Septembar

32 | dramskog pozorišta i zabranjivani Tartif u režiji Igora Vuka Torbice. Već ovako postavljen koncept navodi na sledeće pitanje za umetničkog direktora – u kojoj meri brisanje granica omogućava autorima da iskažu radikalniji politički stav i da li se on upravo tom radikalnošću vodio prilikom odabira predstava? – Manje je u pitanju intenzitet, a više vrsta političkog sadržaja. U imerzivnom pozorištu se zapravo ne artikuliše stav, političnost nije diskurzivna, ne svodi se na poruku, već je u samom iskustvu našeg gledalačkog bivanja u nekoj scenskoj situaciji, preuzimanja dela odgovornosti za nju. U slovenačkoj predstavi, rađenoj po Fasbinderovom filmu Ali: strah jede dušu, reditelj Sebastijan Horvat postavlja publiku u situaciju da do pucanja ispunjava i inače tesan fizički prostor junaka dramske fikcije i tako postane onaj treći koji sreću kvari, društvo/zajednica koja predrasudama, doslovno i metaforički, guši jednu ljubavnu vezu... Sasvim je druga uloga publike u Pozvanima: tu nismo remetilački faktor, već vođeni samim izvođačima, zajednički ispitujemo i gradimo solidarne, na pažnji i podršci zasnovane odnose i u tome se, sasvim u duhu postdramskog pozorišta o kojem piše Hans Tis Leman, ogleda političnost koreografije Sepe Bajensa... Iz mogućnosti da se, bar na trenutak, izgradi takav svet, potiče i slogan Bitefa, a koji je naslov pesme Aleksandra Koraća proslavljene u interpretaciji Beti Đorđević – Počnimo ljubav iz početka. Naravno, iako uvek najviše u fokusu, glavni program Bitefa nije i jedini, i ove godine pripremljeni su brojni jednako interesantni prateći programi. Medenica kaže da bi sve konceptualne osovine Bitefa bile jasno istaknute, potrebno je tematizovati ih i u pratećim programima, prevashodno onimdebatne prirode, kojih će i ove godine na Bitefu biti mnogo. – Posebno bih izdvojiomeđunarodnu tribinu o imerzivnompozorištu i novo izdanje Filozofskog teatra, u kojem će filozof Srećko Horvat razgovarati s Normanom Ohlerom o otkrićima tog nemačkog pisca o tome koliko su narkotici uticali na nacističku vrhušku, a po čijoj knjizi Leonardo Dikaprio želi da snimi film. Izdvajam i program posvećen sećanju na Borku Pavićević, velikog saborca, stvaraoca i prijatelja Bitefa. Jedan od pratećih programa je i festival novog cirkusa – Cirkobalkana. Sve je to jedan veliki poziv na ljubav. Iz početka. ment hasbothartisticand thematicaxes: eachof theselectedplays must rely on at least one of them. So, plays that are not immersive pose questions related to our theme for this year: the collapse of community – spanning everything from the state and family relations to partnerships – and attempts at its renewal... The world is perhaps in the midst of the biggest crisis since World War II, and some of the syndromes of this crisis are addressed by the plays of the 53rd Bitef: terrorism, juvenile violence and the impact of new technologies on the youth, the consent of citizens toauthoritarian regimes, the refugee tragedy, prejudiceagainst same-sex relationshipsor thosebetweenpeopleof di erent ages andbackgrounds.” Thus, the programme of the 53rd Bitef, to take place from17th to 26th September, will include – apart from the aforementioned Invited– the shows RareBirds (France), Of FleshandConcrete (Brazil), Ali: Fear EatsYour Soul (Slovenia), Immoral Tales - Part 1: Mother House (France),Yuropa (Nigeria), History ofViolence (Germany), YouthWithout God (Croatia), Orestes in Mosul (Belgium), and RemoteBelgradebydance troupeRimini Protokoll,whichwas awarded at last year’s edition of the festival. Our home colours will be defended by the Yugoslav Drama Theatre’sWhy Does Herr R. Run Amok? and the banned Tartu e, directed by Igor Vuk Torbica. A concept established in such a way raises the following question for theartisticdirector – towhat extent does theerasingof boundaries enable authors to express amore radical political stance and was it precisely such radicalism that guided him when it came to selecting plays? “It is less about intensity and more about the type of political content. In immersive theatre a stance actually isn’t articulated, politics isn’t discursive, it isn’t boiled down to a message, but rather is in the very experience of our viewer being in some situation on stage, in taking on part of the responsibility for it. In the Slovenian play based on Fassbinder’s lm Ali: Fear Eats Your Soul, director SebastijanHorvat place the audience in a situationwhere the stage is full to bursting in the otherwise narrowphysical space of the hero of this ctional drama, thus becoming the three that’s a crowd, as a society/community that, with its prejudice – literally and metaphorically – su ocates a love a air... The audience plays a completely di erent role in Invited: here we’re not a disruptive factor, but rather – led by the performers themselves – we jointly examine and build solidarity, through relationships established carefully and supportively, and in this – completely in the spirit of Postdramatic Theatre as written about by Hans-Thies Lehmann – is re ected thepolitical natureof this choreographybySeppeBaeyens... The possibility of building such a world, at least momentarily, is the foundationof Bitef’s slogan, which is the title of a songby composer Aleksandar Korać that was celebrated according to the interpretation of Beti Đorđević - Let’s Start Love Over.” Of course, although it’s always in the main focus, Bitef’s main programme isn’t the only programme, and for this year a number of equally interesting supportingprogrammes havebeenprepared. According to Medenica, in order for all of Bitef’s conceptual axes to be clearly accentuated, it is necessary to theme them in the supporting programmes, especially those that are of a debatable nature – and Bitef will also have many such plays this year. “Iwouldsingleout inparticular the international panel debate on immersive theatreandtheneweditionof thePhilosophicalTheatre, in which philosopher Srećko Horvat will speak with Norman Ohler about this German writer’s discoveries regarding the in uence of narcotics on the Nazi leadership, and whose book on this subject Leonardo DiCaprio wants to adapt for a lm. I would also single out the programme dedicated to the memory of Bitef’s great comrade, creator and friend, Borka Pavićević. Another of the supportingprogrammes is theCirkobalkana festival of newcircus.” Andallof this formsonebiginvitationtolove... Fromthestart. Svet je možda i u najvećoj krizi od Drugog svetskog rata, a neke od sindroma ove krize tretiraju predstave 53. Bitefa The world is perhaps in the midst of the biggest crisis since World War II, and some of the syndromes of this crisis are addressed by the plays of the 53rd Bitef

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