Bitef

X REČ SELEKTORA

Reč je o multimedijalnoj scenskoj instalaciji, prevashodno svojevrsnoj „rekonstrukciji“ kultne predstave Mrtvi razred čuvenog poljskog reditelja Tadeuša Kantora, koja je bila jedan od najvažnijih događaja u Bitefovoj istoriji. Ova ~rekonstrukcija" kombinovana je sa bogatim video-materijalom: intervjuima s poznatim, ali i manje poznatim američkim umetnicima koji su bili deo njujorške avangardne scene iz sedamdesetih i osamdesetih godina 20. veka. Instalacija je nastala iz potrebe da se sačuvaju uspomene na rituale „iznajmljenog ostrva", kako je filmski umetnik i performer Džek Smit zvao Lower Manhattan, gde je cvetala underground umetnost u tom periodu. U ovim intervjuima pokreću se, na dirljiv i pametan način, brojna pitanja u vezi sa sudbinom avangarde, položajem nezavisne umetničke scene danas, karakterističnim stilom života i njegovim posledicama... Radi se, takođe i o pokušaju da se dokaže da je kontrakultura zajedničko nasleđe, kojeje iznad svih geografskih i nacionalnih granica, te da je neophodno pronaći alternativu avangardi u savremenoj kulturi i javnom diskursu.

x O PREDSTAVI

Ideja projekta jeste da se Tadeuš Kantor predstavi u širem kontekstu avangardne izvođačke umetnosti sedamdesetih godina prošloga veka, što je od posebnog značaja pogotovo danas kada ovakva umetnost bledi, a savremeni teatar očajnički traga za novim izrazima, nemoćan da bude angažovan. U društvu Elen Stjuart i Džeka Smita, Tadeuš Kantor je mogao da stvori tradiciju koja, ne samo da neće postati žrtva kulturne amnezije, već će prerasti u inspiradju sadašnjim i budućim traganjima za alternativnom, eksperimentalnom, nekonformističkom umetnošću i pozorištem, U predstavi Kantor Downtown, ličnost Tadeuša Kantora je inkorporirana u raznoliku, raznobojnu, anarhističku, subverzivnu, „queer“ i feminističku tradiciju njujorške scene, a on säm pojavljuje se na sceni kao umetnik u stvarnom i virtuelnom dijalogu sa drugim umetnicima. Naš um i sebanja dovode se u pitanje predstavljanjem kako kritičke, tako i nostalgične priče o poljskom i američkom avangardnom pozorištu, zahvaljujući značajnom doprinosu američkih izvođača koji su na njujorškoj eksperimentalnoj sceni bili prisutni tokom sedamdesetih i osamdesetih godina prošloga veka.

x CURATORS’ WORD

This is a multimedia stage installation, in the first place a “reconstruction” of the cult production Dead Class, by the famous Polish director Tadeusz Kantor, which was one of the most important events in the history of Bitef. This “reconstruction” is combined with rich video material: interviews with famous and less famous American artists who belonged to the New York avant-garde scene during the 1970 s and 1980 s. The installation was born out of the need to preserve the memories of the rituals of the “Rented Island”, as the movie artist and performer Jack Smith called the Lower Manhattan, where underground art flourished at that time. In a smart and moving way, these interviews raise numerous issues about the destiny of avant-garde, the position of current independent art scene, the characteristic lifestyle and its consequences... This is also an attempt to prove that counter-culture is a common heritage which surpasses any geographic and national borders and that it is important to find an alternative for avant-garde in contemporary culture and public discourse.

x ABOUT THE PRODUCTION

The idea of this project is to present Tadeusz Kantor in the broader context of the avant-garde performance art of the 70s, particularly important now, in the period when this tradition is slowly fading while contemporary theater desperately seeks for new languages and lacks power of engagement. With Ellen Stewart on his right and Jack Smith on his left, Tadeusz Kantor can focus tradition that not only cannot fall victim to cultural amnesia, but must become an inspiration for present and future quest for alternative, experimental, non-conformist art and theater. In Kantor Downtown the figure of Tadeusz Kantor is incorporated into diversified, colorful, anarchist, subversive, queer, feminist tradition of Downtown performance of New York and appears on the stage as an artist involved in real and virtual dialogue with other artists. It challenges our memory and mind by providing both critical and nostalgic narration on Polish and American avant-garde theatre thanks to the significant contribution of American performers who were present on New York experimental scene in the 70s and 80s.

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