1 2 FESTIVAL INTERNACIONALNOG ALTERNATIVNOG TEATRA 2017 festival of international alternative theatre Pokrovitelji festivala / With a support of
Crna Gora Ministarstvo kulture
PARTNERI FESTIVALA/ FESTIVAL PARTNERS Crnogorsko narodno pozorište / Montenegrin National Theatre KIC „Budo Tomović” Podgorica / Cultural and Informative Centre “Budo Tomović” JU Muzeji i galerije Podgorice / Podgorica Museums and Galleries Centar savremene umjetnosti Crne Gore / Contemporary Art Centre of Montenegro Gradsko pozorište Podgorica / City Theatre Podgorica Fondacija Petrović Njegoš / The Petrovic Njegos Foundation Francuski institut Crna Gora / French Institute Montengro Republika Slovenija Ambasada u Podgorici / Republic of Slovenia Embassy in Podgorica Kulturni centar Nikola Đurković, Kotor / Culture centre Nikola Đurković Turistička organizacija Prijestonice Cetinje / Tourism Organisation of the Royal Capital Cetinje Ministarstvo finansija / Ministry of Finance Ministarstvo održivog razvoja i turizma / Ministry of Sustainable Development and Tourism Crnogorska kinoteka / Montenegrin Cinematheque Arhimed DOO / Arhimed Ltd.
Izdavač: Festival internacionalnog alternativnog teatra Publisher: Festival of International Alternative Theatre Za izdavača / For publisher : Ana Vukotić Urednica kataloga i prijevod na engleski / Catalogue editor and English translation: Ana Đurković Uvodni tekst / Introduction by: L Andrej Nikolaidis TIVA ES F E L Dizajn kataloga / Catalogue design: B A Festival of International K
Ana Đurković R Alternative Theatre
A
M
E Štampa / Print: Obod, Cetinje R Tiraž / Circulation: 300
© FIAT - Podgorica 2017 EFFE LABEL 2017-2018 DIREKTORICA FESTIVALA: Ana Vukotić UMJETNIČKI SAVJET FESTIVALA / FESTIVAL ART COUNCIL Sonja Vukićević, predsjednica savjeta, koreografkinja i balerina (Srbija) / president of the council, choreographer, ballerina (Serbia) Oliver Frljić, reditelj (Hrvatska) / director (Croatia) Dino Mustafić, reditelj, umjetnički direktor MESS-a (BiH) / director, art director of MESS (B&H) Dejan Projkovski, reditelj (Makedonija) / director (Macedonia) Željka Udovičić, dramaturškinja (Hrvatska) / dramaturge (Croatia) Aleksandar Milosavljević, teatrolog (Srbija) / theatrologist (Sebia) Ljubomir Đurković, književnik, dramaturg (Crna Gora) / writer, dramaturge (Montenegro) Biljana Srbljanović, dramska spisateljica, (Srbija) / dramatic writer (Serbia) Boris Liješević, reditelj, (Crna Gora) / director (Montenegro) Branko Baletić, reditelj (Crna Gora) / director (Montenegro) Branimir Popović, glumac i umjetnički direktor CNP (Crna Gora) / actor, art director of MNT (Montenegro)
ŽIRI / JURY SELEKTORI FESTIVALA Sonja Vukićević, koreograf (Srbija) / choreographer (Serbia) FESTIVAL SELECTORS Mirko Vlahović, glumac (Crna Gora) / actor (Montenegro) Francuski fokus / French Focus: Floriane Gaber Balša Poček, dramaturg (Crna Gora) / dramaturge (Montenegro) Slovenački fokus / Slovenian focus: Niko Goršič
NAGRADE / AWARDS UREDNIK FILMSKOG PROGRAMA Nagrada za najbolju predstavu / Best Show Award EDITOR OF THE FILM PROGRAM Nagrada za najbolju režiju (autora) / Best Director Award Vladimir Vučinić Nagrada za najbolje glumačko ostvarenje / Best Acting Performance Award
IZVRŠNA PRODUKCIJA / EXECUTIVE PRODUCTION: NVU FIAT FIAT TIM / FIAT TEAM PR Ana Đurković Izvršna producentkinja / Executive producer: Vukosava Tomović Organizatori / Organisers: Ana Janković, Janja Ražnatović, Ljubo Kaličanin Total dizajn / Total design: Ana Đurković Dizajn nagrade: Design of the award: Aleksandar Saša Vukotić Fotograf festivala/ Festival photographer: Duško Miljanić
FIAT TEHNIČKA PODRŠKA / FIAT TECH SUPPORT doktor svijetla / doctor of light: Mili Malović izvađen iz naftalina / out of closet: Radivoje Beli Lopičić magistar tona / phd of sound: Mladen Nikčević mađioničari / magicians: Željko Jovanović Glatki, Kemalj Kurteši video genije / video genius: Goran Brnović majstorica higijene / hygiene expert: Mirjana Vuković mag rekvizite / prop illusionist Vlado Martinović mjesečar / moonwalker: Miško Caušević alfa i omega scene / stage alpha and omega: Miloš Novaković i moja malenkost / and me: Dejan Radonjić Andrej Nikolaidis
Ko bi rekao da ću osjetiti nostalgiju za devedesetima... set sekundi ponovo proživljavam užase „Bunde“. Prije koju godinu kolima sam se iz Podgorice vraćao kući, u Ulcinj, pa stao u Baru, kraj kioska za brzu hranu, da kupim Nisam krenuo stopama Jukija Mišime, putem kojim se sendvič. Pojam „brza hrana“ na Balkanu treba shvatiti uslovno. rjeđe ide. Umjesto toga odvezao sam se kući. Tamo Kao i sve ostalo, uostalom. Kod nas se sve što se priprema sam isključio ton na kompjuteru i na youtubeu potra- kraće od sarme smatra brzim. Topli sendvič sam čekao žio neke od pjesama koje je te noći pustio barski DJ. dvadeset minuta. I danas vjerujem da je nekad bio topao. Komentatori nisu štedjeli na izrazima oduševljenja. Iz noćnog kluba u blizini sendvičare tukao je jeftini tur- Nostalgija za devedesetima se cijedila sa ekrana: „Nikad više bo-folk ritam. Trebalo mi je svega nekoliko sekundi da ono vrijeme“, „Da mi se samo na jednu noć opet vratiti u te prepoznam pjesmu: „200 na sat“, Ivan Gavrilović. dane“... Jebem ti život, mislio sam, ne samo da postoje ljudi koji su u stanju pomisliti „Kako je divno bilo u Berlinu 1943.“ Enivej, sa sendvičom u ruci zaputio sam se ka klubu ispred ili „Nema više muzike kakva se svirala za vrijeme opsade kojega su se tiskali tinejdžeri sa bocama piva i limenkama Staljingrada“, nego su ti ljudi vani, među nama, bez medi- red bulla u ruci. Na ulazu u klub stajao je plakat: „Veče cinske njege i sa pristupom računaru. Izgledaju kao ti ili ja. nostalgije: zlatne devedesete“. Da, znam sve najgore Nećeš ih prepoznati sve dok na televizoru ne zasvira neki tok- pjesme iz ranih devedesetih. Samo recite: „Bumbar“, „Kralj sični otpad iz devedesettreće, a njeno/njegovo lice ne oblije kokaina“,, „Idemo na Mars“, „Gori more, tope se planine“, blaženstvo i ti ne shvatiš da je njoj/njemu, u vrijeme Dubrov- „Vino crveno“, „Plači zemljo“, itakodaljeitomeslično. nika, Vukovara, opsade Sarajeva, Markala, Tuzlanske kapije, U to vrijeme radio sam u štampariji u kojoj je po čitav dan Srebrenice... svijet bio po njenoj/njegovoj mjeri, a njoj/njemu, treštao „Elmag“ radio, stanica specijalizovana za muziku za shodno tome, u tom svijetu posve dobro. Tako dobro, da do idiote. Od tog mučenja do danas se nisam oporavio. Često danas pokušava da u sjećanju vrati svaki trenutak tog vremena. u gluho doba noći začujem neljudski krik: „Kukavicaaaaa!“ pa se u najvećem stahu trgnem iz sna, obliven znojem. Tako sam mislio tada. Te noći u Baru bio sam na rubu suicida. Razmišljao sam: da izvršim harakiri sendvičem, koji je bio tvrd kao No devedesete nisu bile samo orgija nanjižeg u čovjeku, nisu katana i, pretpostavljam, jednako ukusan? Jer radije bile samo rat, krv i suze, nisu bile samo trijumf primitivizma bih čitav dan slušao Godzilu kako prdi, nego da na de- koji se pozivao na naciju, vjeru i tradiciju – bile su i borba
6 FESTIVAL INTERNACIONALNOG ALTERNATIVNOG TEATRA 2017 protiv svega toga. Za tom borbom i osjećajem da, dok dama, mjerom računara. Ne postoji mudrost, ne postoji borba traje, sve ima smisla, moguće je osjetiti nostalgiju. znanje: sve su to samo podaci. Ne postoji mišljenje, još manje umjetnost mišljenja: sve je to samo pretraga. FIAT (i cetinjsko Bijenale) su simboli te borbe u Crnoj Gori. Ređaju se trenuci bez kontinuiteta, trenuci koji nisu kontem- Zato je nemoguće precijeniti značaj FIAT-a za Crnu Goru. poralni, nego atemporalni. Kao takvi, atemporalni dakle, oni FIAT se bavio (i bavi) alternativom. A on naj- ne trebaju one koji će ih povezati sa prošlošću, niti one koji bolje u Crnoj Gori rodilo se upravo na toj, alter- će upozoriti na budućnost. Sa njima, prošlošću i budućnošću, nativnoj strani: istorije, politke, umjetnosti. naši trenuci nemaju ništa. Iz prošlosti nismo naučili ništa, Istorija savremene Crne Gore priča je o mainstreamu koji u budućnosti nećemo znati ništa. Govoriti o trenutku, u je usisao, djelimično prihvatio, nesretno modifikovao i u trenutku – to je sve. Nema sutra koje bi nas moglo deman- krajnjem zarad vlastitog opstanka zloupotrijebio ono što tovati. Ono što mišljenje čini relevantnim gola je brzina. mu je bilo alternativa. Šopenhauer je tvrio kao svaka velika Komentarišem sve, odmah. Nije važno šta, važno je samo da ideja prolazi kroz tri faze. U prvoj, suočava se sa ignorisa- je saopšteno dovoljno brzo, prije nego je trenutak okončan. njem. U drugoj, bude izložena nasilnom otporu. U trećoj, Instant nada, instant razočarenje, instant ravnodušnost. biva prihvaćena kao nešto što se samo po sebi podrazumi- Istinski gubitak nije ono što smo izgubili, nego ne- jeva. Baš kroz te tri faze prošla je, devedesetih alternativna mogućnost da ono što smo izgubili ožalimo. ideja nezavisne, evropske Crne Gore, kao i ideja kulture Zato ja, nasuprot mudrim glavama, mislim da nostalgi- koja je bila alternativa dominantnoj kulturi devedesetih. ja i melanholija nisu ono što nas sprječava da se borimo. Upravo suprotno. Nostalgija i melanholija su borba. No- Danas je lako zaboraviti značaj i veličinu FIAT-a. stalgija je ono čime se boriš protiv atemporalnosti tre- nutka, melanholija je ono čime se braniš od lažnog en- Jer je Virilio bio u pravu. Jer danas više ne postoji prošlost, tuzijazma lažnog progresa marširajućih trenutaka. niti budućnost koju bi istoričari mogli pogrešno tumačiti ili Zato mislim da je za Crnu Goru važno, neizrecivo važno proroci pogrešno najaviti. Ne postoji ni sadašnjost, koju bi da FIAT i dalje postoji. Da bi neki drugi klinci, koji danas analitičari mogli krivo objasniti. Postoji samo trenutak, koji vode neke druge (zovite ih: kulturalne) ratove, ne manje će izbrisati sljedeći trenutak. Izbrisati ga brzinom koja se bitne i ne manje surove od onih koje je vodila moja ge- ne mjeri mogućnostima ljudskog uma, nego nanosekun- neracija, imali za što vezati uspomene na svoju borbu.
