Interview: Jovan Ćirilov, BITEF art director

Inspiration, not imitation

"This year's selection of BITEF has been focused on the manipulation of the term of tragic phenomenon in the modern world. After numerous performances seen, our festival was imposed conclusion that gradually turned to this year's slogan - that, in short, states that tragic of today's world in theatrical process almost always becomes a tragicomedy. In this year's selection are found some of the most notable and recognized theater names of international theater scene that, each in their own way, were dealing with contemporary phenomena, balancing on narrow road between the tragic and tragicomic perception of the world in which they live"


By JOVANA GRUBAČ
from Belgrade, SERBIA


This year's BITEF (Belgrade International Theatrical Festival) was held with heading motto "Tragicomedy - the tragedy of our time". Jovan Ćirilov, art director and selector of the festival, speaks for "WAVE magazine" about "title", BITEF this year and plans for the future, importance of international cooperation in the theater and influence of 42-years tradition on contemporary theater.

- Today's world is full of tragic potential but is a very interesting question of how today's theater reacts to that. It is clear that the range of theater is limited and the place of catharsis, for a long time ago, has become television with its political or reality show programs. This year's selection of BITEF has been focused on the manipulation of the term of tragic phenomenon in the modern world. After numerous performances seen, our festival was imposed conclusion that gradually turned to this year's slogan - that, in short, states that tragic of today's world in theatrical process almost always becomes a tragicomedy. In this year's selection are found some of the most notable and recognized theater names of international theater scene that, each in their own way, were dealing with contemporary phenomena, balancing on narrow road between the tragic and tragicomic perception of the world in which they live.

What is new at BITEF this year, relating to the previous?

A step that we tried to make this year, with 42nd BITEF programme, is to make performances - that looked like new to us - to be derived by the highest theatrical standards. I was thinking sometimes before that implementing something new is more important than theater perfection. Fortunately, this year some performances with great innovations, at the same time were those of high quality. Such performance is Heiner Goebbels' "Stifter's things" from Switzerland, unique performance never seen like that before. Show without actors, only light, music, water, rain, but still high poetry. Also, the top was - singing and orchestral deconstructed version of Mozzart's "Don Giovanni" in the interpretation of Bojana Cvejic, master of new approaches to the world opera's heritage.

Do you already have some plans for next year's invitations?

Yes, we already work largely on the next 43rd BITEF. The next day by the end of the festival I went to Zagreb and then to Novi Sad to see new performances, candidates for coming to Belgrade. So I saw a new play of Bacači sjenki "Odmor od povijesti" ("A Break from History"). They had outstanding success and received a special award in 41st BITEF for the performance "Ekspozicija" ("Exposure"). This time there are no one actor and one spectator, but 25 sleepers in their beds, we - the audience, and as much actors, whispering some truths, always different in every next performance. Also, the candidate is the latest show of SNP (Serbian National Theater) from Novi Sad "Brod za lutke" ("Ship for dolls") of Milena Markovic, directed by young Ana Tomovic.

Director Constance Makras, that Bitef met at the festival a few years ago, should be directing in Bitef theater this season. How much Belgrade's festival manages to plot foreign artists for Serbian theater?

Constance Makras, a member of this year's jury, will direct during this season in Bitef theater, certainly one of her magic performances. Cechov's great interpreter, for whom our directors have no key or gryph, or luck, Thomas Asher from Budapest will direct the only one Cechov's novel that he did not so far - "Ujka Vanja" ("Uncle Vania") in JDP (Yugoslav Drama Theater). I am sure that will be great, as well as his "Ivanov" - played here in a guest appearance and in one international festival in Zagreb. I am convinced that our actors will know how to follow subtlet director with a sense for the contemporary. And without overdriving.

Bitef has made a co-production with Swiss performance "Manjak prostora" ("Lack of Space"). How much is this cooperation important to the festival?

It is very important, because otherwise we would not get this play for the festival, it is dozens, maybe even hundreds, of festivals in Europe and the world struggling for that. Marthaler is very hard to get. Fifteen directors and selectors of large festivals in the world have been wondering how we managed to get four megastars of modern theater sky - Marthaler, Goebbels, Gocev and Hermanis.

Where is the most noticeable impact of BITEF when it comes to Serbian theater and audience here? Whether our theater differs from foreign one, do we follow some trends or jump out of a template, if template can be bounded to art at all?

It is most obvious with the youngest generation of directors. They are children of BITEF. Not long time ago, I was saying that Bitef is without a real impact on our theater, but now, fortunately, I can't say that any longer. There are at least ten young directors who are involved in the coordinate system of BITEF. I hate the word influence, it is not imitation, but inspiration.

We might have more great actors than some countries of our size. But there are less directors of mainstream, which can be compared to one Marthaler or Hermanis. However, let's wait a little, we certainly have our cards for the future, with young promising people.


(Published: 10.10.2008.)