{"id":9844,"date":"2020-09-27T08:41:15","date_gmt":"2020-09-27T06:41:15","guid":{"rendered":"https:\/\/www.slogi.si\/dogodki\/community-works-contemporary-theatre-models\/"},"modified":"2024-09-12T14:50:18","modified_gmt":"2024-09-12T12:50:18","slug":"community-works-contemporary-theater-models","status":"publish","type":"dogodki","link":"https:\/\/www.slogi.si\/en\/dogodki\/community-works-contemporary-theatre-models\/","title":{"rendered":"International symposium Community works! \u2013 Contemporary Theater Models"},"content":{"rendered":"<p>Slovenian Theater Institute, Glej Theatre, the Academy of Theatre, Radio, Film and Television of the University of Ljubljana and Amfiteater \u2013 Journal of Performing Arts Theory are organizing a symposium dedicated to the questions of new production models in contemporary theatre. The symposium is inspired by the upcoming 50th anniversary of Glej Theater from Ljubljana, Slovenia.<\/p>\n<p>Glej Theater is the oldest non-institutionalized theater in Slovenia (as well as in former Yugoslavia) that prides itself with cutting edge performances, the (re)-invention of intriguing production modes, of non-hierarchical theater practice that is based on collective and socially engaged work. On the basis of the five decades of its operation we wish to explore the possibilities of contemporary theater in relation to the concept of theater collective creation and different forms which this might take.<\/p>\n<p>As the social and political climate in Europe, and even more so in its peripheries, are growing more and more intense, and social divisions in society are bigger than ever, the answer to it in art has been not just to try to reveal the oppression of many different targeted communities, but also to actively step into the situation. What sort of role in building up communities can contemporary theater have? Is this even its purpose? How do new political and economic situations affect production models in contemporary theatre?<\/p>\n<h4>Programs<\/h4>\n<h5>Thursday, 8 October 2020<\/h5>\n<p>13.00<br \/>\nOpening speeches<\/p>\n<p>Mateja Dem\u0161i\u010d, Head, Department for Culture, City of Ljubljana<br \/>\nToma\u017e Guben\u0161ek, Dean, Academy of Theatre, Radio, Film and Television, University of Ljubljana<br \/>\nMojca Jan Zoran, Director, Slovenian Theatre Institute<br \/>\nInga Remeta, Chairwoman, Glej Theatre<\/p>\n<p><strong>Keyspeaker<\/strong><br \/>\n13.30 \u2013 14.10<br \/>\nToma\u017e Topori\u0161i\u010d: <em>Collectives, communities and non-hierarchical modes of creation from 1970\u2013s till 2010\u2013s<\/em><\/p>\n<p>14.10\u201314.20<br \/>\nDiscussion<\/p>\n<p>14.20\u201314.50<br \/>\nCoffee Break<\/p>\n<p><strong>1st panel<\/strong><br \/>\nModerated by: Toma\u017e Topori\u0161i\u010d<\/p>\n<p>14.50\u201315.10<br \/>\nPrimoz Jesenko: <em>Experimental Theater from 1955 to 1967 and its innovations<\/em><\/p>\n<p>15.10\u201315.30<br \/>\nAlja Lobnik: <em>The concept of time and the status of experiments in Theater Glej<\/em><\/p>\n<p>15.30\u201315.50<br \/>\nAndreja Kopa\u010d: <em>Territories of Community Action: From Betontanc to Beton.Ltd<\/em><\/p>\n<p>15.50\u201316.10<br \/>\nBranko Jordan:<em> Concrete Ltd.: Case Study<\/em><\/p>\n<p>16.10\u201316.40<br \/>\nDiscussion<\/p>\n<p>16:40\u201317:00<br \/>\nCoffee Break<\/p>\n<p><strong>2nd panel<\/strong><br \/>\nModerated by: Andreja Kopa\u010d<\/p>\n<p>17:00\u201317:20<br \/>\nPromise Nyatepeh Nyatuame and Akosua Abdallah: <em>Creative models and community empowerment in Ghana: The story of community youth cultural center<\/em><\/p>\n<p>17.20\u201317.40<br \/>\nDiscussion<\/p>\n<p>&nbsp;<\/p>\n<h5>Friday, 9 October 2020<\/h5>\n<p><strong>Keyspeaker<\/strong><br \/>\n9:00\u20139:40<br \/>\nVisnja Kacic Rogosic: <em>Keeping the Promise of Community<\/em><\/p>\n<p>9.40\u20139.50<br \/>\nDiscussion<\/p>\n<p><strong>3rd panel<\/strong><br \/>\nModerated by: Ga\u0161per Troha<\/p>\n<p>9.50\u201310.10<br \/>\nMaja Murnik: <em>The Role of the Audience in Socially and Politically Engaged Performing Arts in Slovenia<\/em><\/p>\n<p>10.10\u201310.30<br \/>\nAna Vrtovec Beno: <em>There is no Folk Theater without a (supporting) Community<\/em><\/p>\n<p>10:30\u201311:00<br \/>\nDiscussion<\/p>\n<p>11:00\u201311:30<br \/>\nCoffee Break<\/p>\n<p>11.30\u201311.50<br \/>\nNika