DIGITALNO IZDANjE FILOZOFSKOG TEATRA / DIGITAL EDITION OF THE PHILOSOPHICAL THEATRE

 

 

Za vreme trajanja vanredne situacije izazvane COVID-19, Bitef teatar je pokrenuo digitalno izdanje Filozofskog teatra. Tokom aprila meseca, svakog četvrtka od 20 časova, na YouTube kanalu Bitef teatra, uživo se organizuju razgovori sa značajnim Bitefovim pozorišnim umetnicima.

Nakon uspešnih razgovora koji su održani sa pozorišnim rediteljem Oliverom Frljićem (Zagreb) i rediteljkom i nekadašnjom selektorkom Bitefa Anjom Sušom (Stokholm), slede susreti sa vodećim imenima svetskog savremenog pozorišta čije smo predstave imali prilike da vidimo na poslednjem Bitefu - Milom Rauom (Brisel) i Štefanom Kegijem (Berlin). Razgovore će, kao i u „dobra stara vremena”, moderirati Srećko Horvat i Maja Pelević, dok će pratioci programa biti u mogućnosti da postavljaju pitanja učesnicima.

 

Filozofski teatar je projekat koji je započet sa ciljem da ponovo uspostavi blisku vezu između filozofije i pozorišta. Nastao je u Hrvatskom narodnom kazalištu u Zagrebu 2014. godine, a programa je od sezone 2019/20. na redovnom repertoaru Bitef teatra. Aktuelizuje najznačajnija pitanja današnjice i problem društava u kojima živimo.

 

Kako napominje pokretač projekta Srećko Horvat „veza između filozofije i kazališta uvijek je bila jača nego veza između filozofije i bilo kojega drugog medija.” Pozorište je takođe uvek bilo mesto za aktivno promišljanje društva i društvenih procesa, a Filozofski teatar otvara mesto za javnu diskusiju, što je u ovom trenutku više nego neophodno.

U tom smislu Horvat napominje: „U doba globalne pandemije, kada smo zatočeni u svojim kućama i moramo paziti na distancu, treba nam socijalna povezanost i kritičko mišljenje više nego ikad. Filozofski teatar zasad nastavljamo drugim sredstvima, dok se ponovo - nadam se uskoro - ne vidimo opet u pozorištu! Povratka na 'dobra stara vremena' ionako nema, jer ni ta stara vremena nisu bila dobra. Na nama je težak ali nužan zadatak da smislimo svet iz početka“.

 

 

U okviru digitalnog izdanja Filozofskog teatra, u četvrtak, 23. aprila od 20 časova na YouTube kanalu Bitef teatra, biće organizovan treći u nizu razgovora koji će Srećko Horvat voditi sa Milom Rauom.

 

Srećko Horvat će sa Milom Rauom razgovarati o njegovoj poslednjoj predstavi „Antigona u Amazoniji“, dotičući se i mnogih globalnih problema kao što su klimatske promene i izbeglička kriza, sa ciljem da ispituju ulogu pozorišta od antike do sveta posle koronavirusa. Pitanje nije samo kako će izgledati pozorište nakon pandemije i doba socijalnog distanciranja, već i koja je uloga pozorišta u menjanju društvene realnosti.

 

MILO RAU (1977), reditelj, autor, a od sezone 2018/19. i umetnički direktor pozorišta NTGent. Kritika ga je prozvala „najuticajnijim“ (Cajt), „najnagrađivanijim“ (L Soar), „najzanimljivijim“ (Standard), i „najambicioznijim“ (Gardijan) umetnikom današnjice. Studirao je sociologiju, nemački i romanske jezike i književnost u Parizu, Berlinu i Cirihu pod mentorstvom Pjera Burdijea i Cvetana Todorova. Od 2002, potpisuje preko pedeset predstava, filmova, knjiga i akcija. Njegove produkcije su prikazane na svim većim međunarodnim festivalima, među kojima su Pozorišni susreti u Berlinu, Avinjonski festival, Venecijansko bijenale pozorišta, Festival u Beču, kao i briselski Festival umetnosti, a gostovale su u više od trideset zemalja širom sveta. Rau je dobitnik mnogobrojnih priznanja, među kojima su i Evropska pozorišna nagrada 2018, nagrada „Peter Vajs“ (2017), nagrada televizijske stanice 3sat (2017), mesto predavača iz oblasti drame na Sarbrikenu, kao i prestižna nagrada Međunarodnog pozorišnog instituta Nemačke koja se dodeljuje na Svetski dan pozorišta, a čiji je on najmlađi dobitnik posle Franka Kastorfa i Pine Bauš. Godine 2017. Rau je proglašen rediteljem godine u anketi kritičara koju je sproveo časopis Dojče bine. Nosilac je dva počasna doktorata od kojih je jedan dobio 2019. godine iz oblasti pozorišta univerziteta Lundus u Švedskoj, a drugi 2020. univerziteta u Gentu u Belgiji. Rau je aktivan i kao televizijski kritičar i predavač,  a veoma je plodan i kao pisac.

