Bitef

almost without exception, in the history of theatre, a social drama too. the return to social themes is characteristic for the realistic dramas at 14th bitef. theatres at the 14th bitef, which consider the dramatic word above all a motive for an artistic act in the best tradition of artaud, meyerhold and tairov at first glance appear to deal only in stylistic variations, a deeper penetration into their intentions and their results, reveal a philosophycal, aesthetic and antropological sense of their undertaking, the revelation of this deeper sense is a complex process and depends of the viewer, this it is up to the public to analyse or feel what in this year of 1980, was brough to the theatre artistic world of the free, unusual and in any case a complex relation between the director and the author, when philippe adrien and witkacy, tamás fodor and jean ganet, klaus peymann and goethe, ciulli and euripides, berta martinez and garda lorca, dušan jovanović and schiller, ljubisa ristić and Shakespeare or the group of italian artists, gathered aroung the magazzini criminali periodical, and science fiction literature texts, meet each other, at the same time it is characteristic that the theatres in the world pay increasingly less attention as to the nationality the texts orignate from, thus at the 14th