7 by Andrej Nikolaidis
Who would thought I would feel nostalgic about nineties… do the harakiri with sandwich which was as hard as katana Couple of years ago I was returning from Podgorica to and I guess as tasty as it? I would rather listen to godzilla Ulcinj by car and made a stop at Bar, close to the fast farting all day that suffer through ten minutes of the hor- food kiosk to by a sandwich. The term “fast food” should rors of “Bunda” (Fur coat). be used conditionally on the Balkan. Like everything else after all. Everything that is prepared shorter than it takes to I didn’t follow the footsteps of Jukio Mishima, the road less roll sarma is considered fast. I waited 10 minutes for warm travelled. Instead, I drove back home. There I tuned off the sandwich. Today I believe it used to be warm. sound on my computer and searched some of the song DJ Cheep turbo-folk music rhythm was banging loudly out of in Bar played on youtube. Comments were all praises. the night club close to the kiosk. I took me mere couple of The nineties nostalgia was dripping of the screen: “Never seconds to recognise the song “200 na sat” (200 per hour) again those times”, “If only for a day I could return there”… by Ivan Gavrilović. Fuck, I though, not only there are people who would thought “How nice it was in Berlin in 1943” or “There is no Anyway, with sandwich in hands I went toward the club with more music as it was during the Battle of Stalingrad”, but teenagers standing one on top of each other with bottles those people are out there, among us, without hospital care of beer and cans of RedBull. The poster was hanging at the and with internet connection. They look like you and me. entrance: “Nostalgia night: Golden nineties”. You will not recognise them until some toxic waste of the Yes, I know all the horrible song from the early nineties. Say ’93 is on TV and his or hers face goes divine, only than “Bumbar” (Bumblebee), “Kralj kokaina” (King of Cocaine), you realise that to him or her the world was just fine and “Idemo na Mars” (We are heading to Mars), “Gori more, according to their own wish in the times of Dubrovnik, tope se planine” (Sea is burning, mountains are melting), Vukovar, siege of Sarajevo, Markala, Gates of Tuzla, “Crveno vino” (Red wine), “Plači zemljo” (Cry land” and Srebrenica… So good that he is trying to bring every single so on. During that time I use to work at the printing house reminders of that time back to life. playing “Elmag” FM all the time, station specialising in playing music for idiots. I still haven’t recuperated from that That’s what I thought then. torture. Often, at night I hear a inhumane cry: “Kukavi- caaaaa! (Coward!) and jump out of the bad sweating. Still, nineties were just the orgy of what’s the lowest in man, That night in Bar is was at the edge of suicide. I thought: to they weren’t just war, blood and tears, not just the triumph
8 FESTIVAL INTERNACIONALNOG ALTERNATIVNOG TEATRA 2017 of primitivism called nation, religion and tradition - they were by another moment. Erased with a speed incomprehensible the fight agains it all as well. For that fight and the feeling by the human mind, in nanoseconds, by measure of comput- that, while it lasts, everything has a point, it is possible to feel er. The wisdom doesn’t exist, nor the knowledge: it’s all just nostalgia. data. The thinking doesn’t exist, nor the virtue of thinking: it’s all just search. The moment without continuity are taking FIAT (and Cetinje Biennial) were the symbols of that fight in each others place, moments which aren’t contemporal, but Montenegro. This is why it is so hard to anticipate what FIAT atemporal. As such, atemporal, they are not in need of those means to Montenegro. FIAT was dealing (and it still does) who would connect them with past, not with those warning with alternative. And all the best Montenegro has was born in them of future. With them, past and future, our moment have it, on alternative side: history, politics, art. nothing to do. We haven’t learned anything from the past and The history of Montenegro is a story about mainstream which will not know anything in future. That what makes the thinking sucked in and partially accepted, with unfortunate modifica- relevant is a mere speed. I comment on everything, now. It tions and for its own existence, misused what was alternative doesn’t matter what, it’s important that it is said fast, before to it. Schopenhauer stated that every big idea goes through the moment ends. Instant hope, instant disappointment, three phases. During first, it faces ignorance. During second instant indifference. it faces great resistance. And in third it becomes accepted as if default. Alternative idea of Montenegrin independence, The true loss is not what we’ve lost, but the incapability to European Montenegro went exactly through those phases, suffer over what we’ve had lost. That’s why, in spite of clever same as the idea of the culture alternative to the dominant heads, I think that nostalgia and melancholy are not what’s culture of the nineties. preventing us from fighting. Exactly the opposite. Nostalgia and melancholy are the fight. Nostalgia is with what you fight It is easy to forget the significance and the scope of FIAT with against the atemporality of the moment, melancholy today. is what you use to defend from the false enthusiasm, false progress of the marching moments. Virilio was right. Because, today the past doesn’t exist any- This is why I think the existence of FIAT is of great impor- more, nor the future which could be misinterpreted by the tance to Montenegro. So that some other kids, fighting some historians or wrongly foreseen by the prophet. The presence other wars today (call them: cultural), not less important and doesn’t exist, which could be wrongly explained by the not less cruel from those my generation use to fight, have analytics. What exists is just a moment, which will be erased something to remind them of their fight.
9
teatar theatre 9. septembar 2017 RUSIJA 22:00 KIC Budo Tomović - krov / 60 min Teatar Pussy Riot Marija Aljohina DANI POBUNE režija: Juri Muravitski
scenario i gluma: Maria Alekhina gluma i vokal: Kiryl Masheka gluma, vokal i saksofon: Anastasia Ashitkova muzičar, glumac: Maxim Ionov oblikovanje videa, VJ: Vasily Bogatov, Taissia Krugovykh saradnica reditelja: Svetlana Mikhalishcheva lektor: Olga Borisova producent: Aleksandar Cheparukhin
Ruskom buntovničko-umjetničkom sastavu Pussy Riot sa je uslijedila vodi nas natrag u 2012. kroz snimke i frenetičnu nekim od najglasnijih poruka gorućih problema na temu pank svirku. Svoju priču uspjela je da pretvori u jedinstveni feminizma, LGBT prava i protesta protiv predsjednika pozorišni komad koji se bavi istraživanjem mehanizama otpora Putina i crkve, ne treba poseban uvod. Njihov izraz zasniva i protesta širom svijeta. se na provokativnom gerila pank izvođenju na neobičnim, javnim mjestima, iz kojih kasnije nastaju muzički spotovi koje distribuiraju na internetu. U žižu svjetske javnosti dospjele su Ako hoćeš nešto da promijeniš, definitivno kreni od indiferentnosti. 2012. nastupom u hramu u Moskvi nakon kojeg su tri članice Neki impotentni političari smatraju da nemamo ni glasa ni izbora. osuđene zbog “huliganstva motivisanog vjerskom mržnjom”. Mi imamo glas. I mi imamo izbor. Mi želimo da inspirišemo ljude. Nastavljajući da brane ideju nastupa koji je zapravo kritika Želimo nove pokrete (poput Marša žena). Želimo da se oni koji ćute ne pravoslavne crkve koju podržava Putin, članice su odsužile plaše da govore. I vjerujemo da to možemo postići. tešku zatvorsku kaznu uprkos brojnim političkim i umjetničkim Pussy Riot teatar je kulturna revolucija. protivljenjima širom svijeta. Zajednica je jača od svake vlade. Predstava je bazirana na istoimenoj Aljohinoj knjizi u kojoj je Moramo se ujediniti da bi prevazišli nacionalizam, seksizam, rasizam, ispričala stvarnu priču iza artističkog neposustajanja i borbe strah i indiferentnost. protiv narastajuće autoritativno nastrojene političke stvarnosti. Ti imaš glas. Ja ću ti pokazati da je tako. Aljohina priča o “Punk Prayer” protestu u Moskvi i kazni koja Marija Aljohina
12 FESTIVAL INTERNACIONALNOG ALTERNATIVNOG TEATRA 2017 9. septembar 2017 22:00 KIC Budo Tomović - krov / 60 min
13 14 FESTIVAL INTERNACIONALNOG ALTERNATIVNOG TEATRA 2017 9th september 2017 RUSSIA 22:00 KIC Budo Tomović - Roof / 60 min Pussy Riot Theatre
Based on a book by Maria Alyokhina RIOT DAYS directed by: Juri Muravitski
playwright, actor: Maria Alekhina actor, singer: Kiryl Masheka actor, singer, saxophone: Anastasia Ashitkova musician, actor: Maxim Ionov video footage, VJ: Vasily Bogatov, Taissia Krugovykh associate director: Svetlana Mikhalishcheva text editor: Olga Borisova producer & subtitles: Aleksandar Cheparukhin
Russian protest art collective Pussy Riot is one of the most by taking us back to 2012. through fevered monologues important voices whose lyrical themes include feminism, followed by real footage and frenetic noise-punk jamming. LGBT rights, and opposition to Russian President Putin She succeeded in transforming the book into unique piece of and the Orthodox Church. The group staged unauthorised performance art, exploring the mechanisms of resistance and provocative guerrilla punk rock performances in public places, protest around the world. which were later made into music videos and posted online. They gained global notoriety when five members of the group If you can change something, you definitely need to start with staged a performance inside Moscow’s Cathedral after which indifference. Some political impotents assert that we have no voice and three of them were imprisoned for “hooliganism motivated choice. We have a voice. We have a choice. by religious hatred”. The group insisted that the spectacle We want to inspire people. We want the new actions (such as Women was intended as a criticism of the Orthodox Church’s support March). We want those who are silent, not afraid to speak. And we of Vladimir Putin, but the women ended up serving harsh believe in what we would get it. imprisonment played out against an international backdrop of Pussy Riot Theatre - is a cultural revolution. political and artistic furore. Community is stronger than any government. Performance is based on Alyokhina’s book, memoir about her To overcome nationalism, sexism, racism, fear and indifference we true story of aesthetic defiance in the face of an increasingly should riot together authoritarian political reality. Alyokhina tell us about the “Punk You have a voice. I’ll show you. Prayer” protest in Moscow and a punishment which followed Maria Alyokhina
15 10. septembar 2017 20:00 KIC Budo Tomović - Velika scena/ 90 min CRNA GORA Kraljevsko pozorište Zetski dom Cetinje DOKLE POGLED SEŽE režija: Árpád Schilling
dramaturg: Bence Biro prevodilac, saradnik-dramaturg: Kata Đarmati kompozitor: Nina Perović asistent reditelja: Mirko Radonjić
igraju: Varja Đukić / Nada Vukčević / Jelena Simić / Dejan Đonović Aleksandar Gavranić / Srđan Grahovac / Dušan Kovačević / Zoran Vujović
U centru pozorišnog interesovanja Arpada Šilinga Oni sanjare i kroje planove, iako nijesu sposobni da procijene što je trenutno stoji jedna stvar: glumac. U ovom slučaju ne realnost. Ne mogu da stanu na svoje noge i zbog toga svi očekuju koristi dekor, kostim, čak ni svjetlo. Glumac je u fokusu, nešto od drugoga, pomoć ili rješenje, ali na kraju ipak ostaju sami i priče koje nam glumci pričaju. I uređen tekst koji je sa svojim patnjama. Izuzetno jako mogu i da se smiju i da plaču, samo što djelujući ne čine ništa: nijesu u stanju da donesu prave nastao tokom improvizacija, zbog svoje svakodnevnosti odluke. Govor postaje sredstvo samoopravdavanja. Sve više i više i neposrednosti, odiše posebnom estetikom. se udaljavaju od realnosti – i baš to ih čini tako realnim. Kao u nekoj U predstavi Dokle pogled seže pozorišnu čaroliju ne treba drami Čehova. Određeni motivi mogu nas podsjetiti na „Višnjik” ili tražiti u vizualnosti, već u zajedničkom bivanju. Gledanje na „Liliom” Ferenca Molnara. Tokom zajedničkog rada sve vrijeme Šilingove predstave zahtijeva svjesno i aktivno prisustvo. smo se fokusirali na ljudsku ranjivost, u nadi da autorefleksija može Bíró Bence da nas učini jačim. Lično smatram najvažnijim da poslije predstave pokrenemo razgovore o temama koje smo obrađivali na sceni. Árpád Schilling
16 FESTIVAL INTERNACIONALNOG ALTERNATIVNOG TEATRA 2017 17 18 FESTIVAL INTERNACIONALNOG ALTERNATIVNOG TEATRA 2017 10th september 2017 20:00 KIC Budo Tomović - Great Scene / 90 min
RoyalMONTENEGRO Theatre Zetski dom Cetinje
AS FAR AS THE EYES CAN SEE director: Árpád Schilling dramaturg: Bence Biro translator, co-dramaturg: Kata Đarmati composer: Nina Perović assistant to director: Mirko Radonjić cast: Varja Đukić / Nada Vukčević / Jelena Simić / Dejan Đonović Aleksandar Gavranić / Srđan Grahovac / Dušan Kovačević / Zoran Vujović
Schilling’s theatrical interest is focused on one thing only They daydream and contemplate, though unable to see the reality. at the moment: the actor. In this case he doesn’t use set, They can’t provide for themselves, so they’re always expecting things costumes or even light. On the stage there is only the actor from others, help or solution, but in the end they still find themselves and the stories showed by the actors. e edited text, based on alone with their suffering. They can both laugh and cry extremely loudly, but doing so does them no good: they are unable to make the improvisation, gains its own aesthetics by its unsophisticated right decisions. Speech becomes a mean of self-justification. They drift and everyday style. In the case of As far as the eye can see further and further away from reality – and that’s what makes them the magic of theatre should be found not in the scenery but so real. Like in a Chekhov’s play. Certain motifs resemble e Cherry in the collective experience. Orchard or Ferenc Molnar’s Liliom. During our work together we spent Watching Schilling’s performance demands a conscious and all of our time focusing on human vulnerability, hoping that self- active engagement from the spectators. reflection could make us stronger. What I personally think is the most important, it’s opening discussions about the topics initiated on stage Bíró Bence after the performance. Árpád Schilling
19 11. septembar 2017 CRNA GORA 22:00 KIC Budo Tomović - Velika scena / 45 min Centar za kulturu Tivat Kraljevsko pozorište Zetski dom Cetinje JU Ratkovićeve večeri poezije Bijelo Polje
Po pjesmama Vislave Šimborske MALO O DUŠI
adaptacija, režija i gluma: Varja Đukić
kompozitorka: Nina Perović violinistkinja: Ana Rašović dizajner svjetla: Radomir Stamenković
Komad je svojevrsna scenska forma interpretacije djela, poezije pjesnikinje Vislave Šimborske. Njena poezija je artikulacija egzistencijalnih tema koje su podsticaj na kreativniji doživljaj svijeta, sopstvene pozicije i uloge u njemu. Predstava se ne bavi samo njenim karakterom, već tačkom preloma, navodnom tačkom u kojoj duša “socijalizuje”, dijalogizira u značenjskom i u smislu izraza značenja – dramskom i muzičkom. Ta i takva “igra” pjesnikinje u duši, duše pjesnikinjine, nije razdvojiva od suočavanja sa svakodnevnim prizorima koje praktikuje ljudska vrsta – bezdušjem, ogoljenim postupcima koji se masovno u oblicima društvenih zajednica prakticiraju. Varja Đukić
20 FESTIVAL INTERNACIONALNOG ALTERNATIVNOG TEATRA 2017 11th september 2017 MONTENEGRO 22:00 KIC Budo Tomović - Great scene/ 45 min Culture Center Tivat Royal Theatre Zetski dom Cetinje Ratković’s Poetry Nights Bijelo Polje
Based on Wislawa Szymborska’s poetry A BIT ABOUT SOUL adaptation direction and acting by: Varja Đukić composer: Nina Perović violinist: Ana Rašović light designer: Radomir Stamenković
The piece is the scenic form of interpretation of the works, poetry of Wislawa Szymborska. Her poetry is articulation of the existential subjects which aspire much creative experience of the world, own role and place in it. The performance is not solely dealing with poet’s character but the breaking point, the so called point at which the spirit socialises, having a dialogue about the meaning and the expression of meaning - through drama and music. Such “play” of the poet in soul and soul of the poet could not be separated from dealing with what’s on daily basis of the human kind - heartlessness in bare doings practised massively in all kinds of communities. Varja Đukić
21 13. septembar 2017 21:00 Amfiteatar kod knjižare Karver / 50 min HRVATSKA Kazalište Hotel Bulić
Po tekstu Line Prose PLAŽA LAMPEDUZE režija: Senka Bulić
scenograf i kompozitor: Tomislav Ćurković kostimograf: Oliver Jularić oblikovanje svjetla: Nikša Mrkonjić oblikovanje tona: Branimir Božak prijevod: Iva Grgić Maroević
igra: Nina Violić
Predstava Plaža Lampeduze, po istoimenom tekstu koje zbog fizičkih, društvenih, političkih okolnosti mora italijanske autorke Line Prose, prepričava potapanje broda potonuti na dno Mediterana. Po tome ovaj tekst nije tek pretrpanog izbjeglicama na putu od bezimene afričke zemlje priča o stradanju nesrećne žene, nego o društvenoj pojavi prema obalama nekog evropskog odmarališta privlačnog današnjeg postnacionalnog svijeta. On transcendentuje imena, kao mjestu utočišta i početka ostvarenja snova. pojedinačne slučajeve jednog ili na hiljade stradalih ilegalnih Kao i većina putnika, utapa se Afrikanka Šauba. U dugom migranata i pred gledaoca iznosi pitanja o gostoprimstvu, poetskom monologu ona govori o tom prelasku mora, vlastitom prepoznavanju ili neprepoznavanju u drugome, o pripremama, nadama, putovanju, brodolomu i svojoj otvara problematiku ženske pozicije, traži pravo građanstva. smrti. Stalno podsjeća na svoje dostojanstvo Afrikanke, i Iz ovakvog prepoznavanja i preuzimanja stereotipa prije nego završi na dnu mora proziva evropske i afričke i njegove aktivne kritike Šauba, kako je vidi Senka imigracione vlasti i vođe zbog tragedije koju personifikuje, Bulić, gradi svoju subjektivnost, postaje individua ali ne kao bespomoćna žrtva sudbine, nego kao tijelo u punom smislu riječi, a ne tek dio entiteta.
