{"id":691,"date":"2020-07-03T07:00:14","date_gmt":"2020-07-03T05:00:14","guid":{"rendered":"https:\/\/www.slogi.si\/publikacija\/amfiteater-8-1\/"},"modified":"2024-06-18T08:57:46","modified_gmt":"2024-06-18T06:57:46","slug":"amphitheater-8-1","status":"publish","type":"publikacija","link":"https:\/\/www.slogi.si\/en\/publikacije\/amfiteater-8-1\/","title":{"rendered":"Amphitheater, Journal of Performing Arts Theory, Volume 8, Number 1"},"content":{"rendered":"<p>Prva \u0161tevilka osmega letnika Amfiteatra je v celoti posve\u010dena <strong>temi ljubiteljskega gledali\u0161\u010da<\/strong>. Slednje ni pogosto predmet znanstvenih raziskav tako pri nas kot v tujini. Ljubiteljskega gledali\u0161\u010da smo se lotili z razli\u010dnih vidikov, saj ima pri nas in drugod po Evropi bogato zgodovino. Nekaj klju\u010dnih obdobij v razvoju slovenskega gledali\u0161\u010da so analizirali Aldo Milohni\u010d (Delavski oder pod Bratkom Kreftom in Ferdom Delakom), Toma\u017e Topori\u0161i\u010d (navezavo slovenskih avantgardnih tokov s konca 60-ih let na so\u010dasno ameri\u0161ko avantgardo) in Barbara Orel (obrat k neigranju).<\/p>\n<p>Seveda pa je slovensko ljubiteljsko gledali\u0161\u010de tudi dandanes vitalen del gledali\u0161ke krajine. S primerjavo med aktualno situacijo na Malti v Estoniji in na Slovenskem smo ga sku\u0161ali primerjalno uvrstiti v Evropski kontekst.<\/p>\n<p>\u0160tevilko dopolnjujejo \u0161tudije razli\u010dnih primerov ljubiteljskih gledali\u0161\u010d in projektov pri nas in v tujini ter dve recenziji aktualnih knji\u017enih izdaj (Katarina Podbev\u0161ek in Nina \u017davbi, ur: <em>Govor v pedago\u0161ki praksi<\/em> in Florence Dupont: <em>Aristotel ali vampir zahodnega gledali\u0161\u010da<\/em>).<\/p>\n<p>&nbsp;<\/p>\n<p><a href=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2020\/07\/Amfiteater-8_1_kolofon.pdf\" target=\"_blank\" rel=\"noopener\">Kolofon<\/a><\/p>\n<p><a href=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2020\/07\/Amfiteater-8_1_kazalo_contents.pdf\" target=\"_blank\" rel=\"noopener\">Kazalo<\/a><\/p>\n<p><a href=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2020\/07\/Amfiteater-8_1_uvodnik.pdf\" target=\"_blank\" rel=\"noopener\">Uvodnik<\/a><\/p>\n<p><a href=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2020\/07\/Amfiteater-8_1_web.pdf\"><button class=\"btn btn-danger btn-lg\" type=\"button\"><small>Amfiteater 8\/1<\/small><\/button><\/a><\/p>\n<p>&nbsp;<\/p>\n<h4>Razprave \/ Articles<\/h4>\n<h5>Aldo Milohni\u0107<\/h5>\n<p><em><a href=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2020\/07\/Amfiteater-8_1_RAZ_01_Milohnic_SI.pdf\" target=\"_blank\" rel=\"noopener\">Delavski oder in amaterski u\u010dinek \u00bbproletarske igre\u00ab<\/a><\/em><\/p>\n<p><em><a href=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2020\/07\/Amfiteater-8_1_RAZ_01_Milohnic_AN.pdf\" target=\"_blank\" rel=\"noopener\">The Workers\u2019 Stage (Delavski oder) and the Amateur Effect of \u201cProletarian Acting\u201d<\/a><\/em><\/p>\n<h5>Ana Kocjan\u010di\u010d<\/h5>\n<p><em><a href=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2020\/07\/Amfiteater-8_1_RAZ_02_Kocjancic_SI.pdf\" target=\"_blank\" rel=\"noopener\">Valo Bratina: arhitekturno in scenografsko delo za ljudske in delavske odre (Hrastnik, Zagorje, Trbovlje, Ko\u010devje, \u0160tore, Duplica, Ljubljana [Moste, Be\u017eigrad])<\/a><\/em><\/p>\n<p><em><a href=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2020\/07\/Amfiteater-8_1_RAZ_02_Kocjancic_AN.pdf\" target=\"_blank\" rel=\"noopener\">Valo