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How Can We Interpret the 21st-Century (No Longer) Dramatic Texts and Theatre in Art and Theory? 我们如何解读21世纪(不再)戏剧文本和戏剧的艺术与理论?
Amfiteater Pub Date : 2022-12-20 DOI: 10.51937/amfiteater-2022-2/18-49
Tomaž Toporišič
{"title":"How Can We Interpret the 21st-Century (No Longer) Dramatic Texts and Theatre in Art and Theory?","authors":"Tomaž Toporišič","doi":"10.51937/amfiteater-2022-2/18-49","DOIUrl":"https://doi.org/10.51937/amfiteater-2022-2/18-49","url":null,"abstract":"The essay analyses the corpora of the dramatic or non-dramatic texts of contemporary authors (Simona Semenič, Milena Marković, Tim Crouch, Oliver Frljić, Katarina Morano and Žiga Divjak, Anja Hilling, Wajdi Mouawad, Dino Pešut and She She Pop) as a border area belonging to both the field of literature and theatre. While detecting the specifics of the interpretation of drama and theatre, the author uses eclectic tools offered by literary and performing arts studies to analyse the corpora of contemporary drama or no longer drama and performing practices. Focusing on a series of contemporary playwrights and theatre directors, he seeks answers to the question of how we can interpret the changes in drama and theatre. How did the specific return to the theatre of words, as defined by the French theorist of contemporary drama Élisabeth Angel-Perez, take place, and to which extent are today’s theatre and drama still post-dramatic but nevertheless establish a new return to the dramatic and dramatised? How do these “experiments belonging to the so-called ‘post-dramatic theatre’ which is also a (post-)deconstructionist theatre, eventually, end up redramatising whatever it was they strove to un/de-dramatize” (Angel-Perez)? Thus, paradoxically, “‘no-longer-dramatic’ texts put forward a new dramaturgical form that subverts the dramatic representation of the world as a fictive whole and accommodates the ‘unsurveyable present’ (Lehmann) of the mediatised-globalised world”","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":"44632184","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
Sodobna slovenska dramatika na začetku tretjega desetletja novega tisočletja – kje je in kam z njo?
Amfiteater Pub Date : 2022-12-20 DOI: 10.51937/amfiteater-2022-2/66-103
Kim Komljanec
{"title":"Sodobna slovenska dramatika na začetku tretjega desetletja novega tisočletja – kje je in kam z njo?","authors":"Kim Komljanec","doi":"10.51937/amfiteater-2022-2/66-103","DOIUrl":"https://doi.org/10.51937/amfiteater-2022-2/66-103","url":null,"abstract":"Članek ponuja vpogled v načine razvoja sodobne slovenske dramatike na začetku tretjega desetletja 21. stoletja. Popisuje obstoječe formalne in neformalne oblike izobraževanja in spodbud nastajanja ter načine javnih predstavitev sodobne slovenske dramatike in povzema razvoj njenega uprizarjanja v Sloveniji. Postreže s podatki o deležu slovenskih besedilnih predlog v repertoarjih javno ustanovljenih slovenskih gledališč in o nihanju tega deleža v zadnjih dveh desetletjih. Naslanja se na širšo raziskavo, v kateri smo na podlagi obsežnega vprašalnika s kvantitativno in kvalitativno raziskovalno metodo analizirali procese ter okoliščine nastajanja sodobne slovenske dramatike z vidika različnih skupin njenih deležnikov: dramskih pisateljev_ic, prevajalcev_k, dramaturgov_inj, režiserjev_k, umetniških vodij in direktorjev_ic javnih zavodov, nevladnih organizacij in zasebnih gledaliških hiš, urednikov_ic in založnikov_ic, pedagogov_inj in predstavnikov_ic javnih sofinancerjev. Izsledki osvetljujejo šibko razumevanje ustvarjalnega procesa s strani sekundarnih poklicev, povezanih s sodobno slovensko dramatiko, izrisujejo posledice dolgoletne finančne in kadrovske podhranjenosti polja ter nakazujejo najučinkovitejše načine razvoja sodobne slovenske dramatike v prihodnosti. Med slednjimi izstopajo uprizarjanje, neposredno naročanje dramskih besedil, rezidence avtorjev v gledališčih ter ustanovitev specializiranega prizorišča, namenjenega izključno uprizarjanju sodobne slovenske dramatike.","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":"43453492","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
Zakaj sploh še gledališče in ne raje nič? 为什么连剧院都没有?
