Битеф

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te da im je mesto na Bitefu. To nam omogućava da u narednim godinama idemojoš dublje u istraživanju novih, drugačijih, posebnih i radikalnih izvođačkih formi. U glavnom programu bice projekata iz oblasti dramskog teatra, savremenog plesa, dokumentarnog teatra, performansa-predavanja, video-instalacija, muzičkog pozorišta... Festival će svečano biti otvoren predstavom 6 i 7 iz Kine, koja spada u oblast savremenog plesa. i to onog visoko konceptualnog: azijsko pozorište će se take predstaviti ne nekom od svojih tradicionalnih izvođačkih praksi, kao što je često bio slučaj na Bitefu, već jednom radikalnom i savremenom scenskom formom. Isto tako, po apartnosti forme, a u kontekstu nacionalnih izvođačkih praksi, izdvaja se predstava Samo moje autorskog tandema Ana Dubljević i Igor Koruga, a koja tematizuje nemogućnost iskazivanja negativnih osećanja u savremenim, prekarijatskim uslovima umetničke i svake druge proizvodnje. Ovo je predstava srpske nezavisne plesne scene, te i ovim izborom Bitef potvrduje da nije elitistička manifestacija, da u njegovom programu treba da budu prisutni i festivalski aduti (6 i 7, na primer), ali i tragalačko pozorište manje afirmisanih umetnika: naravno, ako zadovoljavaju, u oba slučaja, kriterijume umetničke i društvene inovativnosti i emancipatorskog potencijala. Raznovrsnosti formi u Glavnom programu 50. Bitefa doprinose i konceptualni projekti iz oblasti savremenog plesa, kombinovani s drugim izvođačkim oblicima kao što su koncerti, perfor-

mans-predavanja i/ili video radovi ( Soft Machine i Ambasador: nemačko-afrički komad sa pevanjem), dramske predstave (Urnebesna tama, Nad grobom gtupe Europe, Rodoljupcf), dokumentarno pozorište i/ili performans-predavanje ( Saosećanje . Istorija mitraljza i Jašući oblak). Takođe, u bogatom pratećem programu Bitefa posebnu celinu činiće regionalni festival novog cirkusa, Cirkobalkana. Ovakva hibridizacija izvođačkih formi, kao i njihova teoretizacija u pratećim festivalskim sadržajima, nije novina na Bitefu u poslednjih desetak godina, na tome je Anja Suša insistirala, ali ćemo je ove godine još izoštriti. U tom smislu posebno se izdvaja konferencija koja će biti održana u okviru kongresa Međunarodne asocijacije pozorišnih kritičara, a na temu koja direktno reflektuje i problematizuje odrednicu „nove pozorišne tendencije": Novum i globalno pozorište: između komodifikacije i umet ničke nužnosti. Konferenciji će predsedavati Savas Patsalidis (Grčka), glavni i odgovorni urednik časopisa Critical Stages. Uvodničari će biti ugledni teatrolozi Erika Fišer Lihte (Nemačka) i Žorž Bani (Francuska), a na konferenciji će učestvovati dvadesetak pozorišnih kritičara i teatrologa iz Francuske, SAD, Grčke, Rumunije. Brazila, Turske, Srbije, Nigerije, indije, Gruzije, Letonije, Engleske, Iraka i Kanade. Konferencija će se održati u pozorištu koje će biti domaćin svih aktivnosti 28, kongresa Medunarodne asocijacije pozorišnih kri-

-5oth0 th Bitef will mostly come down to the acknowledgment of the fact that the hybridization of forms, genres and styles is ever more present in the contemporary art, so that today we speak not about the theatre so much as about the performing arts. We find it very important to conduct this "school ascertaining of material”, draw the line and once for all determine that all performing practices are indeed theatre and that their place is in Bitef’s programme. This enables us to go even deeper in exploration of the new, different, special and radical performing forms in the years to come. The Main Programme will include projects in the field of drama theatre, contemporary dance, documentary theatre, lecture-performance, video installations, musical theatre... The production of 6 & 7 from China, a performance of highly conceptual contemporary dance, will be shown during the opening ceremony. The Asian theatre will thus show not one of its traditional performing practices, as was usually the case at Bitef, but a radical and modern stage form. In the same way, Only Mine Alone by the duo of authors Ana Dubljević and Igor Koruga stands out in terms of form in the context of national performing practices and address the impossibility to express negative feelings under the present-day precarious conditions in artistic and any other production. This is a production of the Serbian independent dance scene confirming that Bitef is not an elitist event, the programme of which should include festival trump cards (e.g. 6 and 7), but also a exploration theatre of less confirmed artists; needless to say, only if they

meet, in both cases, the criteria of artistic and social innovation and emancipating potential. The diversity of forms in the Main Programme of the 50 th Bitef is also contributed by conceptual projects in the field of contemporary dance, combined with other performing forms such as concerts, lecture-performances and/or video works (Soft Machine and The Ambassador: A German-African Singspiel ), drama productions {The Ridiculous Darkness, Over the Grave of Ignorant Europe, The Patriots ), documentary theatre and/or lecture-performance ( Compassion. The History of the Machine Gun and Riding on a Cloud). Furthermore, a separate whole in the rich side programme will be the regional festival of new circus, Cirkobalkana. This hybridization of performing forms and their theorization in the accompanying festival events has not been a Bitef novelty during the past dozen years of so. Anja Suša has insisted on it, but this year we shall sharpen the focus even more. In this sense one should single out the conference to be held within the congress of the international Association of Theatre Critics, addressing the subject which directly reflects and questions the definition “new theatre tendencies“. The theme of the conference is Newness and Global Theatre: between Commodification and Artistic Necessity. The conference will be chaired by Savas Patsalidis (Greece), editor-in-chief of the Critical Stages jour-