THEATRE | SVIJET
Dubravko BIBANOVIĆ
DISCLOSED DELUSION
After an extremely successful performance at the Festival of Small and Experimental Stages of Yugoslavia, the new Sarajevo theatre “Maska i Pokret” got, at first sight, a great opportunity for the presentation of their work to a broad Sarajevo audience. It is about the fact that the management of the Kamerni Theatre 55 enabled the performance of this theatre in the premises of the Kamerni Theatre on days when the official performances of the house are not played.
This gesture deserves full attention and a number of compliments. There is help for young, new and very specific theatre, there is the principle of openness of existing theatres, there is an element of “entering the big door” on the Sarajevo stage for theatre “Maska i Pokret”. A painstakingly quiet appearance was avoided, a shy peek through spaces that no one had ever visited. In one word: everything is at its best. There is a reason for satisfaction, celebration and joy. The atmosphere in the city on the theatrical level is cooperative, well-intentioned, the performance of the theatre “Maska i Pokret” is attractive, new, interesting.
And yet: everything is so and nothing is so. The signs have changed significantly. And changed in the most drastic way: by cancelling the first scheduled performance. The signs of goodwill, cooperation, help, openness on the organisational level did not retain their meanings on the aesthetic level. Art is ruthless. Theatre is in its essence uncompromising. The protagonists of this misunderstanding of an organisational-aesthetic nature did not seem to know that. Art is not interested in good-faith, giving-a-hand. She is interested in complete devotion and spiritual unity. And in this case, these were completely neglected categories. It was about them, but it was not with them.
So what is it really about? Where are the causes of this misunderstanding? How could it happen that something that is white becomes black, that something that should represent the victory of the organisational unity of our theatre generates its own defeat.
Let us look once again at the facts and their consequences. Theatre “Maska i Pokret” makes a play that goes completely beyond the framework in which our official theatres move. Their performance is based on the expressive means of a large, carnival puppet, on the tradition of the Sicilian theatre of a large puppet and in an ideological sense close to Schumann’s understanding of symbols. Set on such basis, and especially seen in the deviation from the existing theatrical production, it is a play that seeks a completely new sensibility in theatre from its audience. It is theatrical experience, but in a way completely different from the experience provided by civic theatre. This represents the first premise of unfortunate conclusion and the sad consequence: cancellation of the performance.
The second premise is: Kamerni Theatre 55 is a civic theatre. The audience of the Kamerni Theatre is a civic audience, or more precisely audience with a civic sense of theatre. The one with the kind of feeling “Maska i Pokret” seeks has nothing to do with it. She doesn’t care. She doesn’t belong to that. She has her own built-in idol-shows like “How to Kill Your Wife and Why.” Where a wife is killed in a gag, it is hardly possible to kill a Play in a symbol.
On the other hand, Kamerni Theatre 55 has an established name and only a larger, stronger, more famous, more significant name, and especially important, a name with the same feeling of theatre can bring its audience into its space. The unknown theatre “Maska i Pokret” has nothing here to look for. And there is their essential mistake. With their sense of theatre, with the ambition and investment with which they realised the play, they should not have allowed themselves such a mistake – an easy acceptance of the first apparent comfort that appeared in their work. On the contrary.
Their path to success is only possible in an anonymous space, in a completely new space that will get their colour, their scent, just as it is necessary to painstakingly attract the audience and search for the kind of audience that will accept the sensibility that this theatre carries.
Dubravko BIBANOVIĆ
TEATAR | SVIJET
Dubravko BIBANOVIĆ
OBJELODANJENI PRIVID
Poslije izuzetno uspješnog nastupa na Festivalu malih i eksperimentalnih scena Jugoslavije, novi sarajevski teatar »Maska i pokret« dobio je na prvi pogled sjajnu mogućnost za prezentaciju svoga rada širokom sarajevskom gledalištu. Radi se o tome da je uprava Kamernog teatra 55 omogućila nastup ovoga teatra u prostorijama Kamernog teatra u dane kada se ne igraju zvanične predstave kuće.
