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subvenoija. Ove godine dotacija Umetničkog saveta pokriva manje od četvrtine troškova; ostalo se pokriva od prodaje ulaznica. Ko-rporacija grada Londons gradi za RSC novo pozoriste u Barbicam Arts Centru. Ono će biti gotovo 1977/78, pa će se trupa tada presentì iz Aldwicha. 1969. godine napravljen je prvi film u boji, u produkcijl RSC, SAN LETNJE NOĆI, koji je prikazan na televizijskoj mrezi CBS u Americi, a ka-snije dospeo i u mnoge bioskope š-irom sveta. Prošie godine napravljena je filmska verzija Brukove predstave KRAU LIR, sa Paul Scofield-om. Politiku RSC oformijuje grupa direktora (Peggy Ashcroft, Peter Brook, Peter Hall, Trevor Nunn), na čelu sa Trevor Nunn-om kao -umetničkim direktorom.

rsc THE ROYAL SHAKESPEARE COMPANY are divided between the country and the capital, playing concurrently at two theatres for most of each year. They appear at their Stratford-upon-Avon home, the Royal Shakespeare Theatre, from April to December: and at thei-r London home, the Aldwych Theatre, from June to April. Each spring at the Aldwych the RSC present ensembles from other countries In the World Theatre Season directed by Peter Daubeny. The RSC are formed round a core of artists under long-term contract. By working constantly together In a varied repertoire the company aim to be a flexible ensemble with a distinctive character. Since 1960, they have won nearly 60 top national and international drama awards more than any other theatre company. Shakespeare is the RSC’s central concern; the company are responsible for most of the major Shakespeare productions seen in this country. Five or more Shakespeare plays (with occasionally a non-Shakespeare) compose each year’s Stratford season. The RSC's anual Aldwych season complements the company's Shakespeare work by consisting of some modern plays -as well as Shakespeare and other classics. This bridge between Shakespeare and the contemporary theatre keeps the RSC's Shakespeare productions in touch with modern thought. RSC Theatregoround productions, as well as playing in the company’s Stratford and London theatres, are taken ont to

theatres, schools, colleges and community centres throughout Great Britain. The RSC occasionally give short experimental seasons In which they challenge accepted forms of acting, writing, and directing. Last year a total of well over one million people visited the RSC's two theatres and saw their productions on tour. This figure is believed to be a world record. But -no theatre company working in repertoire can recoup expenditure. Giving the public a wide choice of plays, staged conourently and continually changing, is an expensive system. Even with year-round full houses subsidy Is necessary. This ear's Arts Council subsidy Is less than one-quarter of the company's costs, the rest being met from the box office. The Corporation of the City of London is building the RSC a new London theatre in the Barbican Arts Centre. This will be ready by 1977/78 and the company move there from the Aldwych. In 1969 the RSC's first colour film A Midsummer Night's Dream was shown on CBS television network In America, and released for world-wide cinema distribution. Last year a screen version of Peter Brook’s RSC production of King Lear with Paul Scofield was also released. RSC policy is formulated by a group of directors (Peggy Ashcroft, Peter Brook, Peter Hall, Trevor Nunn) with Trevor Nunn in the top post of Artistic Director. The directors are responsible to the Board of Governors of the Royal Shakespeare Theatre, whose President -is the Earl of Harewood, Chairman Sir George Farmer, -and Vice-Charman Dennis L. Flower. Of the RSC's two theatres the parent Is the Royal Shakespeare Theatre which was called the Shakespeare Memorial Theatre from 1879, when it was founded, to 1961. Its founder was Charles Flower whose family notably Sir Archibald and more recently, Sir Fordham have supported and guided the theatre throughout its long history. It as gutted by fire in 1926 to be -replaced six years later by the present building. Incorporated under Royal Charter and state-subsidised, with the Queen as Patron, It virtually belongs to the nation.

peter brook Na prvi pogled -nam -izgieda da je moć-vodiija Brook-ove karijere bila paradoks. U pozorište je ušao uzgredno s obzirom

na njegovu pravu ambiciju, film. Trideset godina je šampion »ozbiljne« drame, a njegova najomiljenìja zabava I publika je mjuzikal. Ključna figura u avangardi dvadesetog veka, narocito u eksperimentima sa Majerholdom, Artoom I Grotovskim, njegove najveće i cesto najradikalnije režije bila su delà najvećeg među kiasičnlm pisoima Šekspi-ra. Protivrečnost se provlaöi kroz sve tri decenije njegovog rada. Posto je u svojoj dvadesetoj godini izašao na glas kao britanski Interpretator Sartra 1 posleratnih francuskih egzistenoijalista, uspeo je da svojom nezaboravnom postavkom uzaludnog Ijubavnog truda, sa scenografijom po Vatou, prevazide reputaciju čuda od deteta. Njegova kontraverzna anti-romantidna postavka ROMBA I JULIJE u Stratfordu na Ejvonu označila je blistavl početak karijera Paul Soofield-a i Claire Bloom. Posle uspeha njegovog PRSTENA OKO MESECA, Christopher Fry-ovog preveda Anujovog POZIVA U DVORAC, siedila je Izvanredna režija MERE ZA MERLI, šekspirove najcrnje komedije, koju je Brook u Stratfordu radio u duhu Dostojevskog. Oko 1950. je uspeo da između Arthur Miller-ovog POGLEDA S MOSTA i Tennessee Williams-ove MAČKE NA USIJANOM LIMENOM KROVU stisne Schofield-ovog HAMLETA, koga svi pamtimo, i koji je bio prva britanska predstava koja je gostovala u SSSR-u. Između londonske i njujorške režije mjuzikla SLATKA IRMA, napravio je sasvlrn razlioito istraživanje francuskog podzemlja u pariskoj premijeri ženeovog BALKONA. Još jedan je mjuzikal, PUSTOLOVINE SCOBIE PRILT-a, na brzi-nu postavio u pauzi između režije KRAUA LIRA u RSC (1962), sa Paul Scofield-om, i SEZONE POZORIŠTA SUROVOSTI, -isto u RSC (1964) koja je vodila do MARA/SADA. Protivrečnosti se smanjuju ako se zadre dublje u korene Brook-ovog talenta. Njegovi su roditeljii bili naučniioi, koji su iz Rusije prebegli u Englesku posle Revolucije. On bi verovatno i sam bio naučnik, da mu oni ni su pokloniH pozorlšte-igračku. Ovako, on je teatar uvek posmatrao kao neku vrstu laboratorije, u kojoj publlka 6ini deo eksperimenta draž široke publike, I modernija tehnologija su ga isprva -i privukli filmu (napravio je pet film-ova, ukl-juoujuói MODERATO KANTABILE, GOSPODAR MUVA. i nedavno, filmsku verziju KRALJA LIRA RSC). Ova preokupaoi-ja publ-ikom je uvek Brook-a odvajala od ostale i-nternacìonaine avangarde, i navodila je da se na njega g-leda su-mnjiôavo. On ni-kada nije bio zainteresovan za teatar manji-ne: u eksperimenta ine rituale koje izvodi malo stado verniika. U Internacionalnom cen-

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