Premijera: BUDUĆNOST PROČITANA U BETONU I KAMENU, 25, 26. i 27. januar 2016, Dom omladine Beograda

TkH - Teorija koja Hoda (Beograd, Srbija) i DasArts (Amsterdam, Holandija)

BUDUĆNOST PROČITANA U BETONU I KAMENU

Autor: Bojan Đorđev

 

Predstava je nastala u saradnji sa: Selma Banić (Banich), Fernando Belfiore, Siniša Ilić, Damjan Kecojević, Ola Maćevska (Maciejewska), Katarina Popović, Manolis Cipos (Tsipos)

 

Izvode: Selma Banić, Bojan Đorđev, Damjan Kecojević i Ola Maćevska

 

Premijerna izvođenja u Beogradu:

ponedeljak, 25. januar 2016. u 20 časova

utorak, 26. januar 2016. u 21 čas

sreda, 27. januar 2016. u 20 časova

 

Dom omladine Beograda (Velika sala), Makedonska 22

 

Ulaz je besplatan. Obavezno je unapred izvršiti rezervaciju ulaznica

na broj telefona: 064. 64.9.77.35 ili e-meil adresu: dragana.jovovic@tkh-generator.net

 

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Predstava Budućnost pročitana u betonu i kamenu je pogled u komunističku umetnost i politiku 20. veka, putovanje partizanskim šumama Jugoslavije, ekskurzija na Kozaru, Sutjesku i Kadinjaču, radna akcija izgradnje budućnosti kroz privremeno i nepredvidivo iskustvo pozorišta. To je pozorišna struktura, poziv na zamišljanje, posmatranje i dešifrovanje društva – i u svojoj konačnici, poziv na fizičko aktiviranje telesne inteligencije.

 

U osvit Oktobarske revolucije 1917. godine, Vladimir Iljič Lenjin piše da jedini način na koji možemo ostati verni revoluciji jeste da je posmatramo kao umetnost. Sledeći ovu misao autori predstave Budućnost pročitana u betonu i kamenu, istražuju i čitaju spomenike jugoslovenske Narodnooslobodilačke borbe istovremeno i kao tragove revolucije i koordinate za novo društvo.

 

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Nakon predstave Bojana Đorđeva Nije to crvena, to je krv!, zasnovane na partizanskoj poeziji, sledeći korak u istraživanju umetničkog nasleđa partizanske borbe i načinu na koji ono iluminira današnjicu je predstava Budućnost pročitana u betonu i kamenu posvećena spomenicima Narodnooslobodilačke borbe.

 

Modernistički spomenici NOB-u iz 1960ih i 70ih godina, mogu biti shvaćeni kao velike pozornice revolucije, koje su u doba Jugoslavije korišćene za državne proslave, đačke ili porodične eksurzije. Tokom 1990ih i raspada Jugolsavije njihov status se menja, oni su zapušteni, ili uništeni, a neki su prisvojeni i preoznačeni od strane novih nacionalističkih elita.

 

Spomenici NOB-u nastoje da prevedu radikalni partizanski revolucionarni gest u konstruisane krajolike, javni prostor, emancipacipujući tako žanr memorijala i spomenika. Oni su izgrađeni i koncipirani tako da pozivaju posetitelje i posetiteljke da ih istražuju i stupaju u odnos sa njima kroz pokret, kao da su koreografske sheme izvedene u betonu. Spomenik revoluciji na Kozari, Dušana Džamonje, te spomenici na Sutjesci i Kadinjači Miodraga Živkovića, tretiraju se u Čitanju budućnosti u betonu i kamenu kao izvor mizanscenskih principa i koreografije koji se tokom predstave otkrivaju, zajednički uče i izvode. Da li nam savremeno pozorište obezbeđuje eksperimentalni prostor u kojem je moguće u privremenom kolektivu tumačiti, prevoditi i uvežbavati „društvenu koreografiju“ radikalno novog?

 

Poslednja dekada u političkom smislu jeste obeležena ponovnom pojavom potencijalno revolucionarne mase ljudi na ulicama koja se, od nereda u predgrađima Pariza 2005. godine pojavljuje na svim stranama sveta: Od Evrope, preko arapskog sveta, Južne Amerike, do Hong-Konga. Da li možda ta masa najavljuje budućnost koja je alternativa onoj slobodi koju obećava neoliberalni kapitalizam? I da li nam apstraktni spomenici NOB-u, podignuti ne u čast vođi ili birokratskoj socijalističkoj državi, nego u slavu komunistički orijentisanog anonimnog mnoštva partizana, govore nešto o toj masi? Kada se taj istorijski kolektiv uporedi sa današnjim anonymous pobunjenim kolektivom, mogu li se izvući neke smernice, matrice pobune, ideologije zajedništva i borbe za novi svet?

