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19th-14th February 1988.
 

FJAT III
 

Programming by RAHIM BURHAN

It took me a long time to decide on the programming concept for FJAT. I finally settled on the theme of ‘The Real, the Unreal and Theatre’, and that was the first part of the selection concept; the second was to determine whether there is a true alternative theatre in Yugoslavia at all. Immediately, it was clear that there isn’t, because the directors that used to make such theatre now mostly work in the mainstream. The extent to which they are capable of producing alternative theatre within the establishment is questionable, as we have already seen at last year’s FJAT. This year’s festival will probably complete this impression. It is evident that many of these directors are struggling under the pressure of various negative influences and that they are getting lost in the funereal theatre. However, the minority who are successful in creating the alternative aesthetic in the institutional context are the directors whose plays will be shown in Titograd this time around. For practical reasons, Slovensko Mladinsko Gledališče could not participate with the play ‘Zenit’, which is my main regret, as this company represents a paradigm of a different aesthetic in relation to the classical theatre and the director Dragan Živadinov is a key figure on the alternative scene. The first FJAT mostly featured the plays that were created outside the mainstream, but the authors such as Pašović, Milčin, Živadinov, Brezovec, whose methods were truly alternative, are now working within the establishment. Many of them have found support and understanding at their new companies, but there have also been instances where a project would be embraced only by those involved in it, but not by the complete ensemble of the theatre hosting the production. That is a resistance against precisely those kinds of innovative solutions that this very festival must champion. Now that it is clear that MESS only wants the ‘big’ plays, FJAT has the opportunity to revive the spirit that the festival in Sarajevo has lost, and raise it to an even higher level. This year’s programme is my contribution to this.

Rahim Burhan
Titograd, 24.02.1989.

Slovensko mladinsko gledališče (Ljubljana)
ALISA
Directed by: VITO TAUFER

Otvorena scena Obala (Sarajevo)
TETOVIRANO POZORIŠTE (The tattoo Theatre)
Directed by: MLADEN MATERIĆ

Alternativni teatar (Pristine)
BRESKVIN CVET LJUBAVI (Peach flower of Love)
Directed by: AGIM SOPI

Teatar narodnosti – Turkish Drama (Skopje)
PROJEKAT PRIČA (Story Project)
Directed by: NAUM PANOVSKI

Narodno pozorište (Zenica)
ČEKAJUĆI GODOA (Waiting for Godot)
Directed by: HADI KURIĆ

Srpsko narodno pozorište (Novi Sad)
DUMANSKE TIŠINE ( Silences of Duman)
Directed by: MIRA ERCEG

Makedonski narodni teatar (Skopje)
BAL (A ball)
Directed by: VLADIMIR MILČIN

Zagrebačko kazalište lutaka (Zagreb)
ZAŠTO SMO U VIJETNAMU, MINI (Why are we in Vietnam, Mini)
Directed by: BRANKO BREZOVEC

The Jury:

  • Ivica Buljan (Zagreb)
  • Iso Rusi (Skopje)
  • Blagota Eraković (Titograd)
  • Darko Lukić (Sarajevo)
  • Slobodan Blagojević (Belgrade)

Prize for the best play: to „The Tattoo Theatre (Tetovirano pozorište) “, Sarajevo.

Prize for the best director: Mladen Materić for „ The Tatto Theatre (Tetovirano pozorište) “.

Actor`s Prize “Slobodan Aligrudic” awarded to Niko Goršič for „Alisa in Wonderland (Alisa u zemlji čuda)“.

The Critics Prize (by the Daily “Pobjeda”) awarded to „ Alisa in Wonderland (Alisa u zemlji čuda)“ for the most alternative theatre performance.

1988_alisa_-_v._taufer__lj__slo
Alisa - V. Taufer, Lj, SLO
1988_tetovirano_pozori_te_-_m._mareti___sa
Tetovirano pozorište - M. Maretić, SA

 

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