22 FESTIVAL INTERNACIONALNOG ALTERNATIVNOG TEATRA 2017 13. septembar 2017 21:00 Amfiteatar kod knjižare Karver /50 min
23 24 FESTIVAL INTERNACIONALNOG ALTERNATIVNOG TEATRA 2017 13th septembar 2017 21:00 Karver Bookstore Amphitheatre / 50 min CROATIA Theatre Hotel Bulić
Based on text by Lina Prosa LAMPEDUSA BEACH director: Senka Bulić
set designer and composer: Tomislav Ćurković costume designer: Oliver Jularić lighting designer: Nikša Mrkonjić tone designer: Branimir Božak translation: Iva Grgić Maroević
igra: Nina Violić
The performance Lampedusa Beach based on the text personifies but not as a helpless victim of destiny but as a written by Italian author Lina Prosa tells a story about the body that has to sink down the bottom of the Mediterranean sinking of the ship overcrowded by migrants from the due to the physical, political and social circumstances. This unknown African country trying to reach a European holiday text isn’t just a story of one unfortunate woman’ misfortune destination with attractive name (Blue Laguna) signifying but of a social being of today’s post-national world. She the safe refugee and a place of new hope to fulfil dreams. transcends individual cases of a single misfortunate illigal Like most of others, the African woman Shauba drowns as migrans or a thousands of them and rises the questions well. During her long poetical monologue she tells a tale of hospitality, personal identification with others, open of crossing the sea, of preparations, hopes, travels, sinking the issue of women position, seeks the citizenship rights. and her death. She constantly reminds us about her African Out of this identification and stereotypes taking over, as dignity and prior to ending on the bottom of the sea, calls well as active critique of it, as envisioned by Senka Bulić, upon the european and african migration authorities and Shauba’s builds her own subjectivity, becoming an individual leaders whom she find accountable for the tragedy she in ful sense instead of just a part of a single entity.
25 14. septembar 2017 10:00 - 17:00 Perjanički dom Kruševac / 7 sati BRAZIL The ExCompanhia de Teatro ODSUTNE FREKVENCIJE 19Hz režija i dramaturgija : Bernardo Galegale i Gustavo Vaz
gluma i obrada zvuka: Gabriel Cavancaldi
Autor se dugo vremena priprema da na scenu iznese svoj karaktera kojeg slušaju preko slušalica. Projekat se oslanja na najvažniji projekat: monolog inspirisan Sartrovom Mučninom. specifičnosti lokacije, otkrivajući makro i mikro veze između Ali na premijeru niko nije došao, sjedišta publike su prazna. fiktivne dramaturgije i grada sa njegovim stanovništvom, Razočarani glumac odlazi da besciljno tumara ulicama i tražeći konstantno mijenjanje percepcije života. nestaje, obuzet nedostatkom značenja sopstvene egzistencije. Godinu dana kasnije, on se ponovo pojavljuje pred publikom virtuelno, vodeći, svakoga pojedinačno, istim stazama kojima DINAMIKA PREDSTAVE je i sam prošao tog sudbonosnog dana kad je nestao. Po dolasku na predstavu svaki učesnik preuzima mediafile Ovo je svojevrsno istraživanje veze između glumca i publike preko smartfona sa sadržajem koji se sastoji iz audio-video tokom žive izvedbe, uz pomoć 3D audio tehnologije koja materijala i fotografija. Svakome učesniku biće potrebno stvara osjećaj prisutnosti autora. Gotovo virtuelan scenski pet minuta da čuje prvu audio scenu u pozorištu koristeći doživljaj koji “obuzima” učesnike koristeći se njihovim smart slušalice. Nakon toga, učesnici su slobodni da sami odu na telefonima, stvara utisak realnog preživljavanja priče, vođene sopstvenu, odabranu rutu ulicama oko prvobitne lokacije audio vodičem po ulicama grada kroz audio dramaturgiju, na sat vremena nakon čega se ponovo vraćaju na startno video i digitalne slike, kao i 3D binaural scenama koje mjesto. Događaj je otvoren za javnost oko sedam sati sa po jednom osobom koja će napustiti prostor svakih šest minuta. stvaraju prostornost i stimulišu fizičko prisustvo nevidljivog
26 FESTIVAL INTERNACIONALNOG ALTERNATIVNOG TEATRA 2017 PROGRAM JE PODRŽAO 14. septembar 2017 10:00 - 17:00 Perjanički dom Kruševac / 7 sati
27 28 FESTIVAL INTERNACIONALNOG ALTERNATIVNOG TEATRA 2017 14th september 2017 10:00 - 17:00 Perjanički dom Kruševac / 7 sati BRASIL The ExCompanhia de Teatro ABSENT FREQUENCY 19Hz
direction and dramaturgy : Bernardo Galegale and Gustavo Vaz
cast and sound producer: Gabriel Cavancaldi
An actor is preparing, for a long time, to put on stage his they hear through the headphones. most important project: a monologue inspired by the novel The project feeds from local memory, revealing micro and “Nausea” from Jean-Paul Sartre. But, on the premiere, no macro connections between the fictional dramaturgy and the one goes; the chairs of the audience are empty. Disappointed city with its habitants, looking for a constant movement of actor goes out aimlessly through the streets and disappears, perception of life. consumed by the lack of meanings of his own existence. One year later, he reappears in front of the public, leading everyone to follow the same paths he traced on the day of PERFORMANCE DYNAMICS his disappearance. The project also experiment a particular Upon arrival, guests will download media files containing relation between the performer / actor and the audience audio, video and photos using their smartphones. Each during a live performance, using 3D audio technology that participant will have about 5 minutes to experience the first audio scene in the theater using provided headphones. creates a feeling of real presence of the artist. Immersive He then, goes at his individual journey through the streets scenic experience makes the participants, using their surrounding the initial space for about 1 hour and then returns smartphones, live a story guided by audio through streets again to the starting point. of the city through dramaturgy in audio, videos and digital The experience is open to the public for about 7 hours with 1 pictures and 3D binaural audio scenes that recreate a spatiality person leaving the initial space every 6 minutes. and simulates the physical presence of the invisible character
SUPPORTED BY 29 14. septembar 2017 22:00 Dvorište Kuslevove kuće / 75 min ITALIJA Astragali Teatro
Po Ovidijevom tekstu METAMORFOSE žene koje se odupiru nasilju bogova
scenario i režija: Fabio Tolledi kompozitori: InSistesi, Alessandro Lorusso, Francesco Andriani organizator: Ivano Gorgoni
igraju: Roberta Quarta / Simonetta Rotundo / Alessandro Lorusso Petur Gaydarov / Jean Hamado Tiemtoré / Onur Uysal / Laura Lutard
Metamorfose, poema o neprestanoj transformaciji Žene se sjećaju starih priča Metamorfoze, isprepletajući ih sa postaje konkretna slika, vizija, tijelo, scena neopisivog pjesmama, slikama i mitovima naših najvažnijih mediteranskih konflikta između uzvišenog, božanskog i ljudskog, tradicija. beznadežnog i ponosnog otpora i otpornosti življenja. Metamorfoze su slike koje počinju da žive. Metamofroze su sudbina imena koje postaje stvar. Dafne, Eho i Narcis Scena o bogu, rastrzanom željama, kojem silovanje postaje plešu beživotno dok postaju stvari. nezaustavljivo oružje, ali i o ženama koje su, jednako kao Pjesma o prkosu ljubavi, prišivena za kožu postaje ime. Balast na i u mitu, neizbrisivi trag otpora, suprostavljanja, jednako ovom moru koji niko ne prepoznaje. nezaustavljive, kada su u pitanju sukobi, ratovi i nasilje. Metamorfoze pričaju priču o bogu koji zlostavlja ženska tijela; priče o U mitu, priča o ženama koje prelaze mora nastavlja Filomeni, o Io, o Evropi pričaju o otporu ovom nasliju. da živi, na granici između života i smrti, sa pozivom na Mi koji smo uvijek bili migranti, pletemo ove stare mitove kako bi prilagođavanje svakoj novoj situaciji ali samo ako izgube otvorili oči i srca u sadašnjosti. Mediteran je malo more sa mnogo sjećanja i možda osjećaj sopstva. Metamorfoze tako kultura a oko nas je rastuća potreba da se vratimo i ispričamo sebi priče koje su nam vjekovima davale pravi smisao života. postaju glas žena koje pjevaju o životu, koje se rugaju Žene koje pjevaju o životu, koje začaravaju svijet. svojim mučiteljima, koje se protive potrebi za bliskošću i Fabio Tolledi solidarnošću pred licem nasilja koje nas je podijelilo.
30 FESTIVAL INTERNACIONALNOG ALTERNATIVNOG TEATRA 2017 14. septembar 2017 22:00 Dvorište Kuslevove kuće / 75 min
31 32 FESTIVAL INTERNACIONALNOG ALTERNATIVNOG TEATRA 2017 14th september 2017 22:00 Kuslev’s House garden / 75 min
AstragaliITALY Teatro
Based on writtings by Ovid METAMORFOSE women who resist the violence of gods
Written and directed by: Fabio Tolledi
music: InSistesi, Alessandro Lorusso, Francesco Andriani organisation: Ivano Gorgoni
cast: Roberta Quarta / Simonetta Rotundo / Alessandro Lorusso Petur Gaydarov / Jean Hamado Tiemtoré / Onur Uysal / Laura Lutard
The Metamorphoses - the poem of ceaseless transformation Woman recount the ancient stories of the Metamorphoses, interweaving becomes concrete image, vision, body, scene of unspeakable the songs, images, and myths of our most important Mediterranean conflict between the divine and the human, of divine hybis, tradition. Metamorphosis is image becoming life. of the desperate and proud resistance/resilience of the living. Metamorphosis is the destiny of the name that becomes a thing. Daphne, Echo, and Narcisus dance as things, while becoming things. Of a god, devoured by desire, who makes rape his implacable The song of the resistance of love – double-stitched on the skin that weapon. And of women who, in myth as well, are the indelible becomes a name. Flotsam on this common sea that recognises no one. mark of resistance, of opposition - every bit as implacable - to Metamorfosi tells the story of a male god who violates women’s bodies; con ict, to war, and to violence. the stories of Philomena, of Io, of Europa speak of resistance to this In myth, the story lives on of women who cross our sea, on the violence. borderline between life and death, called upon to change skin We, who have always been migrants, weave these ancient myths to open towards a new condition, provided they lose their memory and, our eyes and our hearts to the present time. The Mediterranean is a small perhaps, part of their sense of self. Metamorphosis, then, is the sea of many cultures, and around us is the growing need to return and tell ourselves the stories that for centuries have given us the very meaning of voice of women who sing of life, who make a mockery of their life. Women who sing of life, who enchant the world. tormentors, who appeal to the need for closeness, proximity, Fabio Tolledi and solidarity in the face of the violence that divides us.
33 15. septembar 2017 20:00 CNP - Scena studio / 80 min AUSTRIJA Terraforming Arts Laboratorium
Aristoteles Chaitidis ANTI_GONE režija: Steve Schmidt i Aristoteles Chaitidis
scenograf: Steve Schmidt, Anita Boshani koreograf: Rino Indiono kostimograf: Katharina Kappert, Aristoteles Chaitidis asistent reditelja: Anita Boshani čelist: Vladimir Drobnjak
igraju: Aleksandra Corovic / Julia Edtmeier Luka Vlatcovic / Aristoteles Chaitidis
Ifigenija sjedi u čekaonici svog terapeuta i dosađuje se. “Ono što vidimo u dugačkom nastupu nasilja nije Sa telefonom u ruci prevrće stranice magazina čekajući nekontrolisani napad individue na neprijatelja države; mnogo majku Klitemnestru. Kada nakon nekoliko trenutaka žustra više je to legitimno nasilje moći nad disidentom. Oni slaba srca Antigona uđe u čekaonicu, lako uspjeva da uvuče mladu će okrenuti glavu i brojati minute do kraja.” i naivnu Ifigeniju u terapeutsku igru uloga. Iznervirana Mihaela Preiner sopstvenom igrom, nanovo i nanovo traži sklonište kroz cigaretu. Ali pušenje nije dozvoljeno. Ovakav konflikt može se riješiti jedino nasiljem.
