Bitef

domaštavanja, moglo bi se reči da ova predstava obnavlja drevnu persijsku tradicija kazivanja priča i tako se nadovezuje na liniju bazičnih civilizacijskih narativa, koji nas od grčke mitologije, preko Biblije, dovode do srpske epike iz srednjega veka i Priča iz hiljadu i jedne noči. Predstava (Sa)slušanje označava prelaz iz drevne prakse pripovedanja u aktuelnu tematika, jer tretira pitanje položaja žene a današnjem Irana. Izazove maslimanskog sveta, izmeda ostalog i položaj žena, tematizuje i predstava Sneg čuvenog Talijateatra iz Hambarga. Ona je takode zasnovana na „epskom“ materijala, romana Sneg tarskog nobelovca Orhana Pamaka. Njegov istovremeno glavni janak i narator, kojeg još zova Ka (jasna alazija na janaka Kafkinog Procesa ), krede na „epsko patovanje" a zavičaj, vrača se iz Nemačke a Tarska, gde postaje ačesnik i svedok oniričnog kolopleta dramatičnih dogadaja a kojima se, na više ravni, prelama sakob izmeda islamističke i sekularne Turske. Od ove grade, mladi berlinski reditelj turskog porekla, Ersan Mondtag, stvara vrlo ironično političko pozorište, s elementima treš poetike, koje se duhovito poigrava prepoznatljivim elementima turske kulture, u rasponu od derviških plesova do arhitekture parnih kupatila. Ako se ovde podvuče črta, može se zaključiti da svih šest predstava povezuje pojam epsko (u njegovim različitim značenjima). Kao što je istaknuto, u svim predstavama preovladuje epski, pripovedački modus predstavljanja, a ne dramski; večina njih uzima gradu iz epova, romana ili, najšire gledano, mitova; dobar deo predstava ima i epsko trajanje, a kpje ih podvodi pod koncept „durational performances", Kada se torne doda činjenica da je okretanje ka epskoj gradi, zapravo, jedno specifično „putovanje" u prošlost, te da efekat dugog trajanja stvara i posebno psihofizičko stanje kod publike - neku vrsta omamljenosti, halucinacije - onda se sustiču svi argumenti kojima se objašnjava slogan 51. Bitefa - „Epic Trip“, „Epic Trip" na 51. Bitefa završava se predstavom Istrebijenje, takođe u režiji Ersana Mondtaga, po tekstu Olge Bah i u izvodenju Koncertteatra iz Berna, Švajcarska. Tekst ove veoma mlade autorke tretira odnose u grupi mladih ljudi koji iskušavaju i zloupotrebljavaju sve slobode savremenog zapadnog društva, proživljavaju

Reza Koohestani, a young Iranian director, has already achieved considerable success at the leading world festivals. It is structured as a hearing based on listening and eavesdropping (hence the ambiguous title). An actress seated in the audience plays the an older student of a girls' boarding school and thus, by her position equalised (like the position of the spectators in the theatre) with the society, community or the public, conducts a hearing of several young women educated in the boarding school because one of them has heard (and reported to the relevant authorities) a male voice from an adjoining room. In Koohestani's production, the form and the content interlace splendidly: a story about a society in which many themes are glossed over in silence, swept under the carpet, rumoured, whispered and told softly, is articulated as a staged hearing. With a leap of critic's imagination, one could say that this production brings back to life the ancient Persian tradition of story-telling and links up with the line of basic civilization narratives which take us from the Greek mythology to the Bible, and then even further, to the medieval Serbian epics, and The Thousand and One Nights. Hearing marks the transition from the ancient practice of story-telling to modern themes as it addresses the position of women in modern-day Iran. The challenges of the Muslim world, including the status of women, are also the subject of Snow, a production of the celebrated Thalia Theater in Hamburg, It is also based on “epic" material, i.e. the novel Snow by the Turkish Nobel Prize winner Orhan Pamuk. His main character and the narrator called Ka (clear allusion to the main character in Kafka’s Trial) sets off on an “epic trip” to his fatherland, returns from Germany to Turkey, where he becomes a participant of and a witness to an oneiric web of dramatic events reflecting at a number of levels the conflict between the Islamist and secular Turkey. Ersan Mondtag, a young Berlin director of Turkish origin takes this material to build a highly ironic political theatre with elements of trash poetry which cleverly toys with recognizable elements of the Turkish culture, from dervish dances to the architecture of steam baths. If one draws the line here, one can conclude that all six productions share the notion of epic in its various meanings. As has been mentioned, the epical, narrational mode of presentation rather than the dramatic one prevails in all the productions. Most of them take their material from epics, novels or, in broader terms,

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