David Binder: The arts festival revolution

Translator: Thu-Huong Ha Reviewer: Morton Bast

Prevodilac: Milena Jocic Lektor: Ivana Korom

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

Sidnej. Celog svog života sam čekao da odem u Sidnej.

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

Stigao sam na aerodrom, u hotel, prijavio se

and, sitting there in the lobby, was a brochure

i u holu naišao na brošuru

for the Sydney Festival. I thumbed through it,

za sidnejski festival. Prelistao 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

Opis je glasio: "Ulice u predgrađu Minta

become the stage for performances

postaju pozornica za predstave

created by international artists

koje prave internacionalni umetnici

in collaboration with the people of Minto."

u saradnji sa stanovnicima Minta."

What was this place called Minto?

Kakvo je ovo mesto zvano Minto?

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

Sidnej, kako sam shvatio, jeste grad predgrađa

and Minto lies southwest, about an hour away.

i Minto se nalazi na jugozapadu, udaljen oko sat vremena.

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

Moram da priznam, ovo nije bilo ono što sam imao na umu

for my first day down under.

za moj prvi dan "tamo dole".

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

Mislim, razmišljao sam o mostu Harbor ili plaži Bondi,

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

ali Minto? Ali ipak, ja sam producent,

and the lure of a site-specific theater project

i dražima pozorišnog projekta vezanog za lokaciju

was more than I could resist. (Laughter)

nisam mogao da odolim. (Smeh)

So, off I went into Friday afternoon traffic,

Dakle, krenuo sam kroz popodnevni saobraćaj,

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

i nikada neću zaboraviti ono što sam video kad sam stigao tamo.

For the performance, the audience walked

Tokom izvođenja, ljudi su hodali

around the neighborhood from house to house,

kroz susedstvo od kuće do kuće,

and the residents, who were the performers,

a stanovnici, koji su bili izvođači,

they came out of their houses, and they performed

izlazili su iz svojih kuća i izvodili

these autobiographical dances on their lawns,

autobiografske plesove na svojim travnjacima,

on their driveways. (Laughter)

na svojim prilazima. (Smeh)

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

Predstava je saradnja sa britanskom

performance company called Lone Twin.

pozorišnom trupom pod nazivom "Lone Twin".

Lone Twin had come to Minto and worked

"Lone Twin" su došli u Minto i sarađivali

with the residents, and they had created these dances.

sa stanovnicima i oni su stvorili ove plesove.

This Australian-Indian girl, she came out and started

Jedna australoindijka je izašla i počela

to dance on her front lawn,

da igra na travnjaku ispred kuće,

and her father peered out the window to see

a njen otac je provirio kroz prozor da vidi

what all the noise and commotion was about,

odakle dopire sva ta buka i zbrka,

and he soon joined her.

i uskoro joj se pridružio.

And he was followed by her little sister.

Zatim im se pridružila i njena mlađa sestra.

And soon they were all dancing this joyous,

I uskoro su svi plesali ovaj radosni,

exuberant dance right there on their lawn. (Laughter)

veseli ples tu, na njihovom travnjaku. (Smeh)

And as I walked through the neighborhood,

I dok sam išao kroz susedstvo,

I was amazed and I was moved by the incredible

bio sam zadivljen i dirnut neverovatnim

sense of ownership this community clearly felt

osećajem posedovanja koji je ova zajednica osećala

about this event.

prema ovom događaju.

"Minto: Live" brought Sydneysiders into dialogue

"Minto: Uživo" doveo je građane Sidneja u dijalog

with international artists, and really celebrated

sa internacionalnim umetnicima i stvarno slavio

the diversity of Sydney on its own terms.

raznolikost Sidneja na svoj način.

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

Mislim da sidnejski festival koji je producirao "Minto: Uživo"

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

predstavlja novu vrstu umetničkog festivala 21. veka.

These festivals are radically open.

Ovi festivali su radikalno otvoreni.

They can transform cities and communities.

Oni mogu da transformišu gradove i zajednice.

To understand this, I think it kind of makes sense

Da bismo ovo razumeli, smatram da ima smisla

to look where we've come from.

da pogledamo odakle potičemo.

Modern arts festivals were born

Moderni umetnički festivali nikli su

in the rubble of World War II.

iz ruševina Drugog svetskog rata.

Civic leaders created these annual events

Vođe naroda stvorile su ove godišnje događaje

to celebrate culture as the highest

da bi slavili kulturu kao najviši

expression of the human spirit.

izraz ljudskog duha.

