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Katalog2018 Layout 1 63. Ст но 63. Стеријино позорје Нови Саад, 26. мај–3. јун 20188. 633rd Sterijino Pozorje Festivval NoviiSad, 26 May–3June 20118 Беседа на отварању 63. Стеријиног позорја Opening speech of the 63rd Sterijino pozorje НЕБОЈША БРАДИЋ, редитељ NEBOJŠA BRADIĆ, stage director Приликом једног боравка на Бродвеју, са власником брод- Некада је комерцијално позориште било строго одвојено од During a visit to Broadway, I spoke with an owner of Broadway the- tions against “lazy and unintelligent masses,” as Freud called them in his вејских позоришта разговарао сам о будућности мјузикла. Док институционалног позоришта. Та граница је временом постала atres about the future of musical. While I was sharing my experiences work The Future of an Illusion. сам износио своја искуства и најављивао рад на представи Буђење мање оштра и омогућила је обострани утицај. Такав утицај кон- and talking about the forthcoming work on the production of Spring Commercial theatre used to be strictly distinguished from institu- пролећа, он је говорио о плановима за пласман мјузикла у Кину. статује Драган Клаић у књизи Почети изнова, али наводи да су Awakening, he was talking about his plans about the placement of a mu- tional theatre. This line has become less clear over the time enabling the Током састанка стално је користио израз „идустрија“. Ја сам инси- узлет комерцијалног позоришта и његов растући професионали- sical in China. During the meeting he constantly used the term “indus- two to influence each other. This kind of influence was observed by Dra- стирао на термину „позориште“. зам донели значајне резултате за некомерцијалну сцену. try”. I insisted on the term “theatre”. gan Klaić in his book To Start Again, where he also pointed to the fact За мог саговорника било је важно да ли ће турнеја мјузикла Без обзира на то што се у обезбеђивању забаве ослања на The important issue for my collocutor was whether the Chinese that the rise of commercial theatre and its increasing professionalism 42. улица у Кини бити профитабилна, односно да тамо постоји потрошњу, тржишне трендове и економске параметре, „инду- tour of the musical 42nd Street would be profitable, that is, if there was have brought about results significant for the non-commercial scene. публика која ће плаћати економску цену улазнице, као што то стрији“ је потребно јако институционално позориште, јер оно је an audience willing to pay a high economic ticket price, such as the one Regardless of its reliance on consumption, market trends and eco- чини на Бродвеју и Вест Енду. За мене је позориште одувек нудило његова истраживачка и развојна лабораторија. „Индустрија“ не in Broadway and West End. To me, theatre had always offered possibil- nomic parameters in providing entertainment, “industry” needs a strong могућности остваривања међуљудских веза, ангажовања емоција, би могла да остварује профит без изврсности, талента, естетских ities for establishing interpersonal relationship, emotional engagement, institutional theatre, as it is the industry’s laboratory for exploration and стварања потенцијала за учење и истраживање оних вредности иновација и свих оних професија које се развијају и негују у ин- development. “Industry” could not make profits without excellence, tal- creating learning potentials and potentials for exploring those values без којих људи не могу живети заједно. Пукотину која се појавила ституционалном позоришту. ent, aesthetic innovations and all those professions that are developed that are necessary for people to live together. During our long conver- између света капитала и света културе нисмо превазишли до Један од начина на који капитализам намерава да асимилује and honed in institutional theatre. sation we did not manage to bridge the gap that appeared between the краја нашег дугог разговора. нешто што је некада било његова супротност, јесте однос „инду- One of the methods exploited by capitalism in its intention to as- world of capital and the world of culture. Овај разговор водио сам пре десет година, али доцније сам стрије“ према „позоришту“. Међутим, уметност позоришта је similate something that used to be its opposite is reflected in the atti- I had this dialogue ten years ago, but I continued it as a monologue га настављао у облику монолога. Суочен са непријатношћу судара вечна. Уметност позоришних стваралаца је пролазна. Бранко Га- tude of “industry” to “theatre”. However, the art of theatre is eternal. The са изазовом тржишта, трудио сам се да се супротставим „појеф- вела, један од најзначајнијих редитеља који су деловали у нашим afterwards. Faced with the discomforting encounter with the market art of theatre artists is fleeting. Branko Gavella, one of the major stage тињењу“ позоришног искуства које нуди комерцијални театар. просторима, рекао је 1956. године, после доделе првих Стеријиних challenges, I tried to resist “cheapening” of theatrical experience offered directors active in our region said after the first Sterija Awards were given Међутим, временом сам увиђао колико је „индустрија“ ушла у награда: „Свестан сам да су неки награђени због онога што су by commercial theatre. However, over the time I came to realise how in 1956: “I am aware of the fact that some were awarded for what they сваку пукотину друштва, тако да је разлика између „позоришта“ били, неки због онога што су данас, неки због онога што ће сутра much “industry” had penetrated every pore of society, so that the line were, some for what they are today, some for what they will be one day!” и „индустрије“ постала све неизвеснија. Амбиције које је заступао бити!