Sydney. I had been waiting my whole life to get to Sydney. I got to the airport, to the hotel, checked in, and, sitting there in the lobby, was a brochure for the Sydney Festival. I thumbed through it, and I came across a show called "Minto: Live." The description read: "The suburban streets of Minto become the stage for performances created by international artists in collaboration with the people of Minto."
Sidnej. Celog svog života sam čekao da odem u Sidnej. Stigao sam na aerodrom, u hotel, prijavio se i u holu naišao na brošuru za sidnejski festival. Prelistao sam je, i naišao na predstavu pod imenom "Minto: Uživo". Opis je glasio: "Ulice u predgrađu Minta postaju pozornica za predstave koje prave internacionalni umetnici u saradnji sa stanovnicima Minta."
What was this place called Minto? Sydney, as I would learn, is a city of suburbs, and Minto lies southwest, about an hour away. I have to say, it wasn't exactly what I had in mind for my first day down under. I mean, I'd thought about the Harbour Bridge or Bondi Beach, but Minto? But still, I'm a producer, and the lure of a site-specific theater project was more than I could resist. (Laughter)
Kakvo je ovo mesto zvano Minto? Sidnej, kako sam shvatio, jeste grad predgrađa i Minto se nalazi na jugozapadu, udaljen oko sat vremena. Moram da priznam, ovo nije bilo ono što sam imao na umu za moj prvi dan "tamo dole". Mislim, razmišljao sam o mostu Harbor ili plaži Bondi, ali Minto? Ali ipak, ja sam producent, i dražima pozorišnog projekta vezanog za lokaciju nisam mogao da odolim. (Smeh)
So, off I went into Friday afternoon traffic, and I'll never forget what I saw when I got there. For the performance, the audience walked around the neighborhood from house to house, and the residents, who were the performers, they came out of their houses, and they performed these autobiographical dances on their lawns, on their driveways. (Laughter) The show is a collaboration with a U.K.-based performance company called Lone Twin. Lone Twin had come to Minto and worked with the residents, and they had created these dances.
Dakle, krenuo sam kroz popodnevni saobraćaj, i nikada neću zaboraviti ono što sam video kad sam stigao tamo. Tokom izvođenja, ljudi su hodali kroz susedstvo od kuće do kuće, a stanovnici, koji su bili izvođači, izlazili su iz svojih kuća i izvodili autobiografske plesove na svojim travnjacima, na svojim prilazima. (Smeh) Predstava je saradnja sa britanskom pozorišnom trupom pod nazivom "Lone Twin". "Lone Twin" su došli u Minto i sarađivali sa stanovnicima i oni su stvorili ove plesove.
This Australian-Indian girl, she came out and started to dance on her front lawn, and her father peered out the window to see what all the noise and commotion was about, and he soon joined her. And he was followed by her little sister. And soon they were all dancing this joyous, exuberant dance right there on their lawn. (Laughter)
Jedna australoindijka je izašla i počela da igra na travnjaku ispred kuće, a njen otac je provirio kroz prozor da vidi odakle dopire sva ta buka i zbrka, i uskoro joj se pridružio. Zatim im se pridružila i njena mlađa sestra. I uskoro su svi plesali ovaj radosni, veseli ples tu, na njihovom travnjaku. (Smeh)
And as I walked through the neighborhood, I was amazed and I was moved by the incredible sense of ownership this community clearly felt about this event. "Minto: Live" brought Sydneysiders into dialogue with international artists, and really celebrated the diversity of Sydney on its own terms.
I dok sam išao kroz susedstvo, bio sam zadivljen i dirnut neverovatnim osećajem posedovanja koji je ova zajednica osećala prema ovom događaju. "Minto: Uživo" doveo je građane Sidneja u dijalog sa internacionalnim umetnicima i stvarno slavio raznolikost Sidneja na svoj način.
The Sydney Festival which produced "Minto: Live" I think represents a new kind of 21st-century arts festival. These festivals are radically open. They can transform cities and communities.
Mislim da sidnejski festival koji je producirao "Minto: Uživo" predstavlja novu vrstu umetničkog festivala 21. veka. Ovi festivali su radikalno otvoreni. Oni mogu da transformišu gradove i zajednice.
To understand this, I think it kind of makes sense to look where we've come from. Modern arts festivals were born in the rubble of World War II. Civic leaders created these annual events to celebrate culture as the highest expression of the human spirit. In 1947, the Edinburgh Festival was born and Avignon was born and hundreds of others would follow in their wake. The work they did was very, very high art, and stars came along like Laurie Anderson and Merce Cunningham and Robert Lepage who made work for this circuit, and you had these seminal shows like "The Mahabharata" and the monumental "Einstein on the Beach."