Bratina: Architectural and Scenographic Work on the People\u2019s and Workers\u2019 Stages (Hrastnik, Zagorje, Trbovlje, Ko\u010devje, \u0160tore, Duplica, Ljubljana (Moste, Be\u017eigrad))<\/a><\/em><\/p>\n<h5>Toma\u017e Topori\u0161i\u010d<\/h5>\n<p><em><a href=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2020\/07\/Amfiteater-8_1_RAZ_03_Toporisic_SI.pdf\" target=\"_blank\" rel=\"noopener\">Med zapeljevanjem in sumni\u010davostjo eksperimentalnega, ljubiteljskega in profesionalnega gledali\u0161\u010da<\/a><\/em><\/p>\n<p><em><a href=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2020\/07\/Amfiteater-8_1_RAZ_03_Toporisic_AN.pdf\" target=\"_blank\" rel=\"noopener\">Between Seduction and Suspicion: Experimental, Amateur and Professional Theatre<\/a><\/em><\/p>\n<h5>Barbara Orel<\/h5>\n<p><em><a href=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2020\/07\/Amfiteater-8_1_RAZ_04_Orel_SI.pdf\">Ljubiteljsko gledali\u0161\u010de in alternativa sedemdesetih: obrat k neigranju v slovenskih scenskih umetnostih<\/a><\/em><\/p>\n<p><em><a href=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2020\/07\/Amfiteater-8_1_RAZ_04_Orel_AN.pdf\" target=\"_blank\" rel=\"noopener\">Amateur Theatre and the Alternative of the 1970s: The Turn to Not-Acting in the Slovenian Performing Arts<\/a><\/em><\/p>\n<h5>Ga\u0161per Troha<\/h5>\n<p><em><a href=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2020\/07\/Amfiteater-8_1_RAZ_05_Troha_SI.pdf\" target=\"_blank\" rel=\"noopener\">Polo\u017eaj in podoba sodobnega ljubiteljskega gledali\u0161\u010da na Slovenskem<\/a><\/em><\/p>\n<p><em><a href=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2020\/07\/Amfiteater-8_1_RAZ_05_Troha_AN.pdf\" target=\"_blank\" rel=\"noopener\">The Situation and Image of Contemporary Amateur Theatre in Slovenia<\/a><\/em><\/p>\n<h5>Anneli Saro, Hedi-Liis Toome<\/h5>\n<p><em><a href=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2020\/07\/Amfiteater-8_1_RAZ_06_Saro_Toome_SI.pdf\" target=\"_blank\" rel=\"noopener\">Izzivi polja ljubiteljskega gledali\u0161\u010da v Estoniji<\/a><\/em><\/p>\n<p><em><a href=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2020\/07\/Amfiteater-8_1_RAZ_06_Saro_Toome_AN.pdf\" target=\"_blank\" rel=\"noopener\">The Challenges of the Estonian Amateur Theatre Field<\/a><\/em><\/p>\n<h5>Vicki Ann Cremona, Marco Galea<\/h5>\n<p><em><a href=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2020\/07\/Amfiteater-8_1_RAZ_07_Cremona_Galea_SI.pdf\" target=\"_blank\" rel=\"noopener\">Ljubiteljsko gledali\u0161\u010de na Malti<\/a><\/em><\/p>\n<p><em><a href=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2020\/07\/Amfiteater-8_1_RAZ_07_Cremona_Galea_AN.pdf\" target=\"_blank\" rel=\"noopener\">The Amateur Theatre in Malta<\/a><\/em><\/p>\n<h5>Toma\u017e Krpi\u010d<\/h5>\n<p><em><a href=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2020\/07\/Amfiteater-8_1_RAZ_08_Krpic_SI.pdf\" target=\"_blank\" rel=\"noopener\">\u00bbPasijon ima zdravilno mo\u010d!\u00ab Protislovja \u0160kofjelo\u0161kega pasijona<\/a><\/em><\/p>\n<p><em><a href=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2020\/07\/Amfiteater-8_1_RAZ_08_Krpic_AN.pdf\" target=\"_blank\" rel=\"noopener\">\u201cThe Passion Play has a Healing Power!