“ between “theatre” and “industry” became increasingly blurred. Ambi- These words of a seasoned theatre worker and a great artist hold мој бродвејски саговорник успешно су колонизовале машту и Била је то велика мудрост једног искусног позоришног рад- tions advocated by my Broadway collocutor have successfully colonised deep wisdom. Theatre, although suffering from numerous weaknesses, уживање публике у Кини, па и код нас. ника и великог уметника. Позориште, иако пати од бројних сла- the imagination and pleasure of the audience in China as well as here. offers a possibility of profiting from the finest human experiences of the „Индустрија“ је успела да створи другачије гледалачке по- бости, пружа могућност да у њему профитирамо од најфинијег “Industry” has succeeded in creating different audience needs and past and the best in today’s creativity. The task of Sterijino pozorje has требе и навике. Позориште je изгубило чедност, за многе је изгу- људског искуства прошлости и најбољег у креативности данаш- habits. Theatre has lost its chastity; for many, it has lost its importance. been and remains the same: to discover that which was important yes- било и важност. Питао сам се да ли, у свету „индустрије“, постоје њице. Задатак Стеријиног позорја био је и остао исти: да открива I wondered if, in the world of “industry”, there are solutions for numerous terday – that which is important today – and that which will be important решења за бројне недаће позоришне уметности или је позоришту оно што је било значајно јуче – оно што је значајно данас – и оно difficulties of theatre art, or theatre can only resort to underground ac- tomorrow. једино преостало да се бави позадинском акцијом против „лењих што ће бити значајно сутра. и неинтелигентних маса“, како их је Фројд назвао у свом делу Бу- дућност једне илузије. 2 63. СТЕРИЈИНО ПОЗОРЈЕ 63. СТЕРИЈИНО ПОЗОРЈЕ 3 Небојша Брадић је дипломирао позоришну Nebojša Bradić graduated in Theatre and Radio Di- и радио режију на Факултету драмских уметности recting from the Faculty of Dramatic Arts in Bel- у Београду. Последипломске студије похађао је на grade, going on to post-graduate studies at the ПРОГРАМ Филолошком факултету у Београду. Faculty of Philology in Belgrade. Од 1981. до 1996. радио је као редитељ, умет- From 1981 to 1996, he was a director, artistic direc- ЧЕТВРТАК, 24. мај 18.00 часова / Централна галерија Шок задруге, Змај Јовина, пасаж бр. 22 нички директор и управник Крушевачког позо- tor and manager of the Kruševac Theatre, in the Просторни механизми ришта. У сезони 1996/97. године био је управник 1996/1997 season he was the manager of the Atelier Пролог Стеријиног позорја Отварање изложбе сценографских радова групе ДИАПРОЈЕКТОР (Хрватска) позоришта Атеље 212. Од 1997. до 1999. управник 212 Theatre, and from 1997 to 1999, the manager 19.00 часова / Сценска лабораторија „Борислав Гвојић”, Факултет тех- Организатори: Факултет техничких наука и Мултимедијални центар „Лед је Народног позоришта у Београду. Управник је и of the National Theatre Belgrade. He was the man- ничких наука, Трг Доситеја Обрадовића 6, Нови Сад арт”/Шок задруга, Нови Сад уметнички директор Београдског драмског позо- ager and artistic director of the Belgrade Drama Преображаји ришта од децембра 2000. године до 2008. Био је министар културе и ин- Theatre from December 2000 to 2008 and the Serbian Minister of Culture Разговор са Метом Хочевар, архитекткињом и сценографкињом (Словенија) 19.00 часова / СНП, доњи фоаје Сцене „Јован Ђорђевић“ формисања у Влади Републике Србије од 2008. до 2011. године. Од 2011. and Information from 2008 to 2011; from 2011 to 2014 he was the artistic Организатор: Факултет техничких наука Нови Сад Вечера за зеца до 2014. био је уметнички директор Књажевско - српског театра. Од director of the Knjaževo-Serbian Theatre; since 2015 he has been the edi- Отварање изложбе слика Николе Џафа 2015. је главни и одговорни уредник Културно-уметничког програма tor-in-chief of the Cultural-Artistic Programmes of Radio Television Serbia; СУБОТА, 26. мај РТС. Од 2005-2013. је предавао Глуму, Креативно читање и Продукцију from 2005 to 2013 he taught Acting, Creative Reading and Production at 20.00 часова / СНП, Сцена „Пера Добриновић“ (I део) и Сцена „Јован на Академији лепих уметности у Београду. the Academy of Fine Arts in Belgrade. 20.00 часова / СНП, Сцена „Јован Ђорђевић“ Ђорђевић“ (II део) Уредник је едиције Арс сцена (Клио). Режирао је више од 90 позо- Bradić is the editor of Ars scena (Klio Publishing).
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