Amfiteater最新文献

{"title":"THE GENERATOR:: for Any Number of Staged Readings","authors":"Varja Hrvatin, Maša Radi Buh, Jakob Ribič","doi":"10.51937/amfiteater-2023-1/188-201","DOIUrl":"https://doi.org/10.51937/amfiteater-2023-1/188-201","url":null,"abstract":"In the paper, the authors discuss the concept of staged readings, arguing that they are the predominant performance format for presentations of young playwriting. However, such presentations should not be understood as an intermediate stage between reading and performing but as a fully-fledged and independent artistic genre. Many staged readings thus lose the function of “first information” about the text and its author. Instead, they have become a proper way of performing a text, thus opening up a wider area for theatrical experimentation. Using concrete examples, the authors will reflect on practices characterised by the text becoming the main or even the only thing necessary for a theatrical event and reading (in all its possible ways and forms) becoming the key theatrical means.","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":"47047479","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}

{"title":"Silent Characters: Women Playwrights, Women’s Writing and the Representation of Woman(liness) in the Slovenian Drama Experiment (1966–1986)","authors":"Nina Leskovšek","doi":"10.51937/amfiteater-2023-1/292-311","DOIUrl":"https://doi.org/10.51937/amfiteater-2023-1/292-311","url":null,"abstract":"The paper begins by analysing the ideas, themes and motifs of the theatre texts from the anthology The Generator:: for Manufacturing Any Number of Drama Complexes (Slovenian Experimental Dramatic and Performative Texts from the Modernist Period (1966–1986)). It aims to shed light on the anthology’s selected texts through the female perspective, or rather, its absence. It deals with the consequences that the absence of awareness about the lack of a female perspective in Slovenian drama can have on the representation of women and woman(liness). The paper explores such representations in Slovenian (experimental) drama and raises awareness about the possible effects of patriarchal ideology and its consequences by analysing the plays’ ideas, themes and motifs. In doing so, it pays special attention to the difference between men’s and (rare) women’s playwriting. The texts from The Generator are taken merely as a case study to indicate the presence of particular symptoms in Slovenian (experimental) drama within the anthology’s given period. The paper briefly highlights the differences in the representation of woman(liness) from a broader developmental perspective, from a temporal distance, in the form of a comparative analysis of contemporary women’s playwriting, specifically, Simona Hamer’s 2010 play Nemi lik (The Silent Character).","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":"44807913","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}

{"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":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45729841","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}

{"title":"GENERATOR:: za poljubno število bralnih uprizoritev","authors":"Varja Hrvatin, Maša Radi Buh, Jakob Ribič","doi":"10.51937/amfiteater-2023-1/174-187","DOIUrl":"https://doi.org/10.51937/amfiteater-2023-1/174-187","url":null,"abstract":"V pričujočem prispevku bomo obravnavali koncept bralnih uprizoritev. Ugotavljali bomo, da gre v polju mlade dramske pisave za prevladujoč uprizoritveni format, ki pa ga ne gre razumeti kot vmesno stopnjo med branjem in uprizarjanjem, temveč kot povsem samostojen in polnokrven umetniški žanr. Mnoge bralne uprizoritve so zato opustile funkcijo »prve informacije« o tekstu in njegovem avtorju ter namesto tega postale čisto prava uprizoritev teksta, s čimer se je odprlo široko polje za gledališki eksperiment. To bomo premišljevali na primeru konkretnih praks, za katere je značilno, da besedilo postane glavno ali celo edino, kar je za gledališki dogodek potrebno, branje (na vse mogoče načine in oblike) pa zato ključno gledališko sredstvo.","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":"48715408","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}

{"title":"Uprizoritvena pisava: na strani, okoli nje in zunaj nje","authors":"B. Jakovljević","doi":"10.51937/amfiteater-2023-1/18-34","DOIUrl":"https://doi.org/10.51937/amfiteater-2023-1/18-34","url":null,"abstract":"Pojav novih oblik uprizoritvenih pisav v šestdesetih in sedemdesetih letih prejšnjega stoletja sicer ni odpravil tradicionalnih dramskih oblik, je pa korenito spremenil vlogo besedilnosti v gledališču. V članku zagovarjamo tezo, da je uprizoritvena pisava, osvobojena pravil dramske pisave in celo sintakse ter gramatike, v besedilno produkcijo vnesla ilokacijsko logiko. Članek zaključimo s preliminarnim razmislekom o razlikah med eksperimentalnimi strategijami pisave in najnovejšimi oblikami umetne inteligence za generiranje besedil.","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":"47643005","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}