\u201d: The Controversies of the \u0160kofja Loka Passion Play<\/a><\/em><\/p>\n<h5>Ana Vrtovec Beno<\/h5>\n<p><em><a href=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2020\/07\/Amfiteater-8_1_RAZ_09_Vrtovec-Beno_SI.pdf\" target=\"_blank\" rel=\"noopener\">Ohranjanje, predstavitev in uporaba kulturne dedi\u0161\u010dine na primerih ljubiteljskega gledali\u0161\u010da<\/a><\/em><\/p>\n<p><em><a href=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2020\/07\/Amfiteater-8_1_RAZ_09_Vrtovec-Beno_AN.pdf\" target=\"_blank\" rel=\"noopener\">The Preservation, Presentation and Use of Cultural Heritage in Amateur Theatre<\/a><\/em><\/p>\n<h5>Louise Ejgod Hansen<\/h5>\n<p><em><a href=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2020\/07\/Amfiteater-8_1_RAZ_10_Hansen_SI.pdf\" target=\"_blank\" rel=\"noopener\">Otroci na odru v Aarhusu 2017. Participatorni obrat kot izziv razmejevanju med poklicno in ljubiteljsko umetnostjo<\/a><\/em><\/p>\n<p><em><a href=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2020\/07\/Amfiteater-8_1_RAZ_10_Hansen_AN.pdf\" target=\"_blank\" rel=\"noopener\">Children on Stage in Aarhus 2017: The Participatory Turn as a Challenge for the Distinction Between Professional and Amateur Art<\/a><\/em><\/p>\n<h5>Barbara Polajnar<\/h5>\n<p><em><a href=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2020\/07\/Amfiteater-8_1_RAZ_11_Polajnar_SI.pdf\" target=\"_blank\" rel=\"noopener\">Gledali\u0161\u010de zatiranih kot oblika artivisti\u010dnega gledali\u0161\u010da v Sloveniji<\/a><\/em><\/p>\n<p><em><a href=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2020\/07\/Amfiteater-8_1_RAZ_11_Polajnar_AN.pdf\" target=\"_blank\" rel=\"noopener\">The Theatre of the Oppressed as a Form of Artivist Theatre in Slovenia<\/a><\/em><\/p>\n<h5>Kaja Novosel<\/h5>\n<p><em><a href=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2020\/07\/Amfiteater-8_1_RAZ_12_Novosel_SI.pdf\" target=\"_blank\" rel=\"noopener\">\u010cufarjevi dnevi: od sre\u010danja do festivala<\/a><\/em><\/p>\n<p><em><a href=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2020\/07\/Amfiteater-8_1_RAZ_12_Novosel_AN.pdf\" target=\"_blank\" rel=\"noopener\">\u010cufar Days: From a Meeting to a Festival<\/a><\/em><\/p>\n<h5>Tara Mil\u010dinski<\/h5>\n<p><em><a href=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2020\/07\/Amfiteater-8_1_RAZ_13_Milcinski_SI.pdf\" target=\"_blank\" rel=\"noopener\">Ljubiteljska gledali\u0161\u010da v urbanem in ruralnem okolju: primerjava lo\u0161kega odra in gledali\u0161\u010da belanskega<\/a><\/em><\/p>\n<p><em><a href=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2020\/07\/Amfiteater-8_1_RAZ_13_Milcinski_AN.pdf\" target=\"_blank\" rel=\"noopener\">Amateur Theatres in Urban and Rural Environments: a comparison between Loka Stage and Bela Theatre<\/a><\/em><\/p>\n<h5>Ajda Sokler<\/h5>\n<p><em><a href=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2020\/07\/Amfiteater-8_1_RAZ_14_Sokler_SI.pdf\" target=\"_blank\" rel=\"noopener\">70 let ljubiteljskega gledali\u0161\u010da na Studencu<\/a><\/em><\/p>\n<p><em><a href=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2020\/07\/Amfiteater-8_1_RAZ_14_Sokler_AN.pdf\" target=\"_blank\" rel=\"noopener\">70 Years of Amateur Theatre in Studenec<\/a><\/em><\/p>\n<h4>Recenzije \/ Book Reviews<\/h4>\n<h5>Tja\u0161a Jakop<\/h5>\n<p><a href=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2020\/07\/Amfiteater-8_1_REC_01_Jakop.pdf\" target=\"_blank\" rel=\"noopener\"><em>Govor v pedago\u0161ki praksi<\/em> (Katarina Podbev\u0161ek in Nina \u017davbi, ur: <em>Govor v pedago\u0161ki praksi<\/em>)<\/a><\/p>\n<h5>Nenad Jelesijevi\u0107<\/h5>\n<p><a href=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2020\/07\/Amfiteater-8_1_REC_02_Jelesijevic.pdf\" target=\"_blank\" rel=\"noopener\"><em>Javna