Битеф

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konkretno rada Mire Trailović i Jovana Ćirilova, na polju koje be kasnije biti teorijski definisano kao „kulturna dipiomatija". Pored uglednih stručnjaka iz ove oblasti istraži vanja iz zemlje i sveta, na ovom skupu bi trebalo da govore i neki od vodedh svetskih aktera na polju kulturne politike. Pored ovih sveprožimajućih koncepcijskih linija, u Glavnom programs će biti i užih programskih celina. Jedna od njih se svodi na isticanje činjenice da nije samo nezavisna scena kontekst za eksperimentalne, emancipatorske i radikalne umetničke i društvene prakse već da to mogu da budu i nacionalne pozorišne kuće. Ove godine to su Burgteatar iz Beča, Narodno kazalište Ivana PI. Zajca iz Rijeke i Narodno pozorište iz Beograda. Hrvatska i srpska predstava se tu izdvajaju kao ostvarenja nacionalnih pozorišnih kuća koje najdirektnije osuđuju nacionalističke demone iz vlastitih istorija, ali i savremenog društva. Druga konkretna celina bice isticanje i afirmisanje postkolonijalnog diskursa u savremenom nemačkom pozorištu, multikulturalnih projekata iz ove zemlje u kojima učestvuju umetnici iz Afrike i koji se odnose na odgovarajuće teme. Takode, tu je i već pomenuto fokusiranje, s predstavama iz Kine i Singapura, azijskog savremenog plesa. Poslednje, ali ne I najmanje značajno: predstave Glavnog programa igraće se u dva termina, od 19:30 i 21:30. Predstave iz oba termina su ravnopravne, sve ulaze u takmicenje za nagrade, Podela na osnovu termina uvedena je zarad lakše orijentacije

gledalaca u pravljenju izbora, jer one od 19:30 pripadaju velikoj festivalskoj i/ili repertoarskoj produkciji, iza njih stoje poznati teatri, trupe i/ili umetnici, ovenčane su visokim priznanjima ili su gostovaie na vodećim svetskim festivalima, dok su one od 21:30 nešto kamernije, vise eksperimentalne i otkrivaju nam, bar u ovoj sredini, manje poznate autore i trupe. Ova podela je, međutim, sasvim uslovna, tako da ima i slučajeva „ukrštanja“ kriterijuma: tako će se, recimo, a zbog svoje kamernosti, predstava Jašući oblak poznatog libanskog pozorišnog i vizuelnog umetnika Rabija Mruea igrati u kasnijem terming. Podela je, kao što smo istakli, uvedena radi lakše orijentacije gledalaca, ali činjenica da sve predstave iz Glavnog programa imaju ravnopravni status važna nam je i zbog rušenja nekih predrasuda, ukazivanja na činjenicu da gabarit predstava i „slava" njihovih autora nikada nisu bili niti će biti kriterijum u izboru predstava za Bitef. Time želimo da pružimo još jedan doprinos tendenciji otvaranja Bitefa za širu publiku, a bez stvaranja i najmanjih umetničkih i društvenih kompromisa, što bi trebalo da bude jedan od strateških orijentira u narednih pedeset godina festivala.

umetnički direkter

Ivan Medenica,

for many years; every exhibition is also dedicated to the activity of these institutions within the framework of Bitef: recordings of Bitef productions shown on RTS, the first 20 years of Bitef (when the festival was organised by Atelje 212), Bitef posters... As a part of Bitef on Film, the oldest side programme at the festival (together with Bitef Polyphony), edited by Vera Konjovic for decades, the recording of the original Kantor’s production will be shown. As a part of jubilee festivities an international conference will be organised on Bitef and Cultural Diplomacy: Theatre and Geo-Politics, chaired by Milena Dragićević-Šešić. This gathering should show, among other things, how big was the contribution of Bitef, or specifically that of Mira Trailović and Jovan Ćirilov, in a field to be theoretically defined later as 'cultural diplomacy*. In addition to renowned experts from this research field from the country and abroad, some of the leading world players in the field of cultural policies should also take part. In addition to these all-permeating conceptual threads the Main Programme, will include some narrower programme units. One of them emphasizes the fact that the independent scene is not the only context for experimental, emancipating and radical artistic and social practices and that they can also be pursued by national theatres. This year they are Burgtheater from Vienna, Ivan PI. Zajc National Theatre from Rijeka and the National Theatre from Belgrade. The Croatian and Serbian productions

stand out as works of national theatres which in the most direct way possible condemn nationalistic demons in their own histories and the modern society. Another concrete whole will be the emphasis on and affirmation of the post-colonial discourse in the modern German theatre, featuring multicultural projects from this country with artists from Africa and addressing relevant topics. Also, there is the earlier mentioned focus on the contemporary Asian dance, with the productions from China and Singapore. Last but not least: the Main Programme productions will be shown in two different terms, at 19:30 and 21:30. All the performances will be treated equally and will compete for prizes. This has been done in order to help the audiences make their choice because those at 19:30 are a part of the big festival and/ or repertory production, they have well-known theatres, companies and/or artists behind them, have been crowned with prestigious awards or have participated in leading world festivals whereas those at 21:30 are of a somewhat more chamber nature, more experimental, revealing, to us at least, less known authors and companies. However, this division is quite conditional and sometimes the criteria ‘cross'. For instance, because it is of a chamber character, the production of Riding on a Cloud by Rabih Mroue, well-known Lebanese theatre and visual artist, will be shown at the later hour. As we have said, the division was made to help the spectators but the fact that all productions on