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Dramska forma in etična razsežnost besedila gostija Simone Semenič Simone Semenič主持的文本的戏剧性形式和伦理维度

Amfiteater Pub Date : 2022-06-30 DOI: 10.51937/amfiteater-2022-1/136-153

Lara Jerkovič

{"title":"Dramska forma in etična razsežnost \u0000besedila gostija Simone Semenič","authors":"Lara Jerkovič","doi":"10.51937/amfiteater-2022-1/136-153","DOIUrl":"https://doi.org/10.51937/amfiteater-2022-1/136-153","url":null,"abstract":"V prispevku se bomo posvetili eni najaktivnejših in najuspešnejših ustvarjalk v sodobnem \u0000slovenskem gledališkem prostoru, dramatičarki Simoni Semenič, in enemu njenih teoretično \u0000in vsebinsko najzanimivejših besedil zgodba o nekem slastnem truplu ali gostija ali kako \u0000so se roman abramovič, lik janša, štiriindvajsetletna julia kristeva, simona semenič in \u0000inicialki z.i. znašli v oblačku tobačnega dima (2010). Ugotavljali bomo, kako besedilo vpliva \u0000na gledalca/bralca, ki ga avtorica ves čas neposredno nagovarja skozi lik pripovedovalca, \u0000na podlagi analize forme in vsebine izbranega besedila pa bomo ocenili, koliko ga lahko \u0000uvrstimo med ne več dramske gledališke tekste (Poschmann), v okvir (spet) dramskega \u0000gledališkega teksta (»dramatisches Drama« – Haas) in na področje postdramskega \u0000(Lehmann) ali postpostdramskega (Angel-Perez) gledališča. Namen prispevka je torej \u0000analizirati (ne več ali spet?) dramsko formo gostije ter specifike avtoričinega stila pisanja \u0000in grajenja besedila, po drugi strani pa razložiti metode, s katerimi poudarja etično in \u0000moralno odgovornost vpletenih (predvsem bralcev/gledalcev) v dogajanje.","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":"41826528","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

Theatre Control Policy or Why After Goran Stefanovski and Dejan Dukovski, No One Is Known Outside the Borders of the Macedonian Theatre? (2010–2021)

Amfiteater Pub Date : 2022-06-30 DOI: 10.51937/amfiteater-2022-1/348-355

Ivanka Apostolova Baskar

{"title":"Theatre Control Policy or Why After Goran \u0000Stefanovski and Dejan Dukovski, No One \u0000Is Known Outside the Borders of the \u0000Macedonian Theatre? (2010–2021)","authors":"Ivanka Apostolova Baskar","doi":"10.51937/amfiteater-2022-1/348-355","DOIUrl":"https://doi.org/10.51937/amfiteater-2022-1/348-355","url":null,"abstract":"Introduction\u0000To capture the dramatic situation in/of the contemporary drama theatre in Macedonia, \u0000I will try to draw certain characteristics of the state of the theatre by referring to \u0000several political and social conditions with us, that erode the spirit and matter of \u0000everyday life:\u0000• hyper-corruption, local imperialism in every pore of society, political party \u0000terrorism, consistently poor policy of artificial status quo in transition, a deeply \u0000corrupted legal system and captive state, education in a bitter crisis, tortured \u0000and abused culture, rotten health, violent stoning with regular changes to the \u0000constitutional name, crime-local feudal capitalism combined with laziness, brutal \u0000opportunism, and overnight constructed professional identities; constant and \u0000accelerated economic brain drain, radical nepotism, elephant valley in every \u0000institutional sector; treating the public budget and public institutions as if they \u0000were the private property of several government figures in managerial positions; \u0000• corrupted and irrelevant mainstream media working for the interests of the \u0000political party opposition and position – through a low level of editorial ethics and \u0000extremely poor quality media programme; we are a country burdened by daily \u0000financial and institutional scandals and social damages for which no one takes the \u0000responsibility – nor are they punished for the damage they inflict;\u0000• the local Don Quixote – the Macedonian Center ITI/PRODUKCIJA, through \u0000which we promote domestic contemporary plays as literary works; Macedonian \u0000playwrights who are not part of the establishment; dramatists, who are \u0000deliberately not staged in theatres, with the exception of the incidental (sudden) \u0000goodwill of a particular theatrical institution – which usually does not know how \u0000to carry out successful local and international promotional strategies afterwards.","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":"44494587","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

Hlapec Jernej in njegova pravica (2018): dokumentarna reprezentacija revščine, prekarnosti in razrednega sramu 仆人Jernej和他的权利（2018）：贫困、不稳定和阶级羞耻的纪录片表现