34 FESTIVAL INTERNACIONALNOG ALTERNATIVNOG TEATRA 2017 35 36 FESTIVAL INTERNACIONALNOG ALTERNATIVNOG TEATRA 2017 15th september 2017 20:00 MNT - Studio scene / 80 min AUSTRIA Terraforming Arts Laboratorium
Aristoteles Chaitidis ANTI_GONE directed by: Steve Schmidt and Aristoteles Chaitidis
set design: Steve Schmidt, Anita Boshani choreography: Rino Indiono costume design: Katharina Kappert, Aristoteles Chaitidis assistant to director: Anita Boshani musician on cello: Vladimir Drobnjak
cast: Aleksandra Corovic / Julia Edtmeier Luka Vlatcovic / Aristoteles Chaitidis
In a therapist’s waiting room sits bored Iphigenia. „What we see in this long outburst of violence is not the Smartphone in hand and leafing through magazines she uncontrolled assault of an individual against an enemy of waits for her mother Clytemnestra. When after a few state; furthermore it is the legitimised violence of power minutes boisterous Antigone enters the waiting room, she against the dissenter. The weak-hearted will turn their heads embroils young and naive Iphigenia in therapeutic role-plays. and count the minutes till it is over.“ Agitated through her own play, time and again she seeks Mihaela Preiner refuge through a cigarette. But smoking is not permitted here. This conflict can only be solved through violence.
37 16. septembar 2017 21:00 Dvorište Kuslevove kuće / 80 min SRBIJA Festival Dev9t
KRALJ IBI režija: Goran Jevtić
scenografija: Viktor Kiss muzika: Nemanja Aćimović kostim: Tijana Pavlov autor video rada: Srđan Ćešić reditelj filma: Jonathan English pokret: Sonja Vukićević organizacija: Mina Korać, Marko Cvetković i Dušan Kuzmanov
igraju: Goran Jevtić / Mirjana Đurđević / Viktor Kiss / Katarina Jovanović / Dimitrije Stajić / Sava Stojanović / Saša Nićiforović / Nemanja Rafailović
Kralj Ibi je neprolazna i sveprisutna stvarnost svijeta, do i prijesto i brod i ovalni kabinet i zatvor i oltar Kralja Ibija te mjere aktuelna na globalnoj političkoj sceni da se može okruženog publikom koja sjedi na njenim ivicama kao na dešavati svugdje i u svakom trenutku. granicama razuma. Mali prostor predstave je arena za aktere ovog komada u surovoj borbi za vlast i urušavanje svih sistema koji Granica i nije ništa drugo do zamišljena linija u umu ratnika! neumitno vode do raspada te iste planete za koju se bore. Goran Jevtić Žrtvenik i mjesto antičkog proroštva je WC šolja koja je
38 FESTIVAL INTERNACIONALNOG ALTERNATIVNOG TEATRA 2017 16. septembar 2017 21:00 Dvorište Kuslevove kuće / 80 min
39 40 FESTIVAL INTERNACIONALNOG ALTERNATIVNOG TEATRA 2017 16th september 2017 21:00 Kuslev’s House Garden / 80 min
SERBIAFestival Dev9t
KING UBU directed by: Goran Jevtić
set designer: Viktor Kiss composer: Nemanja Aćimović costume designer: Tijana Pavlov author of the video: Srđan Ćešić video director: Jonathan English stage movement: Sonja Vukićević organisation: Mina Korać, Marko Cvetković and Dušan Kuzmanov
igraju: Goran Jevtić / Mirjana Đurđević / Viktor Kiss / Katarina Jovanović / Dimitrije Stajić Sava Stojanović / Saša Nićiforović / Nemanja Rafailović
King Ubu is ever present and everlasting reality of the antique prophecy - toilet seat serves as a throne as well as world, so present in global political scene it could happen the ship, the oval cabinet, prison and altar of the King Ubu everywhere and at any moment. surrounded by the audience sitting on its edges like on the Small space of this performance is arena for the actors of edges of the sanity. this piece during their brutal fight for power and system The border is nothing more than imaginary line in the mind destruction that unquestionably lead to destruction of of the warrior! the planet they fight for. Sacrificial altar and the place of Goran Jevtić
41 fokus
focus francuski fokus ulicni teatar
Selektorka francuskog fokusa: Floriane Gaber, teatrolog
Cilj ove selekcije je da se publici prikaže više različitih formi ulične umjetnosti - cirkus, performans, ples. Francuski fokus na FIAT-u počeće spektaklom - programom akrobacija na štulama, potom lagano preći na performans koji je kombinacija tijela, čitanja i vizuelnih instalacija, da bi se završila savremenim plesom. Cilj je istovremeno približiti francusku uličnu umjetnost i njen izraz ali isto tako ohrabriti i inspirisati lokalne umjetnike da se bave uličnom umjetnošću. Program je namijenjen jednako porodicama, tinejdžerima, studentima, prolaznicima...
Floriane Gaber
U SARADNJI SA IN COOPERATION WITH french focus street theatre
French focus selector: Floriane Gaber, theatrologist
The principle of this street programme is to show different kinds of street arts - circus, performance, dance. French focus on FIAT would begin with a very spectacular show, jumping stilt walkers, go on with a performance mixing body, text reading and visual installation, and end with contemporary dance. The goal is to present french street artist and their work but at the same time to inspire and encourage young local artists to develop their interest in street arts. This programme intends to be seen by different kinds of audiences, families, teenagers, students, passersby...
Floriane Gaber 8. septembar 2017 francuski fokus 19:00 Trg Nezavisnosti / 2X15 min ulicni teatar
Echassier sauteur Bordo, Francuska SKAKAČI NA ŠTULAMA
izvođači: Christopher Cournau i Thomas Romeo
Trupa Echassier sauteur dolazi iz Bordoa u Francuskoj. Kristofer Korno počeo je rad sa pneumatskim štulama 2007. godine u poznatom Malabaru. Njegove pneumatske štule su nova generacija štula, jedinstvenih i veoma impresivnih mogućnosti. Tačka ili parada kako je još nazivaju, kojom se predstavljaju fiatovskoj publici podrazumijeva dva umjetnika na pneumatski štulama koji u svom nastupu spajaju ples, teatar i akrobaciju, preskačući ljude i prostore. Pokušajte da ih ispratite! Parada je namijenjena i djeci i odraslima a umjetnici vas pozivaju da se pridružite.
46 FESTIVAL INTERNACIONALNOG ALTERNATIVNOG TEATRA 2017 8. septembar 2017 8th september 2017 19:00 Trg Nezavisnosti / 2X15 min 19:00 Trg Nezavisnosti / 2X15 min french focus street theatre
Echassier sauteur acrobatics Bordoux, France JUMPING STILT WALKERS
performers: Christopher Cournau and Thomas Romeo
Trop Echassier sauteur is based in Bordoaux, France. Christopher Cournau start pneumatic stilts in 2007 with the famous Company Malabar. His pneupatic stilts Njegove pneumatske are new kind of stilts, original and impressive in their possibilities. The performance, or the parade how they call it, they will present in from of FIAT’s audience consists of two French artists who will show you crazy things on stilts, mix of dance, theatre and acrobatics, doing acrobatics and jumping over the people. Dare to follow them! Parade for adults And children, come and play with them!
47 12. septembar 2017 francuski fokus 19:00 Plato biblioteke Radosav Ljumović / 45 min ulicni teatar
Grupa Fluo Nant, Francuska FOSSIL Ples / performans / skulpturalno čitanje
koncept: Benoit Canteteau scenografija: Aurore Mortier, Benoit Canteteau dizajn zvuka: Céline Challet
izvođači: Céline Challet / Benoit Canteteau
Izvedba Fossil francuske trupe Fluo je koreografski i zvučni performans dva umjetnika. Plesač i čitalac manipulišu svim djelovima knjige, od teksta do formata i uveza, preko autora. Ovo je fizička poezija u kojoj su tijelo i riječi prikazani kao krhke monolitne arhitekture i prostori čudnih, promjenljivih karaktera. Ta igra dovitljive konstrukcije uključuje pored plesača i čitaoca i 363 knjige. Fossil povezuje materijalnost knjiga i neopipljivost riječi. Iz manipulacije čovjeka i knjige proizilazi tijelo i glas. Fossil je istraživanje objekta, knjige, dok ona postaje odašiljalac koreografije i zvuka. Riječi i slike istražuju senzacije koje su pisali različiti autori, različitih stilova i iz različitih epoha. Tekstovi istražuju emocije koje su nam svima poznate, kojima je prožeta naša svakodnevica, samoću, ljubav, sumnju, smrt. Uzimajući tekstove različitih djela, tekst predstave zapravo postaje dijalog ili razgovor između Kamija, Vajda, Šekspira, Keroaka i mnogih drugih pisaca.
48 FESTIVAL INTERNACIONALNOG ALTERNATIVNOG TEATRA 2017 12th september 2017 french focus 19:00 Library Radosav Ljumović Plato/ 45 min street theatre
Groupe Fluo Nantes, France FOSSIL Dance / performans / sculptural reading
conception: Benoit Canteteau sound design and realisation: Céline Challet set design: Aurore Mortier, Benoit Canteteau
performers: Céline Challet / Benoit Canteteau
Fossil is a choreographic and sound performance for two performers. A dancer and a reader manipulate all facets of the book; from the text to the format, to the binding to the author. In this physical poetry, body and text are staged as fragile monolithic architectures or landscapes of strange and shifting characters. A game of astute construction and of fragile architectures, involving a dancer, a reader and 363 books. FOSSIL connects the materiality of books and impalpability of words. Through the human-book manipulations, emanates a body and a voice. FOSSIL is an exploration of the object, the book, as it becomes a transmitter of choreography and sound. Words and images explore the sensations written by a broad array of authors- from different styles and epochs. These texts explore emotions well known to us all, ripe the text created becomes a dialogue or a conversation throughout our daily life, such as loneliness, love, doubt, between authors such as Albert Camus to Oscar Wilde, death. Bringing together the text of different written works, William Shakespeare to Jack Kerouac and many others.
49 13. septembar 2017 francuski fokus 19:00 Dvorac Petrovića Kruševac / 35 min ulicni teatar
Frichti Concept DRAC Ile de France ADAMI BRAČNE SVAĐE
koreografija: Brendan Le Delliou
muzika: Stéphane Gasquet koproducent: Association Alarue Association Rue des Arts
plesači: Elodie Tuquet / Brendan Le Delliou
Pojavljujući se niotkuda, par naoružan kućnim predmetima i alatima za domaćinstvo, dobija nervni slom zbog tamne fleke na putu. Ovaj simbolični uljez fokusiraće ih i pomiriti par dok pokušavaju da je očiste. Ali oboje će pokušavati da nametnu sopstveni način gledanja na stvari. Igrajući na iracionalno i apsurdno, ovaj čin čišćenja na javnoj površini je prilika da se ismije naš odnos prema materijalnom i socijalnim redom. Brišući granice između privatnog i javnog, ovaj par sukobljava se oko nečega što zapravo i nema nikakvo značenje. Kao satirična i burleskna vizija porodične svađe, ovaj duet mješavina je plesa i predmetnog teatra na javnim prostorima sa odmjerenom dozom humora.
50 FESTIVAL INTERNACIONALNOG ALTERNATIVNOG TEATRA 2017 13. septembar 2017 13th september 2017 19:00 Dvorac Petrovića Kruševac / 35 min french focus 19:00 Petrović’s Castle Kruševac / 35 min street theatre
Frichti Concept DRAC Ile de France ADAMI MARRIAGE DISPUTES
choreography : Brendan Le Delliou
music : Stéphane Gasquet coproductions : Association Alarue Association Rue des Arts
dancers: Elodie Tuquet and Brendan Le Delliou
Emerging from nowhere, a couple armed with household ustensils is caught into a frenzy by the sight of a dirty mark on the path. This symbolic intruder will focus their energy and bring the characters together as they try to erase it. But both people will try to impose their own way of seeing things. Playing on the irrational and the absurd, this act of cleaning in a public space is an opportunity to ridicule our relationship withmaterials and social order. Breaking through the borders between what is private or public, the couple will argue over something with no real meaning. As a satirical and burlesque vision of a domestic quarrel, this duet performance mixes dance and object theatre for public spaces with the right dose of humour.
