Битеф

UPITNIK Na kraju puta putokaz 0 pređenom putu Ništa ne pokazuje Pita se Čemu putovanje Jovan Ćirilov, iz knjige Putovanje po gramatici, 1972. Pet godina nakon osnivanja Bitefa, Jovan Qrilov objavljuje zbirku pesama Putovanje po gramatici. Trideset godina kasnije Nela Antonović sa Teatrom Mimart radi predstavu Znakovipitanja na osnovu ove zbirke. Jovan bira muziku, a pesma Upitnik zauzima u njoj posebno mesto. Otvoren procès rada i inicijalni performans Upitnik prezentuju se na četvrtoj Bitef Polifoniji. Ove godine, šesnaesta Bitef Polifonija se otvara predstavom Teatra Mimart Putokazi u kojoj Jovanov Upitnik ponovo pokreće pozorišni procès, ovog puta sa nekim novim iskustvima. „Čemu putovanje?“ - ostaje kao pitanje koje nas prati sve ove godine. Kada je Ljubica Beljanski-Ristić posle prve prezentacije međunarodnog programa Umetnost za društvene promene - Igrom protiv nasilja na 34. Bitefu 2000. godine postavila koncept Bitef Polifonije kao mogućeg redovnog pratećeg programa, Jovan Ćirilov ju je u potpunosti podržao. Kao najverniji, ali i najglasniji zagovornik polifonijskog koncepta, pratio je sa velikim očekivanjima njene sadržaje, negovao njen razvoj i nove tokove koji su se javljali, omogućujući programu da postane dragoceni deo Bitefa. Odgovaramo na njegova oćekivanja i u ovom šesnaestom izdanju. Osluškujemo jedni druge u polifonijskim spletovima različitih pozorišnih postupaka, istražujemo participativne oblike rada u dramskom obrazovanju i pozorištu zajednice, negujemo nove generacije publike - otvorene, znatiželjne, gladne sadržaja koji savremena umetnička scena može ponuditi. Ispitujemo da li izvođačke umetnosti ipak mogu da donesu promene, moraju li to, koje su granice naših odgovornosti, 1 kako uopšte koristimo svoje moći i veštine. Pretresamo svoje rigidnosti i stereotipije raded predstave sa mladima, govorimo o nejednakosti i drugostima, o problemima zanemarenih, o potrebama osetljivih, o nevidijivim istorijama, konačno i o našim ulogama na društvenoj i svakoj drugoj sceni. U dijalozima nakon predstava raspravljamo o onome što smo uradili, kao i onome što smo mogli, a nismo.

QUESTION MARK On the end of the road a road sign Of the road that was passed Shows nothing Wondering Why the voyage Jovan Ćirilov, from the book A Journey trough Grammar, 1972. Five years after Bitef was founded Jovan Ćirilov published his collected poems A Journey through Grammar. Thirty years later Nela Antonović with Theatre Mimart does The Question Marks, a production based on this book. Jovan selects the music and the poem entitled The Question Mark has a special place in it. This year the 16 th Bitef Polyphony will open with Theatre Mimart's production of The Road Signs in which Jovan’s Question Mark sets the theatre process in motion yet again, this time, however, with some new experiences. "Why the voyage?” remains as a question that has been with us all these years. When Ljubica Beljanski-Ristić, after the first presentation of the international programme Art for Social Change-Play Against Violence, on 34 th Bitef in 2000. initiated the concept of Bitef Polyphony as a possible regular side program, Jovan Qrilov gave her his full support. As the most faithful and the most vociferous advocate of the polyphonic concept, he followed with great expectations its events, supported its evolution and new trends and enabled the programme to become a highly valuable part of Bitef. We respond to his expectations in our sixteenth edition. We listen to one another in polyphonic interplay of different theatre procedures, investigate participative forms of work in drama education and the community theatre, cultivate new generations of spectators - open, inquisitive, craving contents that the contemporary art scene can offer. We investigate whether performing arts can change something nonetheless, have they do it, where the boundaries of our responsibilities are and how we use our powers and skills. We thrash out our rigidities and stereotypes doing productions with young people, we talk about inequality and otherness, problems of the marginalised, needs of the sensitive, invisible histories and, last but not least, about our roles on the social and every other stage. During the dialogues following performances we discuss what we did and what we could have done yet did not do.