Amfiteater Pub Date : 2022-06-30 DOI: 10.51937/amfiteater-2022-1/198-214

Zala Dobovšek

{"title":"Hlapec Jernej in njegova pravica (2018): \u0000dokumentarna reprezentacija revščine, \u0000prekarnosti in razrednega sramu","authors":"Zala Dobovšek","doi":"10.51937/amfiteater-2022-1/198-214","DOIUrl":"https://doi.org/10.51937/amfiteater-2022-1/198-214","url":null,"abstract":"Razprava obravnava študijo primera uprizoritve Hlapec Jernej in njegova pravica v režiji \u0000Žige Divjaka, ki je nastala leta 2018. V prvem delu se osredotoča na specifičen format \u0000»dramskega besedila« v tej dokumentarni uprizoritvi, od koder izhajajo tudi nadaljnje \u0000analize dokumentarnih prvin in njihovih učinkov na ravni besedila, tekstovne strukture, likov, dramaturgije in navsezadnje zaznave zunanjega pogleda (občinstva, javnosti). Bistvena značilnost projekta je uporaba (remodulacija) prvoosebnih pričevanj, ki vpeljejo princip dobesednega (verbatim) gledališča, v tokratnem primeru gre za posredovanje neposrednih izkušenj s polja aktualnih prekarnih delovnih odnosov. Pripovedovana izkustva iz prve roke razgrnejo uvid v nevid(e)ne delavske populacije, ki so v razmerju do sodobnih »gospodarjev« (tajkunov) presenetljivo usklajene z razumevanjem odvzemanja pravic delavstvu, kot ga je dojemal Ivan Cankar. V drugem delu članek uprizoritev umešča v analitični diskurz, ki preči sociološke, politične in psihološke poglede na obstoj revščine, razredizma in razrednega sramu. V luči sodobnih kulturoloških teorij in umestitve Divjakovega Hlapca Jerneja v širši družbeni aspekt se pokaže, da prepletanje dokumentarnega gledališča in tematiziranje sodobnega delavskega razreda (problematičnih prekarnih razmerij) vzpostavljata izjemno pomembno umetniško pa tudi družbeno gesto; ta sočasno raziskuje učinke specifičnega režijskega koncepta, vnosa realnega v umetniški dogodek, in uveljavi kritično refleksijo izbrane tematike ter njenega umeščanja v javni prostor.","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":"43794968","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

Dramatic Form and the Ethical Dimension of the Text the feast by Simona Semenič 西蒙娜·塞梅尼科的《盛宴》的戏剧形式与文本的伦理维度

Amfiteater Pub Date : 2022-06-30 DOI: 10.51937/amfiteater-2022-1/150-153

Lara Jerkovič

{"title":"Dramatic Form and the Ethical Dimension of \u0000the Text the feast by Simona Semenič","authors":"Lara Jerkovič","doi":"10.51937/amfiteater-2022-1/150-153","DOIUrl":"https://doi.org/10.51937/amfiteater-2022-1/150-153","url":null,"abstract":"In this paper, we will focus on one of the most active and successful artists in the \u0000contemporary Slovenian theatre, the dramatist Simona Semenič, and one of her most \u0000theoretically intriguing texts, the feast or the story of a savory corpse or how roman \u0000abramovič, the character janša, julia kristeva, age 24, simona semenič and the initials z. \u0000i. found themselves in a tiny cloud of tobacco smoke (2010). We will look at how the text \u0000affects the viewer/reader, whom the author directly and constantly addresses through \u0000the character of the narrator. Based on an analysis of the form and content of the \u0000selected text, we will assess to what extent it can be classified as no-longer-dramatic \u0000text (Poschmann) or as “dramatic drama” (dramatisches Drama – Birgit Haas) and put in \u0000the field of postdramatic theatre (Lehmann). The paper aims to analyse the (no longer \u0000or again?) dramatic form of the feast, the specifics of the author’s writing style and the \u0000construction of the text. On the other hand, it also aims to explain the author’s methods of \u0000emphasising the ethical and moral responsibility of those involved (especially the readers/\u0000viewers) in the happening.","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":"41992083","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