{"title":"Disputation on the Five Paradoxes of “Toilet Poetry” with a Prologue and an Epilogue","authors":"Krištof Jacek Kozak","doi":"10.51937/amfiteater_2023_1/216-230","DOIUrl":"https://doi.org/10.51937/amfiteater_2023_1/216-230","url":null,"abstract":"Among the works of Taras Kermauner, probably the biggest expert on Slovenian drama and its first theoretician, one can also find a single dramatic experiment: a courtroom debate on the value of avant-garde poetry, based on the case of the accusation against the poet Tomaž Šalamun. While Kermauner develops the genre of judicial disputation in a theatrically fitting and interesting way, he undermines the disputation with an anticlimactic, anti-dramatic conclusion that postpones the decision on the matter to another space-time. A closer examination of the text reveals several conceptual inconsistencies that can be better understood as paradoxes. Thus, the five points that might be defined as paradoxical could be traced in the text itself concerning substantive categories such as the essence of art, the meaning of a nation for art, art and Marxism, and life as the supreme aesthetic category, while the last paradox is a more formal one, since the courtroom debate, with its conclusion, does not reach any point whatsoever. Regardless of the sufficiently clear and pointed presentation of the positions of the two protagonists, the Prosecutor and the Defender, Kermauner decides, rather than escalating the conflict to a (theatrical) climax, to dilute the disputation based on the inclusion of the audience and the conclusion that the latter, in its role as jury, cannot decide for either side. The (dis)solution of the dilemma of the (national, artistic) quality of avant-garde poetry is thus left – despite the fireworks of Kermauner’s theatrical courtroom debate – to the future and literary theory.","PeriodicalId":34446,"journal":{"name":"Amfiteater","volume":"142 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":"136299973","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}

{"title":"Silent Characters: Women Playwrights, Women’s Writing and the Representation of Woman(liness) in the Slovenian Drama Experiment (1966–1986)","authors":"Nika Leskovšek","doi":"10.51937/amfiteater_2023_1/292-311","DOIUrl":"https://doi.org/10.51937/amfiteater_2023_1/292-311","url":null,"abstract":"The paper begins by analysing the ideas, themes and motifs of the theatre texts from the anthology The Generator:: for Manufacturing Any Number of Drama Complexes (Slovenian Experimental Dramatic and Performative Texts from the Modernist Period (1966–1986)). It aims to shed light on the anthology’s selected texts through the female perspective, or rather, its absence. It deals with the consequences that the absence of awareness about the lack of a female perspective in Slovenian drama can have on the representation of women and woman(liness). The paper explores such representations in Slovenian (experimental) drama and raises awareness about the possible effects of patriarchal ideology and its consequences by analysing the plays’ ideas, themes and motifs. In doing so, it pays special attention to the difference between men’s and (rare) women’s playwriting. The texts from The Generator are taken merely as a case study to indicate the presence of particular symptoms in Slovenian (experimental) drama within the anthology’s given period. The paper briefly highlights the differences in the representation of woman(liness) from a broader developmental perspective, from a temporal distance, in the form of a comparative analysis of contemporary women’s playwriting, specifically, Simona Hamer’s 2010 play Nemi lik (The Silent Character).","PeriodicalId":34446,"journal":{"name":"Amfiteater","volume":"113 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":"136299986","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}

