Bitef

X 21:00 x MALOGRAĐANI snimak predstave Autor: Maksim Gorki Režija i scenografija: Georgij Aleksandrovič Tovstonogov Uloge: Evgenij Lebedev, Marija Sokolova, Ema Popova, Oleg Borisov, Kiril Lavrov Predstava Velikog dramskog teatra „Gorki“, Lenjingrad, 1966, Televizijski snimak: Lenfiim, 1972, SSSR (Grand prix 2, Bitef ‘6B) Trajanje: 147’ Tovstonogov je napisao da ga je na režiju ovog komada podstaklo pozorište apsurda. Beket i Jonesko pomogli su mu da u starom komadu vidi novo - apsurdnost i besmislenost življenja njegovih junaka i zatvorene krugove po kojima tumaraju, U Matograđanima ima mesta i za ideje Brehta: „U predstavi ne treba prikazati pojedinca, već životne pojave. Da bi sačuvao distancu", pisao je reditelj, Jedna komponenta predstave mora gledaoca da vrati na polaznu tačku i primora ga da sve posmatra sa strane.“ Ovdejeta komponenta muzika. Balalajka ili mandolina s

brimming with questions: What is body? What does it consist of? Body is an entity but it is separable into pieces. She tackled the issues of human mortality, wish for immortality, the power of reproduction in times of genetic manipulation. Human bodies, space and sound are the three pillars of her direction.

x 21:00 x THE PHILISTINES Recording of the production Author: Maxim Gorky Direction and set design: Georgy Aleksandrovich Tovstonogov Cast: Evgeny Lebedev, Mariya Sokolova, Ema Popova, Oleg Borisov, Kiril Lavrov Production; Gorky Great Drama Theatre, Leningrad, 1966 Television recording: Lenfiim, 1972, USSR (Grand Prix 2 nd BITEF 1968) Running time: 147’ Tovstonogov wrote that theatre of the absurd encouraged him to direct this play. Beckett and lonesco helped

jednostavnom melodijom „surove“ romanse, ili pesmica sa gradske periferije, prodiru u radnju predstave neočekivano, dajući mogućnost gledaocu da precizno oceni šta se događa. Muzika stvara efekat otuđenosti, o kojoj i Breht piše.

Na okruglom stolu Bitefa reditelj je na pitanje zašto se opredelio za stare, ne za mlade malograđane, odgovorio: „Nisam se opredelio ni za jedne, ali opasnije je opredeliti se za mlade, jer njima pripada budućnost.“

him see a new thing in an old play - absurdity and senselessness of life of its heroes and closed circles within which they wander about in. In The Philistines there is also room for Brecht’s ideas: “Productions should not show an individual but life phenomena. To preserve the distance”, the director wrote, "one component of the production must take the spectator back to the point of departure and make him look at it all from aside." In this case the component is music. Balalaika or mandolin with a simple melody of a ‘cruel’ romance or an air from the urban periphery penetrate the action unexpectedly, enabling the spectator to realise precisely what is going on. Music creates the effect of alienation that Brecht writes about.

To the question why he opted for the old rather than the young Philistines asked at Bitef round table, the director answered: "I did not opt for either, but it is more dangerous to opt for the young because the future belongs to them.”

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