{"id":833,"date":"2022-07-01T15:16:48","date_gmt":"2022-07-01T13:16:48","guid":{"rendered":"https:\/\/www.slogi.si\/publikacija\/amfiteater-10-1-2-2\/"},"modified":"2026-01-15T12:27:03","modified_gmt":"2026-01-15T11:27:03","slug":"amphitheater-10-1-2-2","status":"publish","type":"publikacija","link":"https:\/\/www.slogi.si\/en\/publikacije\/amfiteater-10-1-2-2\/","title":{"rendered":"Amphitheater, Journal of Performing Arts Theory, Volume 10, Number 1"},"content":{"rendered":"

The first issue of the magazine Amfiteater for 2022 brings an extensive thematic block Contemporary drama after l. 2000. The thematic part is rounded off by two discussions, each of which complements this topic in its own way. Matic Kocijan\u010di\u010d analyzes the performances of Sophocles' Antigone on Slovenian professional stages, while Luka Benedi\u010di\u010d reopens the topic of the ethical and political power of theater by trying to connect Brecht's concept of Gestus with ritual and taboo.<\/p>\n

The issue concludes with reviews of current monographs in the field. This time we present\u00a0Theater of Rebellion<\/em>\u00a0Aldo Milohni\u0107, collection\u00a0Adapting Greek Tragedy: Contemporary Contexts for Ancient Texts<\/em>, edited by Vayos Liapis and Avra Sidiropoulou, and\u00a0Equinox by Marjan Kozina<\/em>\u00a0Borut Smrekar.<\/p>\n

In the drama of the twenty-first century, radical changes are taking place in Slovenia, as well as elsewhere in Europe and the Western world. The relationship between the dramatic text and the stage is constantly strained and oscillates between the text and the theatrical event. There are several approaches or views on the dramatic text, which intertwine with each other, exchange and produce new challenges for both dramatic writing and its staging.<\/p>\n

In the thematic block, domestic and foreign researchers address four fundamental topics:<\/p>\n

    \n
  1. How to preserve a theatrical event for which the text is only a starting point and which is essentially determined by the respective autopoietic feedback loop? So how to approach these performance texts in the first place?<\/li>\n
  2. To what extent is post-dramatic theatre really a break, or can its break with representation be sought in the tradition of metadrama?<\/li>\n
  3. How does post-dramatic theatre radically break with some fundamental elements of drama theory (e.g., dramatic character)?<\/li>\n
  4. What are the substantive and formal characteristics of the drama written by the youngest generation of so-called millennials?<\/li>\n<\/ol>\n

    The first topic is opened by Aleksandra Jovi\u010devi\u0107, who explores contemporary performance texts. The latter must take into account both the changes in the textual template in the performance and the active role of the audience who co-create this hypertext. Zuzana Tim\u010d\u00edkov\u00e1, Zala Dobov\u0161ek and Hana Strej\u010dkov\u00e1 complement this reflection with studies of individual performances or performance practices.<\/p>\n

    The second topic is opened by Lada \u010cale Feldman, who discusses the contradiction between representation and presence in postdramatic theatre and wonders whether the departure from representation could be sought in metadramatic texts in the past. This set also includes discussions by Kri\u0161tof Jacko Kozak and Lara Jerkovi\u010d.<\/p>\n

    The third theme is outlined by Jure Gantar with a reflection on the dramatic character, which in post-dramatic theatre disintegrates or becomes increasingly fragmented, but it seems that this is not entirely the case in post-dramatic comedy. Various themes in contemporary drama writing are also analyzed by Pavel Ocepek and Hanna Veselovska.<\/p>\n

    The fourth topic includes a discussion by Lucija Ljubi\u0107 and Martina Petranovi\u0107 on poetic tendencies in contemporary Croatian drama. The youngest generation is also portrayed by Varja Hrvatin, Ma\u0161a Radi Buh, Jakob Ribi\u010d, and Benjamin Zajc.<\/p>\n

    This issue thus raises numerous questions and paints a complex picture of dramatic writing over the last twenty years.<\/p>\n

    Colophon<\/a><\/p>\n

    Index<\/a><\/p>\n