Битеф

JAN FABR (Jan Fabre) poznat je kao jedan od najvećih novatora i jedan od najsvestranijih umetnika svoga vremena. Tokom poslednjih dvadeset pet godina ostvarivao se kao umetnik performansa, pozorišni stvaralac, koreograf, stvaralac opera, dramski pisac i vizuelni umetnik. Jan Fahr je čuven po tome što pomera horizonte svih žanrova koje koristi za svoje umetničke vizije. Kasnih 70-ih god. XX veka, još uvek vrlo mlad, izazvao je pomamu kao umetnik performansa. Njegovi ~novčani performansi" obuhvatali su potpaljivanje hrpa novčanica dobijenih od publike i pravljenje crteža od pepela. Ovo je pozoriste kakvo je trebalo očekivati i predvideti. Godine 1982, podmetnuo je pravu bombu pod tadašnji pozorišni establišment. Dve godine kasnije to je potvrdio u predstavi Moć pozorišnog ludila, naručenoj za Bijenale u Veneciji. Od tada je Jan Fabr izrastao и jednog od najsvestranijih umetnika na medunarodnoj pozornici. On raskida sa konvencijama savremenog pozorista time što uvodi koncept „izvodenja u stvarnom vremenu" - ponekad zvanog „žive instalacije" - i istražuje koreografske mogućnosti kao put za vaskrsavanje klasičnog plesa. Fabr piše sopstvene komade od 1975. godine, mada su oni prvi put izvedeni tek 1989. Njegovi tekstovi cine izuzetnu zbirku takoreci minijatura, vrlo otvorenog stiLa pisanja i odražavaju Fabrov koncept pozorišta kao sveobuhvatne umetnosti u kojoj dijalog funkcioniše naporedo sa drugim elementima, kao što su pies, muzika, opera, performans i improvizacija. Haos i disciplina, ponavljanje i ludilo, metamorfoza i anonimno neophodni su sastojci Fabrovog pozorista. Pored drevnih obreda i filozofskih pitanja, Fabrse bavi i temama kao što su nasilje, požuda, lepota i erotika, Predmet njegovih istraživanja, još od početka 80-ih god. XX veka, jeste telo u svim njegovim oblicima. Predstave kao što su Je suis sang, Tannhäuser, Angel of Death i Quando l'uomo principale è una donna su u tom pogledu dobile medunarodne pohvale, Poziv da pomogne u umetničkom uobličavanju Avinjonskog festivala 2005. nesumnjivo se može protumačiti kao (privremeni) vrhunac Fabrovog rada и oblasti izvođačkih umetnosti. Fabr je 2010. napisao treći deo trilogije za Dirka Rufthufta, The Emperor of Loss; The King of Plagiarism and The Servant of Beauty izvedeni su i na holandskom i na francuskom.

JAN FABRE is well known as one of the most innovative and versatile artists of his day. Over the past 25 years, he has produced works as a performance artist, theatre maker, choreographer, opera maker, playwright and visual artist. Jan Fahre is renowned for expanding the horizons of every genre to which he applies his artistic vision. In the late 19705, the still very young Jan Fahre caused a furore as a performance artist. His 'money performances' involved setting fire to bundles of money from the audience in order to make drawings with the ashes. In 1982, the work This is Theatre like it was to be expected and foreseen placed a virtual bomb under the seat of the theatre establishment of the day. This was confirmed two years later with The Power of Theatrical Madness commissioned for the Venice Biennale. Since then, Jan Fahre has grown to become one of the most versatile artists on the international stage. He makes a clean break with the conventions of contemporary theatre by introducing the concept of 'real-time performance' - sometimes called 'living installations' - and explores radical choreographic possibilities as a means of resurrecting classical dance. Fabre has been writing his own plays since 1975, although it was not until 1989 that they were first performed. His texts form an exceptional collection of miniatures, as it were, with a very open writing style and reflect Fabre’s concept of theatre as an all-encompassing form of art in which dialogue functions alongside other elements such as dance, music, opera, performance and improvisation. Chaos and discipline, repetition and madness, metamorphosis and the anonymous are all indispensible ingredients in Fabre’s theatre. The acuteness and reserve with which he employs language demand innovative solutions which have also appeared at the hand of other directors to have worked with his texts. Alongside age-old rituals and philosophical questions, Fabre also deals with such themes as violence, lust, beauty and erotica. The body in all its forms has been the subject of his investigations since the early 1980 s. Productions such as Je suis sang, Tannhäuser, Angel of Death and Quando l'uomo principale è и na donna have earned international acclaim in this respect. The invitation to help lend artistic shape to the Avignon Festival in 2005 can undoubtedly be seen as a (provisional) pinnacle of Fabre's work in the domain of performing arts. In 2010, Fabre wrote the third part of the trilogy for Dirk Roofthooft: The Emperor of Loss, The King of Plagiarism and The Servant of Beauty were performend both in Dutch and French,

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