Битеф

se tek afirmišu na svetskom pozorišnom prostoru, mogao biti dobar uvod u jubilarni 20. Bitef sledeče godine. Želja nam je da se na tom Bitefu, posle dve decenije, okupi u Beogradu što veci broj onih koji su ga obeležili a koji još stvaraju živo pozorište i učestvuju u avanturi savremenog teatra sveta. Uvereni smo da če dvadesetogodišnjica Bitefa biti i naš i njihov jubilej. □ Mira Trailovič i Jovan Ćirilov

Classical and anticlassical ’85

At first glance two trends are apparent at this year’s 19th BITEF - classical and anticlassical. This is so at first glance: the two trends appear divorced and developing independently one from the other. However deeper insight into the

essence of the performances show that these are not two separate trends but two tendencies which struggle within the same movement, the same aesthetics and most often within the framework of the same performance. Classical is not merely the act of taking a classical piece of work for the subject of ones theatrical interest - Shakespeare, Molière, Victor Hugo, Tchékhov or Gorky - but also the study of the classical forms of theatrical expression, their restoration with nostalgic feelings and the spontanious opposition to personal nostalgia. The avantgarde of our days has its own classics and the latest theatrical searches incorporate polemics with the preceding generation of searchers. Non-verbal, anti-literal theatre, that forceful tendency of the modern theatre, must constatly overcome its findings, successess and results; its owns classics. Events which took place within the movement which is described as the trans-avantgarde, the

only outstanding trend established in the eighties, is a witness to these suppositions although not their only proof too. On the other hand performances at the 19 th BITEF which have classical dramatic works for their motive, every one in its own way, contains an anti-classical key. Everyone of these performances to a greater or lesser degree has in it something destructive, somethings anti-classical, something new. It is our desire to gather at this BITEF, after two decades, the largest number possible of those who left their mark on it and who still create a living theatre and take part in the adventure of the contemporary theatre of the world. We feel sure that the twentieth anniversary of BITEF will prove to be both our and their jubilee. □ Mira Trailović and Jovan Ćirilov

Classique et anticlassique ’85

Le XIX e BITEF fait apparaître, au premier coup d’oeil, deux courants - classique et anticlassique. Il en est ainsi au premier coup d’oeil, les deux courants semblent séparés et coulent indépendants l’un de l’autre. Cependant, le regard qui irait plus en profondeur, dans l’essence même de ces spectacles, découvrirait qu’il ne s’agit pas de deux courants séparés, mais de deux tendences qui luttent au sein du même mouvement, de la même esthétique et très souvent dans le cadre du même spectacle. Les classiques - cela ne signifie pas seulement l’acte de prendre pour objet de l’intérêt théâtral une oeuvre dramatique classique - celle de Shakespeare, Molière, Victor Hugo, Tchékhov ou Gorki - mais aussi les recherches sur des

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