Ovakav gest zaslužuje i punu pažnju i niz komplimenata. Tu je i pomoć mladom, tek stasalom i veoma specifičnom teatru, tu je zastupljen princip otvorenosti postojećih teatara, prisutan je element »ulaska na velika vrata« na sarajevsku scenu za teatar »Maska i pokret«. Izbjegnuto je mukotrpno tiho pojavljivanje, stidljivo izvirivanje po prostorima koje niko nikada nije posjećivao. Jednom riječju: sve je u najboljem redu. Ima razloga za zadovoljstvo, slavlje i veselje. Atmosfera u gradu na pozorišnom planu saradnička, dobronamjerna, predstava teatra »Maska i pokret« atraktivna, nova, zanimljiva.
Pa ipak: sve je tako i ništa nije tako. Predznaci su bitno promijenjeni. I to promijenjeni na najdrastičniji način: otkazivanjem prve zakazane predstave. Predznaci dobronamjernosti, saradnje, pomoći, otvorenosti na organizacionom planu nisu zadržali svoja značenja na estetskom planu. Umjetnost je nemilosrdna. Pozorište je u svojoj biti beskompromisno. To akteri ovoga nesporazuma organizaciono-estetske prirode izgleda nisu znali. Umjetnost ne zanima dobronamjernost, izlaženje u susret. Nju zanima potpuno predavanje i duhovno jedinstvo. A to su u ovom slučaju bile potpuno zapostavljene kategorije. O njima se radilo ali se nije radilo sa njima.
Pa o čemu se zapravo radi? Gdje su uzroci ovoga nesporazuma? Kako se moglo dogoditi da nešto što je bijelo postane crno, da nešto što bi trebalo da predstavlja pobjedu organizacionog jedinstva našeg teatra izrodi sopstveni poraz.
Pogledajmo još jednom činjenice i njihove posljedice. Teatar »Maska i Pokret« pravi predstavu koja izlazi potpuno iz okvira u kojima se kreću naše oficijelne pozorišne kuće. Njihova predstava je zasnovana na izražajnim sredstvima velike, karnevalske lutke, na tradiciji sicilijanskog pozorišta velike lutke i u idejnom smislu bliska Šumanovom razumijevanju simbola. Postavljena na ovakvim osnovama, a posebno sagledana u otklonu od postojeće pozorišne produkcije, to je predstava koja traži sasvim novo osjećanje stvari u teatru kod svoga gledaoca. U pitanju jeste teatarski doživljaj, ali po vrsti sasvim različit od doživljaja koji pruža građanski teatar. To predstavlja prvu premisu nesretnog zaključka i tužne posljedice: otkazivanja predstave.
Druga premisa glasi: Kamerni teatar 55 jeste građanski teatar. Publika Kamernog teatra jeste građanska publika, ili tačnije publika sa građanskim osjećanjem teatra. Ona sa vrstom osjećanja za kojom traga »Pokret i maska« nema veze. Nju to ne zanima. Ona tome ne pripada. Ona ima svoje izgrađene idol-predstave poput »Kako ubiti suprugu i zašto«. Tamo gdje se ubija supruga u gegu teško da se može ubiti pjesma u simbolu.
S druge strane Kameni teatar 55 je uspostavljeno pozorišno ime i u njegov prostor njegovu publiku može dovesti samo veće, jače, poznatije, značajnije pozorišno ime, i posebno važno, ime sa istim osjećanjem teatra. Anonimni teatar »Maska i Pokret« tu nema šta da traži. I tu je njihova suštinska greška. Nisu smjeli sa svojim osjećanjem teatra, sa ambicijom i investicijom sa kojom su realizovali predstavu dopustiti sebi takvu grešku – lakog pristajanja na prvu prividnu olakšicu koja se pojavila u njihovom radu. Naprotiv.
Njihov put uspjeha jedino je moguć u anonimnom prostoru, u sasvim novom prostoru koji će dobiti njihovu boju, njihov miris, baš kao što je neophodno mukotrpno privlačenje pubulike i traganja za onom vrstom publike koja će prihvatiti senzibilitet koji ovaj teatar nosi.
Dubravko BIBANOVIĆ
