U okviru strategije Bitefa koja podrazumeva čvršće povezivanje programa festivala sa teatrom, u sezoni 2019/20 Bitef teatar započinje sa novim konceptom. Radi se o naporima da se napravi organska veza između svakog izdanja festivala i pozorišne sezone koja mu sledi. U ovakvoj postavci, sezone Bitef teatra bi predstavljale reakciju na festivalska izdanja, ulazile u dijalog sa njim i bile neka vrsta njegove „produžene ruke” tokom godine, čime se nadamo da bi se u potpunosti ostvarilo ono što je Bitef teatru namenila Mira Trailović pre trideset godina.
Pod sloganom Nastavimo iz početka, sezona 2019/20 Bitef teatra se oslanja na koncept 53. Bitef festivala koji se bavio raspadom zajednice na svim nivoima i pokušajem definisanja alternativa za stanje u kome se nalazi naša civilizacija. U formalnom smislu, predstave će pokušati dodatno da istražuju elemente imerzivnosti u pozorištu, odnosno, one pozorišne forme u kojima se briše jasna granica između izvođača i publike.
Ne slučajno, sezonu započinjemo 1. oktobra premijerom predstave Gradovi kojih više nema jedne od najznačajnijih svetskih koreograkinja, Konstance Makras. Predstava se realizuje uz učešće plesača Bitef dens kompanije, jednog od stubova Bitefa teatra, koja ove godine proslavlja desetogodišnjicu rada.
As a part of the Bitef strategy which entails the creation of a stronger link between the festival programme and the theatre, Bitef Theatre launches a new concept in the season 2019/20. It strives to create an organic link between each festival edition and the season that follows. This idea implies that Bitef Theatre seasons will turn into a form of response to festival editions, that they would establish a dialogue with them and become their “extended arm” throughout the year, which we hope will implement the plan Mira Trailović devised for Bitef Theatre thirty years ago.
Under the slogan Let’s Continue Over, the 2019/20 Bitef Theatre season leans on the concept of 53rd Bitef Festival which addressed the problem of the disintegration of community on every level and an attempt to define the alternatives for the state our civilization is currently in. Formally speaking, performances will try to explore the elements of immersiveness in theatre, i.e. the theatre forms which obliterate a clear barrier between the performers and the audience.
We intentionally begin the season on October 1st with a performance Cities that no longer exist, choreographed by Constanza Macras and performed by the dancers of Bitef Dance company, which is one of the supporting pillars of Bitef Theatre which is celbrating ten years of existance.
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Gradovi kojih više nema vodi ka istraživanju umetnosti sećanja, ili ars memoriae, u kojoj se sećanja naročito čvrsto vezuju za fizičke lokacije, prostorije i arhitekturu. Ishodište ovog komada bio je grad kao konkretna geografska lokacija, kao sidrište sećanja. Šta biva sa našim uspomenama, šta biva sa onima koji nastavljaju da pamte ta fizička mesta čak i nakon što ona budu uništena?
Postupci izvođača na sceni odnose se na antičke veštine ars memoriae, prema kojoj, da bismo vratili u sećanje stvar koju želimo da upamtimo, najpre moramo da saberemo utiske. U središtu te mnemoničke tehnike jeste prostorna orijentacija. Na koji nam način u svrhu sećanja mogu poslužiti prostorije i mesta?
Gradovi kojih više nema istražuje arhitektonska mesta u ulozi narativnih instrumenata naše istorije - u svrhu ponovnog pisanja istorije, vidanjem rana prošlosti, i zarad razumevanja savremenih događaja (na ličnom i globalnom planu) kao dela neprekidnog ciklusa koji doživljavamo kao protok vremena.
Sećajući se gradova... priče očevidaca bombardovanja Drezdena u februaru 1945, koje se prepliću se sa sećanjima izvođača i njihovih porodica na slična iskustva iz NATO bombardovanja, ukazuju na to da se talasi istorije i politike ponavljaju.
Komad takođe preispituje odnose arhitekture i memorije kao fizičkog iskustva
Konstanca Makras
Remembering the cities that no longer exist explore the art of memory, or ars memoriae, in which memories are particularly strongly associated with physical locations, rooms and architecture. The starting point for this piece was the city as a concrete geographical location, as an anchor for memory. What happens with our memories, what happens to those who are remembering when these physical places are destroyed?
The actions of the performers on stage refer to the ancient techniques of ars memoriae, whereby in order to recall the thing to be remembered, we first have to find and organize our impressions. At the heart of this mnemonic technique is spatial orientation. How do we use rooms and places to remember?
Remembering the cities that no longer exist explores architectonic places as narrative instruments of our history - in the rewriting of history, for overcoming the wounds of the past, and for understanding contemporary events (personal and global) as part of a constant cycle that we experience as the passing of time.
In remembering cities… accounts of visual witnesses of the February 1945 bombings in Dresden intercalate with memories of the performers and their families of similar experiences of the NATO bombing reflecting on the ripples of history and political waves repeating.
The piece also examines the relationships of architecture and memory as a physical experience.
