Bitef

21. septembar / 17: oo, 18:30, 20:00 22. septembar / is : 30,17:00,18:30 POZORIŠTE NA TERAZIJAMA Trajanje: Ih 30’ (bez pauze)

September 21 st / i7;00, 18:30, 20:00 September 22 nd / is : 30,17:00,18:30 TERAZUE THEATRE Running time: Ih 30’ (without interval)

VIDEO-RAD / VIDEO: Bruno Deville DRAMATURGUA / DRAMATURGY: Katja Hagedorn ASISTENTI AUTORA / CREATION ASSISTANTS: Magali Tosato, Deborah Helle (stažista / intern ) ASISTENTI SCENOGRAFIJE / SET DESIGN ASSISTANTS: Clio Van Acrde, Marine Brosse (stažista / Intern ) KOPRODUKCIJA / KOPRODUKCIJA: Rimini Apparat - Schauspielhaus Zurich - Bonlieu Scene nationale Annecy et La Batie-Festival de Geneve dans le cadre du programme INTERREG France-Suisse 2014-2020 - Maiilon, Theatre de Strasbourg - scene europeenne - Stadsschouwburg Amsterdam - Staatsschauspiel Dresden - Theater Chur - Carolina Performing Arts UZ PODRŠKU / WITH THE SUPPORT OF: Fondation Casino Barriere, Montreux, Le Maire de Berlin - Chancellerie du Senat - Affaires culturelles. Pro Helvetia

FOTOGRAFIJE / PHOTOGRAPHY: Samuel Rubio

REČ SELEKTORA

Celinu od tri instalacije na 52. Bitefu zaokružuje rad Zaostavština, kotnadi bez ljudi ( Nachlass: piece sans personnes ) poznatog reditelja Stefana Kegija, jednog od tri člana svetski proslavljenog kolektiva Rimini protokol, a koji je produkcija jednog od vodećih švajcarskih pozorišta, Vidija iz Lozane, lako se u pogledu osnovnog umetničkog koncepta - prostorna instaladja s nekoliko soba oblikovanih pomoću bogatog dokumentarnog materijala - može dovesti u vezu s instalacijom Večna Rusija, ovaj rad je, ipak, bitno drugačiji, zapravo potpuno samosvojan, i to u tematskom, atmosferskom i emocionalnom pogledu. On nije Javirint istorije" koji nas uvek vraća na istu tačku, već „muzej sećanja" na pojedinačne, „obične" ljude kojih vise nema, ili koji će nas uskoro napustiti. Svaka soba je minuciozna realistička inscenacija odlaska tih ljudi, odnosno projekcija nadna na koji su oni zamišljali/žeieli da odu s ovog sveta, projekcija značenja koje to za njih ima, kao i oblika na koji žele da ih se jednog dana sećamo. Tako ova instalacija nije samo izložba memorabilija povezanih s nekim nepoznatim ljudima, već materijalni, fizički okvir za jedno veoma snažno atmosfersko, emocionalno i metafizičko iskustvo. U dramaturgiji 52. Bitefa, ovaj Kegijev rad označava ključni zaokret od fenomena istorijskog i društvenog (dakle, kolektivnog) raspadanja i nestanka do onog ličnog, pojedinačnog, biološkog i/ ili metafizičkog.

CURATORS’ WORD

The body of three installations at 52 nd Bitef Festival is rounded up with the work Nachlass, pieces sans personnes, by the famous director Stefan Kaegi, one of the three members of the internationally acclaimed collective Rimini Protokoll, produced by one of the leading Swiss theatres, Theatre Vidy-Lausanne. Although in terms of its basic art concept - spatial installation with several rooms shaped by the abundance of documentary material - this work could be related to the installation Eternal Russia, yet is significantly different from it, and completely unique in terms of its topic and the atmosphere and emotion it conveys. This work does not represent a "historical maze” which keeps bringing us back to where we started from, but a "museum of memories” of particular “common” people who are no longer alive or are about to leave us. Each room is a detailed realistic representation of those people’s departure, i.e. illustration of their imagined/desired exit, the illustration of the significance it had for them, and the shapes they wish to be remembered by. This installation, therefore, is not simply an exhibition of memorabilia linked to unknown people, but a material physical frame for a powerful experience in terms of atmosphere, emotion and metaphysics. Within 52 nd Bitef dramaturgy, this work by Kaegi represents a key departure from the phenomenon of historical and social (therefore, collective) disappearance, toward a nearing of the personal, the singular, biological and/or metaphysical one.