Bitef

Kakav bi trebalo da je program koji obuhvata i približava poia veka jednog Festivaia, ogledala teatarske umetnosti u drugoj polovini 20, i na početku 21. veka, u vreme vrtoglavih promena ukusa, senzibiliteta, stila, razmišljanja, u vreme kada su se pojavili, razvijali i usavršavali televizija, kompjuteri, video, DVD, mobilni telefoni, kamere... i kada se zahvaljujući novim tehnologijama bez muke moglo sačuvati sve za uspomenu i dugo sećanje i za informaciju bududm generacijama? Uzela sam kataloge Bitefa. imam ih sve osim jednoga, i svoju obimnu dokumentaciju o Bitefu na filmu. Nekoliko dana sam listala: naslovi, predstave, filmovi, članci, podaci. Oni prizivaju sećanja na predstave, ljude, dogadaje. Jubilarni 40. Bitef na filmu u okviru jubilarnog 50. Bitefa bice lako sastaviti. Lista nasiova je duga i impresivna. A onda... Iz Rusije javljaju da Hamlet rediteija Ljubimova nikada nije snimljen, Ijudi iz Efrosovog kruga tvrde da je Don Žuana snimila samo beogradska televizija, Snimka nema. U Poljskoj postoji privatni snimak Postojanog princa Grotovskog koji ne može da se dobije. San letnje noći Pitera Bruka je snimljen priiikom gostovanja u Japanu, ali je Bruk snimak morao da uništi na zahtev Japanaca. Jedi-

What kind of a programme envelops and brings closer to us half a century of a festival, a mirror of the theatre art in the latter half of the 20 th and the beginning of the 21 st century, at a time of vertiginous changes of taste, sensitivity, style, thinking, at a time when television, computers, video, DVD, mobile phones, cameras appeared, developed and improved... and when, owing to new technologies, one could effortlessly save everything as a keepsake and information for generations to come? I picked up Bitef catalogues (I have them all except one) and my voluminous documentation about Bitef on film. Several days went by as I leafed through them; titles, theatre productions, films, articles, facts. They bring back to memory performances, people, events. The 40 th Bitef on Film within the 50 th Bitef will be easy to put together. The list of titles is long and impressive. And then... news from Russia that Hamlet directed by Liubimov was never put on tape; people around Efros claim that Don Juan was recorded only by television in Belgrade. The tape is missing, In Poland there is a private recording of Grotowski's Constant Prince and it is unavailable. Peter Brook’s Midsummer Night’s Dream was recorded when on tour in Japan but Brook had to destroy it at the Japanese

ni snimak Hamleta Ljubiše Ristića je pozajmljen i zauvek izgubljen. Na mnogobrojne dopise s pozivom za učestvovanje na Bitefu na filmu odgovora nema, za vednu snimaka plaćaju se autorska prava, a za kulturu u Srbiji se izdvaja 0,62% budžeta... I dok se mučim, čudim i očajavam, htela - ne htela vraćam se u prošlost, među ljude s kojima sam radila, saradivala. Iznenada shvatam da sam ja, koja u Bitefu u kontinuitetu radim skoro od početka, ostala sama, da od glavnih aktera nikog vise nema. Nema onih koji su, neko više neko manje, doprineli afirmaciji, opstajanju i velidni manifestacije. Bez njih Festival ne bi bio ono što je bio, što jeste i što će, nadajmo se, i ostati. Iz tog skupa se izdvaja ličnost Mire Traiiović. Razmišijam o Miri, o osobi koja je ne samo biia giavna ličnost pri osnivanju Bitefa već je tom dogadanju davala miris i ukus, smisao i značaj. Bez njene energije i veštine sumnjam da bi Bitefa bilo, da bi trajao i u svetu stekao slavu kakvu je imao. Voleli smo je, ogovarali je, sa uživanjem smo siušali anegdote o njoj, a anegdote se ne pričaju o prosečnom, malom čoveku.

Vera Konjović

request. The only recording of Ljubiša Ristić’s Hamlet was lent and never returned. There is no answer to numerous letters with invitation to participate in Bitef on Film; there are copyright fees for most of the recordings and in Serbia, culture gets 0.62% of the budget. And as I struggle, wonder and despair, 1 willy-nilly return to the past, to people I worked with, cooperated with. Suddenly it dawns on me that I who has been working for Bitef without a break almost from its beginning, that I have remained alone, that all of its main players are gone. Gone are those who, sometimes more and sometimes less, contributed to the assertion, survival and greatness of the event. Without them, the festival would never be what it was, what it is and what, fingers crossed, it will be. The personality of Mira Trailović stands out. I think about Mira, the individual who was more than the chief person when Bitef was founded; she invested the event with smell and taste, purpose and significance. Without her energy and skill I doubt that Bitef would ever come into being and acquire the world fame as it once used to have. We loved her, gossiped about her, enjoyed hearing anecdotes about her and one never tells anecdotes about an average, ordinary individual.

Vera Konjović

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