David Binder: The arts festival revolution

Translator: Thu-Huong Ha Reviewer: Morton Bast

Prevoditelj: Senzos Osijek Recezent: Ivan Stamenković

Sydney. I had been waiting my whole life to get to Sydney.

Sydney. Čekao sam cijeli svoj život da dođem u Sydney.

I got to the airport, to the hotel, checked in,

Stigao sam u zračnu luku, u hotel, prijavio se,

and, sitting there in the lobby, was a brochure

i u predvorju pronašao brošuru

for the Sydney Festival. I thumbed through it,

za Sidneyski festival. Prolistao sam je

and I came across a show called "Minto: Live."

i naišao na predstavu pod imenom “Minto: Uživo.”

The description read: "The suburban streets of Minto

U opisu je pisalo: "Ulice u predgrađu Minto

become the stage for performances

postale su pozornica za nastupe

created by international artists

koje su osmislili međunarodni umjetnici

in collaboration with the people of Minto."

u suradnji s ljudima iz Minta."

What was this place called Minto?

Kakvo je to mjesto koje se zove Minto?

Sydney, as I would learn, is a city of suburbs,

Sydney je, kako sam naučio, grad predgrađa.

and Minto lies southwest, about an hour away.

Minto je na jugozapadu, udaljen oko sat vremena.

I have to say, it wasn't exactly what I had in mind

Moram priznati, nisam baš tako zamišljao

for my first day down under.

da ću provesti svoj prvi dan u Australiji.

I mean, I'd thought about the Harbour Bridge or Bondi Beach,

Mislim, razmišljao sam o mostu Harbour ili plaži Bondi,

but Minto? But still, I'm a producer,

ali Minto? No, ipak sam ja producent

and the lure of a site-specific theater project

i privlačnost kazališnog projekta specifičnog za neko mjesto

was more than I could resist. (Laughter)

bila je velika i nisam mogao odoljeti. (Smijeh)

So, off I went into Friday afternoon traffic,

I tako, krenuo sam kroz promet jednog petka poslijepodne,

and I'll never forget what I saw when I got there.

i nikad neću zaboraviti što sam vidio kad sam stigao.

For the performance, the audience walked

U sklopu izvedbe, publika je hodala

around the neighborhood from house to house,

susjedstvom od kuće do kuće,

and the residents, who were the performers,

i stanovnici, koji su bili izvođači,

they came out of their houses, and they performed

izašli su iz svojih kuća i izvodili

these autobiographical dances on their lawns,

autobiografske plesove u svojim dvorištima,

on their driveways. (Laughter)

na prilazima kućama. (Smijeh)

The show is a collaboration with a U.K.-based

Predstava je suradnja s britanskom

performance company called Lone Twin.

kazališnom skupinom Lone Twin.

Lone Twin had come to Minto and worked

Lone Twin je došao u Minto

with the residents, and they had created these dances.

i radio sa stanovnicima, a oni su stvorili te plesove.

This Australian-Indian girl, she came out and started

Jedna je Australo-indijka izašla i počela

to dance on her front lawn,

plesati na travnjaku pred svojom kućom,

and her father peered out the window to see

a njezin otac izvirio je kroz prozor da vidi

what all the noise and commotion was about,

odakle sva ta buka i metež,

and he soon joined her.

te joj se uskoro pridružio.

And he was followed by her little sister.

Slijedila ga je i njezina mlađa sestra

And soon they were all dancing this joyous,

i uskoro su svi plesali taj veseli,

exuberant dance right there on their lawn. (Laughter)

razigrani ples, i to u svojem dvorištu. (Smijeh)

And as I walked through the neighborhood,

Dok sam prolazio susjedstvom,

I was amazed and I was moved by the incredible

bio sam zadivljen i dirnut tim nevjerojatnim

sense of ownership this community clearly felt

osjećajem vlasništva koji je ova zajednica očito imala

about this event.

prema ovome događaju.

"Minto: Live" brought Sydneysiders into dialogue

"Minto: Uživo" doveo je stanovnike Sydneya u dijalog

with international artists, and really celebrated

s međunarodnim umjetnicima i proslavio je

the diversity of Sydney on its own terms.

raznolikost Sydneya na svoj način.

The Sydney Festival which produced "Minto: Live" I think

Sidneyski festival, koji je isproducirao "Minto: Uživo",

represents a new kind of 21st-century arts festival.

mislim da predstavlja novu vrstu umjetničkih festivala 21. stoljeća.

These festivals are radically open.

Ti su festivali radikalno otvoreni.

They can transform cities and communities.

Oni mogu transformirati gradove i zajednice.

To understand this, I think it kind of makes sense

Da biste ovo bolje razumjeli, mislim da nekako ima smisla

to look where we've come from.

pogledati kako je to sve počelo.

Modern arts festivals were born

Moderni umjetnički festivali rođeni su

in the rubble of World War II.

u ruševinama Drugog svjetskog rata.

