Битеф

NOVE POZORIŠNE TENDENCIJE NEW THEATRE TENDENCIES

ŠTA NAS HRANI? AKTUELNE STRATEGUE EVROPSKOG POLITIČKOG TEATRA Dali postoji specifičan jezik savremenog političkog teatra koji je tekovina duha vremena? Da li je uopšte moguće govoriti o jedinstvenom pojmu savremenog evropskog političkog teatra, a da ne upadnemo u zamku u koju upadamo kada govorimo, na primer, o zajedničkom evropskom tržištu? Da li je istinska pobuna moguća u državnim teatarskim institucijama ili ona zahteva vaninstitucionalnu poziciju? Iz Perspektive finansiranja kulture, šta je, uopšte, vaninstitucionalna pozicija? Iz Perspektive neoliberalnog kapitalizma, šta je uopšte pobuna? I šta je, danas, njena svrha? Nove pozorišne tendencije ovogodišnjeg Bitefa posvećene su savremenim izvođačkim praksama u veoma prostranom i donekle arbitrarnom polju savremenog političkog teatra. Podnaslov ove podselekcije inspirisan je predstavom Diskretni šarm marksizma Bojana Đorđeva (produkcija DasArts, Amsterdam i TkH, Beograd) koja je, pak, nadahnuta kultnim filmom Luisa Bunjuela Diskretni šarm buržoazije. Jedna od tema Bunjuelovog filma, kao i predstave Đorđeva, jeste neutoljena glad čovečanstva čak i u prisustvu hrane. I dok u predstavi Bojana Đorđeva gledaoci učestvuju u obroku od šest jela sadnjenih od papirnatih citata različitih marksističkih filozofa, prava hrana ih čeka na policama na kojima bi trebalo da stoje knjige. Postavijajud pitanje: „Šta nas hrani?", indirektno postavljamo i pitanje: „Čega smo gladni?“. U vremenima u kojima, kako kaže Breht, prvo dolazi ždranje, pa tek onda moral, u kojima bankari postaju proroci, a pobuna samo roba, ova pitanja je, pogotovo u pozorištu, važno postavljati. Ideja ovako postavljenog fokusa ovog delà selekcije, koji je usmeren na uočavanje i promišljanje savremenih izvođačkih praksi dok su još u procesu konstituisanja ili teorijskog kanonizovanja, jeste da se skrene pažnja na nekoliko razlidtih modela tzv. političkog ili angažovanog teatra koji se u ovom trenutku mogu videti na evropskim scenama. Videćemo, dakle, pet predstava koje, svaka na svoj nadn, ulaze u živ i nepredvidljiv dijalog sa zajednicom u kojoj se dogadaju i kojom su, manje ili više direktno, inspirisane. Njihove terne su razlidte, kao i estetski pristupi. Razlidti su im i produkcioni modeli, jer su neke od njih nastale u velikim, subvencionisanim teatrima

WHAT NOURISHES US? CURRENT STRATEGIES OF THE EUROPEAN POLITICAL THEATRE Is there a specific idiom of the contemporary political theatre which is the product of the spirit of the age? Is it at all possible to talk about a singular notion of the contemporary European political theatre without falling into a trap we regularly fall in when we talk, for instance, about the common European market? Is a genuine rebellion possible in state theatre institutions or does it require an out-of-institution position? From the point of view of financing of culture, what is, after ail, an out-of-institution position? From the point of view of neo-liberal capitalism, what is, after all, rebellion? And what is its purpose today? New theatre tendencies of this year’s Bitef talk about contemporary performing practices in a very large and somewhat arbitrary area of contemporary political theatre. The subtitle of this section of the programme was inspired by the production The Discreet Charm of Marxism by Bojan Djordjev (production DasArts, Amsterdam and TkH, Belgrade) which in its turn drew on Luis Bunuel's cult film The Discreet Charm of the Bourgeoisie. One of the themes in Bunuel's film and Djordjev's production is the insatiable hunger of the humankind - even when food is there. Whilst in Bojan Djordjev's production the spectators participate in a six-course meal made of papery quotes from different Marxist philosophers, the real food expects them on shelves which are expected to hold books. When we ask ‘What nourishes us', we indirectly ask 'What do we crave for?’ In times when, as Brecht put it, feeding frenzy comes first and moral rules follow, when bankers become prophets and a rebellion mere commodity, it is important to ask these questions, particularly in the theatre. The idea behind this part of the selection directed at the recognition and analysis of modern performing practices as they are constituted or theoretically canonised is to draw the attention to several different models of the so-called political or engage theatre that can be viewed on European stages today. We shall see five productions which, each in its own way. start a lively and unpredictable dialogue with the community they operate in and

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