Битеф

„Pisac i reditelj pametno je, vispreno i iznad svega osvežavajuće duhovito i teatarski potentno - mada krajnje svedenim sredstvima, gde i muzika ima znatnu ulogu - zaokružio svoju priču o nadilaženju građanskog pozorišta (kao onog koje tek prikazuje, ako ne i slavi postojed poredak), i to prvo kroz kritičko ibzenovsko pozorište, a onda i kroz brehtovski dijalektički teatar koji posve prelazi na drugu stranu duge, i sve to uglavnom umesno i vešto povezujući sa ’ovdašnjom trenutnom situacijom’, kako političkom tako i socijalnom, napravivši živu i uzbudljivu predstavu koja vas tera da tražite još.” Teofil Pančić, Vreme „Autorsko delovanje Zlatka Pakovića moglo bi da se označi kao vivisekcija neoliberalizma, đetektovanje specifičnih karakteristika politike i društva Srbije u tranziciji i vera, uprkos svemu, u mogućnost promene kroz akciju. Na prvi pogled ovaj komad preispituje vrlinu, moralnost, beskompromisnost, korupciju i poluge moći. Ili figurira kao klasičan angažovan komad. No, on će otići i dalje. Videće se vrlo brzo da on ispituje ulogu i sposobnost javnog delanja pozorišta danas. I spremnost pozorišta da se efikasno obrati javnosti. Komad traži potpuno angažovanje publike kroz koncentraciju i konstantno promišljanje.” Ana Isaković, Kontrapress

“Cleverly, intelligently and above all with refreshing wit and theatrical potency, even with extremely reduced resources where music also plays an important role, the writer and director has rounded off his story about surpassing the bourgeois theatre (as the one which only presents, if not glorifies, the existing order); he did it, first, by drawing on the critical Ibsenian theatre and then on the Brechtian dialectical theatre which crosses over to the other side of the rainbow in full and he did it mostly to the point and skilfully relating it to the ’current local situation’, political and social, thus creating a lively and exciting performance which makes you asking for more.” Teofil Pančić, Vreme "Zlatko Paković’s work could be defined as the vivisection of neo-liberalism, the detection of specific features of the politics and society of Serbia-in-transition and the belief that in spite of everything, action can make a change. At first glance this piece re-examines the virtue, morality, refusal to compromise, corruption and levers of power. Or it appears as a classical committed piece. But, he will go even further. One sees shortly that he examines the role and ability of the public action of theatre today. And the theatre’s readiness to address the public efficiently. The piece requires full involvement of the audience, their concentration and constant analysis.” Ana Isaković, Kontrapress

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