 

SREĆKO HORVAT, filozof poreklom iz Hrvatske, ali bez stalne adrese i prebivališta. Objavio je više od deset knjiga prevedenih na više od 15 jezika. Njegove najnovije objavljene knjige su Poetry from the Future (Penguin, 2019), Subversion! (Zero Books, 2017); The Radicality of Love (Polity, 2015); Welcome to the Desert of Post-Socialism: Radical Politics after Yugoslavia (sa Igorom Štiksom, Verso, 2015); What Does Europe Want? (sa Slavojem Žižekom, Columbia University Press, 2014). Redovno objavljuje za časopise Gardijan, Der Špigel, Al Džazira i dr. Bio je jedan od osnivača Subversive festivala u Hrvatskoj (od 2008. do 2013), a trenutno uređuje i vodi Filozofski teatar pri HNK Zagreb (od 2014), i zajedno sa bivšim ministrom finansija Grčke Janisom Varufakisom aktivan je u pokretu „Demokratija u Evropi“ (DiEM25).

 

 

U okviru digitalnog izdanja Filozofskog teatra, u četvrtak, 30. aprila od 20 časova na YouTube kanalu Bitef teatra, biće organizovan četvrti u nizu razgovora koji će Maja Pelević voditi sa Štefanom Kegijem.

 

Maja Pelević će sa Štefanom Kegijom razgovarati o tome šta se trenutno događa s kulturom i kako bismo mogli da zamislimo nove (post)epidemijske pozorišne forme za vreme socijalnog distanciranja. Dotaći će se i teme kretanja ljudi u budućnosti, migracija i da li će se uopšte dešavati, ili će mogućnost zatvaranja granica biti nova normalnost. Takođe, u slučaju privilegovane srednje klase, kako će izgledati putovanja i turizam za vreme konstantne opasnosti od zaraze? Da li će smanjena cirkulacija ljudi dovesti do čišćenja sveta od zagađenje i đubreta i bujanja drugih oblika života? Na kraju će pokušati da zamisle svet bez ili posle ljudi, da li je pravo vreme da prihvatimo mogućnost prepuštanja sveta prirodi i (ili) veštačkoj inteligenciji i robotima?

 

ŠTEFAN KEGI autor je dokumentarnih pozorišnih komada, radio-emisija i radova u urbanim sredinama koje stvara kroz raznovrsne saradnje. Polazeći od istraživanja, javnih audicija i konceptualnih procesa, on pruža priliku „stručnjacima“ koji nisu glumci, ali imaju šta da kažu, da progovore. Na taj način je u pozorištu u Bazelu režirao Mnemopark, maketu sveta železnice - živi snimak (u razmeri 1:87) koji je do sada prikazan u preko trideset gradova, od Tokija do Montreala. Kegi je više od tri godine proveo putujući Evropom i Azijom sa dvojicom bugarskih kamiondžija u kamionu pretvorenom u pokretno gledalište (Cargo Sofia). Godine 2008. pokrenuo je Radio Muezzin u Kairu - projekat o pozivu na molitvu u ovo doba tehničke reprodukcije, a 2011. je režirao Bodenprobe Kasachstan o migraciji i nafti u centralnoj Aziji. Trenutno je na turneji sa projektom Remote X, modularnom site-specific audio-turom za 50 slušalaca. Kegi je 2010. nagrađen Evropskom nagradom za kulturni diverzitet. Godine 2011. bio je selektor „Idiom“-sekcije Malta Festivala Pooznanj. Kegi sarađuje sa Helgardom Haugom i Danijelom Vecelom, a ta je saradnja objedinjena u kolektiv Rimini protokol. Ideja vodilja Rimini protokola jeste da razloži osećaj realnosti na zasebne činioce i da svaki od tih novonastalih komadića prikaže iz neke neobične perspektive. Rimini protokol je 2007. dobio pozorišnu nagradu „Faust“, Evropsku nagradu za nove pozorišne forme 2008, a 2011. Srebrnog lava na Venecijanskom bijenalu izvođačkih umetnosti. Višeslojna video-instalacija Sobe situacija, o industriji oružja, dobila je nagradu Excellence na 17. Medija festivalu u Japanu. Štefan Kegi je 2015. dobio Veliku nagradu Švajcarske za pozorište /„Prsten Hansa Rajnharta“/.