 

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Produkcija: Dragana Jovović

Fotografije sa lokacija: Ivan Hrkaš

Video montaža: Jelena Maksimović

Zvuk videa: Jakov Munižaba

Konsultacije za kostim: Maja Mirković

Odnosi sa javnošću: Milica Ševarlić i Jelena Knežević

Produkcija i tehnička realizacija Doma omladine Beograda: Marta Marković (produkcija), Miloš Vasić (dizajn svetla), Ivan Ćopić (dizajn zvuka), Branko Banjanin (video operater)

 

Produkcija: Teorija koja Hoda (Srbija) i DasArts (Holandija)

Ko-produkcija: Dom omladine Beograda (Srbija) i Lokomotiva – Centar za nove inicijative u umetnosti i kulturi (Makedonija) kroz projekte „Nomad Dance Academy“ i „Life Long Burning“

Finansijska podrška: Ministarstvo kulture i informisanja Republike Srbije i Evropska Unija – program „Kultura“

 

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TkH - Walking Theory (Belgrade, Serbia) and DasArts (Amsterdam, Netherlands)

FUTURE READ IN CONCRETE AND STONE

Concept: Bojan Djordjev

 

In collaboration with: Selma Banich, Fernando Belfiore, Siniša Ilić, Damjan Kecojević, Ola Maciejewska, Katarina Popović, Manolis Tsipos

 

Performed by Selma Banich, Bojan Djordjev, Damjan Kecojević and Ola Maciejewska

 

Performances in Belgrade:

Monday 25th January at 8pm

Tuesday 26th January at 9pm

Wednesday 27th January at 8pm

 

Belgrade Youth Centre (Main Stage), 22 Makedonska Street

 

Admission is free. Advance registration is required at

+ 381.64.64.9.77.35 or dragana.jovovic@tkh-generator.net

 

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Future Read in Concrete and Stone is a gaze into communist art and politics of the 20th century, a trip through the partisan forests of Yugoslavia, a picnic at Kozara, Sutjeska and Kadinjača, a voluntary labour action for building a future through temporary and contingent theatre experience. This is a performance structure made of invitations: invitation to imagine, invitation to look and decipher the society and, eventually, an invitation to physically engage collective body intelligence.  

 

In 1917, in the wake of the October revolution, Vladimir Ilyich Lenin claims in one of his writings, that the only way to stay truthful to the revolution is to treat it as art. Following this thought, the authors of Future Read in Concrete and Stone study and read the Yugoslav monuments to the People’s Liberation Struggle as traces of revolution but also as coordinates of a new society.

 

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After Bojan Djordjev’s performance Not Red but Blood!, based on partisan poetry, performance Future Read in Concrete and Stone, dedicated to the Yugoslav World War II monuments, represents a new step in the journey of the exploration of the heritage of partisan struggle and the way it illuminates the present.

 

Modernist monuments of the Second World War in Yugoslavia, built during the 60ies and the 70ies, can be understood as huge revolutionary stages which, during Yugoslavia, were used for state celebrations, school excursions or family trips. During the 90ies and the breakup of Yugoslavia, their status changes – they get abandoned or destroyed while some also get arrogated by the new nationalist elites who changed their initial significance.

 

The monuments of the Second World War in Yugoslavia tend to convert the radical revolutionary gesture of the partisan movement into constructed landscapes, a public space, thus emancipating the genre of memorials and monuments. They were built and conceived so as to invite visitors to explore them, to interact with them through movement, as if they were choreographic schemes set in stone. The revolutionary monument on the Kozara Mountain, by Dušan Džamonja, as well as Miodrag Živković’s monuments on Sutjeska and Kadinjača, are all treated in the performance Future Read in Concrete and Stone as a source of mise-en-scène principles and choreography which, during the performance, get revealed, taught and performed. Does contemporary theatre offer an experimental space in which a temporary collective can interpret, translate and rehearse „social choreography“ of radically new concepts?

 

The last decade was, in political sense, marked by a new, potentially revolutionary crowd in the streets which, since the suburban riots in Paris in 2005, keeps appearing everywhere: in Europe, in Arab countries, in South America, in Hong Kong. Could it be that this crowd portends the future alternative to the freedom promised by neoliberal capitalism? And do the abstract monuments of the Second World War in Yugoslavia - erected not to the glory of the leader or to bureaucratic socialist state, but to the glory of communist anonymous partisan collective – do they tell us something about that crowd? When we compare that historical collective to the contemporary anonymous rebellious collective, could we draw some guidelines, some forms of rebellion, of ideology of collective spirit and the struggle for a new world?

 

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Producer: Dragana Jovović

Photography on location: Ivan Hrkaš

Video Editing: Jelena Maksimović

Video Sound: Jakov Munižaba

Costume Consultant: Maja Mirković

PR: Milica Ševarlić and Jelena Knežević

Production and technical realisation on behalf of Belgrade Youth Centre: Marta Marković (producer), Miloš Vasić (lighting designer), Ivan Ćopić (sound designer), Branko Banjanin (video operator)

 

Production: TkH - Walking Theory (Serbia) and DasArts (Netherlands)

Co-production: Belgrade Youth Centre (Serbia) and Lokomotiva – Centre for New Initiatives in Arts and Culture through projects “Nomad Dance Academy” and “Life Long Burning”

Financial support: Ministry of Culture and Information of Republic of Serbia and European Union – Program “Culture”

 

 

 

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