Bitef

sveta. Bitef postoji da bi nas uznemiravao i umetnički i politick!, pokretao da mislimo, osećamo i delamo... Na prošlom Bitefu, umetnički je fokus bio na „durational performances I ', a problemski na velikim naracijama (cela grčka mitologija i tragedija, Biblija, srpska epika srednjeg veka...) na kojima se zasniva naša, uveliko posrnula zapadna civilizacija.

Na tematsko-problemskom planu, slogan „Svet bez ljudi" može da stvori pregršt različitih asocijacija, ali mi smo prevashodno mislili na tri; svet bez „pravih" ljudi, svet (uod) apokalipse i fenomen smrti. Te su asocijacije čvrsto povezane, jer svet bez pravih ljudi. svet neljudi, dovodi, pre ill kasnije, do kataklizme opštih razmera posle koje nema ničeg: samo smrti, odnosno - sveta bez ljudi. Ta vizija „sveta bez pravih ljudi", a koja naslućuje opštu propast, odnosi se na sasvim konkretne, opasne tendencije koje odlikuju današnju Evropu i svet. Red je o desnom populizmu, ksenofobiji, netoleranciji, autoritarnim režimima (tzv. ~neliberalne demokratije"), koji razgraduju demokratske ustanove i sistem ljudskih prava, što se dešava čak i u onim državama koje su njihove kolevke, i sve to u, manjoj ili većoj meri, u sprezi s pljačkaškim oblicima kapitalizma. Ovaj se tematski fokus razvio iz autentičnog, ličnog osećanja neizvesnosti, strepnje i straha, koje smo dramaturg Bitefa Filip Vujošević i ja prepoznali i u mnogim predstavama viđenim u procesu selekcije, a ne iz nekog ideološki unapred zadatog i ostrašćenog stava.

Upravo se na takav, intimni i bolni krik opomene svodi predstava Odilo. Zatamnjenje. Oratorijum, jednog od vodećih slovenačkih avangardista iz osamdesetih godina 20. veka, Dragana Živadinova, koji je ostvaren u koprodukciji nekoliko slovenačkih pozorišta. Živadinov je naglo i neočekivano prekinuo svoje višedecenijske, radikalne eksperimente s projektima u bestežinskom stanju ili sa „inkapsuliranjem" umetničkog opusa svojih preminulih glumaca u satelite, koji će biti lansirani u kosmos, i najčvršće moguće aterirao na zemlju, jer je snažno osetio i nedvosmisleno zaključio da se u današnjem svetu nameće jedna jedina relevantna tema: povampirenje nacizma (ili kako god da gore izlistane pojave eufemistički preimenujemo). Tako je nastala predstava koja upozorava na dotične aktuelne pojave ukazivanjem na njihove preteče (ili analogije) iz prošlo-

Thus, the task of Bitef is to disturb us both artistically and politically, to make us think, feel, and act... The artistic focus of last year’s Bitef was “durational performance", while the thematic one was grand narrations (antic mythology and tragedy, the Bible, Serbian medieval epics...) which represent our civilization verging on collapse.

Thematically speaking, the slogan “World Without Us” (in Serbian, the slogan reads “World Without People”) creates a myriad of associations, but we predominantly aim at three: world without good, honest people; world of (imminent) apocalypse; and the phenomenon of death. Those three associations are firmly linked, because the world without true people - a world of bad people - leads, sooner or later, to global cataclysm. It leaves nothing behind, only death, i.e. a world without people, without us. This vision of a world without real people, which is the omen of global destruction, refers to concrete and dangerous tendencies typical of Europe and the world of today. Those are right-wing populism, xenophobia, non-tolerance, authoritarian regimes (the so-called “non-liberal democracies”) which undermine democratic institutions and the system of human values - even in those states where sUch principles stem. All of that, more or less, in collaboration with the looting forms of capitalism. This thematic stream has been developed from an authentic, personal feeling of uncertainty, apprehension and fear, which Bitef dramaturge Filip Vujošević and I have recognized in many performances during the process of selection, and not from an ideologically heated preconception.

The selection is an intimate and painful warning cry, such as can be heard in the performance Odilo. Obscuration. Oratorio, by Dragan Živadinov, produced in the cooperation of several Slovenian theatres. Živadinov, one of the leading Slovenian avant-garde artists from the 1980 s, has abruptly and unexpectedly interrupted his decades-long radical experiments with projects "in the zero-gravity state”, or "encapsulations” - art opuses of his deceased actors transformed into satellites to be launched into space. Now, he has landed firmly onto the ground, having realized that today there is only one relevant global topic: the rise of Nazism (or whichever euphemistic term might be

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