Na 52. Bitefu 2018. godine, predstava Zaostavština, komadi bez ljudi, prema konceptu Štefana Kegija, a u produkciji pozorišta Vidi iz Lozane, osvojila je Gran pri „Mira Trailović“, kao i Nagradu Politike.

 

MAJA PELEVIĆ je rođena 1981. Diplomirala dramaturgiju na Fakultetu dramskih umetnosti u Beogradu i doktorirala na odseku za teoriju umetnosti i medija na Univerzitetu umetnosti u Beogradu. Drame su joj prevedene na mnoge svetske jezike i igrane u zemlji i inostranstvu. Od 2012. bavi se i režijom i autorskim projektima. Sa Milanom Markovićem je 2012. uradila predstavu „Oni žive“ kada su se učlanili u sedam političkih partija, a 2016. sa Olgom Dimitrijević predstavu „Sloboda je najskuplja kapitalistička reč“ inspirisana putovanjem u Severnu Koreju. Dobitnica je mnogih značajnih nagrada među kojima su: »Borislav Mihajlović Mihiz« za dramsko stvaralaštvo 2006. i Sterijina nagrada za najbolji savremeni dramski tekst „Pomorandžina kora“ na »Sterijinom pozorju« 2010. Zajedno sa Srećkom Horvatom pokrenula je Filozofski teatar u Beogradu.

 

(ENGLISH)

 

 

During the state of emergency caused by the outbreak of COVID-19, Bitef Theatre has launched a digital edition of the Philosophical Theatre. Every Thursday in April, at 8pm, Bitef Theatre YouTube channel will broadcast live discussions with eminent Bitef Theatre artists.

After the successful discussions with the theatre director Oliver Frljić (Zagreb), and the theatre director and former Bitef curator Anja Suša (Stockholm), next are the meetings with the famous names of the contemporary theatre, whose performances we had an opportunity to see at the last-year’s Bitef - Milo Rau (Brussels) and Stefan Kaegi (Berlin). The discussions will be, like in the “good old times”, moderated by Srećko Horvat and Maja Pelević, while the viewers will have an opportunity to ask them questions.

 

Philosophical Theatre is a project initiated with an idea to re-establish a close relationship between philosophy and theatre. Launched at the Croatian National Theatre in Zagreb in 2014, the program has been a part of the Bitef Theatre repertory since the season 2019/20. It tackles the most relevant questions of the present moment and the problem of the societies we live in.

As the initiator Srećko Horvat states, “the link between philosophy and theatre has always been much stronger than the link between philosophy and any other medium or art”. Theatre has always been a place for active deliberation of society and social processes, and Philosophical Theatre creates a space for public discussion, which is nowadays more than necessary.

In that respect, Horvat remarks: “In times of a global pandemic, when all of us are trapped at our homes and made vigilant about keeping distance, we need social interconnectedness and critical thinking more than ever. For the time being, Philosophical Theatre persists through different channels, until we - hopefully soon - get back to theatre! The return to the ‘good all days’ will never happen anyway, because the old days were never good in the first place. We are facing a difficult but necessary task of radically rethinking and reinventing the world over.”

 

 

 

In the digital edition of Philosophical Theatre, on Thursday, 23^rd April at 8pm, on Bitef Theatre YouTube channel, the third in the series of discussions will be held between Srećko Horvat and Milo Rau.

 

Srećko Horvat is going to talk to Milo Rau about his latest performance “Antigone in the Amazon”, while also tackling numerous global issues such as climate change and refugee crisis, in an attempt to explore the role of the theatre from the ancient times up until after the coronavirus pandemic. Not only is it questionable how theatre will look like after the pandemic and in the time of social distancing, but what the role of theatre in altering social reality is.

 

Born in 1977 in Bern, MILO RAU is a director, author and since 2018/2019 artistic director of the NTGent. Critics have proclaimed him «the most influential» (DIE ZEIT), «most awarded» (Le Soir), «most interesting» (De Standaard) or «most ambitious» (The Guardian) artist of our time. Rau studied sociology, German and Romance languages and literature in Paris, Berlin and Zurich under Pierre Bourdieu and Tzvetan Todorov. Since 2002, he has put out over 50 plays, films, books and actions. His productions have appeared on major international festivals, including the Berlin Theatertreffen, the Festival d’Avignon, the Venice Biennale Teatro, the Wiener Festwochen and Kunstenfestivaldesarts in Brussels, and have toured more than 30 countries worldwide.