Civic leaders created these annual events

Građanski vođe kreirali su te godišnje događaje

to celebrate culture as the highest

kako bi se slavila kultura kao najviši

expression of the human spirit.

izraz ljudskoga duha.

In 1947, the Edinburgh Festival was born

1947. godine rođen je Edinburški festival,

and Avignon was born and hundreds of others

kao i Avignon i stotine drugih

would follow in their wake.

koji su slijedili nakon njih.

The work they did was very, very high art,

Oni su stvarali vrlo, vrlo visoku umjetnost

and stars came along like Laurie Anderson

i iz njih su proizašle zvijezde poput Laurie Anderson,

and Merce Cunningham and Robert Lepage

Mercea Cunninghama i Roberta Lepagea

who made work for this circuit,

koji su radili za ovaj krug.

and you had these seminal shows like "The Mahabharata"

Održavale su se značajne predstave, poput “Mahabharate”

and the monumental "Einstein on the Beach."

i monumentalne “Einstein na plaži”.

But as the decades passed,

Ali, kako su desetljeća prolazila,

these festivals, they really became the establishment,

ti su festivali postali prave institucije.

and as the culture and capital accelerated,

Kako su kultura i kapital rasli,

the Internet brought us all together,

internet nas je približio jedne drugima,

high and low kind of disappeared,

nestala je razlika između visokog i niskog,

a new kind of festival emerged.

i izniknula je nova vrsta festivala.

The old festivals, they continued to thrive, but

Stari festivali i dalje su se razvijali, ali

from Brighton to Rio to Perth, something new was emerging,

od Brightona preko Rija do Pertha, nicalo je nešto novo

and these festivals were really different.

i ti su festivali bili stvarno drugačiji.

They're open, these festivals, because, like in Minto,

Ti su festivali otvoreni jer, kao u Mintu,

they understand that the dialogue

razumiju da je dijalog

between the local and the global is essential.

između lokalnog i globalnog nužan.

They're open because they ask the audience to be a player,

Otvoreni su jer traže publiku da budu glumci,

a protagonist, a partner, rather than a passive spectator,

protagonisti, partneri, a ne samo pasivni promatrači.

and they're open because they know that imagination

Otvoreni su jer znaju da se mašta

cannot be contained in buildings,

ne može držati u zgradama,

and so much of the work they do

i velik dio posla koji oni rade

is site-specific or outdoor work.

specifičan je za mjesto ili se odvija na otvorenom.

So, the new festival, it asks the audience to play

I tako novi festival traži publiku da igra

an essential role in shaping the performance.

ključnu ulogu u oblikovanju nastupa.

Companies like De La Guarda, which I produce, and Punchdrunk

Tvrtke kao što su De La Guarda, koju ja produciram, i Punchdrunk

create these completely immersive experiences

stvaraju ta sveobuhvatna iskustva

that put the audience at the center of the action,

koja stavljaju publiku u središte radnje,

but the German performance company Rimini Protokoll

ali njemačka kazališna skupina Rimini Protokoll

takes this all to a whole new level.

sve ovo podiže na potpuno novu razinu.

In a series of shows that includes "100 Percent Vancouver,"

U seriji nastupa koja uključuje “100 posto Vancouver” i

"100 Percent Berlin," Rimini Protokoll makes shows

“100 posto Berlin”, Rimini Protokoll pravi predstave

that actually reflect society.

koje doista odražavaju društvo.

Rimini Protokoll chooses 100 people that represent that city

Rimini Protokoll izabire 100 ljudi koji u tom trenutku

at that moment in terms of race and gender and class,

predstavljaju taj grad po rasi, spolu i društvenoj klasi,

through a careful process that begins three months before,

kroz oprezan proces koji počinje tri mjeseca ranije.

and then those 100 people share stories about

Zatim tih 100 ljudi dijeli priče

themselves and their lives, and the whole thing

o sebi i svojim životima i cijela stvar

becomes a snapshot of that city at that moment.

postaje trenutna snimka toga grada u tom trenutku.

LIFT has always been a pioneer in the use of venues.

LIFT je oduvijek bio pionir u korištenju lokacija.

They understand that theater and performance

Oni razumiju da se kazalište i predstava

can happen anywhere.

mogu dogoditi bilo gdje.

You can do a show in a schoolroom,

Možete napraviti predstavu u učionici,

in an airport, — (Laughter) —

u zračnoj luci — (Smijeh) —

in a department store window.

u izlogu robne kuće.

Artists are explorers. Who better to show us the city anew?

Umjetnici su istraživači. Tko bi nam mogao dati bolji nov pogled na grad?

Artists can take us to a far-flung part of the city

Umjetnici nas mogu odvesti do udaljenog dijela grada

that we haven't explored, or they can take us into

koji nismo istražili, ili nas mogu povesti

that building that we pass every day but we never went into.

u zgradu pored koje prolazimo svaki dan, ali u koju nikad nismo ušli.

An artist, I think, can really show us people

Umjetnik, smatram, može nam zbilja pokazati ljude

that we might overlook in our lives.

koje ćemo u svojoj svakodnevici možda previdjeti.

