Bitef

course of these fifteen years the total theatre, the theatre of cruelty, the theatre of images, the theatre of guerilla, the theatre of surrealistic revival, the theatre de la fin du deuxième millénaire. . . bitef did not merely stand witness to all this, but took part in it too. on the chart of theatrical phenomenon of the seventies, bitef is a bright spot at which many performances today thought of as historical, had their international baptismal ronconi’s „orlando furioso“, and „orestia“, „the maids“ of victor garcia and nuria espert, „dionis 69“ of richard schechner, the teatar na taganke’s presentation of „hamlet“ by yuri lyubimoff and „don juan“ as presented by the teater na maloy bronoy directed by anatoliy efros; „troilus and cressida“ by david esrig of bucharest, and many west german presentations of today famous directors such as lietzau, stein, zadek, paymann, ciulli, niels-peter rudolf. even now bitef is a place at which theatres attain international reputation. without the understanding and the ambitions of the whole of belgrade to become and remain a centre of such a disturbing art as the theatre proved to be during the last decade-and-a-half, it would not have been possible to bring to life such a conception of the belgrade international theatre festival, a lot of patience was sometimes required, as well as understanding, tolerance and width to accept all the manifestations of the controversial theatre of the 1968, this provocative theatre, naked in body, nude in its intentions, aggressive, and sometimes even exhibitionistic in its impetus. there would have been no bitef without the considerable assets invested into the progress of the world theatre via bitef. the world theatré paid back in its own way belgrade, without any doubt whatsoever, is the most