Битеф

20. I 21. SEPTEMBAR, 20:00

BITEF TEATAR

„Pitanje je zašto jedino za one koji su osnovali KPGT, Ljubišu Ristića i Nadu Kokotović, danas nigde nema mesta, dok se drugi osnivači KPGT-a odriču svoje najvažnije biografije, beže od nje kao davo od krsta...“ Ljubiša Ristić Tvorac koncepta jedinstvenog jugoslovenskog prostora (KPGT-a), ali i predsednik Jugoslovenske udružene levice (JUL) Mire Marković, Ristić je postao jedina žrtva neformalne lustracije u Srbiji. Koliko je moguće odvojiti Ristićevo pozorišno delovanje od njegovog političkog angažmana, samo je jedno od pitanja koje se postavlja u predstavi koja je već samom svojom najavom uzburkala pozorišne duhove. Projekat Kompleks Ristić iniciralo je Slovensko mladinsko gledališče povodom svog jubileja - šezdeset godina od stvaranja teatra i prisustva u slovenačkom i jugoslovenskom pozorišnom prostoru. Smatramo da nas jubilej obavezuje da pogledamo unazad i započnemo debatu o našim najvažnijim predstavama i rediteljima koji su svojim radom izgradili kultnu poziciju SMG. Kompleks Ristić zasniva se na probi rekontekstualizacije Mise u a-molu, Levijatana, Resničnosti - predstava koje je Ljubiša Ristić režirao u SMG, zatim idejne osnove Ristićevog KPGT-a, svojevrsnog federativnog, jugoslovenskog teatra permanentne revolucije. Smatramo da će nam ovakvo polazište otvoriti mogućnosti za novu teatarsku studiju nekadašnjeg konteksta, zajedničkog pozorišnog nasleđa i njegovom uticaju, direktnim posledicama na današnju teatarsku scenu postjugoslovenskih država. Na projektu je okupljen medunarodni, regionalni tim umetnika, istraživača i producenata koji je radio na prikupljanju, analizi i interpretaciji materijala, te stvorio specifičnu mrežu značenja, diskurzivno-ideološku platformu koja za krajnji cilj ima pozorišnu predstavu.

20™ AND 21 st SEPTEMBER, 20:00

BITEF THEATRE

“The question is why the two creators of KPGT, Ljubiša Ristić and Nada Kokotović, are the only two people for whom there is no place today, while other creators of KPGT renounce their most relevant biographies...” Ljubiša Ristić Being the creator of the concept of the integrated Yugoslav space (KPGT), but also the president of Yugoslav United Leftists (JUL) led by Mira Marković, Ljubiša Ristić became the only victim of informal lustration in Serbia. To which degree it is possible to separate Ristić’s theatre and political actions is one of the questions raised in the performance which aroused theatre spirits the moment it was announced. The project Complex Ristić was initiated by Slovensko Mladinsko Gledališče on the occasion of their anniversary - sixty years since the theatre was founded and exhisted in Slovenian and Yugoslav theatre space. We think that this jubilee demands from us to look behind and start a debate about our most relevant performances and directors whose work turned SMG into the cult it is today. Complex Ristić is based on a rehearsal of the re-contextualization of Mass in a-mole, Leviathan, Resničnosti - the performances directed by Ljubiša Ristić in SMG, and the idea behind Ristić’s KPGT, a unique federative Yugoslav theatre of a permanent revolution. We believe that this starting point will enable us to carry out a new theatre study of a former context, a common theatre heritage and its influence, its direct consequences on contemporary theatre scene of post-Yugoslav states. The project has gathered an international, regional team of artists, researchers and producers, who have worked on the collection, analysis and interpretation of the collected material, creating thus a specific network of meanings, a discursive-ideological platform whose final aim is a theatre performance. Our aim was not to make a theatre performance about the persona of the Yugoslav director Ljubiša Ristić, but a performance about past and present time as seen from the perspective of another generation of artists who make theatre within the relicts of Yugoslav cultural space, who speak their own theatre language, use their own aesthetics and, from the perspective of contemporary knowledge, analyse what they consider to be their cultural and theatre identity. Goran Injac and Oliver Frljić