51 slovenacki fokus plesni teatar
Selektor slovenačkog fokusa: Niko Goršič glumac, performer, režiser, pisac, urednik, plesni i likovni kritičar SLOVENAČKI SAVREMENI PLES IZ AVIONA
Kad stranac prati bijenalne - festival Gibanica u organizaciji alnoj instituciji. Još gore bilo je poslije Drugog svjetskog rata Udruženja slovenačkog savremenog plesa iznenadi ga kad je došlo do sovjetizacije baleta... Na sreću danas postoje dijapazon kako od formi čistog plesa do performativnih dvije ozbiljne baletske kuće sa savremenom orijentacijom u traženja, tako i brojnost različitih individualnih poetika. Onda Mariboru i Ljubljani – ali slovenački savremeni ples još nije sa i brojnost plesača i samostalnih grupa. I ne malo stvaraoca sa njima izborio ravnopravan status u državnim institucijama, još međunardnim uspjesima. Utisak je idiličan. Sve izgleda kao ga smatraju alternativom. Iako to već odavno nije. kućica u cvjeću. Gledaoci FIAT-a će vidjeti tri forme plesa u Sloveniji – i I tu je još srećan selektor. vidjeće najbolje izvođaće. Prvo: Stalnu međunarodnu plesnu grupu EnKnapGroup - koja baš ove godine slavi deseto- Ako još kažemo da mladi u Sloveniji imaju mogućnost da godišnjicu uspješnog nastupanja - na duploj plesnoj večeri plešu od vrtića i srednje škole i do, najnovije, Akademije gdje će se predstaviti vrhunske koreografkinje: slavna Trisha plesa – na kojoj će plesači i koreografi završiti školovanje sa Brown sa svojim američkim postmodernizmom iz osamdeset- univerzitetskom diplomom. Idealno! ih i inovantna Mađarka Adrienn Hod sa delikatnim humo- Ali tako izgleda samo iz aviona. rom i ekstatičkom seksualnošću. Drugo: Umjetnički plesni par Rosane Hribar i Gregora Lušteka sa svojom vatrenom Od kada su prije sto godina u Ljubljanu došli emigranti iz intimnom pričom u produkciji Plesnog teatra Ljubljana, Češke po Prvom svjetskom ratu i propasti Austrougarske Treće: Međunarodnu zvjezdu Malu Kline u svom neobičnom države i Rusi po Oktobarskoj revoluciji, započela je borba i autorskom plesnom performansu. nevjerovatan entuzijazam slovenačkih umjetnika za egzist- enciju savremenog plesa uz bahati baletni ansambl u nacion- Niko Goršič
PROGRAM PODRŽALA REPUBLIKA SLOVENIJA PROGRAM SUPPORTED BY AMBASAdA U POdGORICI slovenian focus dance theatre
Slovenian focus selector: Niko Goršič actor, performer, director, writer, editor, dance and art critique SLOVENIAN CONTEMPORARY DANCE – FROM THE PLANE
When a foreigner appears at the biennale - festival Gibanica ballet ensemble in national institution. It got worst after the organised by Slovenian Contemporary Dance Association, Second World War and after the sovietisation of the ballet…. he finds himself surprised by the selection, from the forms of Luckily, today exist two serious ballet houses with contem- the pure dance to performance improvisations, as well as the porary orientation in Maribor and Ljubljana - but Slovenian number of different individual poetics. Also, by the number contemporary dance still doesn’t have the equal status in state of dancers and independent groups. And not just the artist institutions but is still consider alternative. Although it is not with international success. The impression is idilic. House for a long time now. surrounded by the flowers. And a happy selector there. FIAT audience will see three forms of Slovenian dance - and And if we say that young people in Slovenia have the will see the best performers. First: Permanent international opportunity to dance since kindergarten and high school, all dance group EnKnapGroup, which celebrates 10 years of suc- the way up to the newest Dance Academy where dancers cessful performances, during the double dance night. At the and choreographer can finish the education with the school same time, it will see two major choreographs: famous Trisha diploma. Ideal! Brown with her american postmodernism from the eighties and innovative Hungarian Adrienn Hod with her delicate hu- Yes, but only if you are looking form the plane. mour and ecstatic sexuality. Second: Dancing couple Rosana Ever since emigres from Czechoslovakia came to Ljubljana Hribar and Gregor Luštrek and their intimate, passionate story after the First World War and the fall of the Austro-Hungar- produced by Ljubljana Dance Theatre. Third: International ian state as well as the Russians after October Revolution, star Mala Kline and her unusual authorial dance performance. the Slovenian artists’s fight and the enormous enthusiasm to preserve contemporary dance from the arrogance of the Niko Goršič
REPUBLIC OF SLOVENIA EMBASSY IN POdGORICA 9. septembar 2017 slovenacki fokus 20:00 KIC Budo Tomović - Velika scena/ 30 min plesni teatar
Plesni teatar Ljubljana 16 koreografija i izvedba: Rosana Hribar i Gregor Luštek
dizajn svijetla: LCLights Muzika: Violinski koncert i uvod Filipa Glasa; 1987, 1981 Dunvagen Music Publishers Inc. ; Mo’ Better Blues ( William Lee) u izvođenju Branford Marsalis Kvarteta i Terensa Blanšarda. kostimograf: Katarina Škaper producent: Živa Brecelj koproducent: UL, Academy for Theatre, Directing, Film and Television
Serija dueta Rosane Hribar i Gregora Lušteka osmišljene izraz ovo dvoje postaje ili ostaje jedno. Njihova igra obuzima su kao predstava o životu koji otkriva detalje intimnog i prostor, hvatajući ga za gušu i transformišući ga tako da u profesionalnog suživota para koreografa i predstavljaju važno vazduhu ostaje samo znoj a u grudima samo guka. To je jasna obilježje i izraz slovenačkog savremenog plesa već mnogo i brutalna iskrenost. Na isti način na koji oni pretaču cijeli godina u nazad. Jedinstvena koreografija i emotivni naboj jedan suživot u nekoliko izvedbi svake dvije godine i stavljaju dueta 16 stvaraju osoben plesni jezik kojem više nije potrebna ga u prostor, u duetu 16 oni se suočavaju još i sa eksternim spoljašnja potvrda jer on konstatno zamagljuje postavljene, ograničenjima tijela plesača (nakon 40. godine). I kako sopstvene granice između personalnog i privatnog, između sediment različitog plesnog izraza i intimnog iskustva sve više jezika i govora, između fizike i hemije, emocije i erosa. Svojom stari, ton otpornosti i čvrstine, kao i želja (za plesom) postaje jedinstvenom i neizgovorljivom energijom, preskačući polja ogledalo slike instinkta za životom. tako da je sam ples ono što izlazi iz prostora, međusobni Andreja Kopač
54 FESTIVAL INTERNACIONALNOG ALTERNATIVNOG TEATRA 2017 9th september 2017 slovenian focus 20:00 KIC Budo Tomović - Great Scene/ 30 min dance theatre
Dance Theatre Ljubljana 16 choreography and performance: Rosana Hribar and Gregor Luštek
lighting Design: LCLights music: Violin Concerto and Opening by Philip Glass; 1987, 1981 Dunvagen Music Publishers Inc. Mo’ Better Blues ( William Lee) by Branford Marsalis Quartet feat. Terence Blanchard costume: Katarina Škaper producer: Živa Brecelj co-produced by: UL, Academy for Theatre, Directing, Film and Television
The duet series by Rosana Hribar and Gregor Luštek are the language of the two becomes/remains one. Their dance designed as a performance about life that reveals insights appropriates the space, grabs it by the neck and transforms it into the intimate and professional (co)operation of the in a way that leaves behind sweat in the air and a lump in the choreographic couple and are introducing an original mark abdomen. Straightforward brutal honesty. In the same way and movement expression to the Slovenian contemporary they pour the lifetime into a few time units every two years dance for many years. The uniqueness of the choreography and put it into space, in duet 16 they are also confronted and the emotional charge create an original dance language with external constraints of the dance body (after 40). that no longer requires external justification in the duet And as the sediment of different dance expressions and 16, as it constantly blurs the self-set boundaries between intimate experiences is attaining a more mature, resilient and the personal and private, between language and speech, endurable tone, the desire (to dance-out) appears as a mirror between physics and chemistry, between emotion and eros. image of the instinct for life. In a unique and unpronounceable energy, crossing the fields in a way that the dancing-out itself emerges out of space, Andreja Kopač
55 10. septembar 2017 slovenacki fokus 22:00 Perjanički dom Kruševac / 30 min plesni teatar
Mercedes Klein i Pekinpah UŠTIMAVANJE
koncept i izvedba: Mala Kline
prostor: Petra Veber muzika: David Lang: Just (After Song of Songs)
*performans je nastao kao dio Pekinpahove performans izložbe SMEEL u Ljubljani
Kroz Uštimavanje Mala Kline dalje razvija svoju metodu pisa- nja udaljavanjem od čiste reprezentacije i identifikacije koriste- ći se apstraktnom koreografskom strukturom. Zanima je bu- đenje snoviđenja i mašte kod gledaoca i kako da scenu otvori kao mjesto susreta drugačijih svjetova, kao prostor neprekidne racionalne isprepletanosti u kojem se drugi svjetovi i stvarnosti otkrivaju i otvaraju. Ova pitanja iznosi kroz povezanu mrežu mašte i snova, u kabalističnom dijagramu Drva života i Pjesme nad pjesmama. Šema, iako komplikovana, intuitivno se spaja u jedno: rađanje potencijalnsti i novih svjetova kroz sanjarenje, uključivanje, kontemplaciju i prihvatanje iskustva. Uštimavanje su improvizovane sekvence u kojima se Mala Kline bavi istraživanjem scenskog izraza kao odnosa “trećeg prostora” između ovoga što je vidljivo i onoga što nije, ma- terije i duha, tijela i glasa, pokreta i pjesme, scene i gledaoca, ovdje i sada i prostora snoviđenja. Uštimavanje su ljubavna pisma koja pišemo svakim svojim glasom.
56 FESTIVAL INTERNACIONALNOG ALTERNATIVNOG TEATRA 2017 10. septembar 2017 10th september 2017 22:00 Perjanički dom Kruševac / 30 min 22:00 Perjanički dom Kruševac / 30 min slovenian focus dance theatre
Mercedes Klein and Pekinpah SONGLINES
Concept & performance: Mala Kline
Space: Petra Veber Music: David Lang: Just (After Song of Songs) *conceived as part of the Pekinpah’s Performative Exhibition, SMEEL, Ljubljana
In her recent projects Songlines, Kline has further developed method of writing by moving away from mere representa- tion and identification through an abstract choreographic structure. She is interested in how to encourage dreaming and imagination in the viewer and how to constitute or open up the performance space as a space of encountering different worlds, a space of continuous relational in-between-ness, and as a space where worlds and realities are being opened up. She embraces these questions in a relational network weaved out of dreaming, the Kabbalistic diagram of the Tree of life, and the Song of Songs. This scheme seems highly complex; however, intuitively, the confluence is attainable: emergence of potentiality and new worlds through dreaming, tuning in, contemplation, and accepting experience. Songlines are improvised sequences, in which I explore the language as a relational “third space” of between the visible and the invisible, matter and spirit, body and voice, movement and song, the stage and the spectator, the spectator and the performer, the here-now and the spaces of our dreaming. Songlines are love letters, we write with every utterance.
57 11. septembar 2017 slovenacki fokus 20:00 CNP - Velika scena / 40 min plesni teatar
Zavod EN-KNAP BISER
koncept i koreografija: Adrienn Hód
dramaturg: Ármin Szabó-Székely muzika i zvuk: Zoltán Mizsei dizajner svijetla: Luka Curk reditelj na probama za EnKnapGroup: Tanja Skok kostimografkinja: Katarina Škaper
izvedba: Luke Thomas Dunne / Ana Štefanec Jeffrey Schoenaers / Lada Petrovski Ternovšek / Gilles Noël
Kreativni proces predstave baziran je na nizu improvizacija “Materijal predstave evoluirao je iz konstantnog fizičkog, u kojima koreograf i izvođači proučavaju teme povlačenja verbalnog i emocionalnog istraživanja koji je podrazmijevao i prelaženja granica, istražujući sopstvene krizne trenutke, neprekidne reakcije, impulse, smjernice i doživljaje izvođača. igrajući sa privlačnošću, boreći se za prihvatanje, koristeći Raznolik materijal bio je polje u kojem bismo mogli naći se imitacijom, jureći sreću, obuzeti željama traže unutrašnje “bisere” koji nisu uvijek lijepi i sjajni, ali su dragocjeni i vrijedni zadovoljenje u prekomjernoj snabdjevenosti. proučavanja. Mnoga ljudska osjećanja i stanja su zabranjena i Ovo je je hedonistički rolerkoster, proizvodnja sreće, pogled ostaju nepokazana. Umjetnost može biti alibi za to. Na oltaru na momente bez srama, strano tijelo u bisernoj školjci, umjetnosti možete raditi stvari koje su u stvarnom životu proslava kompletnosti. Biseri i svinje. zabranjene. Tako umjetnost postaje igra, alibi koji oslobađa.” Adrienn Hód
58 FESTIVAL INTERNACIONALNOG ALTERNATIVNOG TEATRA 2017 11. septembar 2017 20:00 CNP - Velika scena / 40 min
59 60 FESTIVAL INTERNACIONALNOG ALTERNATIVNOG TEATRA 2017 11th september 2017 20:00 CNP - Great scene / 40 min slovenian focus dance theatre
EN-KNAP Group PEARL
concept and choreography: Adrienn Hód
dramaturgy by: Ármin Szabó-Székely music/Sound: Zoltán Mizsei light design: Luka Curk rehearsal director for EnKnapGroup: Tanja Skok Costume design: Katarina Škaper
performed by: Luke Thomas Dunne / Ana Štefanec Jeffrey Schoenaers / Lada Petrovski Ternovšek / Gilles Noël
The creative process of Pearl is based on sessions of improvi- “The material of the performance evolved from the persistent sation where the choreographer and the performers examined physical, verbal and emotional research, involving continuously themes like crossing and drawing lines, exploring personal the reactions, impulses, inputs and experiences of the performers. crisis points, playing with attraction, fighting for acceptance, Diverse material was the field where we could find our ‘pearls’ applying imitation, chasing joy, being overwhelmed by desires, which are not necessarily shining or pretty, but precious and finding inner satisfaction in oversupply. A hedonistic roller coa- worth to be observed. Many human feelings or states are ster, a production of happiness, a glimpse of moments without “forbidden”, not allowed to be shown. Art can be an alibi for all shame, foreign bodies in mother-of-pearl, a celebration in its this. On the altar of art you can do things that are forbidden in completeness. Pearls and swines. real life. Thus, art is a game, an alibi that sets us free.” Adrienn Hód
61 11. septembar 2017 21:00 CNP - Velika scena / 25 min slovenacki fokus plesni teatar
Zavod EN-KNAP SET AND RESET/RESET koreografkinja Set and Reset (1983): Trisha Brown rediteljka Set and Reset/Reset (2017): Kathleen Fisher muzika: Laurie Anderson dizajn svjetla: Jaka Šimenc i Hotimir Knific (po ugledu na originalni dizajn Roberta Rauschenberga i Beverly Emmons iz 1983) kostimografkinja: Katarina Škaper (po ugledu na originalni dizajn Roberta Rauschenberga iz 1983) rediteljka na probama: Tanja Skok fotografije i video: Andrej Lamut
izvedba: Luke Thomas Dunne / Ana Štefanec / Jeffrey Schoenaers Lada Petrovski Ternovšek / Matea Bilosnić / Gilles Noël
Originalno remek djelo Triše Braun Set and Reset na kome mogu se mijenjati u odnosu na nešto toliko suptilno kao što je je baziran ovaj nastavak zapravo je “čist pokret” koji se bavi plesačevo raspoloženje. Braunova je tražila plesače koji vole istraživanjem elementarnog pokreta i smatra se jednim od biti van balansa a da izgledaju kao da to nisu. Ovo suptilno vrhunskih dostignuća američke umjetnosti 20-og vijeka. objašnjava kompletan jezik djela. Za Ketlin Fišer, pronalaženje U djelu Set and Reset/Reset, Ketlin Fišer, jedna od vodećih tog ne-balansa, spolja, unutra i u uvijek drugačijoj mreži koreo- članica Triša Braun trupe, vuče paralelu sa originalom i grafije i ličnosti, a pritom ostati uklopljen u sopstvo i djelovanje, ohrabruje plesače da se služe metodama koje je Triša koristila u nešto je što rezonuje duboko u današnjem društvu. svom stvaranju. Cilj je da se razvije novi ples a da se pritom ne izgube temelji principa iz remek djela in osamdesetih. Ona ih “Ples, u svom najbolje izdanju, je mješavina haosa i reda, opisuje kao pravougaoni ples koji se kreće duž oboda granica jednostavnosti i kompleksnosti, ograničena sopstvenim scene. Ovakav metod postavke daje plesačima slobodu da parametrima i striktnim pravilima a opet slobodna i individualna. razviju sopstveni, lični odnos prema materijalu, ideji, među- Apstraktan je a istovremeno otkriva ljudskost plesača.” sobnom odnosu i procesu. Nove varijacije na originalnu verziju Kathleen Fisher
62 FESTIVAL INTERNACIONALNOG ALTERNATIVNOG TEATRA 2017 11. septembar 2017 21:00 CNP - Velika scena / 25 min
63 64 FESTIVAL INTERNACIONALNOG ALTERNATIVNOG TEATRA 2017 11th september 2017 slovenian focus 21:00 CNP - Great scene / 25 min dance theatre
EN-KNAP Group SET AND RESET/RESET choreography of Set and Reset (1983): Trisha Brown direction of Set and Reset/Reset (2017): Kathleen Fisher music: Laurie Anderson lighting design: Jaka Šimenc and Hotimir Knific (Based on the original design by Robert Rauschenberg and Beverly Emmons in 1983) costume designer: Katarina Škaper (Based on the original design by Robert Rauschenberg in 1983) rehearsal director: Tanja Skok photo: Andrej Lamut izvedba: Luke Thomas Dunne / Ana Štefanec / Jeffrey Schoenaers / Lada Petrovski Ternovšek / Matea Bilosnić / Gilles Noël
Original Trisha’s Brown masterpiece is outstanding piece of looking for dancers who have a taste for being off-balance “pure movement”, which researches elemental body motion, is and looking like they are not. This subtly informs the basic considered one of the pinnacles of 20th century American art. vocabulary of the work. For Kathleen Fisher, the finding of how The newly made creation Set and Reset/Reset Kathleen Fisher, to be off balance externally, internally and within a constantly one of the key members of the Trisha Brown Dance Company, shifting matrix of choreography and personalities, while still draws from the original work and encourages the dancers to remaining integrated in one’s own self and actions is something follow a similar method that Trisha Brown used. The goal is to that resonates strongly within our modern society. develop a new dance without losing the underlying principles “The dance, at its best, is a blend of chaos and order, simplicity of this iconic 80’s masterpiece. She describes it as “a rectangu- and complexity, bounded by its own parameters and rigorous lar dance circumventing the peripheral edge of the stage.” This rules, yet full of freedom and individuality. It is abstract and at building method encourages dancers to develop their unique the same time, it reveals the dancers’ humanity.” personal relationships to the material, the ideas, the process and to each other. New variations may change in accordance Kathleen Fisher to something as subtle as the dancer’s mood. Brown was
65 putovanje
journey FIAT putuje u druge gradove Crne Gore. Ove godine u Kotor i Cetinje. Predstave francuskog uličnog teatra u selekciji Florijan Gaber, nastupiti 9. 13. i 15. septembra u Kotoru, u saradnji sa JU kulturnim centrom “Nikola Đurković” i na Cetinju, u saradnji sa Turističkom organizacijom Prijestonice Cetinje, 10. 13. i 14. septembra na Trgu kralja Nikole. Na Cetinju će nastupiti i kolektiv Orbita sa svojim “Slow Show FM” programom.