In 1947, the Edinburgh Festival was born

1947. godine nastao je edinburški festival

and Avignon was born and hundreds of others

i nastao je avinjonski i stotine drugih

would follow in their wake.

nastalo je posle njih.

The work they did was very, very high art,

Oni su stvarali veoma, veoma visoku umetnost,

and stars came along like Laurie Anderson

i pojavile su se zvezde kao što su Lori Anderson

and Merce Cunningham and Robert Lepage

i Mers Kaninghem i Robert Lapaž

who made work for this circuit,

koji su radili u ovom krugu pozorišta,

and you had these seminal shows like "The Mahabharata"

i nastale su poznate predstave kao što je "Mahabharata"

and the monumental "Einstein on the Beach."

i monumentalni "Ajnštajn na plaži".

But as the decades passed,

Ali, kako su decenije prolazile,

these festivals, they really became the establishment,

ovi festivali postali su deo establišmenta

and as the culture and capital accelerated,

i kako su se kultura i kapital uvećavali,

the Internet brought us all together,

internet nas je spojio,

high and low kind of disappeared,

visoko i nisko je na neki način nestalo

a new kind of festival emerged.

i nova vrsta festivala je nastala.

The old festivals, they continued to thrive, but

Stari festivali nastavili su da napreduju,

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

ali od Brajtona preko Rija do Perta, nešto novo se rađalo,

and these festivals were really different.

i ovi festivali zaista su bili drugačiji.

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

Oni su otvoreni zato što, kao u Mintu,

they understand that the dialogue

shvataju da je dijalog

between the local and the global is essential.

između lokalnog i globalnog od suštinske važnosti.

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

Otvoreni su jer traže da publika bude učesnik,

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

protagonista, partner, pre nego pasivan posmatrač

and they're open because they know that imagination

i otvoreni su jer znaju da mašta

cannot be contained in buildings,

ne može biti zatvorena u zgradama

and so much of the work they do

i veliki deo njihovog rada

is site-specific or outdoor work.

je rad na otvorenom ili vezan za lokaciju.

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

Dakle, ovaj novi tip festivala traži od publike da igra

an essential role in shaping the performance.

najvažniju ulogu u oblikovanju izvođenja.

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

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

create these completely immersive experiences

stvaraju ova kompletno sveobuhvatna iskustva

that put the audience at the center of the action,

koja publiku stavljaju u centar zbivanja,

but the German performance company Rimini Protokoll

ali nemačka pozorišna trupa Rimini Protokoll

takes this all to a whole new level.

podigla je sve ovo na viši nivo.

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

U nizu predstava u koje spadaju "Sto posto Vankuver",

"100 Percent Berlin," Rimini Protokoll makes shows

"Sto posto Berlin", Rimini Protokoll pravi predstave

that actually reflect society.

koje oslikavaju društvo.

Rimini Protokoll chooses 100 people that represent that city

Rimini Protokoll bira sto ljudi koji predstavljaju taj grad

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

u tom trenutku u pogledu rase, pola i klase,

through a careful process that begins three months before,

kroz pažljiv proces koji počinje tri meseca ranije

and then those 100 people share stories about

i onda tih sto ljudi deli priče o

themselves and their lives, and the whole thing

njima samima i njihovim životima i sve to

becomes a snapshot of that city at that moment.

postaje slika tog grada u tom trenutku.

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

LIFT je uvek bio pionir u upotrebi lokacija.

They understand that theater and performance

Oni razumeju da pozorište i performans

can happen anywhere.

mogu da se odigraju bilo gde.

You can do a show in a schoolroom,

Predstava se može izvesti u učionici,

in an airport, — (Laughter) —

na aerodromu - (Smeh) -

in a department store window.

u izlogu tržnog centra.

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

Umetnici su istraživači. Ko može bolje da nam pokaže grad iznova i iznova?

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

Umetnici nas mogu odvesti u udaljene delove grada

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

koje nismo isražili ili nas mogu uvesti

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

u onu zgradu pored koje prolazimo svakog dana ali u koju nikada nismo ušli.

An artist, I think, can really show us people

Mislim da umetnik može stvarno da nam pokaže ljude

that we might overlook in our lives.

koje možda ne primećujemo u svojim životima.

