Bitef
pozorišnih svečanosti antičkog sveta. Stoga se Bitef i tada i danas mora sagledavati uvek unutar konteksta kulture, aktuelnih pozorišnih procesa i socio-političkih odnosa na globalnom planu. Kontinuirana umetnička, kulturološka i politička relevantnost Bitefa zasnivala se upravo na njegovoj sposobnosti da se menja i da u novim geopolitičkim okolnostima iznalazi odgovarajuće strategije držeći se čvrsto svojih temeljnih principa otvorenosti, stvaralačke i kustoske slobode. Podele Istok-Zapad, Sever-Jug, Hi kako se danas kaže Globalni jug (a misli samo na ekonomski prosperitetne globalne gradove „Juga“: Singapur. Hongkong, Šangaj Hi Seul), iako ne važe na isti način, i dalje se pokazuju relevantnim, jer otkrivaju neke nove centre i neku novu, zaboravljenu periferiju. Stoga nije čudo da ove godine prvi put Bitef dovodi predstavu iz Singapura, tog novog aktera medunarodne geopolitičke i kulturne scene. Dakle, periferija ne stiže vise samo sa svojim tradicijom, ona je tu sa svojim novim, polemičkim dijalogom sa svetom. Teatri su uvek na Bitefu predstavljali svoje zemlje, slušale su se njihove himne, često po prvi put upravo tada, na festivalu, ali je Bitef bio istovremeno zajednički prostor
(shared space) za sve njih, slavlje koje su otvarale pozorišne fanfare, a desto sledile procesije na ulicama Beograda, 111 performansi vizuelnih umetnika dined tako festival u celini kulturainom izvedbom po sebi. Bitefova mapa sveta nije još sasvim završena, niti de to ikada modi da bude, te to otvara mogudnosti I izazove za nove geopoiitidke I umetničke strateške pristupe. A kada je kulturu nade zamenila kultura poniženja (D. Mojsi), Bitef je našao svoj put opstanka zahvaljujudi rizomskoj mreži uspostavljenoj u doba kulture nade. Festival je evoiuirao, promenio se, podeo da otvara neke nove, regionalne, geopoiitidke putanje. Danas, kada kultura straha dominira svetskom geopolitikom I kada umetnost kao „meka mod“ (Naj) gubi znadaj, a verski fanatizam, etnidki nativizmi I rasni sukobi postaju dominirajude sile u ratovima i konfliktima koji bukte širom sveta, Bitef i Beograd, sada više ne na razmedi svetova ved u centru tužne izbeglidke rute uništenih 111 još uvek uništavanih kultura I naroda, postaju glas „druge Evrope“, Evrope otvorenih granica, strahu i poniženju uprkos.
True, one may not ignore the spirit of the age (I’ esprit du temps, Zeitgeist) which opened the then common theatre expressions to interdisciplinarity, interculturalism, forceful political commitment, or Mira Trailovid’s and Jovan Ćirilov’s strength to understand both the world and the domestic political context and create the festival, a platform of meeting and exchange in the best tradition of theatre festivities of the ancient world. This must always be considered within the context of culture and socio-political relations of the time. Bitef’s continuing artistic, cultural and political relevance has been based precisely on its ability to change and find appropriate strategies while holding on to its fundamental principles of openness, creative and curator freedom. The East-West, North-South, or as it is said today the Global South (yet meaning only economically prosperous global cities of the ‘South’ such as Singapore. Hong Kong, Shanghai or Seoul) divisions, even if they do not apply in the same way. still prove relevant because they bring to light some new centres and a new. forgotten periphery. It does not come as a surprise therefore that this year, for the first time, Bitef brings a production from Singapore, a new player on the international geopolitical and cultural
stage. in other words, the periphery does not arrive with its tradition alone anymore: it is here with its new polemical dialogue with the world. At Bitef, theatres have always represented their countries; there, at the festival, we heard their anthems, often for the very first time, but it was also a space shared by all of them, a celebration opening with theatre fanfare, and frequently followed by processions down Belgrade streets or performances of visual artists thereby making the whole festival a cultural performance on its own, Bitef’s map of the world is not yet complete and will never be complete and it creates possibilities and challenges for new geopolitical and artistic strategic approaches. And when the culture of hope was replaced by the culture of humiliation (D. Moisi) Bitef found its way to survive owing to the rhizome system established during the culture of hope. The festival has evolved, changed, begun to open new regional, geopolitical paths. Today, when the culture of fear dominates the world geopolitics and when art as a “soft power” (Nigh) loses its importance while religious fanaticism, ethnic nativisms
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