Bitef

u Frljićevim projektima, pozidju pozorišta u takvom kontekstu, njegovu spremnost i sposobnost da reaguje i pruži otpor. U ovom slučaju, to je posebno zanimIjivo i bitno pitanje, jer Frljić problematizuje aktuelni, progresivni koncept Teatra „Maksim Gorki", otvorenog prema umetnicima iz drugih, pre svega vanevropskih sredina, i adekvatnim temama, pokrećući pitanje da li je to suštinski otpor, ili samo podmirivanje savesti ovih umetnika. Pirandelovu intelektualnu komediju Šest lica traži pisca, Frljić aktuelizuje tako što glumačka družina na početku komada ne priprema jednu drugu dramu čuvenog italijanskog dramatičara već satirički igrokaz čiji su akteri stvarni protagonisti hrvatske ekstremne desnice. Kada se pojave, „lica" mole glumce da odigraju njihovu nasilnu, traumatičnu i incestuoznu porodičnu priču, kakve su uistinu i mnoge druge price koje se skrivaju pod hipokritskom maskom desničarima tako dragih „obiteljskih vrednosti".

Srpski teatar predstavljaće autorka i institucija koji su se potvrdili kao oni koji danas stvaraju i umetnički i društveno najradikalniji teatar. Red je o autorskom projektu Bolivud Maje Pelević (tekst i režija) u produkciji Narodnog pozorišta iz Beograda. U formi treš mjuzikla, predstava razvija potpuno apsurdnu, a opet, nažalost, realističku priču o devijacijama srpskog, ali i drugih opljačkanih i rasturenih istočnoevropskih društava. Glumci iz provincijskog pozorišta pripremaju priredbu - iskazujud pri tom nesolidarnost, ksenofobiju, nedostatak klasne svesti - da bi se što bolje „prodali" bolivudskom producentu koji. u razorenoj i napuštenoj socijalističkoj fabric! datoj pozorištu na privremenu upotrebu, želi da izgradi veliki filmski studio... Teorijsku kontekstualizaciju ovih globalnih društvenih izazova - desni populizam, ksenofobija, autoritarni režimi - ostvarićemo specijalnim izdanjem Filozofskog teatra, projekta Narodnog pozorišta koji bi sad bio i deo pratećeg programa Bitefa, a vodiće ga poznati filozof mlađe generacije Srećko Florvat sa, za ovu temu, odgovarajudm sagovornicima.

Ovu celinu glavnog programa zaokružuje predstava N 043 Prljavština estonskog Teatra N 099, koje je u poslednje vreme, posebno od dobijanja prestižne evropske nagrade za pozorište („Premio Evropa: pozorišna realnost”) u Rimu u decembru 2017, jedan od najvedh aduta velikih svetskih festivala. Ona ne tretira aktuelne društvene prilike već duhovito i meta-

title exploded like a bomb for German audiences, since it refers to the name of a far-right party which entered the Bundestag after the last elections as third strongest in the state. Therefore, the performance tackles the issue of the rise of the right wing in Germany. Yet. like almost all of Frljić’s projects, it also deals with the position of theatre in such contexts, its readiness and ability to react and put up resistance. In this case, the question is particularly interesting and relevant since Frljić problematizes the current progressive concept of “Maxim Gorki” theatre, which supports openness to artists from other mostly non-European surroundings, raising the question whether such an attitude represents real resistance or just a way to appease these artists' belated conscience. As for Pirandello’s intellectual comedy, Six Characters in Search of an Author , Frljić links it to the present moment by putting the troupe of actors at the very beginning of the play in a situation in which they are not preparing another play by this famous Italian dramatist, but a satirical play whose characters represent true adherents of the Croatian radical right wing. When the “characters” appear, they implore those actors to play out their violent, traumatic, and incestuous family story, similar to many stories hidden under hypocritical mask of this, by the right wing supporters favorite term “family values”.

Serbian theatre will be represented by an author and institution which have proved to be creating artistically and socially the most radical theatre today: Bollywood, by Maja Pelević (text and directing) and produced by the National Theatre in Belgrade. Created as a trash musical, this performance develops a completely absurd but, sadly, realistic story about the deviations of Serbian and other pillaged and ravaged eastern European societies. Actors from a provincial theatre are preparing a show - while displaying xenophobia, lack of solidarity, and lack of class consciousness - in order to sell themselves to a Bollywood producer, who, in a decrepit and abandoned socialist factory given temporarily to theatre, wants to build a huge film studio... Theoretical contextualization of these global challenges - right-wing populism, xenophobia, authoritarian regimes - will be achieved through a special edition of Philosophical Theatre, a project by the National Theatre which would also be a part of the Bitef side programme, and will be moder-

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