Битеф

je istaći da se predstava Quizoola! - imajući u vidu da se bazira na improvizacijama - bitno menjala kroz sve ove godine svog postojanja, da se prilagodavala novim i aktuelnim problemima našeg sveta. Predstava Biblija, prvi pokušaj Drame SNG-a iz Ljubljane, u režiji čuvenog slovenačkog reditelja Jerneja Lorencija, takode traje relativno dugo (preko tri sata), ali ona pripada, pre svega, drugoj, tematskoj liniji ovogodišnjeg Bitefa. Ta linija je takođe, kao što je istaknuto, izvedena iz predstave Olimp: Fabrova se predstava zasniva na celokupnoj grčkoj mitologiji. Lorencijeva na Bibliji. U oba slučaja, dakle, reč je o bazičnim mitskim narativima naše, Zapadne civilizacije. Na 51. Bitefu, Lorenci če biti zastupljen s još jednom predstavom: festivalskom koprodukcijom koju Bitef teatar radi u saradnji s Narodnim pozorištem u Beogradu, a čija če premijera biti za vreme festivala. Ona če se izvoditi iz dva dela u toku iste večeri: prvi deo na sceni „Rasa Plaovič" Narodnog pozorišta, a drugi u Bitef teatru, stoje originalna prostorna i koncepcijska postavka, bar za naš kontekst, te potpuno u tradiciji Bitefa. U kontekstu koji smo gore postavili, ovde je najbitnije da se predstava Carstvo nebeško odvija na osnovu srpske epske književnosti. I ona se, dakle, kao i druga Lorencijeva predstava, a kao i Olimp, zasniva na velikim mitskim naracijama, ovde oblikovanim u epskoj književnosti. Ove tri predstave noseči su elementi tematske linije 51. Bitefa, a koja se svodi na okretanja ka, kako bi rekao Liotar, „velikim naracijama", odnosno ključnim pričama na kojima se zasniva naša civilizacija. Ovakav tematski izbor motivisan je shvatanjem da se „kraj istorije" Frensisa Fukujame - utopijska, u meduvremenu uveliko relativizovana projekcija beskonfliktne, posthladnoratovske epohe u kojoj dominiraju neupitne vrednosti liberalnog, demokratskog sveta - izvesno nije desio. Naprotiv, ponovo živimo izuzetno intenzivne istorijske trenutke obeležene globalnom krizom kapitalizma i posredničke demokratije, ekspanzijom ratova i sukoba u svim delovima sveta, kao i izbegličkom katastrofom. U takvom dobu čini nam se da je došao trenutak da se vratimo upravo najznačajnijim velikim naracijama. To su one naracije koje su, istorijski gledano, formirale naš svet, a koji sada doživljava jednu od svojih največih kriza u modemom dobu. Ovaj zaokret je tim potrebniji što smo imali dug pe-

performance” of the same company but we deliberately chose this one to emphasize another specific aspect of time in theatre: long duration of not only one performance (24 hours) but the long life of one and the same production (several decades). Another fact worth mentioning is that Quizoola!, although based on improvisations, has been changing throughout the years of its existence, adjusting to the new problems in the world. The Bible, the First Attempt of the SNG Drama in Ljubljana, directed by the renowned Slovenian director Jernej Lorenci is also relatively long (over three hours), but it belongs to the other, thematic stream of this year’s Bitef. As it has been noted, the stream also derives from the production of Mount Olympus'. Fabre’s- production is based on the Greek mythology in toto ; Lorenci’s is based on the Bible, in both cases, therefore, the reference is to the basic mythical narratives of our Western civilisation. At the 51 st Bitef, Lorenci appears with yet another production: a festival coproduction which Bitef Theatre is preparing in cooperation with the National Theatre in Belgrade, and which is to have its opening night during the festival. It will be staged in two parts in the same evening: the first part in the National Theatre on the “Rasa Plaović" Stage, while the second one will be seen at Bitef Theatre, which, in terms of venue and concept, is an original approach, at least in our context, and fully in line with the Bitef tradition. The most important thing regarding aforementioned concept is that the production Kingdom of Heaven is based on the Serbian epic literature. Therefore, like Lorenci’s other production and like Mount Olympus , this one is also based on major epic narratives, which in this case have taken shape in the epic literature. These three productions are the cornerstones of the thematic stream of the 51 st Bitef which comes down to shifting the focus to “great narratives” as Lyotard would put it, i.e. the key tales on which our civilisation is based. The choice of the theme was motivated by the realisation that Frances Fukuyama’s “end of history” - a utopian and meanwhile largely relativized projection of a non-conflict, post-cold-war epoch dominated by the unquestionable values of the liberal democratic world - has definitely not happened.