myth and reality appears in the field of art both in Yugoslavia and abroad as presented by Dragoš Kalajić.
Mira Trailović and Jovan Ćirilov
Glavni program / Main Programme
134 Deutsches Theater (Berlin, Nemačka Demokratska Republika); V. Šekspir: Život i smrt Ričarda III; režija: Manfred Vekvert / Deutsches Theater (Berlin, German Democratic Republic); W. Shakespeare: Leben und Tod Richard des Dritten (The Life and Death of King Richard the Third); direction: Manfred Wekwerth
135 Nippon Nōgaku-Dan (Tokio, Japan); Čaplja || Vezani za motku || Haljina od perja || Kradljivac dinja || Gospođa Aoi / Nippon Nōgaku-Dan (Tokio, Japan); Sagi || Bo-shibari || Hagoromo uri || Nasubito || Aoi no Ue (The Heron || Bond to the Pole || The Robe of Feathers || A Melon Stealer || Lady Aoi)
136 Slovensko narodno gledališče (Ljubljana, Jugoslavija); Žan Marivo: Dvostruka ljubavna iskušavanja; režija: Peter Ločak / Slovenian National Theatre (Ljubljana, Yugoslavia); Jean Marivaux: Dvojna preizkušnja ljubezni (La double inconstance /The Double Inconstancy); direction: Peter Lotschak
137 Théâtre national populaire (Vilerban, Francuska); J. B.Molijer: Tartif; režija: Rože Planšon (Grand Prix) / Théâtre national populaire (Villeurbanne, France); J. B.Moliére: Le Tartuffe (The Tartuffe or the Impostor, Or the Hypocrite); direction: Roger Planchon (Grand Prix)
138 La Mama Repertory Company (Njujork, Sjedinjene Američke Države); Trojanke – Elektra – prema Euripidu i Sofoklu; režija: Andrej Šerban (Grand Prix) / La Mama Repertory Company (New York, United States of America); The Trojan Women – Electra – based on Euripides and Sophokles; direction: Andrei Șerban (Grand Prix)
139 La Mama Repertory Company (Njujork, Sjedinjene Američke Države); Medeja – prema Sofoklu i Seneki; režija: Andrej Šerban / La Mama Repertory Company (New York, United States of America); Medea – based on Sophokles and Seneca; direction: Andrei Șerban
140Teatr Narodowy, scena Teatru Małego (Varšava, Poljska); Ivan Turgenjev: Mesec dana na selu; režija: Adam Hanuškijevič / Teatr Narodowy, scena Teatru Małego (Warsaw, Poland); Ivа́n Sergе́evič Turgе́nev (Ivan Turgenev): Miesiac na wsi (A Month in the Country); direction: Adam Hanuszkiewicz
141 Dramski Teatar Skopje (Skoplje, Jugoslavija); Goran Stefanovski: Jane Zadrogaz; režija: Slobodan Unkovski / Dramski Teatar (Skopje, Yugoslavia); Goran Stefanovski: Jane Zadrogaz; direction: Slobodan Unkovski
142 Citizens’ Theatre (Glazgov, Velika Britanija); Džon Vebster: Vojvotkinja od Malfija; režija: Filip Prausi / Citizens’ Theatre (Glasgow, United Kingdom); John Webster: The Duchess of Malfi; direction: Philip Prowse
143 Théâtre Laboratoire Vicinal (Brisel, Belgija); Frederik Bal: Ja; režija i solo igra: En Vest; skulpture: Olivije Strebel (Specijalna nagrada) / Théâtre Laboratoire Vicinal (Brusells, Belgium); Frédéric Baal: I; direction and solo dance: Anne West; sculptures: Olivier Strebelle (Special Award)
144 Théâtre Permanent (Kef, Tunis); Samir Ajadi: Žeđ; režija: Monsef Suisi / Théâtre Permanent, (El Kef, Tunisia); سميرالعيادي (Samir Ayadi): Atchan ya abaya; direction: Moncef Souissi
145 Госуда́рственный академи́ческий театр имени Моссове́та — драматический театр в Москве (Moskva, Savez Sovjetskih Socijalističkih Republika); Petrogradska snoviđenja – po romanu F. M. Dostojevskog: Zločin i kazna; režija: Jurij Zavadski / Teatr Mossoveta ( Moscow, The Union of Soviet Socialist Republics); Петербургские сновидения – по роману Ф. М. Достоевского: Преступление и наказание (Petersburg Dreams – adaptation of F.M. Dostoyevsky’s Crime and Punishment); direction: Ю́рий Алекса́ндрович Зава́дский (Jurij Zavadski)
146 Госуда́рственный академи́ческий театр имени Моссове́та — драматический театр в (Moskva, Savez Sovjetskih Socijalističkih Republika); Aleksandar Tvardovski: Vasilij Tjorkin; režija: Boris Ščedrin / Teatr Mossoveta; Moscow (The Union of Soviet Socialist Republics); Алекса́ндр Три́фонович Твардо́вский (Aleksandr Tvardovsky): Василий Тёркин (Vasily Tyorkin); direction: Бори́с Ефи́мович Щедри́н (Boris Shchedrin)
147 Θέατρο Τέχνης (Atina, Grčka); Aristofan: Ptice; režija: Karolos Kun / Θέατρο Τέχνης (Theatro Tehnis, Athens, Greece); Aristophanes: Ορνιθε (Ornithes / The Birds); direction: Κάρολος Κουν (Karolos Koun)
148 Schaubühne am Halleschen Ufer (Zapadni Berlin, Savezna Republika Nemačka); M. Gorki: Na letovanju; režija: Peter Štajn (Grand Prix) / Schaubühne am Halleschen Ufer (West Berlin, Federal Republic of Germany); Максим Горький (M. Gorky): Sommergäste (Дачники / The Summer Guests); direction: Peter Stein (Grand Prix)
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