Theatre experienced a paradigm shift in the 1960s and 1970s that largely determines its development to this day. Just as the stage places dramatic texts in new roles, new dramatic writings present theatre with new challenges.<\/p>\n
It is precisely these transitions and the expansion of creative possibilities that are questioned in the discussions in this issue of Amfiteatar. Anna Maria Monteverdi deals with theatre history and analyses the role of video art in theatre from the 1970s to the present day.<\/p>\n
Petra Pogorevc explores the boundaries of theatrical art and the acting body, addressing the question of absent actors in a fifty-year project North:: 1995\u20132045<\/em>, where deceased actors are replaced by technological substitutes who will live an eternal life in Earth orbit at the end of the project.<\/p>\n On the political connotations of performance\/performance Kapelj and Semeni\u010d in assembly<\/em> Nika Leskov\u0161ek discusses. She shows that the political potential of this performance was not only in the way it was presented and the special way it was received (immersive theatre), but also in the use of Simona Semeni\u010d's dramatic text entitled while I almost say, or a parable about a ruler and wisdom<\/em>.<\/p>\n Mi\u0161a Gli\u0161i\u010d deals with the dramatic text and its transition from dramatic to no longer dramatic. Drama Still a storm<\/em> Peter Handke is analyzed using Peter Szondi's concept of the absoluteness of drama.<\/p>\n The discussions prove that contemporary theatre is extremely complex and alive, constantly posing new questions and challenges for us researchers to analyze. The Amphitheatre has been and will continue to grapple with these in the future.<\/p>\n Ga\u0161per Troha<\/p>\n <\/p>\n