Amfiteater Pub Date : 2022-12-20 DOI: 10.51937/amfiteater-2022-2/154-159
Tajda Lipicer
{"title":"Zakaj sploh še gledališče in ne raje nič?","authors":"Tajda Lipicer","doi":"10.51937/amfiteater-2022-2/154-159","DOIUrl":"https://doi.org/10.51937/amfiteater-2022-2/154-159","url":null,"abstract":"Jakob Hayner: Zakaj gledališče: kriza in prenova. MGL, 2021. Ko je sodobno gledališče v 20. stoletju prehajalo med identitetnimi opredelitvami, ni slutilo, da se bo že v naslednjem stoletju primorano vprašati o (ne)gotovosti svojega obstoja. Zakaj gledališče: kriza in prenova nemškega kritika, dramaturga in publicista Jakoba Haynerja izpostavlja prav ta vprašanja kot izhodišče radikalne kritike sodobnega gledališča, ki jo avtor s prehajanjem med področji teatrologije, filozofije, sociologije kulture, politike in psihoanalize povezuje v kritični pregled kulture, družbe ter subjekta v njej.","PeriodicalId":34446,"journal":{"name":"Amfiteater","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41461947","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
Skupnosti in usklajevanje v malih umetnostih 小型艺术中的社区与协调
Amfiteater Pub Date : 2022-12-20 DOI: 10.51937/amfiteater-2022-2/116-118
Irena Ristić
{"title":"Skupnosti in usklajevanje v malih umetnostih","authors":"Irena Ristić","doi":"10.51937/amfiteater-2022-2/116-118","DOIUrl":"https://doi.org/10.51937/amfiteater-2022-2/116-118","url":null,"abstract":"Analiza se osredotoča na delo beograjskih umetnikov, združenih v kolektive, v katerih praksa skupnega bivanja postane alternativni način družbenih odnosov. Njihove skupne akcije so priložnost za preučevanje poti radikalne domišljije na dveh ravneh: prvič, z upoštevanjem načel kolektivne ustvarjalnosti, ki delujejo skozi različne oblike umetniške in družbeno-kulturne produkcije, sistematično usmerjene v razvoj družbenih imaginarijev; drugič, z oblikovanjem kolektiva, usmerjenega v produkcijo same družbenosti, ki se razvija in preizkuša skozi prakse. Pri tem prenosu z ravni umetniške na raven družbene produkcije so lahko ključna orodja (samo)refleksije. (Samo)refleksija je v enaki meri varuh enakosti in nastanka. Če domišljija ni zgolj duševni odziv na realnost, lahko postane gonilo nove prakse: materialna manifestacija določenih odnosov, njihovo preizkušanje v realnosti in hkratno izvajanje na poti k novim oblikam kolektivnosti in morda kolektivne avtonomije.","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":"44855832","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
Self-Determination Anxiety and Signs of Crisis — Fragmentation, Performativity, Postdramatic 自我决定、焦虑和危机的迹象——碎片化、表演性、后戏剧性
Amfiteater Pub Date : 2022-12-20 DOI: 10.51937/amfiteater-2022-2/50-64
Almir Bašović
{"title":"Self-Determination Anxiety and Signs of Crisis — Fragmentation, Performativity, Postdramatic","authors":"Almir Bašović","doi":"10.51937/amfiteater-2022-2/50-64","DOIUrl":"https://doi.org/10.51937/amfiteater-2022-2/50-64","url":null,"abstract":"The text will address some issues that substantially determine contemporary thinking about European drama and theatre. Thus, for example, the idea of fragmentary dramaturgy will be considered in relation to the first case of such writing, namely, the comedies of Aristophanes. The fundamental questions that should be taken into consideration are the following: relative to what idea of the “whole” (or “totality”) is a certain dramatic work fragmented, and according to what logic are these fragments connected to a certain unified “whole”? Another important aspect refers to our belief that we live in an exclusive moment in history and that performativity is a distinguishing characteristic of our time. This assumption seems to be neglecting the long-standing tradition, dating back to Plato, which considered spoken language as an act in itself.","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":"49206703","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
Contemporary Slovenian Drama at the Beginning of the Third Decade of the 21st Century – Where Is It and Where Is It Headed? 21世纪第三个十年之初的当代斯洛文尼亚戏剧——它在哪里?它将走向何方?