Constanza Macras
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GRADOVI KOJIH VIŠE NEMA
Koreograf: Konstanca Makras
Asistenti koreografa: Emil Norbert Bordas, Miki Šođi
Muzika: Aleksandra Đokić
Kostimograf: Selena Orb
Izvođači: Marija Bergam, Ana Ignjatović Zagorac, Branko Mitrović, Tamara Pjević, Miona Petrović, Jakša Filipovac, Nataša Gvozdenović, Nikola Živković, Una Vujošević
Fotografija: Jelena Janković
Grafički dizajn: Katarina Popović
Izrada scenografije: Ljubomir Radivojević
Prevodilac: Vesna Radovanović
Organizacija: Kristina Jusufović, Aleksa Mijatović
Produkcija: Bitef teatar
Premijera, 1.oktobar 2019, Bitef teatar
REMEMBERING THE CITIES THAT NO LONGER EXIST
Coreographer: Constanza Makras
Assistants of coreographer: Emil Norbert Bordas, Miki Shoji
Music: Aleksandra Đokić
Costume designer: Selena Orb
Performers: Marija Bergam, Ana Ignjatović Zagorac, Branko Mitrović, Tamara Pjević, Miona Petrović, Jakša Filipovac, Nataša Gvozdenović, Nikola Živković, Una Vujošević
Photography: Jelena Janković
Graphic design: Katarina Popović
Set design: Ljubomir Radivojević
Translator: Vesna Radovanović
Organization: Kristina Jusufović, Aleksa Mijatović
Production: Bitef Theatre
Premiere, 1st October 2019, Bitef Theatre
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Konstanca Makras o radu sa Bitef dens kompanijom
Kada me je Jelena Kajgo pozvala da radim predstavu u Bitef teatru, osetila sam da je to nešto što sam oduvek želela: da radim u Beogradu sa lokalnim izvođačima, dizajnerima i kompozitorima. Igrači i glumci su bili tako snažni i posvećeni, rad sa kompozitorkom Aleksandrom Đokić bio je sjajan proces, a kostimi Selene Orb savršeni. Za mene je ovo iskustvo predstavljalo upravo ono što volim: rad u gradu prema kom osećam bliskost, sa timom koji prevazilazi granice profesionalizma i prepušta se strasti kako bi kreirao delo od istinske umetničke vrednosti.
Consranza Makras about work with Bitef dance company
When I was invited by Jelena Kajgo to make a piece for the Bitef theater I felt that is something I always wanted to do: to develop a work in Belgrade with local performers , designers and composers .
The dancers and actors were so strong and committed, working with Aleksandra Đokić in composition has been a great process, and costumes by Selena Orb look perfect. For me this experience is the kind of work I have my heart on, to work in a city that I feel very close to, with a team that goes further of their professionalism for this extra mile of passion that make something artistically worthy.
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KONSTANCA MAKRAS je studirala ples u Buenos Ajresu, Amsterdamu i u Mers Kaningem Studiju u Njujorku. Od 1995. živi u Berlinu. Godine 2003, zajedno sa dramaturškinjom Karmen Menert, osniva kompaniju Dorki Park, interdisciplinarni ansambl koji stvara u oblasti plesa, teksta, žive muzike i filma, i koji od tada nastupa širom sveta. Makras 2008. dobija nagradu Gete Instituta za komad Pakao na Zemlji. Njen projekat Megalopolis 2010. osvaja nagradu Faust za koreografiju. Iste godine, Makras je bila jedan od predavača na Vilijam L. Abramovič rezidensu Tehnološkog Instituta Masačusetsa. Osim za svoju kompaniju, Konstanca Makras kreira predstave i za Baletski ansambl Teatra Colon u Buenos Ajresu kao i za plesnu kompaniju Geteborške opere.
Autor je mnogobrojnih projekata među kojima su: Pakao na Zemlji, Megalopolis, Otvorena za sve, Prošlost, Duhovi, Palata...
Predstava Konstance Makras Big in Bombaj bila je uvrštena u selekciju glavnog programa 40. Bitef Festivala.
CONSTANZA MACRAS studied dance in Buenos Aires, Amsterdam and at the Merce Cunningham Studios in New York. She has lived in Berlin since 1995. In 2003, together with dramaturge Carmen Mehnert, she founded the company Dorkypark, an interdisciplinary ensemble that works with dance, text, live music, film and has been touring worldwide ever since. In 2008 Macras received the Goethe Institute Award for her piece “Hell on Earth”. In 2010 her Megalopolis won the Faust prize for best choreography. In the same year, Macras was the incumbent of the William L. Abramowitz Residency at Massachusetts Institute of Technology. Apart from productions for her own company, Constanza Macras has also created pieces for ensembles such as the Teatro Colón’s Permanent Ballet Company in Buenos Aires and the Göteborg Opera Dance Company.
Works, among others: Hell on Earth, Megalopolis, Open for Everything, The Past, The Ghosts, Der Palast…
Constanza Macras was part of the selection of the program of 40th Bitef festival with the performance Big in Bombay.
