Bitef

godine upaljeni vise nego ranijih godina. Ali ne da bi uhodili naše misli, kao kod Orwella, već da bi emitovali umetnost onih koji nisu mogli lično da dođu u naš grad. □ Mira Trailović i Jovan Ćirilov

The year which George Orwell chose for the title of his novel has enticed the world to question itself seriously this season whether we did achieve the negative Utopia. It is awfully hard to judge this age, still more so to be a futurologist, but one thing is certain: if the year in which we live now does not resemble the year described by Orwell, art and the artist have doubtless contributed to this to

some extent. The same is valid for theatre and its artists. What is the way in which theatre has faced 1984? And what will BITEF, from the opening of this world theatre, show to its own and the world-wide audiance in this Orwellian or nonOrwellian 1984? This year BITEF is not offerring plays subsumed under a common denominator. Yet this does not mean that the plays of the 18 th BITEF do not mirror the contemporary situation in world theatre. After the years of some creative crisis, at the turn of the last and the beginning of this decade, it seems that fresh enthusiasm has pervaded the world theatre, which will serve as hallmark of the decade in which we live. Sixties were the years of great searches, seventies the years of inspired applications. An just when it has seemed to us that all forms were exhausted, a new generation came with new ideas. It is not at all accidental that right at this

BITEF there appear so many startling new names among the young artists, who did not enter even their thirties. Here they are already amongst us, together with those who affirmed themselves even earlier on, but whom BITEF did not have the chance to entertain in its midst. We are convinced that some among them will play the very same role in the future which wa: played by those artists who were discovered during BITEF at its beginnings. The screens of BITEF will be more lit than previous years; not in order to spy on our thoughts, like in Orwell, but to exhibit the art of those who could not come personally to our

Mira Trailović and Jovan Ćirilov

city.

L’année, que George Orwell avait choisie pour en intituler son roman, fait cette année sérieusement poser la question au mondeaurions-nous réalisé l’utopie négative? Il est difficile de juger son propre temps, il est encore plus difficile d’être futurologue, pourtant un fait est certain: si l’année que nous vivons ne ressemble pas à l’année décrite par Orwell l’art et les artistes, donc le théâtre et ses artistes aussi, y ont certes contribué ne serait-ce qu’en partie. Dans quelles conditions le théâtre â-t-il accueilli l’année 1984? Et BITEF, que présentera-t-il à Belgrade, à son public et au public du monde cette année - orwellienne ou non-orwellienne quelles créations nouvelles? Cette année BITEF n’offre pas de spectacles réunis sous un dénominateur commun. Cela ne veut pourtant pas dire que les représentations du 18 e BITEF ne reflètent pas le moment actuel du théâtre mondial. Après des années d’une certaine crise de

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