dramskog pozorišta i zabranjivani Tar- tif u režiji Igora Vuka Torbice. Već ova- ko postavljen koncept navodi na slede- će pitanje za umetničkog direktora – u kojoj meri brisanje granica omogućava autorima da iskažu radikalniji politički stav i da li se on upravo tom radikalno- šću vodio prilikom odabira predstava? – Manje je u pitanju intenzitet, a više vrsta političkog sadržaja. U imer- zivnom pozorištu se zapravo ne artiku- liše stav, političnost nije diskurzivna, ne svodi se na poruku, već je u samom iskustvu našeg gledalačkog bivanja u nekoj scenskoj situaciji, preuzimanja dela odgovornosti za nju. U slovenač- koj predstavi, rađenoj po Fasbindero- vom filmu Ali: strah jede dušu , reditelj Sebastijan Horvat postavlja publiku u situaciju da do pucanja ispunjava i ina- če tesan fizički prostor junaka dram- ske fikcije i tako postane onaj treći ko- ji sreću kvari, društvo/zajednica koja predrasudama, doslovno i metaforič- ki, guši jednu ljubavnu vezu... Sasvim je druga uloga publike u Pozvanima : tu nismo remetilački faktor, već vođe- ni samim izvođačima, zajednički ispi- tujemo i gradimo solidarne, na pažnji i podršci zasnovane odnose i u tome se, sasvim u duhu postdramskog po- zorišta o kojem piše Hans Tis Leman, ogleda političnost koreografije Sepe Bajensa... Iz mogućnosti da se, bar na trenutak, izgradi takav svet, potiče i slogan Bitefa, a koji je naslov pesme Aleksandra Koraća proslavljene u in- terpretaciji Beti Đorđević – Počnimo ljubav iz početka . Naravno, iako uvek najviše u foku- su, glavni program Bitefa nije i jedi- ni, i ove godine pripremljeni su brojni jednako interesantni prateći programi. Medenica kaže da bi sve konceptualne osovine Bitefa bile jasno istaknute, po- trebno je tematizovati ih i u pratećim programima, prevashodno onim debat- ne prirode, kojih će i ove godine na Bi- tefu biti mnogo. – Posebno bih izdvojio međunarod- nu tribinu o imerzivnom pozorištu i no- vo izdanje Filozofskog teatra, u kojem će filozof Srećko Horvat razgovarati s Normanom Ohlerom o otkrićima tog nemačkog pisca o tome koliko su nar- kotici uticali na nacističku vrhušku, a po čijoj knjizi Leonardo Dikaprio želi da snimi film. Izdvajam i program po- svećen sećanju na Borku Pavićević, ve- likog saborca, stvaraoca i prijatelja Bi- tefa. Jedan od pratećih programa je i festival novog cirkusa – Cirkobalkana . Sve je to jedan veliki poziv na lju- bav. Iz početka.
ment has both artistic and thematic axes: each of the selected plays must rely on at least one of them. So, plays that are not immersive pose questions related to our theme for this year: the collapse of community – spanning everything from the state and family rela- tions to partnerships – and attempts at its renewal... The world is perhaps in the midst of the biggest crisis since World War II, and some of the syndromes of this crisis are addressed by the plays of the 53rd Bitef: terrorism, juvenile violence and the impact of new technologies on the youth, the consent of citizens to authoritarian regimes, the refugee tragedy, prejudice against same-sex relation- ships or those between people of di erent ages and backgrounds.” Thus, the programme of the 53 rd Bitef, to take place from 17th to 26th September, will include – apart from the aforementioned Invited – the shows Rare Birds (France), Of Flesh and Concrete (Bra- zil), Ali: Fear Eats Your Soul (Slovenia), Immoral Tales - Part 1: Moth- er House (France), Yuropa (Nigeria), History of Violence (Germany), Youth Without God (Croatia), Orestes in Mosul (Belgium), and Re- mote Belgrade by dance troupe Rimini Protokoll, which was award- ed at last year’s edition of the festival. Our home colours will be defended by the Yugoslav Drama Theatre’s Why Does Herr R. Run Amok? and the banned Tartu e, directed by Igor Vuk Torbica. A concept established in such a way raises the following question for the artistic director – to what extent does the erasing of bound- aries enable authors to express a more radical political stance and was it precisely such radicalism that guided him when it came to selecting plays? “It is less about intensity and more about the type of politi- cal content. In immersive theatre a stance actually isn’t articulat- ed, politics isn’t discursive, it isn’t boiled down to a message, but rather is in the very experience of our viewer being in some situ- ation on stage, in taking on part of the responsibility for it. In the Slovenian play based on Fassbinder’s lm Ali: Fear Eats Your Soul, director Sebastijan Horvat place the audience in a situation where the stage is full to bursting in the otherwise narrow physical space of the hero of this ctional drama, thus becoming the three that’s a crowd, as a society/community that, with its prejudice – literally and metaphorically – su ocates a love a air... The audience plays a completely di erent role in Invited: here we’re not a disruptive factor, but rather – led by the performers themselves – we joint- ly examine and build solidarity, through relationships established carefully and supportively, and in this – completely in the spirit of Postdramatic Theatre as written about by Hans-Thies Lehmann – is re ected the political nature of this choreography by Seppe Bae- yens... The possibility of building such a world, at least momentar- ily, is the foundation of Bitef’s slogan, which is the title of a song by composer Aleksandar Korać that was celebrated according to the interpretation of Beti Đorđević - Let’s Start Love Over.” Of course, although it’s always in the main focus, Bitef’s main programme isn’t the only programme, and for this year a num- ber of equally interesting supporting programmes have been pre- pared. According to Medenica, in order for all of Bitef’s conceptu- al axes to be clearly accentuated, it is necessary to theme them in the supporting programmes, especially those that are of a debat- able nature – and Bitef will also have many such plays this year. “I would single out in particular the international panel debate on immersive theatre and the new edition of the Philosophical The- atre, in which philosopher Srećko Horvat will speak with Norman Ohler about this German writer’s discoveries regarding the in u- ence of narcotics on the Nazi leadership, and whose book on this subject Leonardo DiCaprio wants to adapt for a lm. I would al- so single out the programme dedicated to the memory of Bitef’s great comrade, creator and friend, Borka Pavićević. Another of the supporting programmes is the Cirkobalkana festival of new circus.” And all of this forms one big invitation to love... From the start.
Svet je možda i u najvećoj krizi od Drugog svetskog rata, a neke od sindroma ove krize tretiraju predstave 53. Bitefa The world is perhaps in the midst of the biggest crisis since World War II, and some of the syndromes of this crisis are addressed by the plays of the 53 rd Bitef
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