Позориште за 21 вијек

Teatar for 21st century

Branko Brđanin, the dramatist

A THEATRE FOR THE TWENTY-FIRST CENTURY
Art, thus including theatre, is an expression of freedom of belief that the world we live in is not the only possible world, and - on the other hand - the possibility itself that there might be another (better!) world, a simultaneous chance for FAITH.
I feel and think that the power of that faith is both common and homogenous in any (even the smallest) theatre, in any time and at any place.
But, other than that ’’bottom rock”, there are a lot of basis on which we – from one theatre to another – differ: through material, in means of social recognition and respect, through personnel, ideas, politics, concepts… What not. So many diversities, but only one (yet crucial) similitude!
Conspiracy or dedication, love or fervour... all of which expressed as that ’’fundemental faith“  in point of existance of Performing (and other) Arts, are what connects us, no matter where we are, when and what are we doing. Everything else can also part us; caught on that salvific ’’same thing“, we survive.
In repertoire theatres, especially those with long tradition (I call for the witness Jovan Ćirilov) "the first constraint is the existing ensemble", besides all the more emphasized role of the director.
As Jerzy Grotowski said: ``The theatre since the time of Stanislavski – which is undrestood by anyone treating this discipline with thoughtfullness – requiers long-term engagement. The ensembles are not eternal, they die.’’
The following limiting elements are material circumstances and social hierarchy and values in general, which are unusually LOATH towards the theatre and arts in general.
The place and role of the Banja Luka professional theatre (the only one in Republic of Srpska, besides “Children’s Theatre of Republic of Srpska”, also in Banja Luka!) which has always been more than just a theatre of a one city, its "vocation and mission" to be a NATIONAL are certainly new coordinates during whose determination attention should be paid to program, repertoire and any other kinds of aspirations of local (and today’s) “theater enthusiasts”.
Finally, there is (last but not least!) AUDIENCE, necessary and unavoidable corrective element, especially here, in the environment and at the time when the argumentative, thorough and professionally verified theater critics are "the missing link”.
And all this, foretold, followed in a time that was marked by war and postwar trauma and all kinds of challenges.
This is, summarized, “picture frame” of theatre and Performing Arts, at this time and place, in the new century and the new millennium.
Alongside with all of the previously mentioned and counted for, we ought to be and to last, to do and to move forward, often despite a lot of things, using up that FAITH (mentioned at the beginning of this article).
Many of the things we have set into the motion, many will yet come, not through reconciliation with averse circumstances, not waiting for "better times". For, with the more precise gaze into past times, I do not believe that we will find a number of periods in which the circumstances of the art work and creation were much better or easier.
From the founding (by Act of Ban Milosavljević on September 2. 1930) “National Theatre of Vrbaska Banovina), to to its first premiere (which took place in, for that occasion redecorated, space of “Sokolana”) on October 18 of the same year took no longer than fifty days. Founded as only second on Bosnia and Herzegovina territory (after the one in Sarajevo), it had no proper time to form, make a profile and wider affirmations, before it was overwhelmed by the World War and Ustasha-German occupation, followed by challenges of the period of “rehabilitation and reconstruction”, various forms of lacking and, by this point traditional, view of Performing Arts as a type of “luxury’. Attrition of the ensemble and the country in which we lived almost went hand in hand, so 1993 was welcomed by nine members of ensemble (eight actors and a set designer). But now, after the end of the war on this territory, again (without any resignation!) we observe that, in want of performance, play, faith and hope, obstacles and temptations are set before us.
Luckily, we have and will continue to overcome them.

There is one thing we are sure of and another one we want: to ACTIVATE all internal and "external" potential and not to make ( “Brukovian”) DEAD SHOWS, the ones already on premieres destined to “pass away”.
Without any allusions to Fergusson (“The Idea of a Theater“) it is that IDEA OF A THEATRE in which we have faith today and here: in twenty-first century, in Banja Luka.