u saradnji sa u saradnji sa JU KC Nikola Durkovic CETINJE TO Prijestonice Cetinje
ULICNI TEATAR ULICNI TEATAR KNJIZEVNOST francuski fokus francuski fokus
SUBOTA 8. SEPTEMBAR NEDELJA 09. SEPTEMBAR SRIJEDA 02. SEPTEMBAR 19:00 / Trg od oružja i gradska vrata / 19:00 / Trg kralja Nikole / 2 x 15 min 19:00 / Trg kralja Nikole / 60 min 2 x 15min FRANCUSKA LATVIJA FRANCUSKA SKAKAČI NA ŠTULAMA SLOW SHOW FM SKAKAČI NA ŠTULAMA Christopher Cournau i Thomas Romeo Kolektiv Orbita - Semion Khanin, Christopher Cournau i Thomas Romeo Arturs Punte, Sergej Timofejev, Vladimir Svetlov SRIJEDA 02. SEPTEMBAR CETVRTAK 03. SEPTEMBAR 19:00 / Pjaca od kina / 45 min 19:00 / Trg kralja Nikole / 35 min FRANCUSKA FRANCUSKA Grupa Fluo Frichti concept FOSSIL BRAČNE SVAĐE Koncept: Benoit Canteteau Koncept: Brendan Le Delliou PETAK 04. SEPTEMBAR 19:00 / Trg od oružja / 35 min FRANCUSKA Frichti concept BRAČNE SVAĐE Koncept: Brendan Le Delliou
67 koprodukcije
coproductions 8. septembar 2017 koprodukcije 20:00 CNP - Velika scena / 85 min Festival internacionalnog alternativnog teatra van konkurencije Grad teatar Budva / JU Zahumlje Nikšić
Anton Pavlovič Čehov TRI SESTRE Adaptacija i režija: Ana Vukotić i Slobodan Milatović
koreografija: Sonja Vukićević kostimografija: Lina Leković muzika: Ivan Marović fotograf: Dusko Miljanić
igraju: Bojana Malinovska / Julija Milačić / Ana Vučković / Momo Pićurić / Dejan Ivanić Zoran Vujović / Miloš Pejović / Petar Novaković / Jovan Krivokapić / Milivoje Pićurić
“Može se reći da je ovo predstava o nemogućnosti ljubavi, ali i o neuhvat- ljivim, izmičućim zadovoljstvima koje uključuje potraga za njom, bez koje bi naši životi na ovoj planeti bili prazniji i jaloviji. Osim teme ljubavi, predstava kopa i po terenu društvenih odnosa, posljedica krupnih političkih promje- na, urušavanja nasljeđenih sistema vri- jednosti. Ukupno posmatrano, ove „Tri sestre” imaju guste značenjske slojeve koji nas izazivaju na poetsko-filozofska traganja, na suočavanja sa mislima o postojanju i patnji, o važnosti rada, o samoći i njenom prevazilaženju, o uticaju sudbine, kao i o mogućnostima da se ona nadjača ličnom upornošću. “ Ana Tasić
70 FESTIVAL INTERNACIONALNOG ALTERNATIVNOG TEATRA 2017 8. septembar 2017 8th september 2017 20:00 CNP - Velika scena / 85 min coproductions 20:00 CNP - Great Scene / 85 min Festival of International Alternative Theatre out of competition City Theatre Budva / JU Zahumlje Nikšić
Anton Pavlovich Chekhov THREE SISTERS Adapted and directed by: Ana Vukotić and Slobodan Milatović
choreographer: Sonja Vukićević costume design by: Lina Leković music by: Ivan Marović photographer: Dusko Miljanić
cast: Bojana Malinovska / Julija Milačić / Ana Vučković / Momo Pićurić / Dejan Ivanić Zoran Vujović / Miloš Pejović / Petar Novaković / Jovan Krivokapić / Milivoje Pićurić
This is a performance about the inability of love as well as uncatchable, vanishing pleasures included in the search for it, without whom our lives in this planet would be shallower and pointless. Besides love, the performance digs into the field of social relations, consequences of major political changes, collapse of the inher- ited values. Over whole, this adaptation of ”Three Sisters” posses dense layers of significance that challenge us to venture into poetical and philosophical explora- tions, to face our thoughts on existence and suffering, on importance of creation, loneliness and overcoming it, the influ- ence of destiny as well as possibility to surpass it by personal persistence. Ana Tasić
71 8. septembar 2017 koprodukcije 22:00 CNP - Scena Studio / 50 min Festival internacionalnog alternativnog teatra van konkurencije Crnogorsko narodno pozorište
Bertolt Breht DANZEN Adaptacija i režija Damjan Pejanović
prevod: Damjan Pejanović scenograf: Aleksandar Vukotić kostimografkinja: Lina Leković kompozitorka: Vjera Nikolić video: Gojko Berkuljan dizajn svjetla: Damjan Pejanović izvršna producentkinja: Vukosava Tomović
igraju: Dejan Ivanić / Marko Todorović
Svi smo mi Danzen. Tema narastanja nasilja, prolif- eracije, infiltriranja, mimikriranja opresije i te kako nas se tiče. U različitim varijantama, globalnim ili lokalnim, mikro ili makro, neoliberalnim ili tranzici- jskim – političko nasilje neprestano raste, a osjećaj opresiranosti postaje neizdrživ jer su centri moći, izvori opresije sve manje vidljivi i jasni, sve zaklon- jeniji i pokriveniji različitim formama legitimizacije, politikama poštovanja ljudskih prava, institucion- alizacija. Drugim riječima, mali čovjek više ne zna otkud mu puca. Preostaje mu da maše ugovorima koji su unaprijed sračunati na njegov poraz. Nataša Nelević
72 FESTIVAL INTERNACIONALNOG ALTERNATIVNOG TEATRA 2017 8. septembar 2017 8th september 2017 22:00 CNP - Scena Studio / 50 min 22:00 CNP -Studio Scene / 50 min coproductions Festival of International Alternative Theatre out of competition Montenegrin National Theatre
Bertolt Brecht DANSEN Adapted and directed by: Damjan Pejanović
translation: Damjan Pejanović set design by: Aleksandar Vukotić costume design by: Lina Leković composer: Vjera Nikolić video by: Gojko Berkuljan light design by: Damjan Pejanović executive producer: Vukosava Tomović
cast: Dejan Ivanić / Marko Todorović
We are all Dansen. The subject of growing violence, proliferation, infiltration, mimicry, oppression is and should be our concern. In different varieties, global or local, micro and macro - political violence is always growing and the feeling of oppression becomes unbearable because the centres of power, sources of opression, are less and less visible and clear, ever so sheltered and covered by various forms of legitimate, politics of human rights, institutionalism. In other words, small man doesn’t know what to expect next. The only thing he can do is to wave the contracts which are already tailored for his failure. Nataša Nelević
73 pojacanje
reinforcement 12. septembar 2017 pojacanje 20:00 KIC Budo Tomović - Velika scena / 50 min Kraljevsko pozorište Zetski Dom Cetinje van konkurencije
KAPITAL - DJECA Autorski projekat: Petar Pejaković i Dušan Murić
igraju: Aleksandar Popović / Marija Jovićević / Aleksandra Šovran / Marija Pobor Anastasija Šovran / Ivana Popović / Anita Janković / Vasilije Đukanović David Vuković / Đorđije Proroković / Milica Andrić / Filip Ivanović Andrej Lipovina / Milica Radović / Marija Andrić / Doroteja Bušković Dorotea Roganović / Nikoleta Tatar / Kristijan Kadija / Maja Marković
šef produkcije: Đorđe Dragićević; organizatori: Dubravka Matičić, Nikola Batrićević i Vukašin Kovačević organizatorka radionice: Nataša Božović; izbor muzike i majstor tona: Rajko Radulović; inspicijent: Saša Pejović; fotograf: Duško Miljanić
Izvedba „Kapital – djeca“ nastala je kao rezultat jednoipogodišn- jeg ciklusa radionica. Ekipa od 20 mališana sa Cetinja, uzrasta od 10 do 15 godina, pretočila je u predstavu realnost koja vedri i oblači živote svih nas, o kojoj i odrasli malo znaju, temu kapitala, ekonomski i društevni sistem u kome živimo, svijet u koji će oni zakoračiti. Nažalost, kao i sve druge sfere ljudskog života, i kreativnost je saučesnik u opštem uništenju čovjeka, njegovih zajednica, života i planete. Kapital djeca pokušaj je stavljanja kreativnosti u službu nade oslobađanja čovječanstva od pripito- mljenosti na pohlepu i prinudu.
76 FESTIVAL INTERNACIONALNOG ALTERNATIVNOG TEATRA 2017 77 78 FESTIVAL INTERNACIONALNOG ALTERNATIVNOG TEATRA 2017 12th september 2017 reinforcement 20:00 CIC Budo Tomović - Great Scene / 50 min Royal Theatre Zetski Dom Cetinje out of competition
CAPITAL - CHILDREN Authors of the project: Petar Pejaković and Dušan Murić cast: Aleksandar Popović / Marija Jovićević / Aleksandra Šovran / Marija Pobor Anastasija Šovran / Ivana Popović / Anita Janković / Vasilije Đukanović David Vuković / Đorđije Proroković / Milica Andrić / Filip Ivanović Andrej Lipovina / Milica Radović / Marija Andrić / Doroteja Bušković Dorotea Roganović / Nikoleta Tatar / Kristijan Kadija / Maja Marković production manager: Đorđe Dragićević; organisers: Dubravka Matičić, Nikola Batrićević i Vukašin Kovačević; workshop organiser: Nataša Božović; sound and music by: Rajko Radulović; stage manager: Saša Pejović; photographer: Duško Miljanić
Capital - children is a result of one and a half year long workshops. The team of 20 children from Cetinje, from 10 to 15 years, transformed into the performance the reality which affects our lives, of which parents know little about, the subject of capital, economic and social system we live in, the world in which they should step in soon. Unfortunatelly, similar to all other parts of human existance, the creativity is also accomplice in destruction of man, his communities, life and planet. Capital - children is an attempt to put the creativity to work for the hope for freedom of the humanity from the greed and force.
