Bitef

51

29. septembar / 20:00 ATELJE 212 SCENA „MIRA TRAILOVIĆ“ Trajanje: Ih 10’ (bez pauze)

September 29 th / 20:00 ATELJE 212 MIRA TRAILOVIĆ STAGE Running time: 1h 10’ (without interval)

ASISTENT REDITELJA / ASSISTANT DIRECTOR: Mohammad Reza Hosseinzadeh IGRAJU / WITH: Mona Ahmadi, Ainaz Azarhoush, Elham Korda, Mahin Sadri VIDEO-RAD / VIDEO: All Shirkhodaei MUZIKA I ZVUK / MUSIC AND SOUND: Ankido Darash DIZAJN SVETLA / LIGHT DESIGN: Saba Kasmaei SCENOGRAFIJA / STAGE DESIGN: Amir Reza Koohestani uz pomoč / assisted by Golnaz Bashiri KOSTIMOGRAFIJA I REKVIZITA / COSTUMES AND PROPS: Negar Nemati DRUGI ASISTENT REDITELJA / SECOND ASSISTANT DIRECTOR: Mohammad Khaksari ŠEF TEHNIKE / STAGE MANAGER: Mohammad Reza Najafi ASISTENT KOSTIMOGRAFA / COSTUMES ASSISTANT: Negar Bagheri KOPRODUKCIJA / COPRODUCTION: La Bâtie - Festival de Genève, Künstlerhaus Mousonturm Frankfurt am Main, BOZAR - Centre for Fine Arts Brussels PRODUCENTI / PRODUCTION MANAGERS: Mohammad Reza Hosseinzadeh, Pierre Reis MENADŽER KOMPANIJE / COMPANY AND TOUR MANAGER: Pierre Reis DRAMA (SA)SLUŠANJE JE NAPISANA TOKOM BORAVKA NA AKADEMIJI SCHLOSS SOLITUDE U ŠTUTGARTU, NEMAČKA (OKTOBAR 2014 - MART 2015. GODINE). / HEARING WAS WRITTEN DURING A RESIDENCY AT THE AKADEMIE SCHLOSS SOLITUDE (OCTOBER 2014 ■ MARCH 2015) IN STUTTGART, GERMANY. FOTOGRAFIJE / PHOTOGRAPHY: Amir Hossein Shojaei, Pierre Borasci

REČ SELEKTORA Predstava spaja, na vrlo pametan način, koji se naslučuje več na osnovu njenog dvosmislenog naslova, formu I sadržaj. Ona ima formu (scenskog) saslušanja, čija je tema upravo - slušanje. Starija studentkinja internata sukcesivno saslušava mlade, od kojih jedna tvrdi da je iz sobe druge cula muški glas. Mogučnost da je - što bi bilo škandalozno - muškarac boravio u ženskem internatu, otvara jedno od najbitnijih pitanja savremenog iranskog društva: odnos prema ženama. S druge Strane, forma predstave, nezavisno od konkretne dramske situacije saslušavanja, upučuje na drevna vremena, na epsko naslede, tradiciju pripovedanja karakteristične za persijsku kulturu (može se povuči slobodna paralela s Pričama iz hitjadu i jedne noči). Kao u svim patrijarhalnim društvima, i ovde problem nastaje iz nečega što se „culo", o čemu ne postoje dokazi več samo priče, prepričevanja, predanje... Teškoča rekonstruisanja istine iz poluistina, priča, ogovaranja i prisluškivanja, što jasno asocira na čuveni Kurosavin film Rašomon, takode je jedno od pitanja koje u ovoj veoma suptilnoj predstavi pokreče njen autor, trenutno jedan od vodečih i svetski priznatih iranskih pozorišnih umetnika mlade generacije. Amir Reza Kuhestani.

CURATORS’ WORD The production very intelligently - as hinted by its ambiguous title - blends form and content. It is formatted as a (staged) hearing, the subject of which is precisely - listening. An older student of a girls' boarding school conducts a successive hearing of younger ones, one of whom claims to have heard a male voice from another student's room. The possibility of a scandalous event such as the presence of a man in a female boarding house raises one of the most important questions in the modern Iranian society: the status of women. On the other hand, the form of the production, regardless of its concrete dramatic situation, i.e. hearing, harks back to ancient times, the epic legacy, the tradition of story-telling of which the Persian culture is characteristic (The Thousand and One Nights easily comes to mind). As in ail patriarchal societies, the problem is generated by something that was "heard”, of which there is no evidence, only stories, retold over and again, a tale... The difficulty of reconstructing the truth from half-truths, tales, gossip and eavesdropping, clearly associative of Kurosawa’s celebrated Rashomon, is another question posed in this very subtle production by the author Amir Reza Koohestani, currently one of the leading Iranian directors of the younger generation, recognised the world over.