Bitef

BELEŠKA Zločin koji je inspirisao ovaj komad odigrao se 1821. godine u Lajpcigu. Petnaest godina kasnije, Büchner je napisao ovu dramt kada je imao 23 godine. I sada, posie više od jednog veka, Vojce nije ništa izgubio od svoje aktuelnosti. Svaka država je uvek imala svog Vojceka, kao i svoju Mari. Naravno, azijske zemlje, uključujući Japan, nisu izuzetak. lii, bolje rečeno, baš je Azija ta koja danas ima više socijalnog meteža nego ikad a u svojoj istoriji, pri čemu sudbine Vojcveka i Mari bile najbrojnije. U ovoj postavci, gradeći je na iskustvu saradnje sa azijskim zemijama koju mi održavamo vise od dvadeset godina, želeli smo da ustanovimo stil savremenog azijskog pozorišta. Zbog toga su turobnost i jačlna hrišćanskog u ovom komadu sakrivene u smehu i mnogobožačkoj pomami. Osim toga, dao sam u komadu aktivniju ulogu imidžu žene, koja ne može da izbegne istorijska ograničenja. Ako budemo uspeli da sprečimo Vojcekovu tragediju u budućnosti, mislim da će se to dogoditi zahvaljujući ženama, Makoto Sato A NOTE ON THE DIRECTION The crime that inspired this piece took place in 1821 at Leipzig. Fifteen yearslater, Buchner made a dramatic work from it at the age of 23. And now, aftermore than one century, Woyzeck has not lost its freshness. Every country has always its Woyzeck as well as its Mary. Of course Asian countries including Japan are no exception. Or rather, it's precisely the Asia which knows todaymore social turmoil than ever in its history where Woyzecks and Marys are themost numerous. In this direction, building on the experiences of collaboration with Asian countries, which we have engaged for over 20 years, we aimed at establisning a style of Asian contemporary theater. For that, the somber and powerful side of the Christianity of this piece concealed itself in laughter and polytheistic frenzy. Besides, I gave throughout the play a more active role to the image of women who can't escape historical restraints. If we can overcome the tragedy of Woyzeck in the future, I think it will be thanks to women.

Makoto Sato

MAKATO SATO, reditelj i dramski pisac Roden je 1943. godine u Tokiju. Jedan od lidera pokreta “malih pozorišta" u Japanu, bio je osnivač Jiyu Gekijo teatra sredinom 60-ih i Black Tent Teatra (BTT) početkom 70-ih. BTT je obišao Japan, izvodeći pozorišne komade u svom velikom crnom šatoru, koristeći prostor malih hala u Tokiju i ostalim mestima. Sato zauzima priznato mesto u Japanu kao inovator fs avangarde teatra. U početku je bio poznat po komadima koje je pisao kao kritički osvrt na Japan i modernu istoriju iz Perspektive fantastičnog, i bio je uključen u radionice i istraživanja javnog značaja pozorišta. Kasnije je preuzeo glavnu ulogu u ostvarivanju razmene sa ostalim azijskim zemljama, i uporedo je pisao i režirao komade zasnovane па deiima ličnosti kao što je Bertolt Brecht. Poslednjih godina, posle dve decenije saradnje sa umetnicima iz mnogih azijskih zemalja, stiže na Zapad, postavljajući komade po Evropi i radeéi sa zapadnim umetnicima. Tokom svoje karijere proširio je interesovanja na žanrove povezane sa pozorištem, uključujući moderni pies, operu, i takve tradicionaine japanske fs umetnosti, kao što su Noh i igra. Postao je prepoznatijiv po predstavama koje kombinuju takve umetničke forme. Danas, još uvek jedan od lidera BTT-a, radi kao umetnički direkter Setagaya Public Tatra u Tokiju. MAKOTO SATO, Playwright/Director Born in Tokyo in. 1943. One of the leaders of the small-theater movement in Japan, he was a founder of the theater Jiyu Gekijo in the mid-1960s and the Black Tent Théater at the start of'the 19705. From that time until 1990 the BTT toured Japan, staging plays in its large black tent, and since then it has been making use of small halls in Tokyo and other places. Sato has established a prominent position as an innovator in Japan fs avant-garde theater. At first he was known for the plays he wrote taking acriticalview of Japan... modern history from a fantastic perspective, and he became involved in workshops and an examination of the public relevance of theater. Later he took the lead in opening exchange with other Asian countries, while writing and directing plays focused on the works of figures like Bertolt Brecht. In recent years, after two decades of collaboration with artists in many Asian countries, inparticular and working with Western artist. During his career he has also extended his attention to genres related to theater, including modern dance, opera, and such traditional Japan? Is arts as Noh and dancing, and he has become recognized for his productions combining such art form. Today, still one of the leaders of BTT, he is serving as the art director of the Satagave Public Theater in Tokyo and working in other capacities.

Black Tent Theatre, Tokio, Japan Woyzeck