{"title":"Sodobna dramatika in vprašanje dediščine neoavantgarde šestdesetih in sedemdesetih let","authors":"Gašper Troha","doi":"10.51937/amfiteater_2023_1/104-122","DOIUrl":"https://doi.org/10.51937/amfiteater_2023_1/104-122","url":null,"abstract":"Sodobna dramatika je do neke mere dedinja neoavantgarde s konca šestdesetih in iz sedemdesetih let prejšnjega stoletja. Takrat se je namreč zgodil t. i. performativni obrat, ki je gledališče potegnil stran od reprezentacije k prezentaciji. Razvoj, ki je sledil, označujemo z različnimi oznakami, npr. postdramsko gledališče, estetika performativnega, v primeru dramskih besedil pa kot ne več dramski gledališki tekst, gledališče »u fris« ipd. Tudi na Slovenskem se je konec šestdesetih let zgodil odločilen zasuk od besedila k dogodku. Takrat so nastali prvi hepeningi in performansi, ob Pupiliji pa je Veno Taufer razglasil kar smrt literarnega gledališča. Na prvi pogled se torej zdi, da sodobna dramska pisava ponavlja prejšnje vzorce. Da morda radikalneje ubeseduje jezikovne in estetske igre, dekonstruira dramsko formo in torej radikalizira nastavke neoavantgard, a vendar v zadnjih dveh desetletjih govorimo o vračanju k dramskemu, o postpostdramskem, o (spet) dramskih tekstih itd. S primerjalno analizo dveh radikalnejših besedil iz zbornika Generator:: za proizvodnjo poljubnega števila dramskih kompleksov (Sinopsis za happening Hlapci Dušana Jovanovića in Generator, ki iz določenih enot in po preprostih pravilih proizvaja poljubno število dramskih kompleksov Rastka Močnika) ter dveh besedil Simone Semenič in Varje Hrvatin (mi, evropski mrliči in Vse se je začelo z golažem iz zajčkov) razprava pokaže, da gre pri neoavantgardah za vprašanje gledališke uprizoritve in forme dramskega teksta, pri sodobni dramatiki pa bolj za način iskanja avtentičnosti in dramatičnih učinkov.","PeriodicalId":34446,"journal":{"name":"Amfiteater","volume":"365 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":"136299987","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}

{"title":"Contemporary Drama and the Question of the Neo-avant-garde Legacy of the 1960s and 1970s","authors":"Gašper Troha","doi":"10.51937/amfiteater-2023-1/124-145","DOIUrl":"https://doi.org/10.51937/amfiteater-2023-1/124-145","url":null,"abstract":"To some extent, contemporary drama is the heir of the neo-avant-garde of the late 1960s and 1970s. This time was that of the so-called performative turn, which pulled theatre away from representation and towards presentation. The subsequent development can be designated by various labels, such as postdramatic theatre, the aesthetics of the performative and, in the case of dramatic texts, the no longer dramatic theatre text, “In-Yer-Face” theatre, etc. In Slovenia, a decisive turn from text to event took place towards the end of the 1960s. During this time, the first happenings and performance art pieces were taking place. In reviewing the performance Pupilija, papa Pupilo pa Pupilčki (Pupillja, Papa Pupilo and the Pupilceks), Veno Taufer went as far as to declare the death of literary theatre. At first glance, it would thus appear that contemporary playwriting is merely repeating earlier patterns. While contemporary playwriting may more radically formulate linguistic and aesthetic games, it deconstructs the dramatic form and thus radicalises the premises of the neo-avant-gardes; in the last two decades, we have been talking about a return to dramatic, post-postdramatic and dramatic drama, etc. Through a comparative analysis of two of the more radical texts from Blaž Lukan’s anthology Generator:: za proizvodnjo poljubnega števila dramskih kompleksov (The Generator:: for Manufacturing Any Number of Drama Complexes), namely Dušan Jovanović’s Sinopsis za happening Hlapci (Synopsis for The Happening of Lackeys) and Rastko Močnik’s Generator, ki iz določenih enot in po preprostih pravilih proizvaja poljubno število dramskih kompleksov (A Generator that Produces Any Number of Drama Complexes from Given Units and According to Simple Rules) as well as Simona Semenič’s mi, evropski mrliči (we, the european corpses) and Varja Hrvatin’s Vse se je začelo z golažem iz zajčkov (It All Started with the Bunny Rabbit Goulash), the paper shows that the neo-avant-garde is more about the question of theatrical performances and the form of the dramatic text, while contemporary drama is more about the search for authenticity and dramatic effects.","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":"48561465","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}

{"title":"Performance Writing: On, Around and Off the Page","authors":"Branislav Jakovljević","doi":"10.51937/amfiteater_11_1/36-52","DOIUrl":"https://doi.org/10.51937/amfiteater_11_1/36-52","url":null,"abstract":"While the emergence of new forms of performance writing in the 1960s and 1970s did not eliminate traditional forms of drama, they radically transformed the role of textuality in the theatre. This article argues that when liberated from the rules of dramatic writing and even syntax and grammar, performance writing brings an illocationary logic into textual production. The article concludes with a preliminary consideration of differences between experimental writing strategies and the latest text-generating AI.","PeriodicalId":34446,"journal":{"name":"Amfiteater","volume":"28 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":"136299981","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}