Da bismo ovo razumeli, smatram da ima smisla da pogledamo odakle potičemo. Moderni umetnički festivali nikli su iz ruševina Drugog svetskog rata. Vođe naroda stvorile su ove godišnje događaje da bi slavili kulturu kao najviši izraz ljudskog duha. 1947. godine nastao je edinburški festival i nastao je avinjonski i stotine drugih nastalo je posle njih. Oni su stvarali veoma, veoma visoku umetnost, i pojavile su se zvezde kao što su Lori Anderson i Mers Kaninghem i Robert Lapaž koji su radili u ovom krugu pozorišta, i nastale su poznate predstave kao što je "Mahabharata" i monumentalni "Ajnštajn na plaži".
But as the decades passed, these festivals, they really became the establishment, and as the culture and capital accelerated, the Internet brought us all together, high and low kind of disappeared, a new kind of festival emerged.
Ali, kako su decenije prolazile, ovi festivali postali su deo establišmenta i kako su se kultura i kapital uvećavali, internet nas je spojio, visoko i nisko je na neki način nestalo i nova vrsta festivala je nastala.
The old festivals, they continued to thrive, but from Brighton to Rio to Perth, something new was emerging, and these festivals were really different. They're open, these festivals, because, like in Minto, they understand that the dialogue between the local and the global is essential. They're open because they ask the audience to be a player, a protagonist, a partner, rather than a passive spectator, and they're open because they know that imagination cannot be contained in buildings, and so much of the work they do is site-specific or outdoor work.
Stari festivali nastavili su da napreduju, ali od Brajtona preko Rija do Perta, nešto novo se rađalo, i ovi festivali zaista su bili drugačiji. Oni su otvoreni zato što, kao u Mintu, shvataju da je dijalog između lokalnog i globalnog od suštinske važnosti. Otvoreni su jer traže da publika bude učesnik, protagonista, partner, pre nego pasivan posmatrač i otvoreni su jer znaju da mašta ne može biti zatvorena u zgradama i veliki deo njihovog rada je rad na otvorenom ili vezan za lokaciju.
So, the new festival, it asks the audience to play an essential role in shaping the performance. Companies like De La Guarda, which I produce, and Punchdrunk create these completely immersive experiences that put the audience at the center of the action, but the German performance company Rimini Protokoll takes this all to a whole new level. In a series of shows that includes "100 Percent Vancouver," "100 Percent Berlin," Rimini Protokoll makes shows that actually reflect society. Rimini Protokoll chooses 100 people that represent that city at that moment in terms of race and gender and class, through a careful process that begins three months before, and then those 100 people share stories about themselves and their lives, and the whole thing becomes a snapshot of that city at that moment. LIFT has always been a pioneer in the use of venues. They understand that theater and performance can happen anywhere. You can do a show in a schoolroom, in an airport, — (Laughter) — in a department store window.
Dakle, ovaj novi tip festivala traži od publike da igra najvažniju ulogu u oblikovanju izvođenja. Trupe kao što su De La Guarda, koju ja produciram i Punchdrunk, stvaraju ova kompletno sveobuhvatna iskustva koja publiku stavljaju u centar zbivanja, ali nemačka pozorišna trupa Rimini Protokoll podigla je sve ovo na viši nivo. U nizu predstava u koje spadaju "Sto posto Vankuver", "Sto posto Berlin", Rimini Protokoll pravi predstave koje oslikavaju društvo. Rimini Protokoll bira sto ljudi koji predstavljaju taj grad u tom trenutku u pogledu rase, pola i klase, kroz pažljiv proces koji počinje tri meseca ranije i onda tih sto ljudi deli priče o njima samima i njihovim životima i sve to postaje slika tog grada u tom trenutku. LIFT je uvek bio pionir u upotrebi lokacija. Oni razumeju da pozorište i performans mogu da se odigraju bilo gde. Predstava se može izvesti u učionici, na aerodromu - (Smeh) - u izlogu tržnog centra.
Artists are explorers. Who better to show us the city anew? Artists can take us to a far-flung part of the city that we haven't explored, or they can take us into that building that we pass every day but we never went into.
Umetnici su istraživači. Ko može bolje da nam pokaže grad iznova i iznova? Umetnici nas mogu odvesti u udaljene delove grada koje nismo isražili ili nas mogu uvesti u onu zgradu pored koje prolazimo svakog dana ali u koju nikada nismo ušli.