Leskovsek: <em>Participation and Politicality in Kapelj and Semeni\u010d under construction<\/em><\/p>\n<p>11.50\u201312.10<br \/>\nAldo Milohnic: <em>From Collective to Devised Mode of Creation in Slovenian Theatre<\/em><\/p>\n<p>12.10\u201312.30<br \/>\nDiscussion<\/p>\n<p>12:30\u201314:30<br \/>\nLunch Break<\/p>\n<p><strong>4th panel<\/strong><br \/>\nModerated by: Nika Leskov\u0161ek<\/p>\n<p>14.30\u201314.50<br \/>\nThe Intellectrural collective: <em>Prague is not Czech: Artistic Project as a Public Service \u2013 lecture performance<\/em><\/p>\n<p>14.50\u201315.10<br \/>\nMartina \u010curdov\u00e1: <em>Theater as a Space of Transformation: Czech\u2013German Transborder Experience<\/em><\/p>\n<p>15.10\u201315.40<br \/>\nDiscussion<\/p>\n<p>15.40\u201316.00<br \/>\nCoffee Break<\/p>\n<p>16:00\u201316:20<br \/>\nMarina Pallar\u00e8s\u2013Elias: <em>Theater of Yes: The beauty as the axis of change for the transformation of communities through their own stories<\/em><\/p>\n<p>16.20\u201316.40<br \/>\nCaspar Nieuwenhuis:<em> You Must Change Your Art!<br \/>\n<\/em><\/p>\n<p>16:40\u201317:40<br \/>\n<strong>Final discussion<\/strong><br \/>\nModerated by: Alma R. Selimovi\u0107<\/p>\n<p>18:00\u201318:30 (See, Gregor\u010di\u010deva 3, Ljubljana)<br \/>\nLea Kukovi\u010di\u0107: <em>Unknown Knows<\/em><\/p>\n<p>&nbsp;<\/p>\n<p><a href=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2020\/10\/programski-list_Skupnost-deluje-1.pdf\" target=\"_blank\" rel=\"noopener\"><button class=\"btn btn-danger btn-lg\" type=\"button\"><small> PROGRAM BOOKLET<\/small><\/button><\/a><\/p>\n<p>&nbsp;<\/p>\n<p><a href=\"https:\/\/www.youtube.com\/channel\/UCizPvtTWtc0eD9su8F6OumA\/featured\" target=\"_blank\" rel=\"noopener noreferrer\"><button class=\"btn btn-danger btn-lg\" type=\"button\"><small>VIDEOS OF THE SYMPOSIUM<\/small><\/button><\/a><\/p>\n<h6>8 October<\/h6>\n<p><iframe title=\"Community works! \/ Community works! - Day One\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/HwFLswj7Sg0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe><\/p>\n<h6>9 October<\/h6>\n<p><iframe title=\"Community works! \/ Community works! - Day Two\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/xPi-LRolyFQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe><\/p>\n<p><iframe title=\"Community works! - Day Two, Part Two\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/TYoEZks7IM0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe><\/p>\n<p><iframe title=\"The community works! \/ Community works! - Day Two, Part Three\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/Z2ckvOpHqJY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>The working language of the symposium is English. In accordance with Article 25 of the Act on Public Use of the Slovenian Language, the use of the Slovenian language will be provided at the information level.<\/p>\n<p>Due to the instructions of the National Institute of Public Health regarding public gatherings and prevention of the spread of COVID-19 infection, the number of vacancies at the symposium is limited.<\/p>\n<p>&nbsp;<\/p>\n<p>Head of symposium: Ga\u0161per Troha<br \/>\nPreparatory committee: Amadea Karin Ilic, Primo\u017e Jesenko, Andreja Kopa\u010d, Jure Novak, Tja\u0161a Pureber, Inga Remeta, Toma\u017e Topori\u0161i\u010d, Ga\u0161per Troha, Mojca Jan Zoran<\/p>\n<p>&nbsp;<\/p>\n<p><strong>The Slovenian Theater Institute (SLOGI)<\/strong> is a national public institution founded in 2014 as the legal successor of the National Theater Museum of Slovenia, founded in 1952. The Institute aims at the continued evolution of theater culture at the national level and to raise awareness of the role and importance of theater in the development of society and individuals. The Institute is engaged in collecting, preserving, documenting, researching, examining, interpreting, promoting and presenting Slovenian theater culture, of its heritage and as contemporary theater arts, both at the national and international levels.<\/p>\n<p><strong>See Theater<\/strong> is the oldest independent theater in Slovenia, established in 1970 as a space to create and explore art space for theater practices that originate from the needs of the environment, but as experimental practices lack sufficient infrastructural support for its professional realization. Glej has a rich history of experimental theatrical practices and has developed into contemporary cutting-edge performance theater, experimenting with non-hierarchical forms of organizing art production.