Amfiteater最新文献

Uvodnik 社论

Amfiteater Pub Date : 2024-02-01 DOI: 10.51937/amfiteater-2023-2/9-10

Maja Murnik

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Uvodnik 翻译

Amfiteater Pub Date : 2023-08-25 DOI: 10.51937/amfiteater-2023-1/9-14

Gašper Troha, Maja Murnik

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GENERATOR:: za poljubno število bralnih uprizoritev 生成器：：适用于任意数量的阅读表演

Amfiteater Pub Date : 2023-06-30 DOI: 10.51937/amfiteater_2023_1/174-187

Varja Hrvatin, Maša Radi Buh, Jakob Ribič

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Darijan Božič’s Musical Theatre Opus in the Context of the Slovenian Musical Theatre Scene: An Escape into the LiteraryDramatic in Opposition to the Desire for the Institutional Darijan Božič的音乐剧作品在斯洛文尼亚音乐剧场景的背景下：逃离文学戏剧反对对制度的渴望

Amfiteater Pub Date : 2023-06-30 DOI: 10.51937/amfiteater-2023-1/252-272

G. Pompe

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Deconstructions of the Opposition Between Representation and Presentation from the Neo-avant-garde to the Post-millennium: From Pupilija, Jesih and Jovanović to Zupančič, Živadinov, Frljić, Semenič and Divjak 从新先锋派到后千年对表现与呈现对立的解构：从Pupilija、Jesih和Jovanović到Zupančič、živadinov、Frljić、Semenič和Divjak

Amfiteater Pub Date : 2023-06-30 DOI: 10.51937/amfiteater-2023-1/78-103

Tomaž Toporišič

{"title":"Deconstructions of the Opposition Between Representation and Presentation from the Neo-avant-garde to the Post-millennium: From Pupilija, Jesih and Jovanović to Zupančič, Živadinov, Frljić, Semenič and Divjak","authors":"Tomaž Toporišič","doi":"10.51937/amfiteater-2023-1/78-103","DOIUrl":"https://doi.org/10.51937/amfiteater-2023-1/78-103","url":null,"abstract":"The essay focuses on selected examples of the deconstruction of the opposition between representation and presentation, characteristic of post-mimetic art from the neo-avantgarde to the post-millennium. It discusses the authors who have been deconstructing the concept of drama and inventing new forms of redramatisation and post-dramatic intermediality from the 1960s to the present day. Despite persistently creating disruptions in the fictional textual cosmos, particular authors – such as Peter Handke in Offending the Audience, the group Pupilija Ferkeverk in Pupilija, Papa Pupilo and the Pupilceks, Dušan Jovanović in Monument G and Play a Tumour in the Head and Air Pollution, Milan Jesih in Limits and The Bitter Fruits of Justice, Matjaž Zupančič in The Corridor and other plays, Dragan Živadinov and his team in Supremat and other farewell rituals, Oliver Frljić in Damned be the Traitor of His Homeland, Simona Semenić in 1981, and Žiga Divjak and Katarina Morano in various projects – establish a strong process of redramatisation in their theatrical texts and performances. It is as if, alongside the deconstruction of drama, they inject dramatic and theatrical elements into the post-dramatic process of staging and writing. Thus, post-mimetic art coexists with pre-mimetic art, as this “stripping down” of the representativity of drama led to the establishment of fiction.","PeriodicalId":34446,"journal":{"name":"Amfiteater","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47573564","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Performing Literature and Staged Readings 表演文学和舞台阅读

