Bitef

pozorišna modernost doba novuma. S potpunim pravom. Promene koje su se dogodile dolaskom evropske industrijalizacije išle su u prilog istom takvom premetanju u svetu pozorišta i izvođenja. Prva četvrtina dvadesetog veka narodto je bila period izuzetnog umetničkog novatorstva koje se završilo krajem 1920-ih s privrednim krahom i promenom u društveno-političkoj klimi prouzrokovanoj usponom fašizma i katastrofama Drugog svetskog rata, a ponovo je oživelo tek 1960-ih i 1970-ih, Rađanje postindustrijskog informacijskog društva prouzrokovalo je suštinske preobražaje sa, kao što vidimo, posledicama koje dostižu (i prestižu) čak i one iz vremena industrijske revoiucije.

Ako je hibridizacija kultura i identiteta norma pre nego izuzetak, kakavje onda odnos između novuma i kulturnih osobenosti i lokalnosti? Kako nam upletenost pozorišta u politiku kolonijalizma dopušta da reteoretiziramo koncept novuma i njen performativni potencijai? Dali naše kulturno raznoliko razumevanje novuma u pozorištu, u krajnjoj instand, dovodi do transnacionalne koncepcije novuma i tako pretvara mesta umetničkog novatorstva u mesta nepriznatih pregovora?

the age of newness. And rightly so. The changes that took place in the wake of European industrialization favored an analogous reshuffling of the world of theatre and performance. Especially the first quarter of the twentieth century was a period of extraordinary artistic innovation, which came to an end in the late 19205, with the economic crash and the change in the sociopolitical climate generated by the rise of fascism and the catastrophes of WWII, only to be revitalized later on in the 1960 s and 19705. The emergence of the post-industrial Information Society has caused fundamental transformations, as we can see, with consequences as far-(if not farther) reaching as those of the Industrial Revolution.

If the hybridization of cultures and identities is the norm rather than the exception, then how does newness relate to cultural particularities and localities? How does the entanglement of theatre in the politics of colonialism allow us to re-theorize the concept of newness and its performative potential? Does our culturally diverse understanding of newness in theatre ultimately lead to a transnational conception of newness, thus turning the sites of artistic innovation into sites of unacknowledged negotiation?

U globalizovanom i komercijalizivanom svetu umetnosti, u kome pravila igre zadaju strukture moći I strategije dominacije, ova konferencija će se baviti dihotomijom izmedu novatorske umetnosti i dstog komercijalizma, Kad objedinjujemo ova pitanja, ne očekujemo da završimo debate pod kapom novuma nego da pokrenemo sire razmišljanje o savremenom pozorištu/izvođenju kroz dtav spektar pojedinačnih potreba, nacionalnih kultura i podjednako važno - globalne privrede.

ORGANIZACIONI ODBOR: SAVAS PATSALIDIS (predsedavajud), Glavni i odgovorni urednik Critical Stages/Scenes critiques (lATC), Grčka; MARGARETA SORENSON, Predsednica lATC, Švedska; OCTAVIAN SAIU, Pomoćnik generalnog sekretara lATC, Rumunija

PRVI DAN *27. SEPTEMBAR OTVARANJE_(O9:3O-11:45) PREDSEDNIŠTVO: Savas Patsalidis i Ivan Medenica POZDRAVNI GOVORI UVODNI GOVORI: Erika Fischer Lichte (Nemačka) i Georges Banu (Francuska/Rumunija)

In a globalized and commercialized art culture, in which power structures and domination strategies lay down the rules of the game, this conference will address the dichotomy between innovative art and plain commercialism. By integrating the above questions, we do not expect to end the debates under the notion of newness, but rather to initiate a larger reconsideration of contemporary theatre/performance, across the spectrum of individual needs, national cultures and, not least, global economies.

ORGANIZING COMMITTEE: SAVAS PATSALIDIS (Chairman), Editor-In-Chief of Critical Stages/Scenes critiques (lATC), Greece; MARGARETA SORENSON, President of lATC, Sweden; OCTAVIAN SAIU, Adjunct Secretary General of lATC, Romania

THE FIRST DAY X SEPTEMBER 27 th OPENING SESSION (09:30-11:45) CHAIR: Savas Patsalidis and Ivan Medenica WELCOME SPEECHES OPENING SPEECHES: Erika Fischer Lichte (Germany) and Georges Banu (France/Romania)

89