<\/p>\n<p><strong>The Academy of Theatre, Radio, Film and Television<\/strong> of the University of Ljubljana performs educational, artistic and research work in the fields of theatre, radio, film and television. From its founding in 1945 to 1975, it operated as an independent higher education institution with a rector, and then became a member of the University of Ljubljana.<\/p>\n<p><strong>Amphitheater - Journal of Performing Arts Theory<\/strong>, is a scientific journal that publishes original articles on performing arts with a broad spectrum from dramatic theatre, drama, dance, performance and hybrid art forms. Authors can analyze the forms and content of artwork and art phenomena from the field of performing arts, their history, their present, and their future, as well as their relationship to other art forms and the broader (social, cultural, political...) context.<\/p>\n<p>&nbsp;<\/p>\n<p><a href=\"https:\/\/www.slogi.si\/en\/amfiteater-journal\/\"><img decoding=\"async\" class=\"alignleft wp-image-2627\" src=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/Amfiteater-6-1logo_red.jpg\" alt=\"\" width=\"331\" height=\"70\" \/><\/a><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p><img decoding=\"async\" class=\"alignleft wp-image-17087\" src=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/SLOGI_STI_RGB-1.jpg\" alt=\"\" width=\"254\" height=\"95\" \/><a href=\"https:\/\/www.glej.si\/\"><img decoding=\"async\" class=\"alignleft wp-image-20204\" src=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/Glej-1-scaled-1.png\" alt=\"\" width=\"117\" height=\"70\" \/><\/a><a href=\"https:\/\/www.agrft.uni-lj.si\/en\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-20428\" src=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/AGRFT_AN.gif\" alt=\"\" width=\"245\" height=\"70\" \/><\/a><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p><em>The symposium is organized in cooperation with the University of Ljubljana, Academy of Theatre, Radio, Film and Television, within the framework of the Theater and Interart Research program (project No. P6-0376), co-financed by the Slovenian Research Agency from the state budget.<\/em><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-large wp-image-20192\" src=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2024\/01\/Glej.png\" alt=\"\" width=\"1\" height=\"1\" \/><\/p>","protected":false},"excerpt":{"rendered":"<p>As the social and political climate in Europe, and even more so in its peripheries, are growing more and more intense, and social divisions in society are bigger than ever, the answer to it in art has been not just to try to reveal the oppression of many different targeted communities, but also to actively step into the situation. What sort of role in building up communities can contemporary theater have? Is this even its purpose? How do new political and economic situations affect production models in contemporary theatre?<\/p>","protected":false},"featured_media":9843,"template":"","categories":[1],"tags":[436,438,473],"izpostavljamo":[],"letnik":[346],"tip":[],"vrsta-razstave":[],"class_list":["post-9844","dogodki","type-dogodki","status-publish","has-post-thumbnail","hentry","category-splosno","tag-amfiteater","tag-simpozij","tag-symposium","letnik-346"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>International symposium Community works! \u2013 Contemporary Theatre Models - SLOGI<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.slogi.si\/en\/events\/community-works-contemporary-theater-models\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"International symposium Community works! \u2013 Contemporary Theatre Models - SLOGI\" \/>\n<meta property=\"og:description\" content=\"As the social and political climate in Europe, and even more so in its peripheries, are growing more and more intense, and social divisions in society are bigger than ever, the answer to it in art has been not just to try to reveal the oppression of many different targeted communities, but also to actively step into the situation. 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