Atelje 212

Pozorište Atelje 212 je započelo svoj život 12. novembra 1956. godine, premijernim koncertnim izvođenjem Geteovog “Fausta” u režiji Mire Trailović, u kome su igrali Marija Crnobori, Mata Milošević, Viktor Starčić i Ljubiša Jovanović, u maloj sali stare zgrade “Borbe” u kojoj je bilo samo 212 stolica u gledalištu.
Pojava Ateljea 212 značila je prekretnicu u pozorišnom životu ne samo Beograda, već i ovog dela Evrope. Atelje je osnovan kao pozorište u kome bi se igrala nova avangardna drama, od velikog uticaja u Evropi u to vreme. Osim toga, želeli su da osnuju pozorište koje će se i organizaciono razlikovati od postojećih, koje pre svega neće biti institucija. U traganju za pogodnim prostorom u kome bi realizovali svoju ideju otkrili su čitaonicu novinske kuće „Borba“, a Borislav Mihajlović Mihiz nazvao je novo pozorište: Atelje 212. Publika je tog 12. novembra 1956. aplaudirala, a javnost je bila blagonaklona prema ovom neobičnom pozorištu s neobično izvođenim predstavama.
Tokom 54 godine koje su usledile, Atelje 212 je kroz svoje predstave, pisce i reditelje, a naročito kroz svoje velike glumce, izraslo u jedno od najznačajnijih pozorišta sa ovih prostora.
Atelje 212 je bilo prvo pozorište u Istočnoj Evropi koje je igralo “Čekajući Godoa”, Semjuela Beketa, 1956. godine. Veliki uspeh ove predstave omogućio je čitavom nizu drugih avangardnih drama i autora da se pojave u pozorištu. Sartr, Fokner, Jonesko, Kami, Pinter, Adamov, Ruževič, Džojs, Žari, T.S. Eliot, Vitrak, Šizgal, Kopit, Žene, prvi put su prikazani na ovoj sceni pred jugoslovenskom publikom. Pozorište Atelje 212 je otkrivalo i nove domaće pisce i igralo komade Brane Crnčevića, Aleksandra Popovića, Dušana Kovačevića…
Dugogodišnji upravnik Ateljea bila je Mira Trailović, koja je zajedno sa Jovanom Ćirilovim inicirala osnivanje jednog od najvećih evropskih pozorišnih festivala, BITEF, koji je nastao 1967. godine u Ateljeu 212, i traje preko četiri decenije.Poslednjih sezona nametnulo se kao lider regionalne saradnje i uspostavljanja jedinstvenog kulturnog prostora i obeležilo je svojim uspesima pozorišni život i Beograda i čitavog prostora bivše Jugoslavije
Posle Mire Trailović na čelo Ateljea 212 dolazi Ljubomir Draškić, koji je u pozorištu, kao mladi reditelj, gotovo od samog osnivanja. Za dvanaest godina, koliko je bio upravnik, pozorište proširuje svoj glumački ansambl mladim umetnicima, i dobija novu zgradu. Atelje 212 1992. godine u adaptiranoj zgradi postaje jedno od najsavremenije opremljenih pozorišta na Balkanu. Velika scena (scena „Mira Trailović) ima 385 mesta u gledalištu, a Teatar u podrumu (scena „Petar Kralj“) 141.
Peti upravnik Ateljea 212 bio je Nebojša Bradić, koji se na toj funkciji zadržao vrlo kratko (ni celu jednu sezonu). Svetozar Cvetković, glumac i dugogodišnji član ansambla ove kuće, bio je 12 godina upravnik Ateljea 212 (od 1997. do 2009.). Kokan Mladenović, pozorišni reditelj, vodio je pozorište od 2009. do 2012. godine. Dramaturg i književnik Ivana Dimić bila je v.d. direktor od 2012. do septembra 2014. godine, a sadašnji direktor je Branimir Brstina, glumac i dugogodišnji član ansambla.
