Bitef

BITEF TEATAR / BITEF THEATRE

U istoriji festivala poznati su slucajevi da pozoriste osnuje festival ill da festival osnuje pozoriste. Istorija Bitefa je primer za oba slucaja. 1967. godine rodena je ideja da se u Beogradu osnuje prvi u seriji buducih medunarodnih manifestacija a grad Beograd je prihvatio ideju i obezbedio sredstva. Festival je dobio ime Bitef, a zajedno sa imenom odmah i podnaslov Move pozorisne tendencije. Nakon dvadeset godina, 1989. Bitef osniva i pozoriste u nedovrsenoj zgradi nikad osvecene evangelisticke crkve pored Bajlonijeve pijace u centru Beograda. Jedan teatarje nasledio tekovine jednog festivala. Bitef teatar je ponikao na plodnom tlu i tradiciji avangardnosti (ako to nije oksimoron) Bitef festivala, tada vec uveliko jednog od najpoznatijih i najzivljih poprista novih svetskih teatarskih zbivanja. Od osnivanja, teatarje angazovan u smeru savremenih promisljanja, namera i praksi novog pozorista, avanture umetnickog istrazivanja, traganjima za novim i stvaranju tog novog u pozorisnom obliku, a sve to jos u drustvenom kontekstu nase dinamicne i dramaticne sredine. Zadatak je odgovoran, zamaman i izazovan. Svake sezone, svake godine nov i drugaciji. Odraz tih teznji je ono sto Bitef teatar previda i obecava i ove 2008. godine.

There have been cases in theatre history when theatres founded festivals and when festivals founded theatres. The history of Bitef is an example for both. In 1967 the idea of founding the first in the series of future international events was born, and the city of Belgrade embraced the idea and provided the funding. The festival was named Bitef, and at the same time it was given a subtitle-" New theatrical tendencies". Twenty years later, in 1989, Bitef founded a theatre in the unfinished, unconsecrated building of the Evangelist church near the Bajloni market in the centre of Belgrade. One theatre inherited the traditions of a festival. Bitef theatre was born on the fertile soil and traditions of the avant-garde (even though this may be considered an oxymoron) of the Bitef festival which had already grown into one of the most famous and most energetic venues of new events in world theatre. Since its conception, the theatre has been involved in contemporary reconstructions, intentions and practices of the new theatre, adventures in artistic research, quests for the new and its creation in the language of the theatre, all that within the context of our dynamic and dramatic social environment. The task demands great responsibility but is at the same time alluring and challenging. Every season, every year, it is new and different. Its reflection is what Bitef is expecting and promising for this year too.

GENERAL INFO