An artist, I think, can really show us people that we might overlook in our lives. Back to Back is an Australian company of people with intellectual disabilities. I saw their amazing show in New York at the Staten Island Ferry Terminal at rush hour. We, the audience, were given headsets and seated on one side of the terminal. The actors were right there in front of us, right there among the commuters, and we could hear them, but we might not have otherwise seen them. So Back to Back takes site-specific theater and uses it to gently remind us about who and what we choose to edit out of our daily lives.
Mislim da umetnik može stvarno da nam pokaže ljude koje možda ne primećujemo u svojim životima. Back to Back je australijsko udruženje ljudi sa intelektualnim invaliditetom. Video sam njhovu izuzetnu predstavu u Njujorku na pristaništu za trajekte na Steten Ajlendu u vreme najvećeg prometa. Mi, publika, dobili smo slušalice i sedeli smo na jednoj strani pristaništa. Glumci su bili tačno ispred nas, baš tu među putnicima i mogli smo da ih čujemo, ali ih inače možda ne bismo videli. Dakle, Back to Back koristi pozorište vezano za lokaciju da nas suptilno podseti koga i šta biramo da izbacimo iz svog svakodnevnog života.
So, the dialogue with the local and the global, the audience as participant and player and protagonist, the innovative use of site, all of these things come to play in the amazing work of the fantastic French company Royal de Luxe. Royal de Luxe's giant puppets come into a city and they live there for a few days.
Dakle, dijalog sa lokalnim i globalnim, publika kao učesnik i glumac i protagonista, inovativna upotreba lokacije, sve ove stvari ulaze u zadivljujući rad fantastične francuske trupe Royal de Luxe. Ogromne lutke Royal de Luxe-a dolaze u grad i tu žive nekoliko dana.
For "The Sultan's Elephant," Royal de Luxe came to central London and brought it to a standstill with their story of a giant little girl and her friend, a time-traveling elephant. For a few days, they transformed a massive city into a community where endless possibility reigned. The Guardian wrote, "If art is about transformation, then there can be no more transformative experience. What 'The Sultan's Elephant' represents is no less than an artistic occupation of the city and a reclamation of the streets for the people."
Za "Sultanovog slona" Royal de Luxe su došli u centralni London i zaustavili saobraćaj pričom o ogromnoj devojčici i njenom prijatelju, slonu koji putuje kroz vreme. Na nekoliko dana, transformisali su ogromni grad u zajednicu kojom su vladale beskonačne mogućnosti. "Gardijan" je obajvio: "Ako je umetnost transformacija, onda ne postoji iskustvo koje u većoj meri transformiše. Ono što "Sultanov slon" predstavlja je umetnička okupacija grada i zauzimanje ulica u ime naroda."
We can talk about the economic impacts of these festivals on their cities, but I'm much [more] interested in many more things, like how a festival helps a city to express itself, how it lets it come into its own. Festivals promote diversity, they bring neighbors into dialogue, they increase creativity, they offer opportunities for civic pride, they improve our general psychological well-being. In short, they make cities better places to live.
Možemo pričati o ekonomskim uticaju ovih festivala na njihove gradove, ali ja sam mnogo više zainteresovan za mnoge druge stvari, kao, na primer, kako festival pomaže gradu da se izrazi, kako mu omogućava da dođe na svoje. Festivali promovišu raznolikost, dovode susede u dijalog, povećavaju kreativnost, nude mogućnosti za građanski ponos, oni unapređuju naše generalno blagostanje. Ukratko, oni čine gradove boljim mestima za život.
Case in point: When "The Sultan's Elephant" came to London just nine months after 7/7, a Londoner wrote, "For the first time since the London bombings, my daughter called up with that sparkle back in her voice. She had gathered with others to watch 'The Sultan's Elephant,' and, you know, it just made all the difference." Lyn Gardner in The Guardian has written that a great festival can show us a map of the world, a map of the city and a map of ourselves, but there is no one fixed festival model. I think what's so brilliant about the festivals, the new festivals, is that they are really fully capturing the complexity and the excitement of the way we all live today. Thank you very much. (Applause)
Konkretan primer: kada je "Sultanov slon" došao u London samo devet meseci posle 7. jula, građanin Londona je napisao: "Po prvi put posle bombardovanja Londona, mojoj ćerki se javila ona iskra u glasu. Sastala se sa ostalima da gledaju "Sultanovog slona" i znate, to je imalo ogroman uticaj." Lin Gardner iz "Gardijana" napisala je da dobar festival može da posluži kao mapa sveta, mapa grada i mapa nas samih, ali da ne postoji fiksni model festivala. Mislim da je ono što je tako sjajno kod festivala, novih festivala, to što oni u potpunosti prikazuju složenost i uzbudljivost načina na koji živimo u današnje vreme. Hvala vam puno. (Aplauz)