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

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"Times New Roman";mso-ansi-language:SR">TkH - Teorija koja Hoda (Beograd, Srbija) i DasArts (Amsterdam, Holandija)

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font-family:"Times New Roman";mso-ansi-language:SR">BUDUĆNOST PROČITANA U BETONU I KAMENU

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"Times New Roman";mso-ansi-language:SR">Autor: Bojan Đorđev

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"Times New Roman";mso-ansi-language:SR">Predstava je nastala u saradnji sa: Selma Banić (Banich), Fernando Belfiore, Siniša Ilić, Damjan Kecojević, Ola Maćevska (Maciejewska), Katarina Popović, Manolis Cipos (Tsipos)

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"Times New Roman";mso-ansi-language:SR">Izvode: Selma Banić, Bojan Đorđev, Damjan Kecojević i Ola Maćevska

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font-family:"Times New Roman";mso-ansi-language:SR">Premijerna izvođenja u Beogradu:

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SR">ponedeljak, 25. januar 2016. u 20 časova

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SR">utorak, 26. januar 2016. u 21 čas

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SR">sreda, 27. januar 2016. u 20 časova

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SR">Dom omladine Beograda (Velika sala), Makedonska 22

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font-family:"Times New Roman";mso-ansi-language:SR">Ulaz je besplatan. Obavezno je unapred izvršiti rezervaciju ulaznica

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font-family:"Times New Roman";mso-ansi-language:SR">na broj telefona: 064. 64.9.77.35 ili e-meil adresu: dragana.jovovic@tkh-generator.net

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"Times New Roman";mso-ansi-language:SR">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.

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"Times New Roman";mso-ansi-language:SR">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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"Times New Roman";mso-ansi-language:HR">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.

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"Times New Roman";mso-ansi-language:HR">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.

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font-family:"Times New Roman";mso-ansi-language:EN-GB">Spomenici NOB
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mso-ansi-language:EN-GB">u nastoje da prevedu
HR"> 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?

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"Times New Roman";mso-ansi-language:HR">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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"Times New Roman";mso-ansi-language:SR">Produkcija: Dragana Jovović

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"Times New Roman";mso-ansi-language:SR">Fotografije sa lokacija: Ivan Hrkaš

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"Times New Roman";mso-ansi-language:SR">Video montaža: Jelena Maksimović

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"Times New Roman";mso-ansi-language:SR">Zvuk videa: Jakov Munižaba

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"Times New Roman";mso-ansi-language:SR">Konsultacije za kostim: Maja Mirković

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"Times New Roman";mso-ansi-language:SR">Odnosi sa javnošću: Milica Ševarlić i Jelena Knežević

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"Times New Roman";mso-ansi-language:SR">Produkcija i tehnička realizacija Doma omladine Beograda: Marta Marković (produkcija), Miloš Vasić (dizajn svetla), Ivan Ćopić (dizajn zvuka), Branko Banjanin (video operater)

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"Times New Roman";mso-ansi-language:SR">Produkcija: Teorija koja Hoda (Srbija) i DasArts (Holandija)

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"Times New Roman";mso-ansi-language:SR">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“

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"Times New Roman";mso-ansi-language:SR">Finansijska podrška: Ministarstvo kulture i informisanja Republike Srbije i Evropska Unija – program „Kultura“

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EN-GB">TkH - Walking Theory (Belgrade, Serbia) and DasArts (Amsterdam, Netherlands)

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font-family:"Times New Roman";mso-ansi-language:EN-GB">FUTURE READ IN CONCRETE AND STONE

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EN-GB">Concept: Bojan Djordjev

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EN-GB">In collaboration with: Selma Banich, Fernando Belfiore, Siniša Ilić, Damjan Kecojević, Ola Maciejewska, Katarina Popović, Manolis Tsipos

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EN-GB">Performed by Selma Banich, Bojan Djordjev, Damjan Kecojević and Ola Maciejewska

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font-family:"Times New Roman";mso-ansi-language:EN-GB">Performances in Belgrade:

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EN-GB">Monday 25th January at 8pm

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EN-GB;mso-bidi-font-weight:bold">Tuesday 26th January at 9pm

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EN-GB">Wednesday 27th January at 8pm

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EN-GB">Belgrade Youth Centre (Main Stage), 22 Makedonska Street

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EN-GB">Admission is free. Advance registration is required at

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EN-GB">+ 381.64.64.9.77.35 or dragana.jovovic@tkh-generator.net

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font-family:"Times New Roman";mso-ansi-language:EN-GB">Future Read in Concrete and Stone
mso-ansi-language:EN-GB">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.  

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font-family:"Times New Roman";mso-ansi-language:EN-GB">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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EN-GB">After Bojan Djordjev’s performance Not Red but Blood!, based on partisan poetry, performance
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font-family:"Times New Roman";mso-ansi-language:EN-GB">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.

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font-family:"Times New Roman";mso-ansi-language:EN-GB">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
italic">mise
-en-
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, taught and performed. Does contemporary theatre offer an experimental space in which a temporary collective can
"Times New Roman"">interpret
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font-family:"Times New Roman";mso-ansi-language:EN-GB">The last decade was, in political sense, marked by a new,
font-family:"Times New Roman"">potentially revolutionary
EN-GB"> 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
font-family:"Times New Roman"">communist
italic"> anonymous partisan collective – do they tell us something about that crowd? When we compare that historical collective to the contemporary
anonymous
mso-bidi-font-style:italic"> 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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EN-GB">Producer: Dragana Jovović

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EN-GB">Photography on location: Ivan Hrkaš

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EN-GB">Video Editing: Jelena Maksimović

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EN-GB">Video Sound: Jakov Munižaba

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EN-GB">Costume Consultant: Maja Mirković

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EN-GB">PR: Milica Ševarlić and Jelena Knežević

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EN-GB">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)

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EN-GB">Production: TkH - Walking Theory (Serbia) and DasArts (Netherlands)

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EN-GB">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”

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EN-GB">Financial support: Ministry of Culture and Information of Republic of Serbia and European Union – Program “Culture”

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