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Muzej Pozori[Ne Umetnosti Srbije MUZEJ POZORI[NE UMETNOSTI SRBIJE BEOGRAD 2006. Izdava~ Muzej pozori{ne umetnosti Srbije Za izdava~a mr Ksenija Radulovi}, direktor Recenzenti dr Ra{ko V. Jovanovi} dr Zoran T. Jovanovi} Stru~ni redaktor Prof. dr Maja Volk Dizajn korica Svetozar Stanki} Tehni~ko ure|enje i priprema za {tampu Svetozar Stanki} [tampa Piblish, Beograd Tira` 300 ISBN 86–80629–40–5 [tampanje ove knjige omogu}ilo je Ministarstvo kulture i medija Vlade Republike Srbije PETAR VOLK Izme|u kraja i po~etka Pozori{ni `ivot u Srbiji od 1986. do 2005. 4 Petar Volk / Izme|u kraja i po~etka Sadr`aj 5 Sadr`aj Izme|u kraja i po~etka .................................7 Sezone 1986–1987. .......................................10 1987–1988. .......................................23 1988–1989. .......................................38 1989–1990. .......................................51 1990–1991. .......................................71 1991–1992. .......................................90 1992–1993. ......................................104 1993–1994. ......................................121 1994 –1995. ......................................137 1995–1996. ......................................155 1996–1997. ......................................169 1997–1998. ......................................184 1998–1999. ......................................202 1999–2000. ......................................215 2000–2001. ......................................231 2001–2002. ......................................244 2002–2003. ......................................260 2003–2004. ......................................275 ^ekanje ........................................288 Repertoar Narodno pozori{te, Beograd ............................ 297 Jugoslovensko dramsko pozori{te, Beograd .................... 314 Beogradsko dramsko pozori{te, Beograd ..................... 326 Pozori{te Atelje 212, Beograd ........................... 339 Pozori{te “Bo{ko Buha” , Beograd .........................352 6 Petar Volk / Izme|u kraja i po~etka Pozori{te na Terazijama, Beograd .........................361 Zvezdara teatar, Beograd ..............................370 Pozori{te “Slavija” ..................................374 Bitef teatar, Beograd ................................378 Ister teatar, Beograd .................................383 Kult teatar, Beograd .................................385 Narodno pozori{te, Kikinda .............................387 Srpsko narodno pozori{te, Novi Sad ........................394 Pozori{te Ujvideki szinhaz, Novi Sad .......................409 Narodno pozori{te Nepszinhaz, Subotica Drama na srpskom jeziku ............................423 Drama na ma|arskom jeziku ..........................434 Narodno pozori{te “Sterija”, Vr{ac .........................443 Narodno pozori{te “To{a Jovanovi}”, Zrenjanjin ................. 454 Narodno pozori{te, Sombor............................. 464 Pozori{te “Dobrica Milutinovi}”, Sremska Mitrovica ............... 475 Narodno pozori{te, Ni{ ...............................479 Teatar “Joakim Vuji}”, Kragujevac ........................ 490 [aba~ko pozori{te, [abac .............................. 497 Narodno pozori{te, U`ice .............................. 508 Narodno pozori{te “Bora Stankovi}”, Vranje ................... 518 Pozori{te “Zoran Radmilovi}”, Zaje~ar ...................... 522 Narodno pozori{te, Pirot .............................. 532 Kru{eva~ko pozori{te, Kru{evac .......................... 540 Narodno pozori{te, Leskovac ............................ 547 Pokrajinsko narodno pozori{te, Pri{tina Drama na srpskom jeziku ............................ 555 Drama na albanskom jeziku ...........................560 Narodno pozori{te – Teatri popullor , \akovica..................563 Registar imena ....................................567 Registar predstava ..................................585 Pogovor ........................................608 Bele{ka o piscu ....................................610 Izme|u kraja i po~etka 7 Izme|u kraja i po~etka Premijere, kritike, programske deklaracije, zapisi, stalna preobra`enja, pro- mi{ljanja, traganja za novim formama i permanentno delovanje tokom minulih decenija stvorilo je svest o pozori{nim doga|ajima kao dokumentima o vreme- nu i stvarala{tvu iz kojih proisti~e saznanje o teatarskoj kulturi kao va`nom ~iniocu op{teg dru{tvenog razvoja na{e zemlje. Pozori{te koje smo nasledili od ranijih generacija, pretvorili u sopstvenu potrebu i omogu}ili da se razvije sa svim svojim kreativnim sposobnostima izdiglo se iznad efemernosti, slu~ajnosti, dnevne aktuelnosti do vrednosti koje mu daju neponovljivu snagu i ~ine ga superiornim u odnosu na sva pojedina~na htenja. Steklo je unutarnju nezavisnost i prevazilazi nas mnogostrukim zna- ~enjima. Time nad`ivljava svoje