Back to Back is an Australian company of people

Back to Back je australijsko udruženje ljudi

with intellectual disabilities. I saw their amazing show

sa intelektualnim invaliditetom. Video sam njhovu izuzetnu predstavu

in New York at the Staten Island Ferry Terminal

u Njujorku na pristaništu za trajekte na Steten Ajlendu

at rush hour.

u vreme najvećeg prometa.

We, the audience, were given headsets and seated

Mi, publika, dobili smo slušalice i sedeli smo

on one side of the terminal.

na jednoj strani pristaništa.

The actors were right there in front of us,

Glumci su bili tačno ispred nas,

right there among the commuters,

baš tu među putnicima

and we could hear them,

i mogli smo da ih čujemo,

but we might not have otherwise seen them.

ali ih inače možda ne bismo videli.

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

Dakle, Back to Back koristi pozorište vezano za lokaciju

to gently remind us about who and what we choose

da nas suptilno podseti koga i šta biramo

to edit out of our daily lives.

da izbacimo iz svog svakodnevnog života.

So, the dialogue with the local and the global,

Dakle, dijalog sa lokalnim i globalnim,

the audience as participant and player and protagonist,

publika kao učesnik i glumac i protagonista,

the innovative use of site, all of these things

inovativna upotreba lokacije, sve ove stvari

come to play in the amazing work

ulaze u zadivljujući rad

of the fantastic French company Royal de Luxe.

fantastične francuske trupe Royal de Luxe.

Royal de Luxe's giant puppets come into a city

Ogromne lutke Royal de Luxe-a dolaze u grad

and they live there for a few days.

i tu žive nekoliko dana.

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

Za "Sultanovog slona" Royal de Luxe

came to central London and brought it to a standstill

su došli u centralni London i zaustavili saobraćaj

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

pričom o ogromnoj devojčici i njenom prijatelju,

a time-traveling elephant.

slonu koji putuje kroz vreme.

For a few days, they transformed a massive city

Na nekoliko dana, transformisali su ogromni grad

into a community where endless possibility reigned.

u zajednicu kojom su vladale beskonačne mogućnosti.

The Guardian wrote, "If art is about transformation,

"Gardijan" je obajvio: "Ako je umetnost transformacija,

then there can be no more transformative experience.

onda ne postoji iskustvo koje u većoj meri transformiše.

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

Ono što "Sultanov slon" predstavlja je

than an artistic occupation of the city

umetnička okupacija grada

and a reclamation of the streets for the people."

i zauzimanje ulica u ime naroda."

We can talk about the economic impacts of these festivals

Možemo pričati o ekonomskim uticaju ovih festivala

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

na njihove gradove, ali ja sam mnogo više zainteresovan za mnoge druge stvari,

like how a festival helps a city to express itself,

kao, na primer, kako festival pomaže gradu da se izrazi,

how it lets it come into its own.

kako mu omogućava da dođe na svoje.

Festivals promote diversity,

Festivali promovišu raznolikost,

they bring neighbors into dialogue,

dovode susede u dijalog,

they increase creativity,

povećavaju kreativnost,

they offer opportunities for civic pride,

nude mogućnosti za građanski ponos,

they improve our general psychological well-being.

oni unapređuju naše generalno blagostanje.

In short, they make cities better places to live.

Ukratko, oni čine gradove boljim mestima za život.

Case in point:

Konkretan primer:

When "The Sultan's Elephant" came to London

kada je "Sultanov slon" došao u London

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

samo devet meseci posle 7. jula, građanin Londona je napisao:

"For the first time since the London bombings,

"Po prvi put posle bombardovanja Londona,

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

mojoj ćerki se javila ona iskra u glasu.

She had gathered with others

Sastala se sa ostalima

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

da gledaju "Sultanovog slona" i znate,

it just made all the difference."

to je imalo ogroman uticaj."

Lyn Gardner in The Guardian has written

Lin Gardner iz "Gardijana" napisala je

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

da dobar festival može da posluži kao mapa sveta,

a map of the city and a map of ourselves,

mapa grada i mapa nas samih,

but there is no one fixed festival model.

ali da ne postoji fiksni model festivala.

I think what's so brilliant about the festivals,

Mislim da je ono što je tako sjajno kod festivala,

the new festivals, is that they are really fully capturing

novih festivala, to što oni u potpunosti prikazuju

the complexity and the excitement

složenost i uzbudljivost

of the way we all live today.

načina na koji živimo u današnje vreme.

Thank you very much. (Applause)

Hvala vam puno. (Aplauz)