Amfiteater Pub Date : 2022-12-20 DOI: 10.51937/amfiteater-2022-2/100-103
Kim Komljanec
{"title":"Contemporary Slovenian Drama at the Beginning of the Third Decade of the 21st Century – Where Is It and Where Is It Headed?","authors":"Kim Komljanec","doi":"10.51937/amfiteater-2022-2/100-103","DOIUrl":"https://doi.org/10.51937/amfiteater-2022-2/100-103","url":null,"abstract":"The article offers insight into various approaches to developing contemporary Slovenian playwriting at the beginning of the third decade of the 21st century. It lists existing formal and informal educational opportunities for playwrights, methods of cultivating new writing and various public presentation formats of new Slovenian dramatic writing and the recent development of its staging in Slovenia. The author presents quantitative data on the percentage of Slovenian scripts staged in government-funded theatres and the variations of this percentage over the last two decades. The author’s analysis is based on an extensive questionnaire which includes both quantitative and qualitative research methods examining the processes and circumstances of writing contemporary Slovenian drama from the viewpoints of its various stakeholders: playwrights, translators, dramaturgs, directors, artistic directors and general managers of government-funded public cultural establishments, NGOs or private theatres, editors, publishers, teachers and the representatives of public funding bodies. The findings show a lack of understanding of the creation processes of contemporary Slovenian playwriting by representatives of its peripheral professions (i.e., non-authors). The research results also reveal the consequences of the field’s long-lasting insufficient funding and lack of an expert workforce. Based on the research results, the author proposes possible future directions for the efficient development of contemporary Slovenian playwriting. These proposals include staging, commissioning and long-term theatre residencies for playwrights, as well as establishing a specialised venue aimed exclusively at staging contemporary Slovenian plays.","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":"45539788","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
Adaptacija kot reaktualizacija antične dramatike 改编:古代戏剧的复兴
Amfiteater Pub Date : 2022-06-30 DOI: 10.51937/amfiteater-2022-1/376-380
Aldo Milohnić
{"title":"Adaptacija kot reaktualizacija antične dramatike","authors":"Aldo Milohnić","doi":"10.51937/amfiteater-2022-1/376-380","DOIUrl":"https://doi.org/10.51937/amfiteater-2022-1/376-380","url":null,"abstract":"","PeriodicalId":34446,"journal":{"name":"Amfiteater","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45283709","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
Postpostdramske reinkarnacije klasičnih tragedij: Jelinek, Hertmans, Möderndorfer 古典悲剧的后戏剧转世:杰利内克、赫特曼斯、莫登多夫
Amfiteater Pub Date : 2022-06-30 DOI: 10.51937/amfiteater-2022-1/114-135
Krištof Jacek Kozak
{"title":"Postpostdramske reinkarnacije klasičnih \u0000tragedij: Jelinek, Hertmans, Möderndorfer","authors":"Krištof Jacek Kozak","doi":"10.51937/amfiteater-2022-1/114-135","DOIUrl":"https://doi.org/10.51937/amfiteater-2022-1/114-135","url":null,"abstract":"Tudi za postpostdramski čas je značilno spogledovanje s ključnimi formami svetovne \u0000dramatike, kot so antične in elizabetinske tragedije, ter z njihovimi temami, ki jih aplicira \u0000na popolnoma sodobne probleme. Izmed mnogih besedil je mogoče izbrati tri: Die \u0000Schutzbefohlenen Elfriede Jelinek, Antigona v Molenbeeku Stefana Hertmansa ter Romeo in Julija sta bila begunca Vinka Möderndorferja. Poleg razmerja do antike povezuje vse tri drame še tematska rdeča nit: migracije ter z njimi povezane nesrečne usode beguncev. Izkaže se, da je edina optimistična različica te teme nastala pri Ajshilu, vse tri sodobne drame pa bi bilo mogoče brez težav uvrstiti med tragedije. Takšna je drama Jelinekove, ki je nastala po resničnem dogodku iz leta 2012, ko je skupina migrantov protestno vdrla v Votivno cerkev na Dunaju in zahtevala zase in za sebi podobne človeka dostojno azilno obravnavo. Jelinek izkaže ves etični razkroj Evrope, ki se skriva za visokoletečimi ideali človekoljubja, dejansko pa ravna prav nasprotno. V tem primeru gre za razmerje med migranti, ki so pravi tujci, in pa Evropejci. Tujca, ki je že polnopraven državljan Evrope, predstavi Hertmans, le da svojo »Antigono« zaplete še s klasično zgodbo pokopa mrtvega brata, ki je v tem primeru terorist. Ta Antigona je še vedno tujka, a tudi že državljanka Evrope. Zadnji korak v tej smeri naredi Möderndorfer, ki pa kot migrante, torej kot tujce, obravnava ekonomsko ogrožene Evropejce. Nobena od treh dram nima izhoda in slehernikova usoda se konča tragično.","PeriodicalId":34446,"journal":{"name":"Amfiteater","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49050958","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
