Bitef
kakav je, na primer, slavni berlinski Teatar Maksim Gorki, ill su rezultat koprodukcije velikih regionalnih teatarskih institucija i festivala (Kompleks R/stić), dok se druge mogu opisati kao mali, nezavisni projekti (Zbogom, Ibzenov Neprijatelj naroda kao Brehtov poučni komad i Diskretni šarm marksizma). Bez obzira na ambicioznost produkcionog zahvata Hi tematski fokus svake pojedinačne predstave u ovoj grupi, biće zanimljivo razmišljati i 0 njihovim dodirnim tačkama. Pored predstave Bojana Đorđeva, o kojoj je bilo reči na početku ovog teksta, tu su još i predstava Common Ground izraelske rediteljke Yael Ronen u produkciji Gorki teatra, koja se bavi posledicama jugoslovenskih ratova iz devedesetih i generacijom berlinskih emigranata koji su potomci počinitelja zločina i njihovih žrtava, kao i modelima njihove medusobne posleratne komunikacije na tuđoj teritoriji u pokušaju prevazilaženja istorijskih podela i mržnje. Predstava Zbogom mladog francuskog umetnika Jonathana Capdeviellea nije primer eksplicitnog političkog teatra, već se bavi onom vrstom angažmana koji bismo mogli definisati kao rodnu politiku Hi politiku tela. Ovaj daroviti autor i briljantni izvođač nam na duhovit i nežan način priča priču svog odrastanja i formiranja sopstvenog identiteta koji se definisao kroz podražavanje pop zvezda, naroćito Madone. Od portreta naizgled naivne adolescentske konfuzije koji izaziva empatiju, predstava prerasta u istraživanje performansa, uz upotrebu pop kulture i transvestije sa ciljem da ispita na kojoj tački imitacija i igranje uloga postaju sredstvo izražavanja po sebi. Kompleks Ristić je najnoviji u nizu političko/teatarskih projekata Olivera Frljića koji se dosledno i sistematično bavi novijom istorijom jugoslovenskog i postjugoslovenskog prostora i njenim anomalijama i prećutkivanim sadržajima. Ovoga puta, Frljić tematizuje mitsku figuru Ljubiše Ristića, možda najznačajnijeg jugoslovenskog reditelja koji je svojim radom ujedinjavao jugoslovenski prostor, a čiji je politički angažman iz devedesetih godina XX veka zauvek obeležio njegov politički i profesionalni status. Ova predstava će imati premijeru na Bitefu, a nastala je u koprodukciji Slovenskog mladinskog gledališča, HNK Ivana pl. Zajca, MOT-a i Bitefa. Predstava Zlatka Pakovica, Ibzenov Neprijatelj naroda kao Brehtov poučni komad, u produkciji CZKD, primer je ekstremnog političkog teatra koji, koristeéi naslede dva najveća predstavnika modernog političkog teatra, Ibzena 1 Brehta, tematizuje aktuelni društveni trenutak u Srbiji. Anja Suša, selektorka
which inspires them more or less directly. Their production models are different as some of them were created in big theatres, i.e.famous Maxim Gorky Theatre in Berlin or are the result of big regional co-productions between festivals and theatres ( Complex Ristić ) while, on the other hand, some other could be described as small independent projects (Adishatz/Adieu, Ibsen's Enemy of the People as Brecht’s Learning-Play and The Discreet Charm of Marxism). Regardless of the degree of ambition of a production or the production models vary too, because some of them were done in big subsidised theatres such as. theme chosen by productions in this group, it will be interesting to consider also their points of contact. In addition to Bojan Djordjev’s production, mentioned at the beginning of this text, other shows include Common Ground by Israeli director Yael Ronin produced by Gorky Theatre addressing the effects of the Yugoslav wars of the 1990 s and the generation of Berlin emigrants who are descendants of perpetrators of crimes and their victims, and models of their mutual post-war communication on alien soil in their attempt to overcome historical divisions and hatred. Adishatz/Adieu by Jonathan Capdevielle, a young French artist, is not an example of explicit political theatre. It is about the kind of commitment which we could define as gender politics or body politics. This gifted author and brilliant performer tells us, amusingly and gently, the story of his growing up and forming his identity through the imitation of pop stars, notably Madonna. The production grows from a portrait of a seemingly naive adolescent empathy-provoking muddle-headedness into a study of performance with the use of pop culture and transvestism purporting to examine at which point imitation and role-playing become a means of expression per se. Complex Ristić is the latest in a series of political/theatre projects of Oliver Frljić which consistently and systematically addresses the recent history of the Yugoslav and post-Yugoslav space and its anomalies and hushed up contents. This time Frljić takes up the mythical figure of Ljubiša Ristić, perhaps the most important Yugoslav director whose work united the Yugoslav space but whose political option in the 1990 s marked his political and professional status forever. The production will have its premiere at Bitef and is a coproduction of Slovensko Mladinsko Giedališče, Croatian Nationa Theatre Ivan pi. Zajc, MOT and Bitef. Zlatko Paković’s production Ibsen's An Enemy of the People /4s Brecht’s Learning-Play produced by CZKD is an example of extreme political theatre which draws on the legacy of the two greatest representatives of modern political theatre, Ibsen and Brecht, It’s theme is the current social moment in Serbia. Anja Suša, Curator