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nu u kritičarskom promišljanju. Ove godine laureat je istaknuti Femi Osofisan iz Nigerije, čiji su napisi i razmišljanja predstavljali veliko nadahnuće, kako za pozorišne umetnike tako i za pozorišne kritičare.

lATC može s ponosom da se osvrne na svojih 60 godina napornog rada i angažman pozorišnih kritičara širom sveta. Profesija i uslovi pod kojima se ona razvijala, menjali su se s vremenom, ali je naročito odnos profesije prema novim medijima doneo izazove, a to Udruženju daje priliku da pruži nov doprinos.

U ovom haotičnom svetu otvorena rasprava i slobodno izražavanje mišljenja od suštinskog su značaja za izvođačke umetnosti. Posvećenost kritičara intelektualnom diskursu i osetijivoj analizi tih umetnosti uvek će biti krajnje važan deo beskrajne ljubavne priče između izvođačkih umetnosti i njihove publike.

MEĐUNARODNA KONFERENCIJA X NOVUM I GLOBALNO POZORIŠTE: IZMEĐU KOMODIFIKACIJE I UMETNIČKE NUŽNOSTI

ORGANIZATORI: Bitef, Beograd Međunarodno udruženje pozorišnih kritičara (lATC) i njegov e-časopis Critical Stages/Scenes critiques

BEOGRAD, 27. I 28. SEPTEMBAR 2016.

Novum se obično definiše kao nešto novo, inovativno. kao poslednja red. Kao suprotnost starom, ona podrazumeva nešto što je skorašnje, sveže, novatorsko, današnje. Nema kraja rečima koje bi se mogle koristiti da se ukaže na originalnost, novinu, nepoznatost. Neke su antagonistične, druge tendendozne, svađalačke, treće više sklone kompromisu itd, Međutim, svima im je zajednička neuhvatljivost, što je osobina koja se povezuje sa istorijom i ontologijom samog pozorišta. Kao forma umetnosti, pozorište je oduvek bilo bojno poije novuma. Neki naučnici misle da je

Shakespeare Foundation, consists of a cane topped with a figure in silver of the Greek muse of comedy after whom it is named. It is presented every other year to someone who, in the view of the Association, has caused a change in critics’ thinking through his or her writings. This year, the laureate of the prize is the eminent Femi Osofisan from Nigeria, whose writings and way of thinking have been a great inspiration for theatre artists as well as theatre critics.

lATC can look back proudly on its 60 years of hard work and on the engagement of theatre critics from all over the world. The profession and its conditions have changed over time, but the profession’s relationship to new media in particular has critics facing more challenges, and gives the Association an opportunity to make new contributions. In a chaotic world, open discussion and free expression of opinions are of fundamental importance to the performing arts. The dedication of the critics to intellectual discourse and to sensitive analysis of the arts will always be an essential part of the endless love story between the performing arts and their audiences.

INTERNATIONAL CONFERENCE x NEWNESS AND GLOBAL THEATRE: BETWEEN COMMODIFICATION AND ARTISTIC NECESSITY

ORGANISERS: Bitef, Belgrade. The International Association of Theatre Critics (lATC) and its e-journal Critical Stages/Scenes critiques

BELGRADE, SEPTEMBER 27™ AND 28™

Newness is generally defined as the condition of being new, novel, cutting-edge. As the opposite of oldness, it implies recentness, freshness, innovativeness, present-dayness. There is no end to the words that could be used to indicate originality, novelty, unfamiiiarity. Some are antagonistic, others calculated, combative, others more compromising, etc. What they all share, however, is elusiveness, a trait associated with the history and ontology of theatre itself. As an art form, theatre has always been a battlefield of newness. Some scholars regard theatrical modernity as