Bitef

NOVE SUROVOSTI - NOVE NEŽNOSTI 97. I kada je teatar surovosti bio u punom procvatu 60ih i 70-ih godina, u pozorišnom prostoru sveta osećalo se prisustvo neke nežnosti. Sa svakom sezonom, sto je vise bilo surovosti, to je vise bilo nežnosti, Či n i mi se da su ove sezone vise nego ikada u pozoristu zastupljena ova dva načela. Ne samo što se najednoj strani stvaraju predstave koje odišu surovošću, a na drugoj one koje odišu nežnošču, nego je sve više predstava u kojima se prepliću oba principa. Kao da pozorište žestoko stavlja svet pod znak pitanja, a pri torn želi nežan odgovor. Prošlo je trideset godina kako su umetnici iz Kerale zaigrali svoj drevni indijski katakali-ples na temu Ramajane u Ateljeu 212. Time su otvoreni Prvi i narednih trideset Bitefa. Sutradan je na istoj seen! Ježi Crotovski prikazao svog Postojanog prlnca, posle кода ništa u svetu pozorišne umetnosti nije bilo isto. Publika je bila zajedno sa histrionima na sceni. Rampa je bila ukinuta, Počeoje novi odnos gledalaca i glumaca. Avantura novih pozorišnih prostora moglaje da počne. Tako je i bilo, Pozorišta sa svih kontinenata dolazila su u Beograd i igrala na najneobičnijim mestima svoju novu umetnost - po tratinama Donjeg grada, po barutanama, u nedovršenim hramovima, unutar skloništa, po sportskim halama, pokraj rečnih marina, na gradskim trgovima, po ulicama, ali i u pozorišnim salama. I u konvencionalnim dvoranama dešavala se nekonvencionalna umetnost. Ove godine, posle tri decenije, Bitef, u većoj meri nego prošle godine, pokušava da otkrije nova ¡mena i nove tendencije. Manje se seća prošlosti, a vise misil na sadasnjost i buduenost. To je najteži put, alije u tradiciji bitefovske antitradicionalnosti. Jovan Ćirilov

NEW CRUELTY - NEW TENDERNESS 97 Even when the theatre of cruelty was at its height, in the 60s and 70s, in theatres all over the world you could feel a certain tenderness. With every season that followed, if there was more cruelty, there was also more tenderness. It seems to me that this season, more than ever before, in the theatre we are witnessing the presence of these two elements. On the one hand, we have productions which exude cruelty, on the other hand there are performances filed with tenderness, but more and more we are seeing theatre in which both cruelty and tenderness are intermixed. As if the theatre is questioning the world very violently, but expecting a tender answer. It has been thirty years since the artists from Kerala performed their ancient Indian Kathakali-dance, based on Ramayana , in the theatre Atelier 212. This marked the opening of the very first and next thirty Bitefs. The following day on the same stage Jerzy Crotowski showed his Constant Prince, after which nothing in the theatre world was the same again. The audience was on stage together with the actors. The forth wall was abolished. A new theatre adventure could begin. And that is exactly what happened. Theatres from all continents of the world came to Belgrade and performed their new art in the most unusual places - on the waste spaces below Kalemegdan Park, in powder magazines, in unfinished churches, in shelters, in sport halls, on river marinas, on city squares, in the streets, but also in theatres. Never the less conventional theatres produced unconventional art. This year, after three decades of its existence, more than last year BITEF is trying to discover new names and new trends. BITEF is thinking less about the past and more about the present and the future. This is not easy thing to do, but it is fundamental part of the BITEF antitraditionalism. Jovan Grilov