79 15. septembar 2017 pojacanje 22:00 KIC Budo Tomović - Velika scena / 50 min NVU EgoKult van konkurencije Gimnazija “Petar I Petrovic Njegoš” Danilovgrad
Bojana Šolaja O ĆUTANJU I DRUGIM IMITACIJAMA SREĆE Režija: Bojana Šolaja, Anđela Novaković, Miroslav Minić
igraju: Kaća Žarić / Mirjana Spaić / Nikola Kalezić / Jelena Gojčević / Anastasija Bojić Maja Damjanović / Valentina Stankov / Danilo Spasojević / Mia Maraš / Doris Lalević Dimitrije Ostojić / Miljana Jovanović / Anđela Jovović / Jovan Mijajlović / Itana Dragojević Danilo Bulatović / Magdalena Jovović / Maša Janjušević / Mia Đolović / Milena Mugoša Milena Bogetić / Miloš Tiodorović / Luka Šćekić / Vuk Žunjić / Mario Tripović / Leon Brkanović Aleksandar Bošković / Dalibor Kaluđerović / Marija Marković / Luka Šćepanović / Ines Rudović
O ćutanju i drugim imitacijama sreće govori zbog čega je Predstava govori o marginalizovanim kategorijama: zavisnici- važno pustiti glas, koji će objasniti da ćutanje nije sreća, već ma, djeci bez roditeljskog staranja, zlostavljanima, izbjeglica- samo njena imitacija. Cilj predstave je podizanje svijesti ma i Romima. o značaju lične odgovornosti u životu manjinskih grupa, U sedam scena prikazuje situacije iz njihove svakodnevice, smanjenje predrasuda, kroz povećanje angažovanosti mladih, kao i unutrašnje borbe sa problemima u kojima su se našli. U isticanje značaja volonterizma u zajednici, povećanje stepena posljednjoj šalje se poruka kojom se podstiče odgovornost tolerancije, te učenja različitosti kroz drugačije načine funk- pojedinca da se uključi u rješavanje problema pomenutih cionisanja i rješavanja problema. grupa.
80 FESTIVAL INTERNACIONALNOG ALTERNATIVNOG TEATRA 2017 81 82 FESTIVAL INTERNACIONALNOG ALTERNATIVNOG TEATRA 2017 15th september 2017 reinforcement 22:00 CIC Budo Tomović - Great Scene / 50 min NGO EgoKult out of competition High School “Petar I Petrovic Njegoš” Danilovgrad
Bojana Šolaja ABOUT SILENCE AND OTHER IMITATIONS OF HAPPINESS
directed by: Bojana Šolaja, Anđela Novaković, Miroslav Minić
igraju: Kaća Žarić / Mirjana Spaić / Nikola Kalezić / Jelena Gojčević / Anastasija Bojić Maja Damjanović / Valentina Stankov / Danilo Spasojević / Mia Maraš / Doris Lalević Dimitrije Ostojić / Miljana Jovanović / Anđela Jovović / Jovan Mijajlović / tana Dragojević Danilo Bulatović / Magdalena Jovović / Maša Janjušević / Mia Đolović / Milena Mugoša Milena Bogetić / Miloš Tiodorović / Luka Šćekić / Vuk Žunjić / Mario Tripović / Leon Brkanović Aleksandar Bošković / Dalibor Kaluđerović / Marija Marković / Luka Šćepanović / Ines Rudović
About silence and other imitations of happiness speaks about of functioning and dealing with problems. why is important to speak, it explains that silence in not hap- The performance is about those who are marginalised: piness but it’s mere imitation. The goal of the performance addicts, children without parents care, maltreated, refugees is to raise the awareness about the importance of personal and Roma. Seven scenes show their daily life situations as responsibility towards the life of the minorities, to lessen the well as the intimate fight with problems they find them self in. prejudice through engaging youth, stress the importance The last scene, sends a message which should raise awareness of voluntary work for the community, raising the level of of the individual to take part in solving the problems of the tolerance and learning about diversity through different ways mentioned groups.
83 pojacanje 15. septembar 2017 / 15th september reinforcement 22:00 KIC Budo Tomović Hol / CIC Budo Tomovic Hall
Radovi učenika Gimnazije “Petar I Petrović Njegoš” Danilovgrada Exhibition of the artworks of students of High School Petar Petrović Njegoš Danilovgrad
DNEVNIK ČITANJA DIARY OF READING
“Dnevnik čitanja” je izložba radova učenika Gimnazije “Petar I Petrović Njegoš” iz Danilovgrada, nastalih na časovima književnosti profesora Miroslava Minića. Izložba 28 radova iz “Dnevnika čitanja” je njihov doživljaj književnih djela kroz vizuelne izraze koristeći se crtežima, fotografijama i isječcima iz novina.
Diary of reading is exhibition of works made by the student of the Hight School Petar I Petrović Njegoš from Danilovgrada. They created their works during classes with professor Miroslav Minić. The exhibit consisting of 28 works is their expression of litera- ture through visual arts using drawing, photography, newspaper cutaways.
84 FESTIVAL INTERNACIONALNOG ALTERNATIVNOG TEATRA 2017 85
knjizevnost literature knjizevnost 13. septembar 2017 / 15th september 23:00 Dvorište Kuslevove kuće Kuslev’s House Garden
literature
AHMED BURIĆ gost / guest: Branko Sauka moderator: Andrej Nikolaidis
Ahmed Burić predstaviće najmanje dvije knjige i tri lica autora Ahmed Burić will present at least two of his books and three koji se okušao i u muzici. Nakon knjige kratkih priča 9,5 objav- faces of the author who took a chance in music. After “9,5”, ljene 2016. iz radionice Burića izašle su dvije žanrovski sasvim book of short stories published in 2016, out of Burić’s workshop različite knjige: prva je zbirka poezije “Hipertenzija” u kojoj came the two different books: first, the poetry collection donosi pred čitaoca relativno poznat rukopis, ali ga pokazuje “Hipertenzija” (Hypertension) with his relatively familiar hand- na drugačiji način - kroz pjesme koje možemo interpretirati writing expressed in a different way through the songs we can kao dramske, ali i introspektivne, i druga roman prvijenac “Tebi interpret as dramas but also introspective, and the other, novel šega što se zovem Donald?” o Sarajevu, ratu, poraću, Srbima u “Tebi šega što se zovem Donald?” (You thing it’s funny my Sarajevu, onima koji su došli u Sarajevo ili iz njega otišli. name is Donald) about Sarajevi, war, war times, Serbs in Sara- jevo, ones who came to Sarajevo and left from it. Neke od njegovih radova čućemo uz pratnju Branka Sauke, Some of his works will be followed by Branko Sauka, ex mem- bivšeg člana grupa Gino banana i Crvena Jabuka, jedne od ber of the bands Gino banana and Crvena Jabuka, one of the važnih pojava u sarajevskom rokenrolu osamdesetih. most important rock and roll bands in Sarajevo during eighties.
“Najveća Burićeva vještina nije redanje slika i epizoda koje “The biggest virtue Burić has is not lining the pictures and logično, samorazumljivo proizilaze jedna iz druge, nego njegova episodes that logically and self sufficiently come out of each sposobnost da između njih uspostavi veze koje nisu očite, stoga other but his ability to make a connection between them, one ni očekivane. Njegova vještina nije pisanje bez šavova, niti spos- that is not obvious and thus unexpected. His virtue is not writing obnost da te šavove učini nevidljivima. without stiches not the ability to make them invisible. Because Jer, ti su šavovi nastali u šivanju otvorenih rana. Jer, „Devet i po“ those are the stiches of the open wounds. Because “9,5” is not nije plastična hirurgija. Burić je hirurg u poljskoj bolnici. plastic surgery. Burić is surgeon in Polish hospital. “Devet i po” je knjiga i po.” Nine and a half is book and a half.” Andrej Nikolaidis Andrej Nikolaidis
88 FESTIVAL INTERNACIONALNOG ALTERNATIVNOG TEATRA 2017 15. septembar 2017 / 15th september 21:00 Dvorište Kuslevove kuće / Kuslev’s House Garden
Balša Brković CRNO IGRALIŠTE moderator: Aleksandar Bečanović
“Balša je krenuo u poeziju onako furiozno kao bazni pjesnik. “Balša entered the poetry furiously, as a base poet. It was a wierd Bio je to jedan čudan spoj modernizma i tradicije. Palio je, bio combination of of modernism and tradition. He set the fires, was je slušljiv. Onda kreće ta pauza. Poslije šesnaest godina Balša catchy. And then the break. After sixteen years Balša Brković Brković objavljuje knjigu poezije.” publishes the book of poetry.” Goran Samardžić Goran Samardžić
„Kod ovakve knjige književna kritika čak i ne mora da ima neki “With such book the critique doesn’t necessarily has to have svoj aksiološki pristup. Postoji neka vrsta problema sa komu- some axiological approach. There is certain type of communica- nikacijom kada je poezija u pitanju. Balša nema taj problem. tion problem with poetry involved. Blaša doesn’t have that prob- Neka vrsta samoočiglednosti, kritičarima olakšava posao. Mi ne lem. Some sort of self-obviousness makes the job of critiques moramo nikome da objašnjavamo da je riječ o dobroj knjizi. Jed- easier. We don’t have to explain that it’s a good book. Some sort na vrsta neposrednosti i komunikativnosti je već ostvarena. Kada of spontaneousness and communicativeness is already made. se ona hermetička poezija ‘otvori’, onda je ona obično semantički When the hermetic poetry opens itself, usually semantically it is vrlo plitka. Kod Brkovića je fascinantno što otvorenost njegove very shallow. With Brković, the openness of his poetry, its com- poezije, njena komunikativnost, ne samo da ne spriječava nego municative value, fascinates not just because it doesn’t block but pojačava semantičke dubine. To je velika stvar: da znate da because it stresses the semantic depths. It’s a big deal: to know izbalansirate emocionalni sloj i konotativni sloj teksta. Njegova how to balance emotional layer and connotations of the text. His komunikativnost je vrlo poetički utemeljena.“ communicativeness is poetically established.” Aleksandar Bečanović Aleksandar Bečanović
89 knjizevnost 12. septembar 2017 / 12th september 22:00 Dvorište Kuslevove kuće / Kuslev’s House Garden / 60 min
literature latvia Orbita SLOW SHOW FM Multimedijalni poetski performans / Multimedia poetry performance
učesnici / participants: Artur Punte / Sergej Timofejev / Semjon Khanin / Vladimir Svetlov / Andrej Eigus
Orbita je kreativna grupa/kolektiv latvijskih pjesnika koji pišu Orbita is a creative collective/group of Latvian poets writing na ruskom jeziku a čiji su radovi posvećeni dijalogu različitih in Russian whose works are dedicated to dialogue between žanrova (književnost, muzika, video, fotografija, VJ, web itd.) various creative genres (literature, music, video, photography, i kultura. Osnovana je 1999. godine u Rigi. Orbita je objavila VJ, web, etc.) and cultures. The collective was founded 1999 veliki broj almanaha u kojima se literarna djela pojavljuju in Riga. Orbita has published a number of eponymously titled rame uz rame sa djelima vizuelne umjetnosti - fotografijom, almanacs in which literary works appear side by side with grafikom, slikom. Performans Slow Show FM je poetična med- works of visual art (photography, graphic work, painting). itacija poezije, klavira i živog radijskog programa, intuitivna The performance Slow Show FM is poetical meditation of šetnja po radio talasima i urbanom šumu. Tokom izvedbe poetry, piano and live radio broadcast, intuitive walk through pjesnici čitaju svoje pjesme u pratnji zvukova i šumova različi- the radio waves and urban noises. During the performance tih gradova, onih koje uspiju da uhvate preko radija ili onih poets are reading their poems with accompaniment of noises koje su snimili tokom posjete različitim gradovima Evrope. and sounds of different cities, randomly cached trough the Ovi zvuci se prenose preko FM-a i puštaju učenicima preko radio and recorded travelling in different cities of Europe tranzistora. Čitanje poezije potpuno je integrisano u okolne These sounds are transmitted in FM range and broadcasted zvuke i zapravo zvuči kao da je dio radijskog programa. Tako by the show participants with portable radios. The poetry predstava razvija novu, kvazi-poetsku radio stanicu. reading is completely integrated in the surrounding noises and sounds like the part of the radio programme. Performance develops a new quasi-Poetry radio station.
90 FESTIVAL INTERNACIONALNOG ALTERNATIVNOG TEATRA 2017 91 knjizevnost 8-17. septembar 2017/ 8-17th september 21:00 - 23:00 Kuslevova kuća - pećina / 10 min Kuslev’s House - cave literature U DALJINU / AT A DISTANCE poetsko-muzička instalacija / poetical and musical instalation
Poezija / Poetry of: Daliborka K. Dulić Kompozicija / Composition: Nataša Prelević, M.Mus.
Artefakt pećina apostrofira susret sa sobom i evocira pitanje “koliko smo daleko od semih sebe”? Poema “ U amfas” kao označitelj uspostavlja “moć sadašnjeg trenutka” kao mogući susret sa sobom. Poema “A jeste” promiče kao “misa”, un- osi svjetlosti u mrak. Ukliješteni u mraku sa sopstvenim mislima i poništavanjem kroz stih “misao nije ono što jeste” jer smo uvijek iznad misli! Obije poeme su zapisane Morzeovom azbukom. U tišini između dva signala, ove azbuke, u kojoj bivamo “bliži sebi”, utišanih misli uz moć sadašnjeg trenutka. Kompozicija Nataše Prelević nije jezik emocija ili spontana ekspresija, već predstavlja način na koji se ekspresija poezije realizuje u djelu. Prikazuje prika- zano; legitimno pokretanje očekivanih i neočekivanih efekata muzike kao koda novonastalog mimezisa.
The artefact of cave stresses the encounter with one self and evoked the question “who far me are from ourselves?”. Poem “To anfas” as a sign marks the power of the present moment, like possible encounter with self. Poem “And it is” goes out like a “mass”, bringing the light into darkness. Supressed by darkness of own thoughts and refusal through verse “the though is not what is” because we are always above it! Both poems are written in Morse alphabeth. In the silence between the two sygnals of this alphabeth we become closer to ourselves, with silenced thoughts wuth the opwer of the presend moment. Composition of Nataša Prelević is not the language of emotions or spontaneous expression but the way is which the expression of poetry realises itself in the work. It shows the shown; legitimate movement of the expected and unexpected effects of music being a code of newly formed mymesis. Daliborka K. Dulić
92 FESTIVAL INTERNACIONALNOG ALTERNATIVNOG TEATRA 2017 93 izlozbe
exhibitions izlozbe 8-17. septembar 2017 / 8-17th september Dvorište Kuslevove kuće / / Kuslev’s House Garden exhibitions Jelena Tomašević JUST KIDDING video / 9 min / 2008
“U filmu, dugi kadrovi se obično koriste za istraživanje vremena i mimetičkog potencijala likovnosti ali u Just Kidding, ovo stilsko sredstvo služi kao alegorič- na kompresija, vještačka sublimacija poremećenosti ljudskog postojanja.”
