Amfiteater Journal of Performing Arts Theory
\nInternational Symposium<\/p>\n
October 7th and 8th, 2021, Slovenian Theatre Institute, Ljubljana<\/p>\n
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Dramatic writing and theatre have been caught in an impossible relationship throughout history, in which they seem to be constantly fighting for dominance, yet at the same time they cannot exist without each other. We can see this already in Aristotle in Poetics<\/em>, where the great philosopher was convinced that "tragedy can make an impression even without theatrical performance and spectators". Nevertheless, tragedy and its rise were fundamentally linked to the theater and the ritual in honor of the god Dionysus, which was an important part of the Athenian polis. However, we will not be interested in this relationship throughout history, but rather its changes in the last 20 years, as it seems that at this time in Slovenia and elsewhere in Europe we are witnessing a resurgence of dramatic writing.<\/p>\n We have already spoken about the renaissance of dramatic writing in connection with the so-called "u fris" theatre, which developed in the 1990s in Great Britain and influenced the development of drama throughout Europe. At the same time, the so-called performative turn (Erika Fischer-Lichte's term) took place in the development of theatre at the end of the 1960s, which subsequently influenced the emergence of post-dramatic theatre (Lehmann) or the new aesthetics of the performative (Fischer-Lichte), and in the field of dramatic writing in the 1980s and 1990s brought about no-longer-dramatic texts (Gerda Poschmann) or post-dramatic texts.<\/p>\n After 2000, a new way of writing for the theatre began to gain ground, especially in German literary theory and theatrology, which Birgit Haas calls "dramatisches Drama" or in Slovenian "dramatic drama". These are theatre texts that again build to a greater extent on dialogue and recognizable and at least partially coherent dramatic action, while at the same time being marked by an emphasized political\/socially engaged point. At the same time, new names for dramatic writings beyond postdramaticity began to gain ground, such as neodramatic (Anne Monfort) or postpostdramatic theatre (\u00c9lisabeth Angel-Perez), in which the author maintains his presence through lyricization and epization. Contemporary drama thus exposes us to the deconstruction of the opposition between representation and presentation, while at the same time, despite the disturbances in the fictional textual cosmos, it nevertheless establishes a strong process of redramatization, of injecting the dramatic and dramatic into the postdramatic fabric of plays.<\/p>\n 1. What are the formal and substantive characteristics of dramatic works after 2000 in Slovenia and elsewhere in Europe?<\/p>\n 2. What are the causes and influences on the development of dramatic writing after 2000?<\/p>\n 3. Forms of the dramatic subject in contemporary drama and the question of dramatic genres.<\/p>\n 4. What is the relationship between drama and theatrical performance in contemporary theater?<\/p>\n 5. Who are the main authors of contemporary drama and what are their poetics?<\/p>\n 6. What is the reception of contemporary drama?<\/p>\n 7. Do literary theory and criticism have the appropriate tools for analyzing such texts? Is it necessary to include the knowledge and tools of other disciplines in its understanding, given the changed nature of this drama and its intertwining with performance principles?<\/p>\n 8. Can we (still) talk about a crisis of drama?<\/p>\n 9. What is the role of the author in drama after 2000?<\/p>\n 10. What tactics and strategies does contemporary drama use to address social challenges?<\/p>\n <\/p>\nThe questions we are asked about the planned scientific symposium are:<\/h5>\n