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For a long time, while politics was not interested with Eastern European theatre, artists from all over the world were having considerable interest in Eastern European art and theatre. It is not surprising, then, that ex and present Yugoslavia is the perfect place for international theatre on an outstanding level.
BITEF Festival, founded in 1967 in Belgrade, Yugoslavia, is still a festival of new world theatre tendencies. It explores avant-garde and experimental forms of the performing arts in the world of modern theatre with all its flows. Promotion of world cultural cooperation increases consciousness of being a part of the world, keeping respect for all differences, whether about professional orientation or the experience of an ordinary theatre spectator.
Bitef Festival has established outstanding international contacts and with its content is breaking the hierarchy of what is determined art. For the last 36 years international artists from all political sides have been able to enjoy the Festival every September/October. Everyone is interested what is going on the other side.
If Bitef Festival is part of the program for Serbia's integration into the culture of the world, then, it is quite clear the political importance Bitef Festival has on Yugoslav culture. Looking at it individually, it is clear how art can be important for someone's life. It heals and brings great satisfaction.
PERFORMANCES
Arpad Sopsits, from Hungary's Kamaraszinhaz Theatre, had his own unique way to direct classic drama and Dostojevsky's "Crime and Punishment": "When I have been adapting Dostojevsky play "Crime and Punishment" my actors had to visit real prison in Hungary to prepare themselves for the play. Every character spoke with real criminal who actually did that crime that the actor is playing. Actors at first were a little bit scared but at that moment when director and actor meets the person who really have killed, the attitude to the character that he plays, changes forever."
" ... 'Crime and Punishment' is not for film or theatre entertainment, the real world of criminals should provoke basic questions about human existence ... "
This year, Bitef Festival presented two performances of Shakespeare's "Hamlet". This is what Arthur Skeleton, theatrologist and drama professor from Edinburgh, said for Stemann's version of "Hamlet":
"I enjoyed it. That play is funny and entertaining, it is based on surprises and tricks. Audience like shows like that. I'm sure that Shakespeare would love it."
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Two Hamlets
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Stemann's ghost of Hamlet's Father is old kind; he's cunning solder, while Hamlet is a common student and intellectual type. On the blue grey scene, the viewer sees few TVs, microphone, two chairs, beds, sax instead of original, and megaphone for causing panic, noise and fury. Shakespeare's monologues are not said in the classic way, the ghost of the Father comes from the audience, stepping on the other peoples' feet. Hamlet doesn't kill with a knife; he kills with a pistol. Without simulating usual menace and without dramatising, the play is full of comic effects. Hamlet is dressed for home, to tell the truth, bare-naked. Claudias plays sax when he's lonely.
This play shows things in an intelligent, transparent, funny way, with silence and irony.
THE NEW WORLD'S [THEATRE] ORDER
In the 90's, the turbulent period of political and social conflicts and embargo did not bother Bitef Festival, which continued to be open to European and World contemporary theatre. The spirit of every year's festival followed that year's political or social spirit, creating a new politically or socially related motto. In concordance with the times, this year's Bitef's motto is "New World Theatre Order."
Has globalization, the frequently used term, caught culture as well?
"Those using the term globalization ought to know that the idea was more less conceived in the Communist idea of internationalism. To overcome borders, nations, ethnic backgrounds... Basically positive idea nowadays it turned into an tendency that powerful countries exploit the poor, give them aid but getting a lot more in return, if there is no interest there are no investments. Thus the globalization has spread onto culture. There is no clear honest exchange money is given only if suits politics. For instance recently I was invited from the newly founded Goethe Institute in Afghanistan to help development of the theatre in Khabul. Don't tell me it's about art?" [A part of the interview with Thomas Ostermeier conducted in Belgrade in August 2002]
BITEF POLYPHONY
Bitef Festival had side programs called "Bitef Polyphony?" Bitef Polyphony is a CEDEUM [Belgrade's Centre for Drama in Education and Art] program that is not directly related to a theatre.