Rau has received many honours: the European Theatre Prize 2018, the Peter-Weiss-Prize 2017, the 3sat-Prize 2017, the 2017 Saarbrucken Poetry Lectureship for Drama and, in 2016, the prestigious World Theatre Day ITI Prize, as youngest artist ever after Frank Castorf and Pina Bausch. In 2017, Milo Rau was voted “Acting Director of the Year” in the critics’ survey conducted by the Deutsche Bühne. He has been awarded two honorary doctorate degrees, first in 2019 by the Theatre Department of Lunds Universitet (Sweden) and more recently in 2020 by Ghent University (Belgium). Rau is also a television critic, lecturer and a prolific writer.

 

SREĆKO HORVAT, philosopher originating from Croatia but without a permanent address or residence.  He has more than ten books to his name translated into over 15 languages. Horvat's latest published books are Poetry from the Future (Penguin, 2019), Subversion! (Zero Books, 2017); The Radicality of Love (Polity, 2015); Welcome to the Desert of Post-Socialism: Radical Politics after Yugoslavia (with Igor Štiks, Verso, 2015); What Does Europe Want? (with Slavoj Žižek, Columbia University Press, 2014) - Šta Evropa želi?  He writes regularly for The Guardian, Der Spiegel, Al Jazeera and others. He was a co-founder of Subversive festival in Croatia (2008-2013), and is currently editing and running the Philosophical Theatre at HNK (since 2014) and with the former Greek finance minister Yanis Varoufakis is an active member of Democracy in Europe (DiEM25) movement.

 

 

 

In the digital edition of Philosophical Theatre, on Thursday, 30^th April at 8pm, on Bitef Theatre YouTube channel, the fourth in the series of discussions will be held between Maja Pelević and Stefan Kaegi.

 

Maja Pelević and Stefan Kaegi are going to talk about what is happening with culture at the moment, and how we could imagine new (post)epidemic theatre forms in the time of social distancing. They will also touch upon the subject of movement of people in the future, the topic of migrations and whether they will persist, or if the possibility of closing borders will become the new normality. Moreover, when it comes to the privileged middle class, how will travelling and tourism look like under the ever-present threat of contagion? Will the decreased human movement lead to a cleaner world and to the expansion of other life forms? Finally, they will try to imagine a world without or after people, and whether it is the right time to accept the possibility of giving the world over to the nature and (or) to artificial intelligence and robots.

 

STEFAN KAEGI produces documentary theatre plays, radio shows and works in the urban environment in a diverse variety of collaborative partnerships. Using research, public auditions and conceptual processes, he gives voice to ‘experts’ who are not trained actors but have something to tell. This is how he directed Mnemopark, a model railway world in the Basel Theatre - a live film (set in 1:87 scale) that has been shown in over thirty cities between Tokyo and Montreal. Kaegi has toured across Europe and Asia for over three years with two Bulgarian lorry drivers and a lorry converted into a mobile audience room (Cargo Sofia). In 2008, he developed Radio Muezzin in Cairo - a project about the call to prayer in our age of technical reproduction, and in 2011, Bodenprobe Kasachstan about migration and oil in central Asia. At the moment, he is touring with Remote X, a modular site-specific audio-tour for hordes of 50 listeners. In 2010, Kaegi was awarded the European Prize for Cultural Diversity. In 2011, Kaegi curated the “Idiom”- section of the Malta Festival Póznan. Kaegi co-produces works with Helgard Haug and Daniel Wetzel, under the label “Rimini Protokoll”. Rimini Protokoll’s purpose is to pry apart the sense of reality and present all its facets from unusual perspectives. Rimini Protokoll was awarded the Faust Theatre Prize in 2007, the European Prize for New Theatre Forms in 2008 and in 2011 the silver lion of the Biennale for Performing Arts in Venice. The multi-player video-installation Situation Rooms about the weapons-industry got the Excellence award at the 17th Japan Media Festival. In 2015, Stefan Kaegi has received the Swiss Grand Award for Theatre / Hans Reinhart Ring.

At 52nd Bitef 2018, performance Nachlass, pièces sans personnes, based on the concept by Stefan Kaegi, and produced by Théâtre Vidy-Lausanne, won Grand Prix “Mira Trailović” and Politika Award.

 

MAJA PELEVIĆ, born in 1981. Graduated from the Faculty of Drama Arts in Belgrade, department of Dramaturgy and received a PhD degree in Theory of Arts and Media at the University of Arts in Belgrade. Her plays have been translated into English, French, German, Norwegian, Slovakian, Ukrainian, Russian, Hungarian, Slovenian, Bulgarian and Polish and have been produced all around Serbia and Europe and published in many foreign anthologies. Since 2012, she has been directing and producing her own projects. She won many major awards including: Borislav Mihajlovic Mihiz Award for the achievement in playwriting in 2006, and The Sterija Award for best contemporary play at the Sterijino Pozorje festival for the play Orange Peel in 2010. Together with Srećko Horvat, she has launched Philosophical theatre in Belgrade.