Bitef

Pitanje pomaka, modernizacije, aktuetizacije... Kad se u svojim režijama koristim videom ill teievizorom - to je samo spoljašnje sredstvo. Moje predstave su današnje i savremene zato što su tumačene posredstvom savremenih i današnjih odnosa ljudi. Kad bih hteo, ti heroji bi mogli biti mirno obučeni u srednjovekovne odore, Ali ja hoću ovom promenom da pomognem gledaocima. Ono na povrsini nije najvažniji deo u shvatanju mojih predstava. Najvažniji su, medutim, odnosi i situacije. Moraju biti savremeni. To isto je radio i Šekspir u svoje vreme. Kako treba režirati neko delo - to ipak nigde nije zapisano. Unapred dato, odredeno, obavezno. To bi, u stvari, bilo velika besmislica. Nikada ne čitam predstavu s prvobitnim znanjem i übedenjem da je po svaku cenu treba aktuelizovati. Kad u predstavi osetim isti problem ili temu, što je za mene značajno ili se time vet duže vreme bavim, meni je to blisko i onda se ja u stvari i odlučujem za takvu predstavu. iz toga prirodno proizlaze i stil i oblik režije. Kad se to ne dogodi, predstavu zaboravljam. Ja sam, u stvari, suviše nagonski čovek i kreativac, Pre nagonski pronalazim pozorišne tekstove i probleme, koji mi se u predstavi obraćaju. Nikada u tekstovima ne tražim odgovore. Uvek se trudim da formulišem pitanja i probleme. Odluka da se pristupi određenom tekstu je kao čežnja. To je pitanje odredenog trenutka. - Kakav je, dakle, Vaš Hamlet? Kako Vi taj komad u sebl osećate? Pokušao sam da na pozornici gledaocima predstavim i ponudim nekakav porodični dogadaj. Danas me ne interesuju društvene ili univerzalne povezanosti ove Šekspirove drame. Dramu tako ne posmatram. Ne bih umeo da je tako režiram. Mislim da danas postoji mnoštvo mladih ljudi koji su iznenada ostali bez oca. I to još u svetu koji je utemeljen na veoma neobičnim pravilima. Naš svet funkcioniše veoma čudno. Iščašeno. A ti mladi ljudi pokušavaju da u ovom svetu na razne načine nadu sopstveni put i mesto. Da prežive i da im pri tom i to i pode za rukom... Ovde nastaje pitanje: kome danas u životu polazi za rukom?

contemporary “worlds and realities". It is recognizable and understandable to people. And it will help us to announce thoughts and appearances in a more sensible, significant, emotionally graceful way, in all dimensions. I believe Shakespeare did a similar thing in his own time. He utilized the language and means that were adequate and well known in the years around 1500. I strive to do the same at the shift from the XX to the XXI century. - In the list of your directings, the name William Shakespeare Is frequently employed. What attracts you to this playwright and why do you come back to his works so often? Shakespeare is subtle, in the most sublime sense. - Yet everyone wants to "solve" him... Yes, but it is precisely the most subtle and simple things that can be seen in different ways, from different points of view... Every creator, if he builds his own coherent world of “his own" Hamlet, has the right to say for himself: “I am creating a natural, authentic Hamlet". Shakespeare knew something very important about the world! I believe he followed the world in which he lived very closely. He followed it intensely and knew people. He did not want to be an innovator or modem at any price, nor did he want to be experimental. With the appropriate amount of impudence, he was able to describe brilliant and attractive events. Effective, purely theatrical, attractive, and relaxing. Today, we would say - postmodern even. His theatrical plays are very free at that. They shine with the spirit of freedom. Plays that are too impudent, and even of a far too impudent man. This is why I love Shakespeare so much. - What are your views on the discussions of possibilities and essence of contemporary expression and interpretation of classical dramatic texts? The questions of shift, modernization, actualization... When I use video and television in my directings - they are only an outside means. My plays are of today and are contemporary because they are interpreted by means of contemporary human relations of today. If I wanted to, these heroes could easily be calmly dressed up in medieval clothing. But I want to help the viewers with this change. The surface is not the most important part of understanding my plays. Relationships and situations are the most important, however. They must be contemporary. Shakespeare did the same in his own time. The way a certain piece should be directed is not set in stone anywhere. It would be nonsense to have it given upfront, determined, mandatory. I never read a play with the ahead-of-time knowledge and determination that this play must be actualized at all cost. When I feel the same problem or topic in a play, which is important to me or I deal with it for a long time, it is close to me and I then decide to do such a play. From this, the form