Back to Back is an Australian company of people

Back to Back je australska skupina

with intellectual disabilities. I saw their amazing show

ljudi s intelektualnim poteškoćama. Pogledao sam njihovu nevjerojatnu predstavu

in New York at the Staten Island Ferry Terminal

u New Yorku u trajektnom terminalu na Staten Islandu

at rush hour.

u najvećoj prometnoj gužvi.

We, the audience, were given headsets and seated

Nama, publici, dali su slušalice i posjeli nas

on one side of the terminal.

na jednu stranu terminala.

The actors were right there in front of us,

Glumci su bili ispred nas,

right there among the commuters,

među putnicima,

and we could hear them,

i mogli smo ih čuti,

but we might not have otherwise seen them.

ali inače ih možda ne bismo vidjeli.

So Back to Back takes site-specific theater and uses it

Back to Back, dakle, koristi kazalište vezano za određenu lokaciju

to gently remind us about who and what we choose

kako bi nam nježno svratili pažnju na to koga i što odlučujemo

to edit out of our daily lives.

isključiti iz svojih života.

So, the dialogue with the local and the global,

Tako dijalog s lokalnim i globalnim,

the audience as participant and player and protagonist,

publika kao sudionik, glumac i protagonist,

the innovative use of site, all of these things

inovativno korištenje lokacije -- sve te stvari

come to play in the amazing work

dolaze do izražaja u zadivljujućem radu

of the fantastic French company Royal de Luxe.

fantastične francuske skupine Royal de Luxe.

Royal de Luxe's giant puppets come into a city

Ogromne lutke Royal de Luxea dolaze u grad

and they live there for a few days.

i nekoliko dana ondje stanuju.

For "The Sultan's Elephant," Royal de Luxe

Za “Sultanovog slona”, Royal de Luxe

came to central London and brought it to a standstill

došli su u centar Londona i uzrokovali zastoj

with their story of a giant little girl and her friend,

svojom pričom o divovskoj djevojčici i njezinom prijatelju,

a time-traveling elephant.

slonu koji putuje kroz vrijeme.

For a few days, they transformed a massive city

Na nekoliko su dana preobrazili ogroman grad

into a community where endless possibility reigned.

u zajednicu u kojoj su vladale beskrajne mogućnosti.

The Guardian wrote, "If art is about transformation,

Guardian je napisao: “Ako je transformacija smisao umjetnosti,

then there can be no more transformative experience.

onda ne postoji iskustvo koje bi dovelo do veće transformacije nego ovo.

What 'The Sultan's Elephant' represents is no less

“Sultanov slon” predstavlja pravu

than an artistic occupation of the city

umjetničku okupaciju grada

and a reclamation of the streets for the people."

i preuzimanje ulica za ljude."

We can talk about the economic impacts of these festivals

Možemo govoriti i o gospodarskim utjecajima ovih festivala

on their cities, but I'm much [more] interested in many more things,

na njihove gradove, no ja sam puno više zainteresiran za mnoge druge stvari,

like how a festival helps a city to express itself,

poput toga kako festival pomaže gradu da se izrazi,

how it lets it come into its own.

kako mu pomaže da se oblikuje kao svoj.

Festivals promote diversity,

Festivali promoviraju raznolikost,

they bring neighbors into dialogue,

uključuju susjedstva u dijalog,

they increase creativity,

povećavaju kreativnost,

they offer opportunities for civic pride,

nude prilike običnim građanima,

they improve our general psychological well-being.

poboljšavaju naše opće psihičko zdravlje.

In short, they make cities better places to live.

Ukratko, čine gradove boljim mjestima za život.

Case in point:

Konkretan slučaj:

When "The Sultan's Elephant" came to London

Kad je “Sultanov slon” stigao u London,

just nine months after 7/7, a Londoner wrote,

samo devet mjeseci nakon bombaških napada, jedan je stanovnik Londona napisao:

"For the first time since the London bombings,

“Prvi put od bombaških napada

my daughter called up with that sparkle back in her voice.

mojoj se kćeri vratila ona iskra u glasu.

She had gathered with others

Okupila se s ostalima

to watch 'The Sultan's Elephant,' and, you know,

kako bi pogledala “Sultanovog slona” i znate,

it just made all the difference."

to je imalo tako velik značaj."

Lyn Gardner in The Guardian has written

Lyn Garnder iz Guardiana napisala je

that a great festival can show us a map of the world,

da nam sjajan festival može pokazati kartu svijeta,

a map of the city and a map of ourselves,

kartu grada i kartu nas samih,

but there is no one fixed festival model.

ali ne postoji fiksni model festivala.

I think what's so brilliant about the festivals,

Mislim da su ti novi festivali tako fantastični

the new festivals, is that they are really fully capturing

zato što u potpunosti obuhvaćaju

the complexity and the excitement

složenost i uzbudljivost

of the way we all live today.

načina na koji danas svi živimo.

Thank you very much. (Applause)

Hvala vam puno. (Pljesak)