Битеф

PROMOCIJA KNJIGE: MEĐUNARODNE POZORIŠNE SEZONE U BEOGRADU. BITEF 1967-2007 Natalija Vagapova Ж 20. September, 12:00 Muzej pozorišne umetnosti AUTORKA 0 KNJIZI Secam se kako je u sezoni 1968/1969. Moskvu i tadašnji Lenjingrad, sada Sankt Peterburg, uzdrmao Atelje 212 sa svojim, za tadašnju rusku - sovjetsku, publiku, apsolutno novim, modernim repertoarom, a na čelu sa slavnom Mirom Trailovic. Za to gostovanje Ateljea 212, pisala sam uvodni članak za program. Upoznala sam Miru i njene glumce. Tada sam saznala i za Bitef. Tada je nastao moj životni teatrološki san - napisati knjgu 0 Bitefu. Međutim, iz poznatih ideoloških razloga, ostvarenje tog sna trajalo je dugo. Takva „sumnjiva“ tema, vezana za jedan sa vise strana slobodan i slobodarski festival, nije mogla da opstane u planu državnog instituta. Nisam gubila vreme. Radila sam na „mirnijim“ temama, ali sam se usput, u septembru provlačila kad god sam mogla. Dolazila sam u Beograd и sastavu delegacija, na akademske studije i tako dalje. Naša, sovjetska, uglavnom ruska pozorišta, ipak su sve češće bila viđena na Bitefu, gde su osvajala gran pri i druge nagrade. Sve sam to opisivala za ruske dtaoce, koji nisu bili toliko upoznati sa medunarodnom situacijom. Moja knjiga je upućena današnjim Rusima - studentima teatrologije, koji tada još nisu bili ni rodeni. Bice mi drago ako osete atmosferu tih godina kada je gotovo sve bilo zabranjeno, a ipak se živelo i prkosno i veselo. To osećanje su naši pozorišni ljudi tada donosili iz Beograda i svako ozbiljno pozorište se staralo da pokaže svoju produkdju Jovanu Cirilovu kad je on, kao stručnjak za istočni pravac Bitefa, dolazio kod nas. Posebno poglavlje u knjizi posvećeno je političkom teatru različitih zemalja, od 60-ih do 90-ih godina. Zatekla sam i pozoriste otvorenog političkog protesta, i takozvanu mitološku drama sa protestnim podtekstom kao i postavke klasike sa puno aluzija i mnoge druge forme društvenog angažmana u scenskoj umetnosti. Sve sam to mogla da vidim posle Gorbačovljeve perestrojke u SSSR-u. Tema Bitefa dobila je svoje mesto u zvaničnom planu našeg instituta. Posle svakog od mojih putovanja и Beograd, nastao bi nov članak za moskovsku štampu. Mira i Jovan su stekli poverenje u mene, i to mi je dalo impuls za dalji rad. Sve što sam mogla licno videti na Bitefu, i postmoderna, i klasika na nov način, i koreodrama, i novi „teatar surovosti", 1 prefinjeni post-postmodernizam - opisano je i analizirano u šest poglavlja moje knjige. Nisam ni pokušavala da budem

BOOK PROMOTION: INTERNATIONAL THEATRE SEASONS IN BELGRADE. BITEF 1967-2007 Natalia Vagapova Ж Tuesday, 20“ 1 September, at noon Theatre Museum of Serbia THE AUTOR ON THE BOOK I remember how Atelier 212, led by famous Mira Trailović shook the foundations of Moscow and Leningrad, now Sankt-Petersburg, in the season 1968/69, as its repertoire was absolutely new and modern for the then Russian-Soviet audience. I wrote a programme intro for the performance. I met Mira and her actors. That is how I learned about Bitef and that is how my theatre dream was born - to write a book about Bitef. The well-known ideological reasons, however, made me wait for its fulfillment for a long time. The ’suspicious" topic related to a free and freedom-promoting festival, could not be supported by the State Institute. Still, I did not waste time. While writing on less challenging topics, I would sneak out to Belgrade every September. I used to come as a member of various delegations, or to pursue a course of studies, and so on. However, our Soviet, mostly Russian, theatres started being invited to Bitef more and more freguently, where they often won Grand Prix and other prizes. I used to write descriptions of the events for the Russian readers, who were poorly acguainted with international theatre trends. My book is targeted to contemporary theatre students in Russia, who at that time were not even born. I am glad if I manage to evoke the atmosphere of the years when, though almost everything was forbidden, life was lived in a cheerful and defiant manner. Our people used to bring the unique feeling back home and every theatre of importance would make sure to present its production to Jovan Grilov who, as a specialist for the performances that would be invited to Bitef from the East, used to come to us. I have dedicated a special chapter to political theatre of various countries in the period between the 60ies and the 90ies. I have come upon theatre of open political protest, as well as with socalled mythological drama which contains protest on the level of its subtext, and productions of the classics full of allusions, and many other forms of social engagement in theatre. I could see all of that in USSR after Gorbachev's perestroika. Bitef secured its placed within the official plan of our Institute. Each of my trips to Belgrade was followed by an article in the Moscow press. Having earned Mira's and Jovan's trust, I was spurred on to further research. Everything I saw at Bitef - postmodernism, new approaches to classics, choreodrama, the new theatre of cruelty, and the

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