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FIAT Archive 2017

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FIAT Archive 2017 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.
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