{"id":892,"date":"2023-06-29T08:09:29","date_gmt":"2023-06-29T06:09:29","guid":{"rendered":"https:\/\/www.slogi.si\/publikacija\/amfiteater-11-1\/"},"modified":"2026-01-15T12:29:01","modified_gmt":"2026-01-15T11:29:01","slug":"amphitheater-11-1","status":"publish","type":"publikacija","link":"https:\/\/www.slogi.si\/en\/publikacije\/amfiteater-11-1\/","title":{"rendered":"Amphitheater, Journal of Performing Arts Theory, Volume 11, Number 1"},"content":{"rendered":"

Most of the first issue of Year 11 Amphitheater<\/em> present discussions prepared on the basis of contributions at the Amphitheater Symposium on the topic "Theatrical experiment in Slovenia (1966-1986) and its echoes"<\/em><\/a> held in autumn 2022 at the Slovenian Theater Institute (SLOGI) in Ljubljana.<\/p>\n

The idea of the theme of the symposium arose when the proceedings were published Generator:: to produce any number of drama complexes<\/em><\/a> (UL AGRFT and SLOGI, 2022), in which the editor Bla\u017e Lukan collected almost 60 Slovenian experimental dramatic and performance texts from the period of modernism (1966\u20131986) by more than 30 Slovenian authors. The anthology offered a starting point both for reexamination and new research into the lesser-known works of playwrights of that period, as well as for a (re)consideration of Slovenian performance practices of the 1960s and 1970s. At the same time, he drew attention to the largely overlooked fact of the influence that the theater and drama experiment had on the further development of drama writing and staging in our country up to the present day, and last but not least, it made it possible to compare this development with what was happening elsewhere in the former Yugoslavia and in the Western world.<\/p>\n

This number Amphitheater<\/em> thus brings eight original discussions: all of them are published in Slovenian and English (translated by Jaka Andrej Vojevec). The authors of the articles are: Branislav Jakovljevi\u0107, Toma\u017e Topori\u0161i\u010d, Ga\u0161per Troha, Barbara Orel, Varja Hrvatin, Ma\u0161a Radi Buh and Jakob Ribi\u010d, Kri\u0161tof Jacek Kozak, Gregor Pompe and Nika Leskov\u0161ek. The issue concludes with a review by Tajda Lipicer, who discusses Comedy Essays<\/em> Jure Gantar (MGL, 2022).<\/p>\n

Several articles deal with performance writing, new forms of which appeared in the 1960s and 1970s. Although they did not eliminate traditional dramatic forms, they radically changed the role of textuality in the theater. The authors of the treatises thus explore various relationships between writing and performance, between dramatic and (experimental) performance practices, as a rule in the Slovenian context. Special attention is given to reading performances, as well as some specific and lesser-known aspects.<\/p>\n

In this way, Branislav Jakovljevi\u0107 shows the difference between mass performances, such as took place in Belgrade every May 25 on Youth Day, and similar performances that had subversive and aesthetic potential. In the end, this very difference, which is actually the difference between art and bare reproduction or by randomly combining elements, Jakovljevi\u0107 uses it to reflect on the potential of modern artificial intelligence, which is becoming extremely relevant with ChatGPT.<\/p>\n

Toma\u017e Topori\u0161i\u010d and Ga\u0161per Troha write about the question of dramatic text and theatrical event, generally in the context of Slovenian drama and (experimental) staging practices. The first deals with the deconstruction of the dramatic in selected authors from the 1960s to the present, who invent new forms of redramatization and post-dramatic intermedia interweaving. The second, on the other hand, points to the close connection between contemporary dramatic writing and the tradition of modernism, which today is based on different starting points. If modernism tried to arrive at automatic writing and truth through chance and event, today's female authors try to create a stronger sense of authenticity and emotional impact through processes of combination and manipulation of the viewer.<\/p>\n

Several authors of the discussion tackle the theoretical placement of reading performances - both with regard to Slovenian neo-avant-garde practices (Barbara Orel) and with regard to the contemporary position of reading performances (Varja Hrvatin, Ma\u0161a Radi Buh and Jakob Ribi\u010d).<\/p>\n

Specific and lesser-known aspects are also discussed:<\/p>\n

Kri\u0161tof Jacek Kozak shakes up Taras Kermauner's forgotten dramatization, in which Kermauner's view of modernist poetry, especially \u0160alamun's, is interesting.<\/p>\n

Gregor Pompe analyzes the rich musical theater oeuvre of Darijan Bo\u017ei\u010d, who introduced the then most current modernist procedures, such as those explored in the USA by John Cage; however, the Slovenian theater and music scene remained extremely suspicious of opera, which is why Bo\u017ei\u010d is always looking for suitable genre labels for his works.<\/p>\n

Nika Leskov\u0161ek deals with the representation of women or by their absence in the proceedings Generator<\/em>, which perhaps indicates the patriarchal nature of what happened at the time, which otherwise took place during student unrest and demands for complete individual freedom.<\/p>\n

The issue was edited by the magazine's new chief and responsible editor, Maja Murnik.<\/p>\n

 <\/p>\n

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

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

Editorial<\/a><\/p>\n