Ambientalna avtorska drama

Amfiteater Pub Date : 2022-06-30 DOI: 10.51937/amfiteater-2022-1/230-232

Hana Strejčková

{"title":"Ambientalna avtorska drama","authors":"Hana Strejčková","doi":"10.51937/amfiteater-2022-1/230-232","DOIUrl":"https://doi.org/10.51937/amfiteater-2022-1/230-232","url":null,"abstract":"Prispevek obravnava vlogo dramatikov v sodobni ambientalni drami ter vlogo režiserjev \u0000ambientalnih uprizoritev. Raziskava se osredotoča na tri poglavitna področja: na avtorsko dramo, ki temelji na novejši zgodovini dvajsetega stoletja; na performativni potencial skupnosti in ustne zgodovine ter na sodobno ambientalno dramo. Kot dramatičarka se avtorica osredotoča na spomine in družbene tabujske teme, kot režiserka pa raziskuje pristope, kako spomine na kraje, zbirke podatkov iz ustne zgodovine ter pereča vprašanja preoblikovati v gledališki jezik. Preučuje razmerja med dramatiki in ambientalnimi uprizoritvami. Opazuje povezave med temo, sredstvi komunikacije in negledališkimi prostori. Longitudinalna kvalitativna umetniška raziskava temelji na izkušnjah iz gledališke prakse, analizi in primerjavi teoretskega znanja. Avtorica navaja primere avtorskih iger in poročil o njihovih uprizoritvah, konkretno gre za naslednje drame: Polnoč v obmejnem prostoru (3./4. maj 1950, samostan), Trije stoli (Alzheimerjeva bolezen, dom upokojencev), Od Majdalenke do Madle (druga svetovna vojna, klet) in Hotel na vogalu (1932–1989, stara gledališka stavba).\u0000Raziskava izpostavlja potrebo po ustvarjalnem in pozornem pristopu avtorjev –dramatikov, dramaturgov in režiserjev – da lahko iz dualnosti običajnega in tabujskega ustvarijo povsem nov svet. Kombinacija močne teme, nenavadne lokacije, povezane s temo drame, in participativne vloge (aktivne/pasivne) občinstva se lahko izkaže za učinkovito strategijo in celo za »taktiko« krepitve avtorjeve vloge v drami po letu 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":"41545792","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

Ko si gledališče upa 当剧院敢于

Amfiteater Pub Date : 2022-06-30 DOI: 10.51937/amfiteater-2022-1/368-375

Lev Kreft

引用次数: 0

Avtentičnost v delih avtobiografskega gledališča: pristopi milenijske generacije 自传体戏剧作品的真实性：千禧一代的探索

Amfiteater Pub Date : 2022-06-30 DOI: 10.51937/amfiteater-2022-1/194-196

Zuzana Timčíková

{"title":"Avtentičnost v delih avtobiografskega \u0000gledališča: pristopi milenijske generacije","authors":"Zuzana Timčíková","doi":"10.51937/amfiteater-2022-1/194-196","DOIUrl":"https://doi.org/10.51937/amfiteater-2022-1/194-196","url":null,"abstract":"Med umetniki iste generacije, t. i. milenijci, ki delujejo predvsem na neodvisni sceni, lahko opazimo določene podobnosti, kot jih kažejo in uporabljajo predvsem v gledaliških formah, temah in odnosu do dramskega besedila. Bolj kot izvirna dramska besedila jih zanimajo avtobiografska besedila. Avtor pri tem ne nastopa kot samostojna oseba, temveč sodeluje cel kolektiv avtorjev. Gre za skupino ustvarjalcev, vključno z igralci oziroma izvajalci, ki izoblikuje dokončno različico besedila. Zdi se, da je izražanje avtentičnosti tako prek besedila kot na odru poglavitni namen takih pristopov k dramatiki. Predmet interpretacije postanejo trivialne in vsakdanje življenjske zadeve. V središče pozornosti postavljajo ljudi kot lastno samopodobo ali pa ljudi kot osebe, ki jih poznajo iz prijateljskih ali družinskih krogov, iz medijev ali iz pripovedovanja drugih. Avtorji se navdihujejo pri samih sebi, pri svojih težavah in odnosu do življenja. Poleg tega ustvarjalci radi pripovedujejo o sebi, analizirajo svoja občutja in zaznave, kot da bi imelo to, da jih lahko definirajo pred gledalci, nanje terapevtski učinek in bi potrjevalo relevantnost njihovega odnosa do življenja. Kaj lahko taka avtentičnost, ki se izraža s samoprojekcijo umetnikov v besedila pa tudi v uprizoritve, nudi občinstvu? Ali pri občinstvu vzbuja globlje zavedanje in razumevanje življenja ali zgolj reciklira tisto, kar že vemo?","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":"46789531","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

