Amfiteater最新文献

{"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":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42906235","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":"Glasbenogledališki opus Darijana Božiča v kontekstu slovenske glasbenogledališke scene – izmik v literarno-dramsko v opreki z željo po institucionalnem","authors":"Gregor Pomp","doi":"10.51937/amfiteater-2023-1/232-250","DOIUrl":"https://doi.org/10.51937/amfiteater-2023-1/232-250","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":"45530624","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":"131 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":"136300245","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":"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":"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":"136301231","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":"Formats and Potentials of Local Small Arts (Kleinkunst)","authors":"Zala Dobovšek","doi":"10.51937/amfiteater-2022-2/138-139","DOIUrl":"https://doi.org/10.51937/amfiteater-2022-2/138-139","url":null,"abstract":"The article focuses on the phenomena, developments and potentials of small arts (Kleinkunst) in the Slovenian space. Small arts are a form of artistic response that, through diverse performance genres – such as cabaret, new burlesque, improvisational theatre, stand-up, interventions in public space, contemporary circus, drag, queer and LGBTQI+ stage events – provides a social commentary on the existing traditionalist, heteronormative, patriarchal and capitalist society. The article elaborates the term small arts and its artistic and social elements and tries to identify it concretely in the local space. This broad umbrella term is characterised by the heterogeneity of its themes and aesthetics. In Slovenia, it has an even more specific undertone and position, as its development and influence are hampered by a small population. When selecting the creators of small arts, the author focused mainly on those working in the sphere of the non-governmental sector, who create continuously, have artistic credibility and are not market-oriented.","PeriodicalId":34446,"journal":{"name":"Amfiteater","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45462407","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":"Formati in potenciali lokalne »male umetnosti«","authors":"Zala Dobovšek","doi":"10.51937/amfiteater-2022-2/120-139","DOIUrl":"https://doi.org/10.51937/amfiteater-2022-2/120-139","url":null,"abstract":"Članek se osredotoča na pojave, razvoje in potenciale male umetnosti (kleinkunsta) v slovenskem prostoru. Mala umetnost kot forma umetniškega odziva, ki prek raznolikih uprizoritvenih žanrov – kot so kabaret, nova burleska, improvizacijsko gledališče, stand up, intervencije v javni prostor, sodobni cirkus ter dragovski, kvirovski in LGBTQI+ scenski dogodki – podaja družbeni komentar obstoječe tradicionalistične, heteronormativne, patriarhalne in kapitalistične družbe. Članek okvirno razdela termin male umetnosti, njene umetniške in družbene prvine ter jo poskuša tudi konkretno prepoznati v lokalnem prostoru. Ta široki krovni pojem namreč zaznamuje heterogenost tematik in estetik, v Sloveniji pa ima še toliko bolj specifičen podton in položaj, saj maloštevilna populacija ovira razvoj in vpliv male umetnosti. Pri izboru ustvarjalk in ustvarjalcev male umetnosti sem se osredotočila predvsem na tiste, ki delujejo v sferi nevladnega sektorja, ustvarjajo kontinuirano, so umetniško kredibilni in niso tržno naravnani.","PeriodicalId":34446,"journal":{"name":"Amfiteater","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45790543","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":"Kako lahko v umetnosti in teoriji interpretiramo (ne več) dramske tekste in gledališče?","authors":"Tomaž Toporišič","doi":"10.51937/amfiteater-202-2/46-49","DOIUrl":"https://doi.org/10.51937/amfiteater-202-2/46-49","url":null,"abstract":"Razprava izhaja iz teorij Gerde Poschmann o ne več dramskem tekstu za gledališče, Bruna Tackelsa o pisavah odra, Anne Monfort o neodramskem, inestetičnih premis Alaina Badiouja ter seveda postdramskega Hans-Thiesa Lehmanna z namenom raziskati procese nevarnih razmerij med dramatiko in gledališčem na telesih dramskega ali nedramskega besedila kot mejnega področja, pripadajočega tako polju literature kot gledališča na eni strani; na drugi strani pa gledališkega ali uprizoritvenega dela kot »interpretacije« dramskega ali literarnega in specifičnega prevajanja literarne v performativno dimenzijo. Pri detekciji posebnosti drame in