Site-Specific Author’s Drama 网站特定作者的戏剧
Amfiteater Pub Date : 2022-06-30 DOI: 10.51937/amfiteater-2022-1/216-232
Hana Strejčková
{"title":"Site-Specific Author’s Drama","authors":"Hana Strejčková","doi":"10.51937/amfiteater-2022-1/216-232","DOIUrl":"https://doi.org/10.51937/amfiteater-2022-1/216-232","url":null,"abstract":"The article discusses the role of the playwright in contemporary site-specific drama and \u0000the role of the director of site-specific performance. The study aims at three main areas: \u0000the author’s drama based on the recent history of the 20th century; the performative \u0000potential of the commonness and of oral history; and contemporary site-specific drama. As a playwright, the author focuses on the memories of witnesses and socially taboo topics. As a theatre director, she examines approaches for transforming into theatrical language the memory of place, the collection of data from oral history and burning issues. She looks at the relations between playwrights and site-specific performance. She observes the links among the topic, communication means and non-theatrical places. This qualitative longitudinal art research is based on experience from theatre practice, analysis and comparison of theoretical knowledge. The author gives examples of authorial plays and reports on their productions, specifically stating these dramas: Midnight in the Borderland (3. and 4. 5. 1950, a monastery), Three Chairs (Alzheimer’s disease, a retirement home), From Majdalenka to Madla (World War II, cellar), Hotel on the Corner (1932–1989, old theatre building). The study emphasises the need for a creative and attentive approach by the author, playwright, dramaturg and director to create a whole new world from the duality: ordinary and taboo. It turns out that the combination of a strong theme, an unusual place tied to the topic of the drama, and the participatory role (active/passive) of the audience can be an effective strategy and even “tactic” in strengthening the role of the author in drama after the year 2000.","PeriodicalId":34446,"journal":{"name":"Amfiteater","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47820653","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
Sophocles’s Antigone on Slovenian Professional Stages 索福克勒斯的《安提戈涅》在斯洛文尼亚的职业舞台上上演
Amfiteater Pub Date : 2022-06-30 DOI: 10.51937/amfiteater-2022-1/312-315
Matic Kocijančič
{"title":"Sophocles’s Antigone on Slovenian \u0000Professional Stages","authors":"Matic Kocijančič","doi":"10.51937/amfiteater-2022-1/312-315","DOIUrl":"https://doi.org/10.51937/amfiteater-2022-1/312-315","url":null,"abstract":"Sophocles’s Antigone has a rich and unique history of being performed on Slovenian \u0000professional stages for over a century. It began with the unsuccessful performance \u0000directed by Hinko Nučič in the Drama Ljubljana in 1912. It continued with Fran Lipah’s \u0000popular production in the same theatre on the eve of World War II. After the war, the \u0000Celje City Theatre took the lead in staging the tragedy; in fact, it was the only Slovenian \u0000professional theatre to stage it, first in 1956 (dir. Herbert Grün), then in 1973 (dir. Franci \u0000Križaj), and most recently in 2011 (dir. Anđelka Nikolić). The main reason for the odd \u0000absence of Sophocles’s Antigone on other Slovenian professional stages was probably the extraordinary popularity of Smole’s play by the same title, which was staged no less than eight times over this period. In addition, Sophocles was also ousted by the (rarer) staging of other modern Antigones (Dušan Jovanović, Miro Gavran, Janusz Głowacki). However, the last decade has seen revived interest in Sophocles’s version (and, at the same time, declining interest in staging Smole, which confirms our speculation that they compete for a place in the programme). Following the critically well-received production directed by A. Nikolić, the year 2013 was the first to see two productions, one in the Ljubljana City Theatre (play reading, dir. Ira Ratej) and the other in the Ljubljana Puppet Theatre (dir. Marko Čeh). Lastly, in 2017, Antigone also made a striking return to SNT Drama Ljubljana (dir. Eduard Miler). The article gives an overview of all these productions and evaluates them by drawing on their reception by contemporary critics and later theatre historians.","PeriodicalId":34446,"journal":{"name":"Amfiteater","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46817147","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
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