Some of the reasons for the slogan Edge of the future include the ecological crisis, climate change, air pollution and all associated problems. That’s also the main topic of this year’s Bitef Neki od razloga za slogan Na ivici budućnosti jesu ekološka kriza, klimatske promene, zagađenje vazduha i svi problemi koji ih prate. To je i glavna tema ovogodišnjeg Bitefa Theatre » Pozorište | 25 Scena iz predstave Farm Fatale Filipa Kena koji razvija nadrealnu viziju „ekološke revolucije“ Scene from the Philippe Quesne directed play Farm Fatale, which develops a surreal vision of the “ecological revolution” Dupli Bitef biće održan od 13. do 25. septembra, sa 14 predstava, desetak repriza i bogatim pratećim programom The double Bitef will be held from 13th to 25th September and will include 14 plays, ten repeat performances and a rich ancillary programme FOTO: Martin Argyroglo Teme iz kojih je proistekao ovogodišnji Bitef kreću se u rasponu od najurgentnijeg globalnog problema današnjice, klimatskih promena, uništenja ekosistema, do projekcije „sveta posle“, sveta koji u savremenoj teoriji neki mislioci nazivaju posthumanizmom i transhumanizmom. U teorijskom smislu, Ivan Medenica, umetnički direktor i selektor Bitefa, kaže da ove pojmove shvata kako ih određuje Keri Vulf: transhumanizam kao intenziviranje humanističkih ideala u vidu tehnološke nadogradnje čoveka, a posthumanizam kao kritiku takvog, u osnovi i dalje antropocentričnog koncepta, zarad ideje obnove prirodne ravnoteže. Dramaturgija festivala osmišljena je tako da se, kao i uvek u poslednjihnekoliko godina, pre svečanog otvaranja dešava dan Prologa, s predstavomkoja nas uvodi u neke od tema i izvođačkih praksi na kojima se zasniva koncept aktuelnog izdanja. Ove godine biće čak dva dana Prologa, sa dve takve predstave, obe u produkciji ili koprodukciji Beogradskog dramskog pozorišta – Cement Beograd (režija Sebastijan Horvat) i Living room, čija će premijera biti upravo na festivalu (režija Ersan Montag, koprodukcija s Bitef teatrom). Bitef je na ovaj način želeo da skrene pažnju na programski uzlet i izrazi podršku tomuzletu koji je u poslednjih godinu dana doživelo Beogradsko dramsko pozorište. Taj uzlet je išao upravo u pravcu onoga što se kolokvijalno naziva bitefovskim tendencijama, zbog čega priču o Bitefu nastavljamo sa Jugom Radivojevićem, direktorom BDP-a. Germany, Iran, Mexico and Slovenia, as well as Serbia. The topics that formthe core of this year’s Bitef span fromtoday’smosturgentglobal problems, climatechange and the destruction of ecosystems, to the projection of the “world after”, aworld that some thinkers of contemporary theory dubposthumanismand transhumanism. Ina theoretical sense, Bitef ArtisticDirector andSelector Ivan Medenica says that he understands these notions as they are defined byCaryWolfe: transhumanismas an intensification of humanistic ideals in the sense of technological “upgrade” ofman, and posthumanismas a critiqueof suchanessentiallystill anthropogenic concept, in favour of the idea of the renewal of the natural balance. The dramatic composition of the festival is devised in such a way that - as has always been the case in recent years - the formal opening ceremony is preceded by the Prologue Day, with a play that introduces us to some of the topics and performance practises that form the basis of the current edition’s concept. However, this year there will actually be two prologue days, with two such plays, bothofwhichareproduced, or co-produced, by the Belgrade Drama Theatre: Cement Belgrade (directed by Sebastijan Horvat) and Living room, which will have its premiere performance at the festival (directed by Ersan Mondtagandco-produced inconjunctionwithBitefTheatre). Bitef has thus sought to drawattention to, and express support for, the rise in programming experienced by the Belgrade Drama Theatre over the last year; a rise that has progressedprecisely in the directionofwhat are colloquially referred to as “Bitef ’s tendencies”. And that’s alsowhywe’re continuing the story of Bitef in conversation with BDT Director Jug Radivojević.
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