Amfiteater Pub Date : 2023-06-30 DOI: 10.51937/amfiteater_2023_1/160-172

Barbara Orel

{"title":"Performing Literature and Staged Readings","authors":"Barbara Orel","doi":"10.51937/amfiteater_2023_1/160-172","DOIUrl":"https://doi.org/10.51937/amfiteater_2023_1/160-172","url":null,"abstract":"In 2005, on the initiative of playwright Simona Semenič and in close collaboration with performing arts theorist Rok Vevar, a group of playwrights and dramaturgs founded PreGlej within the Glej Theatre in Ljubljana, Slovenia. The group confronted the issues of playwriting and, within a few years, established a platform for the creation, development and international exchange of dramatic writing. Their work was committed to establishing the conditions necessary for creating dramatic texts. To this end, they used the form of staged readings – not only as a public presentation of dramatic plays but as a method for developing drama, bringing drama as a work in progress. The article shows that this kind of playwriting practice on Slovenian stages has its precursors in the experimental theatre practices of the 1960s and 1970s (as applied by the neo-avant-garde groups of poets 441/442/443, Nomenklatura and LKB – Literarni klub Branik, as well as in the performances of writers presenting their literary works at the Pekarna Theatre). Poets and writers staged their works, which were not primarily intended to be performed, creating theatrical forms of writing for the stage, which fit neither the conventions of drama nor the tradition of theatre. The staging of literature and staged readings are discussed in the context of performance writing, which characterises the multiple relationships between writing and performance, focusing on the process of writing as a performative act.","PeriodicalId":34446,"journal":{"name":"Amfiteater","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136299980","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

THE GENERATOR:: for Any Number of Staged Readings 发生器:用于任意数量的分段读数

Amfiteater Pub Date : 2023-06-30 DOI: 10.51937/amfiteater_2023_1/188-201

Varja Hrvatin, Maša Radi Buh, Jakob Ribič

引用次数: 0

Disput o petih paradoksih »poezije stranišča« s prologom in epilogom 论“厕所诗”的五大悖论

Amfiteater Pub Date : 2023-06-30 DOI: 10.51937/amfiteater-2023-1/202-215

Krištof Jacek Kozak

{"title":"Disput o petih paradoksih »poezije stranišča« s prologom in epilogom","authors":"Krištof Jacek Kozak","doi":"10.51937/amfiteater-2023-1/202-215","DOIUrl":"https://doi.org/10.51937/amfiteater-2023-1/202-215","url":null,"abstract":"Med deli verjetno najboljšega poznavalca slovenske dramatike in njenega prvega teoretika Tarasa Kermaunerja je mogoče najti tudi en sam dramski poskus: sodno razpravo o vrednosti avantgardistične poezije na primeru obtoženega pesnika Tomaža Šalamuna. Sicer gledališko zelo uporabno zvrst sodnega disputa Kermauner zanimivo razvije, zaključi pa jo s popolnoma antidramskim, antiklimaktičnim sklepom, s katerim preloži odločanje o stvari na drugi časoprostor. Natančnejši pregled besedila razkrije različne konceptualne nedoslednosti, ki jih je mogoče zajeti s pojmom paradoksa. V tekstu je bilo tako mogoče izslediti pet točk, ki bi jih bilo mogoče definirati kot paradoksne, in sicer zadevajo vsebinske kategorije, kot so bistvo umetnosti, vprašanja naroda za umetnost, umetnosti in marksizma ter življenja kot vrhovne estetske kategorije, zadnji paradoks pa je formalen, saj sodna razprava s svojim zaključkom izzveni popolnoma v prazno: ne glede na dovolj izrazito in ostro predstavitev stališč obeh protagonistov, Toživca in Branivca, se Kermauner odloči – namesto za stopnjevanje konflikta do (gledališkega) vrhunca – za razvodenitev disputa na podlagi vključitve občinstva in ugotovitve, da se slednje v vlogi porote ne more odločiti za nobeno od strani. (Raz)rešitev dileme o (nacionalni, umetniški) kvaliteti avantgardistične poezije tako preostane – vsej pirotehniki Kermaunerjeve gledališke sodne razprave navkljub – prihodnosti in literarni teoriji.","PeriodicalId":34446,"journal":{"name":"Amfiteater","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44038195","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Nemi liki: dramatičarke, ženska pisava in reprezentacija žensk(osti) v slovenskem dramskem eksperimentu (1966–1986) 哑巴角色：斯洛文尼亚戏剧实验中的女剧作家、女性写作和女性形象（1966-1986 年）