“In Cinema, the long take is usually a means to explore duration of the time and mimetic potential of the imagery, but in Just Kidding, this stylistic device is used as an allegorical compression; an artificial sublimation of the displace- ment, i.e. of the human Ex-sistence.” Aleksandar Bečanović
8-17. septembar 2017 / 8-17th september Aleksandar Vukotić Kuslevova kuća / Kuslev’s House ORGANIKA izložba / exhibition Vikotićevi piktogrami su pokušaj likovnih doživljaja, otkrivanja i fiksiranja a time i razumijevanja onoga što na nas ostavlja utisak ili čime smo opsjednuti, sa svojim energičnim vezama i napetošću - i u tom smislu, makar u jednoj tački donose svjetlo u zamućenost i sivilo našeg razasutog a opet kompaktnog svijeta.
Vukotić’s pictoglyphs are an attempt to pictorially grasp, to expose and fixate, and thus comprehend those encounters that strike us, or even obsess us, with their energetic relations and tensions - and in that way, at least in puncta, bring some light into the muddle and greyness of a dispersed yet stratified world. Dr. Phil Vladimir Vukićević
96 FESTIVAL INTERNACIONALNOG ALTERNATIVNOG TEATRA 2017 16. septembar 2017 / 16th september 00:00 Dvorište Kuslevove kuće / Kuslev’s House Garden
Victor Kiss PROBUDI SE KULTURNO WAKE UP CULTURALLY Performans / Performance
Televizija je najčešće iluzija i manipulaci- ja. Danas gledaoci nisu spremni da se suoče sa svakodnevnicom pa bježe u taj svijet šunda i kiča, nemorala i nekulture. Cilj performansa je da se kroz razne umjetničke forme prikaže na koji način tehnologija i rijaliti programi utiču na život savremenog čovjeka. To je dijalog normalnog kulturnog čovjeka i čovjeka uvučenog u sistem, praznog , tupog i isključenog iz stvarnog svijeta.
Television is most common illusion and manipulation. Today’s viewers aren’t ready to confront the daily basis life so they escape to this world of kitch and rubbish, imorality and lack of culture. The goal of the pefromance is to show the ways in which technology and rialities influence the life of the contemporary man. It’s a dialogue of the normal, civilised man and the man of the system, empty, shallow and disconnected from the reality.
97 razgovori discussions razgovori 16. septembar 2017 / 16th september 18:00 Kuslevova kuća / Kuslev’s House
discussions
Prezentacija festivala / Festival presentation
Stara ciglana Belgrade FESTIVAL DEV9T
DEV9T se bori za opstanak kulture jer je ona prirodno stanište svih bića. Ukoliko se ne očuva, pretvorićemo se u ugroženu vrstu nesvjesnu svrhe svog postojanja. Zato je ovaj festival mjesto koje će umjetnicima omogućiti da imaju potpunu slobodu, da budu to što jesu. Dev9t je dom za kreativce i umjetnike iz svih oblasti. Dev9t je mjesto koje ne poznaje granice za izražavanje ideja. Dev9t je Stara Cigla- na. Dev9t je umjetnost koja se stvara u samom trenutku, ali i izložba, performans, radionica, koncert, žurka... Dev9t su ljudi. Dev9t je ono što ljudi stvore. Dev9t su boje. Dev9t je sve što možeš da zamisliš, a da se zbog toga osjećaš ljepše.
Festival DEV9T is fighting for the survival of culture because its the natural habitat of all humans. If we fail, we will turn into endangered species unaware of the purpose of it’s existence. This sis why this festival is the place that will allow the artists to have full freedom to be what they want to be. Dev9t is a home to creatives and artist of any sort. Dev9t is the place regardless of boundaries while expressing ideas. Dev9t is Stara Ciglana in Belgrade. Dev9t is art created in ver moment as well as the exhibitions, performance. workshop, concert, party... Dev9t are people. Dev9t are what they create. Dev9t are colours. Dev9t is whatever you imagine which makes you feel better.
100 FESTIVAL INTERNACIONALNOG ALTERNATIVNOG TEATRA 2017 16. septembar 2017 / 16th september 10. septembar 2017 / 10th september 18:00 Kuslevova kuća / Kuslev’s House 22:30 Perjanički dom Kruševac
O plesnom teatru / About the dance theatre ANDREJA KOPAČ NIKO GORŠIČ
Savremeni ples u Sloveniji ima jednako dugu tradiciju kao i balet – pa možda i dužu! U sto godina puno plesača i koreografa išlo je u najveće svjetske plesne centre i ako su se vratili, razvili su plesnu ideju i kod kuće. Neke od najboljih predstava slovenačkog plesnog teatra možete videti u festivalskom programu a u izlaganju o istorijskom i društvenom kontekstu slovenačkog savremenog plesa učestvovaće publicistkinja i dramaturškinja Andreja Kopač i Niko Goršič, glumac, performer, režiser, pisac, urednik, plesni i likovni kritičar.
Igraj, igraj, u suprotnom nas nema! Pina Bausch
Contemporary dance in Slovenia has tradition as long as the ballet - if not longer! In hundred years a lot of dancers and choreographers went to biggest world dance centres and those who returned developed dance idea at home. Some of the best perfromances of slovenian dance theatre will be performed during FIAT and the discussion about historical and social context of slovenian contemporary dance willl be led by Andreja Kopač, writer and dramaturge and Niko Goršič, actor, performer, director, writer, editor, dance and art critique
Dance, dance, otherwise we are lost! Pina Bausch
101 film 11. septembar 2017 / 11th september 23:00 Dvorište Kuslevove kuće / Kuslev’s House garden / 90 min film
tematska projekcija filmova / themed film projection ODMRAČIVANJE UNDARKENING
urednik / selection : Vladimir Vučinić
Autoritarizam sa sadističkim i mazohističkim porivima zatim destruktivizam u malim sredinama i na poslijetku konformizam savremenih demokratija, odumiranje srednje klase su pojave koje je Erich Fromm prepoznao kao mehanizme bježanja od slobode. Nepodnošljiva usamljenost savremenog čovjeka, osjećanje izgubljenosti. Na tom fonu filmovi Škanate, Gilića, Radivojevića i Martinovića, se na metaforički i poetičan način uspješno bave ovom temom.
Authoritarianism with sadistic and mazohistic instincts, destruc- tiveness in small communities and, at the end, conformity of the contemporary democracies and the decay of the middle class are some of the phenomena Erich Fromm recognised as mechanisms to run from freedom. Unbearable lonesomeness of the contem- porary man, the feeling of being lost. All in such spirit, the films of Škanata, Radivojević, Gilić and Martinović successfully deal with this subject in metaphorical and poetical manner.
104 FESTIVAL INTERNACIONALNOG ALTERNATIVNOG TEATRA 2017 ODRIČEM SE SVETA / ZAJEDNO / TOGETHER (2015) / 17 min I RENOUNCE THE WORLD (1965) / 13 min reditelj: Miloš Radivojević reditelj: Krsto Škanata
MOĆ / POWER MASKE / THE MASKS (1973) / 31 min (2009) / 13 min reditelj: Vlatko Gilić reditelj: Andro Martinović
105 muzika
music
107 muzika
music
8. septembar 2017 / 8th september 15. septembar 2017 / 15th september 23:00 Dvorište Kuslevove kuće / Kuslev’s House Garden 22:00 Dvorište Kuslevove kuće / Kuslev’s House Garden House
koncert / concert koncert / concert AUTOGENI TRENING FREEDOM
Ovaj bend kroz svoje dugo trajanje, od 2000. godine, Formiran prije godinu dana u Podgorici, Freedom je pratile su česte promjene članova, na FIAT-u će nastu- trio arhitekte, programera i fotografa kojima je misija da piti u sastavu Dino Kapetanović (gitara i vokal), Veljko dokažu da su duh i bezobrazluk rokenrola življi i opasniji Vučurović (bas) i Miloš Mićunović (bubanj), koji je nego ikada. Muzika je bila opsesija još od ranog djetinjst- odmijenio Bojana Bojanića u odsustvu. Imaju obajvljena va, a ta ljubav sada dolazi do izražaja kroz jaki gruv, jed- dva albuma „Previše“ (2008) i „Na pučini živog peska“ nostavne rifove i prljave ritmove. Eklektična kombinacija (2011), koja su ostala zapažena u cijelom regionu i osvojila bluza, rokenrola, energije i emocije Freedom-a ne ostavlja brojna priznanja. nikoga ravnodušnim!
During its long existence, since 2000, the band had many Formed about a year ago in Podgorica, Freedom is trio of member changes and on FIAT we will hear Dino Kape- architect, programer and photographer on a joint mission tanović (guitar, vocal), Veljko Vučurović (bass) and Miloš to prove that the spirit and the notoriety of rock ‘n roll is Mićunović (drums) who is changing Bojan Bojanić at the much lively and dangerous that ever. Music was an ob- moment. The band has two albums “Previše” (Too Much, session ever since childhood and this love now comes to 2008) and “Na pučini živog peska” (On the horizon of the light through strong vibe, simple riffs and dirty rhythms. live sand, 2011) with good reception all over the region Freedom eclectic combination of blues, rock, energy and and many recognitions. emotion lives no one indifferent.
108 FESTIVAL INTERNACIONALNOG ALTERNATIVNOG TEATRA 2017 10. septembar 2017 / 10th september 11. / 12. / 14. septembar 2017 / 11th, 12th, 14th september 23:00 Dvorište Kuslevove kuće / Kuslev’s House Garden Dvorište Kuslevove kuće / Kuslev’s House Garden
koncert / concert DJ izbor BEATZ & RHYMES FM MIRDA Beatz & Rhymes je nastao kao muzički dvojac krajem 2014 - e. Oformljen je od strane prijatelja, Klasično radijsko FM Mirda žanrovsko pretumbavanje u Bojana Đukovića i Braca Subotića. Izdali su dva ključu Geschmackssache - It’s a matter fo taste - Pitanje albuma : album “Solid Fare” u oktobru 2016 i je ukusa ili jednostavnim foršpanom rečeno - More of drugi “Na kraju dana” u junu 2017. Muzika ovog Everything 4 Everybody, sa pregrštom muzičkih bisera sastava može se opisati kao Chill, Downtempo koji ne priznaju vremensku distancu. i Trip Hop. Tokom 2017. godine nastupaju kao četveročlani bend. Classical radio FM Mirda genre toss and turn - Beatz & Rhymes was created as duo in 2014. It Geschmackssache - It’s a matter fo taste or simply said was formed by friends Bojan Đuković and Braco More of Everything 4 Everybody with the handfull of Subotić. They have two albums: album Solid Fare musical pearls not susceptible to the time distance. from October 2016 and “Na kraju dana” (At the and of a day) from Jun 2017. Their music could be described as chill, down-tempo and trip-hop. Since midd 2017 they perform with four members.
109 kreativne industrije
creative industies kreativne industrije
8-17. septembar 2017 / 8-17th September Kuslevova kuća / Kuslev’s House creative industies
Centar za ženska prava Women’s Rights Center
NOISE IN FASHION
Noise in fashion je linija dizajnerskih proizvoda pokrenuta u ok- Noise in fashion is a line of designer products that was created viru kreativnih radionica Centra za ženska prava za žene i mlade in the scope of workshops for women and youth who suffered koji su pretrpjeli porodično nasilje. Pored saradnje sa saradnju family violence. Part of the T-shirts and bags we design is sa crnogorskim umjetnicama, stalnu liniju naših proizvoda čine continuously devoted to presenting Montenegrin princesses majice, šalovi i drugi predmeti sa likovima crnogorskih princeza. from the Petrović – Njegoš dynasty. By promoting the way Promovisanjem značaja koje su princeze dinastije Petrović imale they influenced Montenegrin society, especially in terms of u društvenom životu Crne Gore, posebno kada su u pitanju suppressing poverty, improvement of public health services borba protiv siromaštva, unapređenje zdravstva i zalaganje za and advocating equality of women, we wish to point out to ravnopravan položaj žene u društvu, želimo da ukažemo na certain values from Montenegrin history that are under threat određene vrijednosti iz crnogorske istorije kojima prijeti opas- of being utterly suppressed in contemporary times. nost od potpunog potiskivanja u savremenom dobu. Since 2012, NGO Women’s Rights Center works on the NVO Centar za ženska prava od 2012. godine radi na una- improvement of position of women in Montenegro, providing pređenju položaja žena u društvu, kroz pružanje besplatnih free psychological and legal consultation for victims of vio- usluga psihološkog i pravnog savjetovanja žrtvama nasilja nad lence against women and implementing activities in the field ženama kao i kroz aktivnosti u oblastima javnog zastupanja i of women’s rights advocacy and culture. promociju kulturnih sadržaja.
www.womensrightscenter.org
112 FESTIVAL INTERNACIONALNOG ALTERNATIVNOG TEATRA 2017 Sonja Vukićević SONJA HAND radionica integracija / integrations workshop
Fragmenti života iz plakara života Sonje Vukićević su pred vama. Sonja hand nije običan second hand
Fragments of life out of the closet of Sonja Vukićević are here in front of you. Sonja hand is not a usual second hand.
Jelena Simić LUTKARNICA / DOLL HOUSE izrada i prodaja lutki / handmade play dolls
Kombinovanje dugmića, traka i čipki nekad traje dugo ali đavo je u detaljima i to mi je zabavno. Neki od detalja koje koristim stari su preko 30 godina.
Combining buttons, ribbons, lace sometimes takes a long time but the devil is in details and I find it amusing. Some of the things I use are over 30 years old
Anđelko Vasiljević PROSVJETLJENJE / ENLIGHTMENT izrada i prodaja dekorativne kućne rasvjete decorative house lighting manufacture
113 Sponzori / Sponsors
Medijski sponzori / Media support
CIP - Каталогизација у публикацији Национална библиотека Црне Горе, Цетиње
ISSN 2536-5673 = FIAT COBISS.CG-ID 25582608 115 www.fiat montenegro.org
116 FESTIVAL INTERNACIONALNOG ALTERNATIVNOG TEATRA 2017