vreme i sti~e istori~nost. Njegove vrednosti nisu u subjektivnim ocenama, a jo{ manje samo u namerama ili zahtevima vremena, jer sadr`e objektivna odre|enja i punu autenti~nost. Ovo su mi bila osnovna polazi{ta kada sam posle prve knjige Pozori{ni `ivot Srbije – od l835. do l944, i posebno druge Pozori{ni `ivot Srbije od l944. do l986, sa`imaju}i svoja iskustva, istra`ivanja i promi{ljanja na{ao za potrebu da na- pi{em studiju Trajanje u kojoj sam nastojao da iska`em sve svoje radosti, ne- spokojstva, sumnje pred vremenom koje je trebalo uskoro da nagovesti kraj dvadesetog veka. Tada sam jo{ verovao da se pozori{te, posebno odre|ene pojave, stilska opredeljenja pa i teoretska usmerenja mogu ome|iti osnovnim tokovima epohu dvadesetog veka, pa u izvesnom smislu i na{e `ivote, provedene sa pozori{tem u koje smo verovali. Sli~na htenja nalazio sam i kod drugih autora koji su svojim mislima poku{avali da pozori{tu odrede smisao ili uka`u na vrednosti za koje su verovali da ~ine ono najvrednije {to je do tada stvoreno. Ni tada, a ni kasnije, nisam se opredeljivao ni za jedno pozori{te posebno, po- smatrao sam ih i prou~avao u njihovom razvoju, obja{njavao ono {to se zbivalo, uz nastojanje da odvojim prave vrednosti od onih efemernih i utvrdim trajna zna~enja odre|enih predstava, stilskih opredeljenja i ideja koja su podsticala neprekidna traganja za novim vrednostima a verovatno i druga~ijim ili bogatijim izrazom. O tome su svedo~ile moje knjige o najve}im dramskim umetnicima koje smo imali, kritike koje sam pisao nekoliko decenija, Ilustrovana istorija srpskog pozori{ta, Beogradsko glumi{te, monografije poput Iluzije na cvetnom trgu (Jugoslovensko dramsko pozori{te) ili Sterijino pozorje, studije, eseji i teoretski 8 Petar Volk / Izme|u kraja i po~etka radovi. Ru{io sam natalo`ene predrasude prema istoriji, branio na{e sopstveno scensko iskustvo, ukazivao na kontinuitet stvarala~kih tokova, branio savremeni izraz od izvitoperavanja njegovog smisla i osporavao sva ona tvr|enja koja su sugerisala da }e sa krajem veka do}i do diskontinuiteta izme|u starih i novih vrednosti. Ostra{}enim pojedincima se moglo u~initi da sve to {to sam radio mo`e biti protuma~eno i kao aktivni konzervativizam (!) na {ta sam ja u svojoj odbrani neprekidno ponavljao – ako za{tita izraza, verovanje u njegov smisao i umetni~ko delovanje, ~ine ljubav i odanost pozori{tu onda i sam sa ponosom mogu da ka`em da sam jasno i nedvosmisleno opredeljen. Stavovi koje sam zastupao i izlagao javno sredinom osamdesetih godina dvadesetog veka pro`mana su saznanjem da je pozori{te umetnost vremena. Ono je, zavisno od okolnosti u kojima je delovalo, uvek bilo savremeno, pa ~ak i onda kada se radikalno menjalo. Svaka generacija ili dru{tvo, koje je u odre- |enim vremenskim razdobljima artikulisalo na svoj na~in duhovne potrebe – odre|ivalo je i karakter scene, nastoje}i da njen izraz poistoveti sa svojim opredeljenjima. Ljudi su ga uvek zami{ljali kao ogledalo realnosti i stvarala~ki ~in. Niko nije mogao unapred da mu obe}a budu}nost niti da ga u svemu u~ini kreativnim, tako da je prirodno {to je moralo sudbinski da se vezuje u svakom trenutku za ono {to se doga|a ~oveku i vremenu. U tim silovitim, ~esto nepred- vidivim, a uvek dramati~nim trenutcima, pozori{te se poistove}ivalo sa prili- kama, ali se, isto tako i izdizalo iznad stvarnosti kako bi scenska svedo~enja dobila zna~enje istinskih umetni~kih dela. Da nije bilo svesti o zna~aju sopstvenog delovanja scenska umetnost bi i u ovoj na{oj sredini bila svedena na golu reprodukciju stvarnih doga|aja, ose}anja i namera, li{ena istinske umetni~ke slobode i kreativnosti. Otud je pozori{te, bez obzira na zajedni~ke uslovnosti, bilo suo~eno sa sopstvenom sudbinom i isku{enjima. To je zna~ilo da glumci, reditelji i pisci u svakom trenutku moraju da odlu~uju o tome kakvo }e pozori{te imati i {ta }e sa njime uspeti da ostvare. Ali, nikada nije mogla da se porekne ~injenica da deluju u razli~itim uslovima i da su im mogu}nosti krajnje individualne i specifi~ne. Suo~avanje sa pro{lo{}u mo`e da bude razli~ito, zato su i subjektivne ocene ~esto kontradiktorne. Istorija je sazdana od mnogih paradoksa i jedino je izve- sno da pozori{te nije nikada bilo spremno da do kraja i bez pogovora pristane na povr{nu primenu raznih dru{tvenih i ideolo{kih htenja. Upravo stoga je mogu}e gotovo isti red doga|aja procenjivati ili kroz poraz politike koja je `elela da teatar zadr`i u zavisnosti, ili kao njegovo svesno nastojanje da se odupre podcenjivanju i afirmi{e u stvarala~koj i izvornoj prirodi. U tome se ogledalo i odbacivanje `elje da se gledaocima po svaku cenu `ivot ulep{ava i da se stvaraju iluzije od neostvarljivih snova. U tradiciji na{eg teatra je da se zasniva na istini i otuda njegova dugogodi{nja dosta jasna orijentacija. Mogu}e Izme|u
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