Amfiteater Pub Date : 2023-06-30 DOI: 10.51937/amfiteater_2023_1/274-291

Nika Leskovšek

{"title":"Nemi liki: dramatičarke, ženska pisava in reprezentacija žensk(osti) v slovenskem dramskem eksperimentu (1966–1986)","authors":"Nika Leskovšek","doi":"10.51937/amfiteater_2023_1/274-291","DOIUrl":"https://doi.org/10.51937/amfiteater_2023_1/274-291","url":null,"abstract":"Izhodišče razprave je idejna in tematsko-motivna (torej znotrajliterarna) analiza besedil iz zbornika Generator:: za proizvodnjo poljubnega števila dramskih kompleksov: slovenski eksperimentalni dramski in uprizoritveni teksti iz obdobja modernizma (1966–1986). Namen prispevka je osvetliti izbrana besedila skozi perspektivo, ki mi je med njihovim prebiranjem v Generatorju umanjkala; gre za žensko perspektivo, pravzaprav za njeno odsotnost. Prispevek se ukvarja s posledicami, ki jih lahko ima odsotnost ozaveščenosti glede manka ženske perspektive v slovenski dramatiki na reprezentacijo žensk in ženskosti, zlasti če gre za zabrisan učinek patriarhalne ideologije, ki se prikazuje kot univerzalna in merodajna izkušnja, čeprav so izkušnje drugih spolov iz nje izključene. Namen prispevka je raziskati reprezentacije žensk(osti) v slovenski dramatiki in ozavestiti morebitno učinkovanje patriarhalne ideologije ter njene posledice z idejno, tematsko in motivno analizo samih dramskih besedil. Pri tem se posebej posvetim razliki med moško in (maloštevilno) žensko dramsko pisavo. Besedila iz Generatorja vzamem zgolj kot študijo primera, da bi prikazala obstoj določenih simptomov v slovenski (eksperimentalni) dramatiki v danem časovnem obdobju (1966–1986). Razlike v reprezentaciji žensk(osti) na kratko osvetlim, razvojno gledano, tudi širše, s časovne distance, in sicer prek primerjalne analize s sodobno žensko dramsko pisavo, predvsem z dramoletom Nemi lik Simone Hamer (2010).","PeriodicalId":34446,"journal":{"name":"Amfiteater","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136299972","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Uprizarjanje literature in bralne uprizoritve 文学表演和阅读表演

Amfiteater Pub Date : 2023-06-30 DOI: 10.51937/amfiteater_2023_1/146-158

Barbara Orel

{"title":"Uprizarjanje literature in bralne uprizoritve","authors":"Barbara Orel","doi":"10.51937/amfiteater_2023_1/146-158","DOIUrl":"https://doi.org/10.51937/amfiteater_2023_1/146-158","url":null,"abstract":"Leta 2005 je skupina dramatikov in dramaturgov na pobudo dramatičarke Simone Semenič in v tesnem sodelovanju s teoretikom uprizoritvenih umetnosti Rokom Vevarjem v okviru Gledališča Glej osnovala PreGlej. Skupina se je ukvarjala s problematiko dramskega pisanja in v nekaj letih vzpostavila platformo za ustvarjanje, razvoj in mednarodno izmenjavo dramskih pisav. Njihovo delo je bilo zavezano vzpostavitvi samih pogojev za ustvarjanje dramskih besedil. S tem namenom so uporabili formo bralne uprizoritve – ne le kot javno predstavitev drame, temveč kot metodo za razvijanje drame, ki prinaša dramo kot delo v nastajanju. Članek pokaže, da ima tovrstna praksa dramskega pisanja na slovenskih odrih svoje predhodnike v eksperimentalnih gledaliških praksah šestdesetih in sedemdesetih let 20. stoletja (v izvedbi neoavantgardnih skupin pesnikov 441/442/443, Nomenklatura in LKB – Literarni klub Branik ter v nastopih pisateljev, ki so predstavljali svoja literarna dela v Pekarni). Pesniki in pisatelji so uprizarjali svoja dela, ki prvenstveno niso bila namenjena uprizarjanju, pri tem pa ustvarili teatralne oblike pisanja za oder, s katerimi so izstopali tako iz konvencij dramskega ustvarjanja kakor tudi iz tradicije gledališča. Uprizarjanje literature in bralne uprizoritve so obravnavane v kontekstu uprizoritvenega pisanja, ki označuje raznovrstna razmerja med pisavo in uprizoritvijo, pri tem pa se osredotoča na proces pisanja kot uprizoritvenega dejanja.","PeriodicalId":34446,"journal":{"name":"Amfiteater","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136299976","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0