23rd FESTIVAL OF SMALL AND EXPERIMENTAL SCENES OF YUGOSLAVIA
A. Fejzagić
REAL FESTIVAL ACHIVEMENTS
Praise to Banja Luka play “Delirium for Two” and to Sarajevo Theatre “Maska i Pokret”
Finally, the MESS has started! With this sentence, the talks at the “Critic’s Round Table”, of the fifth day of the Festival of Small and Experimental Scenes of Yugoslavia, began yesterday. The festival audience had the opportunity to see two performances that, in terms of their idea, concept and performance, correspond to the profile of MESS, its demands and its quests. In the official competition, the Experimental Stage of the Banja Luka National Theatre of the Bosnian Krajina was presented, performing the dramatic text by Eugène Ionesco “Delirium for Two”, directed and adapted by Jovica Pavić.
The young Banja Luka director Jovica Pavić presented himself to the theatre world with his graduation project in Atelje 212 in Belgrade, “Rummy Party”. Even then, it could be seen that Pavić knows how to work with actors and that he has a profiled attitude towards the topic. This time, in his second directorial production, Pavić took Ionesco’s text, his avant-garde theatre, unencumbered by earlier interpretations of this type of theatre. The directorial setting as said in conversations – tried to find itself in a combination of two types of the avant-garde: the avant-garde that existed in the early fifties and sixties, ie. avant-garde that appeared in Ionesco’s dramaturgy and the avant-garde from the early seventies and late sixties, which includes an aggressive Tatarian procedure that forces the audience to participate in the theatrical act. The doubts that arose about the spectator’s participation in the play started from the overemphasised external effects, which destroyed the bridge of participation. Even the acting in some parts had its downfalls, and that should have been a chance to realise the aforementioned blend of performance and audience.
The “Maska i Pokret” Theatre, which performed “Mme Leopoldine’s Memoires” project in the accompanying program, showed also at this festival that he is certainly following the already well-established path of researching three important theatrical means: masks, movements and music, and that in his research of these components of the theatre, presents a serious, interesting and, in any case, new theatrical movement.
A. FEJZAGIĆ
23. FESTIVAL MALIH I EKSPERIMENTALNIH SCENA JUGOSLAVIJE
A. Fejzagić
PRAVA FESTIVALSKA OSTVARENJA
Pohvale banjalučkoj predstavi »Ludilo udvoje« i sarajevskom Teatru »Maska i pokret«
Konačno je počeo MES! Ovom rečenicom počeli su juče razgovori za »okruglim stolom kritike«, petog dana Festivala malih i eksperimentalnih scena Jugoslavije. Festivalska publika imala je priliku da vidi dvije predstave koje po svojoj ideji, koncepciji i izvedbi odgovaraju profilu MES-a, njegovim zahtjevima i tragalaštvima. U zvaničnoj konkurenciji predstavila se Eksperimentalna scena banjalučkog Narodnog pozorišta Bosanske krajine koja je izvela dramski tekst Ežena Joneska »Ludilo udvoje«, u režiji i adaptaciji Jovice Pavića.
Mladi banjalučki reditelj Jovica Pavić pozorišnom svijetu predstavio se svojim diplomskim projektom u Ateljeu 212 u Beogradu «Partijom remija«. Već tada se moglo vidjeti da Pavić zna da radi sa glumcima i da ima jedan profiliran odnos prema temi. Ovaj put Pavić se u svojoj drugoj rediteljskoj postavci prihvatio Joneskovog teksta, njegovog avangardnog pozorišta, neopterećen ranijim tumačenjima ove vrste teatra. Rediteljska postavka rečeno je u razgovorima — pokušala je da sebe nađe u spoju dvije vrste avangarde: avangarde koja je postojala početkom pedesetih i šezdesetih godina, odnosno avangarde koja se pojavila u Joneskovoj dramaturgiji i avangarde s početka sedamdesetih i kraja šezdesetih godina, koja podrazumijeva agresivni tatarski postupak što publiku prisiljava da učestvuje u pozorišnom činu. Nedoumice koje su se javljale oko gledaočevog učestvovanja u predstavi polazile su od prenaglašenih vanjskih efekata, koji su srušili most sudioništva. Čak je i glumačka igra u pojedinim dijelovima imala padove, a trebalo je da bude šansa da se ostvari navedeni spoj predstave i publike.
Teatar »Maska i pokret« koji je u Pratećem programu izveo projekat »Ispovijest gospođice Leopoldine« pokazao je i na ovom festivalu da sigurno ide već trasiranim putem istraživanja tri značajna teatarska sredstva: maske, pokreta i muzike i da u svom istraživanju komponenti pozorišta predstavlja ozbiljan, zanimljiv i, u svakom slučaju, novi teatarski pokret.
A. FEJZAGIĆ