CEDEUM Belgrade Centre has responsibility for plenty of international projects that are part of the plan that Bitef Festival has. This plan counts on Yugoslavian integration into the world's culture when it comes to the performing arts and alternative mainstream productions. These projects involved plenty of international names.
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Bitef Polyphony
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The entire "Bitef Polyphony" program lasted a few days, holding international and intercultural workshops on the premises of Belgrade's Concert Hall Theatre, with guests from Germany, Italy, and Croatia hosted with a few domestic experimental interactive theatres. An Italian workshop presented a book about Belgrade written by Italian author Gianguido Palumbo. The Museum of Art Theatre opened an exhibition of American photography named simply "American theatre photography of the XIXcentury."
This year the Centre, with Bitef Festival, has started a charity workshop for children with disabilities called "Difference as Beauty." This project needs consistent financial help and donations are welcome from all over the world.
Any inquiries related to financial aid and the project may be e-mailed to bella@yubc.net.
A DECADE OF SPITE
The guest theatre from Croatia on Bitef Polyphony who actually approached closely to the usual Bitef Festival's theatre context was Inat Theatre.
If the city of Dubrovnik has its Lero Theatre, and capital Zagreb has Kugla Glumiste Theatre, Pula and Istra has its Inat Theatre, indulging the decade of "inat", a decade of spite. The Inat Theatre is writing a glorious chapter in contemporary Croatian theatre. This theatre was born during the theatrical season 84/85 as the result of the first achievement for the independence of Croatian theatre. The protagonists of this establishment were Mr. Branko Susac, Lidija Svagel and a group of young people that have been supportive about the whole idea. They named themselves The Theatre Section of the "Mate Balota" Guild of Art. At first, this Theatre Section had troubles gaining financial support within the authorities in Pula town.
"... their serious strivings to achieve a theatrical expression of a very great artistic value was simply regarded as a prevention of boredom. Of course there was no place for rehearsals, it seemed they were doomed..."
As if the young enthusiasts wanted to spite the authorities as the real example for the contemporary expression in the modern theatre, the group of them went to work without getting any actual help. "Mate Balota" Guild of Art has been established 13 years ago by Mr. Branko Susac. Soon enough, ambitious enthusiasts of this theatre changed the name into the "Inat Theatre," which means "spite." At that time the name was very appropriate indeed. Spite is the essence and the key word of the whole 13 years old history of this interesting group, one of the brightest stars on the Croatian alternative theatre sky.
However Inat Theatre was a name well known to all alternative theatre lovers in the ex-Yugoslavia. It was and still is a well-respected theatre in several European countries in which its performances have taken place. Spite never dies. The name of the theatre, "Inat," is a magnificent example for the Istrian Alternative Theatre. And again it has every right to bear that name.
Theatres like "Inat" are living proof that the amateur theatre does not stand for occasional rehearsals and performances that barely satisfy the minimum of dramatic expression. The theatre enthusiasts from Pula with their tutor director of the theatre, Mr. Branko Susac, managed to create a theatre of great innovative power. Maybe one decade is not enough to prove that "off theatres" [amateur theatres] are very important for every society, not to mention that they have a bright future inciting others to experiment, despite poor conditions or lack of money.
"... There is something to be seen only in alternative theatres, which are free from conventionalities and petrified forms of expression..."
There are many names that deserve to be mentioned when Inat Theatre is brought up, but one name is its synonym, Mr. Shandor Slacki.
Slacki is Inat Theatre's leading man. He is the source of energy in almost every project. His flawless acting imposes criteria which the others are supposed to follow. With him as the educator, every member of this theatre has to pass this preliminary school of pantomime. As its body and soul, he still has enthusiasm to work under the worst working conditions.
Mr. Susac and Mr. Slacki, together with a few off theatre experts, decided to start a festival of their own, The International Alternative Theatre Festival in Pula, Croatia. Thanks to them Pula is becoming a Croatian gathering place of the best contemporary achievements in the Croatian modern theatre along with other similar theatres from abroad.
Inat Theatre produced 20 projects. Its projects saw more than 5 hundred performances in more than fifty towns in Croatia, ex Yugoslavia and other European countries.
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