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Bitef Polifonija je posvećena novim pozorišnim tendencijama koje mogu da se otkriju i prate u inovativnim, procesnim i participativnim projektima pozorišnih umetnika i drugih stvaralaca u radu s mladima, kako u kontekstu savremenog stvaralaštva i umetnosti, tako i u drugim kontekstima kao što su obrazovanje, aktivizam i kultura zajedništva. U mitu iz koga je ove godine proizašao slogan Bitefa i naslov Bitef Polifonije, Odoleti mahnitosti, postoji livada kao omiljeno mesto okupljanja i zajedništva u igri, plesu, kupanju i branju cveća, mesto opuštanja - kao mali beg od problema svakodnevice. Ali to mesto, govori nam mit, u jednom trenutku opuštenosti, igrom privlačne prevare, postaje poprište mahnitosti i grube igre posedovanja, otimanja i trajanja u sudarima dobitaka i gubitaka, i pokušaja iskupljenja i uvek novih igara mahnitosti koje ne nestaju već se sve masovnije igraju... Koliko sami odredujemo istinu, svoje angažovanje, zajedništvo i meru odolevanja mahnitosti u svetu u kome živimo sada i ovde? Koliko nasa delovanja i odluke predstavljaju neizbežnost i kob, ili je sve ipak rezultat našeg nedelovanja i prihvatanja te kobi? Kako smo poverovali da nam zajedništvo vise ne treba, a da razjedinjenost, otimanje od drugih ili poni-

štavanje drugih, imaju privlačnost i predstavljaju vrhunac potvrde našeg društvenog postojanja? Istina je uvek uslovljena mnoštvom, podseća Bahtin, ne može biti stvorena niti izgovorena iz jednog, kao ni iz prostog skupa ili zbira glasova, Celina je ta koja proširuje mogućnosti I konstituiše značenje, ma koliko delovi bili raznorodni i jedinstveni. Tako nastaje polifonija; u kontrapunktu glasova, kroz ukrštanje različitih iskustava I praksi: polemičkih, obrazovno-razvojnih, umetničkih ili participativnih. Dakako zajedničkih, okrenutih ka onoj odavno zanemarenoj, propustljivoj i sinestezijskoj zoni teatra u kojoj tragamo za delovanjem kroz javne društvene prakse, kroz pozorište u obrazovanju, u dijalogu, u pokretu, u bajkama, u parkovima, u horovima, u drugostima. Možda baš tako istupamo iz zone naše ušuškane mahnitosti, stremed ka novom vidu kolektiviteta, jednakih i proširenih mogućnosti. Programski odborlZ Bitef Polifonije 2016.

Bitef Polyphony is dedicated to those new theatre tendencies which can be discovered and observed in innovative, devised process and participative projects by theatre artists and other creative individuals in their work with young people equally in the context of contemporary arts and in contexts such as education, activism and community culture. The myth which has inspired this year’s slogan and the title of Bitef Polyphony, Resisting Rage, tells of a meadow as the favourite meeting place for dancing, playing, bathing and picking flowers together, a place of relaxation - as a small escape from problems of the daily rut. However, the myth goes on: in a moment of relaxation, by dint of an attractive trick, this place becomes a place of rage and of a rough game of possession, grabbing and persistence in the collisions of wins and losses, attempts at redemption and ever new games of rage which, raher than disappear, are becoming even more spread ... To what extent do we, ourselves, determine the truth, our commitment, togetherness and extent of resistance to rage in our world, here and now? How much do our actions and decisions represent inevitability and fate or is it all the upshot of our inaction and acceptance of that fate? How did we come

to believe that we can dispense with togetherness and that disunity, grabbing from or obliterating others, are attractive and constitute the supreme confirmation of our social existence ? Truth is always conditioned by multitude, Bakhtin reminds us, it cannot be created or uttered from one or a simple set or sum of voices, It is the whole which expands the possibilities and constitutes the meaning no matter how heterogenous and unique its parts were. This is how polyphony comes about: through a counterpoint of voices and interlacing of different experiences and practices: polemic, educational-developmental, artistic or participative. Yet always shared, turned towards that long-negiected, permeable and synesthetic zone of the theatre in which we search for action through public social practices, theatre in education, in dialogue, in movement, in faily-tales, in parks, in choruses, in othernesses. This is, perhaps, how we step out of the zone of our cushioned rage, desiring a new form of collectivity, of equal and expanded opportunities.

Programme Committee of the 17 th Bitef Polyphony 2016