Битеф

Le Living nous a-t-il appris non de créer notre théâtre, mais de le vivre? Grotowski nous a-t-il laissé en héritage sa vérité que Favant-garde véritable est en fait la défense des lois anciennes du jeu théâtral? Et Barba, Schechner et Chaikin Font-ils confirmé? Brook, Bergman, Planchón, Mnouchkina, Stein, Peymann, Ljubimov, Kreïtcha, Efros et Ciulli nous ont-il convaincu que la synthèse de Favant-garde et de la tradition était possible? Wilson a-t-il réalisé le rêve du théâtre onirique des surréalistes? Pina Bausch, Kresnik et La Fura dels baus ont-il triomphé du théâtre verbal? Le Trentième BITEF est un de ces avenirs possibles que nous gardons en mémoire. Mira, est-ce bien Favenir dont nous avions rêvé? ■ Jovan Cirilov

REMEMBERING THE FUTURE ■ For M ira Trailović ■ It was in 1967. We were founding the festival of the new tendencies. We had chosen the performances which we thought were the future of the theatre. Today, after thirty years, we are in the middle of that dreamed future. Is this the future we imagined? What were the messages of the theatre prophets of the first Bitefs to the future? Did The Living teach us not to make, but to live our theatre? Did Grotowski bequeath to us his truth that the real avant-garde is actually the defending of the ancient laws of the theatre performance? Was that confirmed by Barba, Schechner and Chaikin? Did Brook, Bergman, Planchón, Mnouchkine, Stein, Peymann, Ljubimov, Krejca, Efros and Ciulli convince us in the possibility of synthesis between avant-garde and tradition? Did Wilson realise the surrealist dream of the oneiric theatre? Did Pina Bausch, Kresnik and La Fura dels Baus triumph over the verbal theatre? The BITEF 30 is one of those possible futures we remember. Did we dream of this future, Mira? ■ Jovan Cirilov