tajna: dolg\u010das (post)dramskega gledali\u0161\u010da<\/em> (Florence Dupont: <em>Aristotel ali vampir zahodnega gledali\u0161\u010da<\/em>)<\/a><\/p>\n<p>&nbsp;<\/p>\n<p><a href=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2020\/07\/Amfiteater-8_1_navodila-za-avtorje.pdf\" target=\"_blank\" rel=\"noopener\">Navodila za avtorje<\/a><\/p>\n<p><a href=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2020\/07\/Amfiteater-8_1_vabilo-k-razpravam_call-for-papers.pdf\" target=\"_blank\" rel=\"noopener\">Vabilo k razpravam<\/a><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Glavni in odgovorni urednik:<\/strong> doc. dr. Ga\u0161per Troha (UL FF, UL AGRFT)<\/p>\n<p><strong>Uredni\u0161ki odbor:<\/strong> prof. dr. Bojana Kunst (In\u0161titut za uporabne gledali\u0161ke znanosti, Univerza Justusa-Liebiga, Gie\u00dfen, DE), red. prof. dr. Barbara Orel (UL AGRFT), mag. Primo\u017e Jesenko (SLOGI), doc. dr. Bla\u017e Lukan (UL AGRFT), izr. prof. dr. Aldo Milohni\u0107 (UL AGRFT), dr. Maja \u0160orli (samozaposlena v kulturi), izr. prof. dr. Toma\u017e Topori\u0161i\u010d (UL AGRFT)<\/p>\n<p align=\"justify\"><strong>Mednarodni uredni\u0161ki odbor:<\/strong> Mark Amerika, MFA (University of Colorado, US), izr. prof. dr. Marin Bla\u017eevi\u0107 (Sveu\u010dili\u0161te u Zagrebu, HR), Ramsay Burt, PhD (De Montfort University, GB), Joshua Edelman, PhD (Manchester Metropolitan University, GB), Jure Gantar, PhD (Dalhousie University, CA), Janelle Reinelt, PhD (The University of Warwick, GB), Anneli Saro, PhD (Tartu \u0170likool, EE), prof. dr. Mi\u0161ko \u0160uvakovi\u0107 (Univerzitet Singidunum, RS), prof. Stephen Elliot Wilmer (Trinity College Dublin, IE)<\/p>\n<p align=\"justify\"><strong>Soizdajatelja:<\/strong> Slovenski gledali\u0161ki in\u0161titut, (zanj Mojca Jan Zoran, direktorica) in Univerza v Ljubljani, Akademija za gledali\u0161\u010de, radio, film in televizijo (zanjo Toma\u017e Guben\u0161ek, dekan)<\/p>\n<p>&nbsp;<\/p>\n<p align=\"justify\">Revijo Amfiteater je ustanovila UL AGRFT. V letu 2015 je revija za\u010dela izhajati v soizdajateljstvu s SLOGI. Ob tem pa ostaja univerzitetna znanstvena revija, z dvema \u0161tevilkama v letniku.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Prva \u0161tevilka osmega letnika Amfiteatra je v celoti posve\u010dena temi ljubiteljskega gledali\u0161\u010da. Slednje ni pogosto predmet znanstvenih raziskav tako pri nas kot v tujini. Ljubiteljskega gledali\u0161\u010da smo se lotili z razli\u010dnih vidikov, saj ima pri nas in drugod po Evropi bogato zgodovino. Nekaj klju\u010dnih obdobij v razvoju slovenskega gledali\u0161\u010da so analizirali Aldo Milohni\u010d (Delavski oder &#8230;<\/p>","protected":false},"author":1,"featured_media":3793,"template":"","categories":[7],"tags":[436],"avtor":[],"izpostavljamo":[],"letnik":[346],"naslov":[],"prevajalec":[],"zbirka":[242],"class_list":["post-691","publikacija","type-publikacija","status-publish","has-post-thumbnail","hentry","category-publikacije","tag-amfiteater","letnik-346","zbirka-amfiteater"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Amfiteater, Revija za teorijo scenskih umetnosti, Letnik 8, \u0160tevilka 1<\/title>\n<meta name=\"description\" content=\"Prva \u0161tevilka osmega letnika Amfiteatra je v celoti posve\u010dena temi ljubiteljskega gledali\u0161\u010da. Slednje ni pogosto predmet znanstvenih raziskav tako pri nas kot v tujini. 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