{"id":908,"date":"2023-12-14T06:24:11","date_gmt":"2023-12-14T05:24:11","guid":{"rendered":"https:\/\/www.slogi.si\/publikacija\/amfiteater-11-2\/"},"modified":"2026-01-15T12:30:11","modified_gmt":"2026-01-15T11:30:11","slug":"amphitheater-11-2","status":"publish","type":"publikacija","link":"https:\/\/www.slogi.si\/en\/publikacije\/amfiteater-11-2\/","title":{"rendered":"Amphitheater, Journal of Performing Arts Theory, Volume 11, Number 2"},"content":{"rendered":"

This volume Amphitheater<\/em> brings a diverse conglomerate of texts, both in terms of topics and genres.<\/p>\n

The volume is introduced by four discussions. Toma\u017e Topori\u0161i\u010d<\/strong> The first part of the book deals with the avant-gardes. It examines them through the prism of the relations between the center and the periphery of Central and Eastern Europe, starting from the assumption that Central and Eastern European avant-gardes should not be understood as incomplete derivatives of movements from the great Western centers, but as independent, authentic expressions. The discussion ranges from the historical avant-gardes of the 1920s and 1930s (especially Zenitism and Constructivism) through the neo-avant-gardes to the (Slovenian) retro-avant-garde towards the end of the twentieth century, which not only revived some of the original ideas, but also explicitly wanted to create alternative maps of European art.<\/p>\n

Andrej Leben<\/strong> analyzes the diverse theatrical activity of Carinthian Slovenes, a large part of which today takes place on a bilingual and multilingual basis. The author focuses on the outline of the contemporary Carinthian Slovene, bilingual and multilingual theatrical scene, its structures, activities and performance practices, and also addresses the question of how to conceptually and conceptually encompass these diverse practices. In this way, he presents the first theorizations of this both theatrical and cultural-sociological phenomenon.<\/p>\n

Topic of the discussion Irine Le\u0161nik Jeras<\/strong> extends to the field of theatre pedagogy, focusing on the so-called drama in education, which, in addition to educational goals, also has aesthetic or artistic goals. As a process-oriented approach, it does not envisage a final performance or performance, and devotes most of its time to negotiating and structuring meanings. The author reviews and critically evaluates the terminology, history and various definitions of this teaching approach, and also discusses the concept of theatre in education and evaluates the situation in Slovenia.<\/p>\n

We are publishing the remaining texts that were created within the framework of Amphitheater<\/em> symposium on the topic "Theatre experiment in Slovenia (1966\u20131986) and its echoes<\/em><\/a>\u00ab took place in October 2022 at the Slovenian Theatre Institute in Ljubljana, namely a discussion and an interview. The discussion Milena Mileva Bla\u017ei\u0107<\/strong> undertakes an analysis of the youth drama of Andrej Rozman Roza, especially his adaptation of Shakespeare's A Midsummer Night's Dream<\/em> (1999). Through a comparative analysis of both texts, Rozman's adaptation identifies elements of experimental theatre, as well as echoes of Bakhtin's theory of carnival. The constants of Rozman's work are polysemy, polysemy, and adaptations.<\/p>\n

As part of the topic of the theatrical experiment in Slovenia and its echoes, we are also publishing an extensive interview with the director. Tory outlet<\/strong>, in which the interviewee looks back on the unusual and unpredictable paths of his creativity. The conversation was prepared by Primo\u017e Jesenko<\/strong>.<\/p>\n

Jana Pavlic<\/strong> wrote a text about texts with (geo)political themes from the mid-1980s: Alice Goodman's opera libretto for the opera Nixon in China<\/em> discusses it in the context of contemporary American opera, and also compares it to political drama The Terrible But Unfinished Story of Norodom Sihanouk, King of Cambodia<\/em>, written by H\u00e9l\u00e8ne Cixous especially for Ariane Mnouchkine's performance in 1985.<\/p>\n

The issue concludes with two book reviews: in the first Boris Kern<\/strong> proceedings Speech and space<\/em> editors Katarina Podbev\u0161ek and Nina \u017davbi, and in the second Jakob Ribic<\/strong> is thinking about Theater and war<\/em> Zale Dobovsek.<\/p>\n

The magazine was edited by Maja Murnik.<\/p>\n

 <\/p>\n

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