gledališča, pa tudi širše uprizoritvenih in literarnih praks v teoriji in umetnosti, reinterpretira in uporabi eklektična orodja, ki jih ponujajo literarna in uprizoritvene vede, ta orodja pa aplicira na korpuse sodobne dramske ali ne več dramske besedilne in uprizoritvene prakse (Simona Semenič, Milena Marković, Tim Crouch, Oliver Frljić, Katarina Morano in Žiga Divjak, Anja Hilling, Wajdi Mouawad, Dino Pešut in She She Pop) kot so se formirale in transformirale v dveh desetletjih 21. stoletja.","PeriodicalId":34446,"journal":{"name":"Amfiteater","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47355857","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":"Poročilo s fronte Scenarij za informans","authors":"S. Hamer, Jera Ivanc, Kim Komljanec, Simona Semenič","doi":"10.51937/amfiteater-2022-2/142-151","DOIUrl":"https://doi.org/10.51937/amfiteater-2022-2/142-151","url":null,"abstract":"Enota Dramske pisateljice in pisatelji Združenja dramskih umetnikov Slovenije od leta 2018 aktivno deluje na področjih izboljševanja ustvarjalnih okoliščin, delovnih pogojev in pogodbenih razmerij, širjenja izobraževalnih in poklicnih priložnosti, obveščanja in ozaveščanja javnosti in članstva ter na drugih s sodobno slovensko dramatiko povezanih področjih. V pričujočem Poročilu s fronte želimo opozoriti na prepogosto neprofesionalen in ignorantski odnos gledaliških poustvarjalcev – moški spol je v celotnem prispevku uporabljen kot generični spol – do sodobne slovenske dramatike in dramskih avtorjev v slovenskem gledališkem prostoru. Primere dobrih praks smo tako namenoma izpustili. V prispevku so uporabljene resnične izkušnje enaindvajsetih nagrajevanih in uprizarjanih avtorjev. Njihova pričevanja so anonimizirana.","PeriodicalId":34446,"journal":{"name":"Amfiteater","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41825011","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":"Collectives and Commoning in Small Arts","authors":"Irena J. Ristić","doi":"10.51937/amfiteater-2022-2/104-118","DOIUrl":"https://doi.org/10.51937/amfiteater-2022-2/104-118","url":null,"abstract":"The analysis is focused on the work and actions of drag artists from Belgrade gathered in collectives, in which the practice of commoning becomes an alternative mode of social relations. Their joint actions provide an opportunity to examine the paths of radical imagination on two levels: firstly, by following the principles of collective creativity, which operate through different forms of artistic and socio-cultural production, systematically targeting the development of social imaginaries; secondly, by creating a collective, aimed at the production of sociability itself which are evolved and tested through practices. In this transposition from the level of artistic production to the level of social production, the tools of (self-)reflection can be crucial. (Self-)reflection is equally a guardian of equality and emergence. Provided that the imagination is not reduced to reactive mental representations, this becomes the drive of practice: the material manifestation of certain relations, their testing, in reality, their growing and simultaneous performing, on the path towards new forms of collectivity, and perhaps collective autonomy.","PeriodicalId":34446,"journal":{"name":"Amfiteater","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45037210","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":"Tesnobnost samodefiniranja in znamenja krize Fragmentarnost, performativnost, postdramsko","authors":"Almir Bašović","doi":"10.51937/amfiteater-2022-2/62-64","DOIUrl":"https://doi.org/10.51937/amfiteater-2022-2/62-64","url":null,"abstract":"Razprava z naslovom »Tesnobnost samodefiniranja in znamenja krize« bo obravnavala nekatera vprašanja, ki bistveno določajo sodobno razmišljanje o evropski drami in gledališču. Tako bo na primer ideja fragmentarne dramatike obravnavana v povezavi s prvim primerom takšnega pisanja, z Aristofanovimi komedijami. Temeljno vprašanje, ki si ga zastavljamo, je naslednje: glede na katero idejo »celote« je določeno dramsko delo fragmentarno in po kakšni logiki so ti fragmenti povezani v to celoto? Drug pomemben vidik se nanaša na prepričanje, da živimo v posebnem zgodovinskem trenutku in da je performativnost razlikovalna značilnost našega časa. Zdi se, da ta predpostavka spregleda dolgoletno tradicijo, ki sega vse do Platona in je jezik obravnavala kot dejanje samo po sebi.","PeriodicalId":34446,"journal":{"name":"Amfiteater","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44338595","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}