Битеф

sami glumci su svojom igrom stvorili predstavu. Tekst je manje važan. Takve su predstave Double and Paradise Serapions Theatra iz Beča, takav je Bus iz Modene, po Raymond Quéneau-u, takav je Kraj Evrope iz Poznanja, Zatočenici slobode iz Ljubljane, Kraljičina luda iz Brna, sa sasvim izuzetnim glumcem Boleslavom Polivkom, Gevrey Chamberlain iz Pariza, pa čak i takve predstave kao što je Čaran iz Nju Delhija i Zvezda i smrt iz Moskve, na tekst pesnika Pabla Nerude. Iz svih tih predstava bije mladost, neka nova energija, i lišene su predrasuda o žanrovima i ustaljenim oblicima pozorišta. Pre svega, na sve je uticala jedna nova rok-kultura, kultura nove mladosti. Takve su čak i predstave napravljene na klasične tekstove San letnje noči iz jednog nekonvencionalnog pozorišta kakvo je pozorište iz Milhajma i Bura iz Barselone. Pitanja koja hoče da postave ove predstave sigurno nisu ona ista pitanja koja je postavljalo svetsko pozorište pre više od jedne i po decenije kada je Bitef osnovan. Na nama je da ta pitanja prepoznamo. □ Mira Trailovič i Jovan Cirilov

There is no sociological proof supporting the fact that economic and social crisis are accompanied by an underlined theatrical crisis. On the contrary, years of turmoil and material misfortunes often are the most fruitful years for the world theatre. The beginning of the eighties of our century is undoubtedly a period of recession in the economic sense. What a theatre is within this decade is shown by the practice of the theatre, its current season, while international festivals are a sort of summing up of these seasons in world dimensions. It is a paradoxal fact that worries that accompany every individual in difficult times appear to by-pass the theatre. The bleaker the everyday

life, the more colourful the theatre. It would appear that in such times the theatre returns to its authentic forces, its juices, its advantages. Above all it returns to its actor. The theatre of the eighties has again to a great degree become histrionic, sure of the strength of artistic skill, its intuition, its comprehensiveness, its eternity. There were theatres without the literary word, and without a director, and without a theatre hall, and without theatre props; the only thing theatre was never without was the actor and the public. If it has become histrionic it does not mean that the contemporary theatre has necessarily become merely an entertainment, superficial and devoid of the search for human and social essentials. It has merely turned to other paths or has returned to some of its ancient ones. In any case, even at times when the theatre wishes to be the wisest, as well as when it is the least intelectual, what the French sociologist Jean Duvignaud wrote stands: Art does not represent an answer to a single question, indeed it clearly defines a question to which it is not yet possible to give an answer. No BITEF from its establishment has featured so few classical plays as this 17th one does. In most of the performances, even of plays which an author has signed, the actors themselves create the play through their acting. The text is less important. Such are first of all performances of Double and Paradise of the Serapions Theatre of Vienna, such is the Bus from Modena, after Raymond Queneau, such is the End of Europe from Poznan, The Prisoners of Freedom from Ljubljana, The Queen’s Fool from Brno, with the very exceptional Bolesav Polivka, Gevrey Chamberlain from Paris, and even such performances as Charan from New Delhi, and the Star and Death from Moscow, based on the text of the poet Pablo Neruda. Out of all these performances emanates youth, a new kind of energy; they are all divorced of prejudice in respect of genre and established forms of theatre. Above all they are all under the