Drama Without a Generation 没有一代人的戏剧

Amfiteater Pub Date : 2022-06-30 DOI: 10.51937/amfiteater-2022-1/268-270

Varja Hrvatin, Maša Radi Buh, Jakob Ribič

{"title":"Drama Without a Generation","authors":"Varja Hrvatin, Maša Radi Buh, Jakob Ribič","doi":"10.51937/amfiteater-2022-1/268-270","DOIUrl":"https://doi.org/10.51937/amfiteater-2022-1/268-270","url":null,"abstract":"In this paper, we will concentrate on the playwriting of the so-called young generation. In doing so, we will ask how this generation can be defined, given that the writers are quite individualised and dispersed among themselves, and their texts are quite diverse in terms of content, genre and form. We will argue that being born and growing up concurrently with the development of the internet, social networks and other new technologies, which are nowadays fundamentally inscribed in the social fabric, has significantly defined the young generation. Consequently, the boundaries between the virtual and the reality are constantly being blurred, and the symbiosis between the two, summed up in the term “biovirtual”, is continuously being established. Using examples of four theatre texts (The Thirty Somethings by Eva Mahkovic and Tereza Gregorič, It All Began with the Bunny Rabbit Goulash by Varja Hrvatin, The Interpretation of Sanja by Ela Božič and Work and the Maiden I-V: Serf Dramas by Nika Švab), we will reflect on how young authors are incorporating the post-internet reality, defined by the ubiquity of new technologies, into their playwriting. We will consider whether these writers’ generation generates new playwriting forms and dramaturgical approaches. Finally, we will draw attention to the conditions under which these authors operate, which (from systemic education and the repertory logic of staging to the pervasive precarisation and instability) do not provide economic security. Hence, there is no room for experiment and error. This forces writers to opt for already tested dramatic forms, strategies and themes. How, then, can one define the playwriting of a generation if it lacks a clear break with the tradition that would characterise this generation?","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":"43681542","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

Authenticity in Authorial Works of Devised Theatre: Approaches of the Millennials 设计戏剧作品的真实性:千禧一代的途径

Amfiteater Pub Date : 2022-06-30 DOI: 10.51937/amfiteater-2022-1/180-196

Zuzana Timčíková

{"title":"Authenticity in Authorial Works of Devised \u0000Theatre: Approaches of the Millennials","authors":"Zuzana Timčíková","doi":"10.51937/amfiteater-2022-1/180-196","DOIUrl":"https://doi.org/10.51937/amfiteater-2022-1/180-196","url":null,"abstract":"We can find certain similarities in theatre forms, topics and relationships to drama \u0000manifested and used by the artists of the same generation – so-called millennials operating primarily on the independent scene. They are more interested in autobiographical texts than in the original dramatic texts. The author is not represented as one person but as a cooperation of a collective of authors. It is the whole group of creators, the actors or performers included, who create the final shape of the text. It seems that expressing authenticity – in the text and on the stage – becomes the main intention of their approaches to drama. Trivial and everyday matters of life become the subjects of their interpretations. They place in the centre of their attention the human as their self-image or the human as a person they know from close or familiar circles, from media or stories of others. For authors, themselves or their issues and attitude towards life represent the inspiration. Also, they like to speak about themselves and analyse their feelings and perceptions as if defining these in front of the spectators brings them a therapeutic effect and confirms the relevancy of their attitudes towards life. What does such authenticity expressed by the self-projection of artists in their texts and in their performances bring to the audience? Does it raise any deeper awareness and understanding of life for the audience, or does it recycle what we already know?","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":"48153319","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

Post-postdramatic Reincarnations of Classic Tragedies: Jelinek, Hertmans, Möderndorfer 经典悲剧的后后戏剧转世:耶利内克，赫尔曼斯，Möderndorfer

Amfiteater Pub Date : 2022-06-30 DOI: 10.51937/amfiteater-2022-1/132-135

Krištof Jacek Kozak

{"title":"Post-postdramatic Reincarnations of \u0000Classic Tragedies: Jelinek, Hertmans, \u0000Möderndorfer","authors":"Krištof Jacek Kozak","doi":"10.51937/amfiteater-2022-1/132-135","DOIUrl":"https://doi.org/10.51937/amfiteater-2022-1/132-135","url":null,"abstract":"The post-postdramatic period is characterised by a flirtation with key forms of world \u0000drama, such as ancient and Elizabethan tragedies, and their themes, which are applied \u0000to thoroughly contemporary problems. In this regard, three of the many texts can be \u0000selected: E. Jelinek’s Die Schutzbefohlenen, S. Hertmans’s Antigone in Molenbeek and \u0000V. Möderndorfer’s Romeo and Juliet Were Refugees. In addition to their relationship to \u0000antiquity, all three plays are linked by a thematic thread: migration and the unfortunate \u0000fate of refugees. It turns out that the only optimistic version of this theme came from \u0000Aeschylus, and all three contemporary plays could easily be classified as tragedies. \u0000Jelinek’s play is based on an actual event from 2012 when a group of migrants stormed \u0000the Votive Church in Vienna in protest and demanded decent asylum treatment for \u0000themselves and others like them. Jelinek exposes the whole ethical decay of Europe, \u0000which hides behind high-flying ideals of humanitarianism but does the exact opposite. In this case, it is the relationship between migrants – the real foreigners – and Europeans. Hertmans introduces a foreigner, who is already a fully-fledged citizen of Europe, only to complicate his Antigone with the classic story of the burial of a dead brother, who in this case is a terrorist. Möderndorfer takes the final step in this direction by treating economically deprived European citizens as migrants, i.e., as foreigners. None of the three plays has a way out, and the fate of the everyman ends tragically.","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":"47791602","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