Danas Atelje 212 ima stalni ansambl od 30 glumaca, ali je otvoren i za one umetnike koji nisu stalno vezani za ovo pozorište. Najveća glumačka imena i dalje igraju na sceni Ateljea 212, a najbolji domaći i internacionalni reditelji rade u ovoj kući. Na sceni Ateljea 212 igraju se nove drame savremenih domaćih i stranih autora, kojima pozorište daje svoj, vrlo prepoznatljiv pečat. Tokom 58 godina svog postojanja, Atelje 212 je izraslo u jedno od najznačajnijih pozorišta sa ovih prostora. Poslednjih sezona nametnulo se kao lider regionalne saradnje i obeležilo je svojim uspesima pozorišni život Beograda, Srbije, ali i bivše Jugoslavije. Atelier 212 Theatre began its life on November 12, 1956, premiere concert performance of Goethe's "Faust" directed by Mira Trailović, in which they played Mary Crnobori, Mata Milošević, Viktor Starčić and Ljubisa Jovanovic, in the small hall of the old building "Borba" in which there were only 212 chairs in the auditorium.
The appearance of Atelier 212 meant a turning point in the theater life not only Belgrade, but this part of Europe. The studio was founded as a theater in which to play a new avant-garde drama of a great influence in Europe at that time. In addition, they wanted to create theater that will be organizationally differentiated from existing ones, which will be primarily institutions. In search of suitable space in which to realize his idea discovered reading newspaper company "Borba", and Borislav Mihajlovic Mihiz called the new theater: Atelier 212. The crowd on the 12th of November 1956, applauded, and the public was well-disposed towards this unusual theater with unusual performed opera.
During the 54 years that followed, Atelier 212 through their performances, writers and directors, particularly through its great actor, has grown into one of the most important theaters in this region.
Atelier 212 was the first theater in Eastern Europe to play "Waiting for Godot" by Samuel Beckett, 1956. The great success of this play has enabled a variety of other avant-garde dramas and authors to be staged in the theater. Sartre, Faulkner, Ionesco, Camus, Pinter, Adamov, Ruževič, Joyce, Grills, TS Eliot, Vitrac, Schisgal, hooves, Women, was first performed on this stage before the Yugoslav audience. Atelier 212 was discovered new domestic writers and played the songs ending with, Aleksandar Popovic, Dusan Kovacevic ...
A long-time manager of Atelier was Mira Trailović, which together with Art Foundation initiated the establishment of one of the greatest European theater festivals, BITEF, which was created in 1967 at Atelier 212, and runs over four seasons decenije.Poslednjih imposed itself as the leader of regional cooperation and establishing a unique cultural space and marked by their successes and theatrical life of Belgrade and the entire territory of the former Yugoslavia
After Mira Trailović head of Atelier 212 Ljubomir Draškić, which is in the theater as a young director, almost since its foundation. For twelve years I was manager Theater extended its theater company with young artists, and got a new building. Atelier 212 in 1992 in a reconstructed building, has become one of the best equipped theaters in the Balkans. Great scenes (scenes "Mira Trailović) has 385 seats in the auditorium, a basement theater (stage" Petar Kralj ") 141st
Fifth manager of Atelier 212 was Nebojsa Bradic, who was in office kept very short (not an entire season). Svetozar Cvetkovic, actor and longtime member of the ensemble of the house, he was 12 years old manager of Atelier 212 (1997 to 2009). Kokan Mladenovic, theater director, led the theater from 2009 to 2012. Playwright and writer Ivana Dimic was acting Director from 2012 to September 2014, and the current director is Branimir Brstina, actor and longtime member of the ensemble.
Today, Studio 212 has a permanent ensemble of 30 actors, but is open to artists who are not permanently attached to the theater. The greatest actors still play on the stage of Atelier 212, and the best domestic and international directors work in this house. At Atelier 212, the new dramas of contemporary domestic and foreign authors, which gives his theater, very recognizable stamp. During the 58 years of its existence, Studio 212 has grown into one of the most important theaters in this region. Last season he emerged as a leader of regional cooperation and celebrated the success of its theatrical life of Belgrade, Serbia, and the former Yugoslavia.