PERFORMATIVNA DIMENZIJA V SLOVENSKI SODOBNI DRAMI BOZIC - JESIH - JOVANOVIC -SELIGO

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Título:
PERFORMATIVNA DIMENZIJA V SLOVENSKI SODOBNI DRAMI BOZIC - JESIH - JOVANOVIC -SELIGO
Autor: Toporisic, Tomaz
Assuntos: 20th century ; absurdna dramatika ; Armed forces ; Audiences ; Culture ; Drama ; drama absurda ; Feedback ; Handke, Peter ; Literary criticism ; Literary translation ; Metaphor ; Parataxis ; performans ; performativ ; Poetry ; Poets ; Postmodernism ; Prose ; Slovene ; slovenska dramatika ; slovenska književnost ; Studies ; Theater
É parte de: Slavistična revija, 2011-10, Vol.59 (4), p.357
Descrição: Ce sta ze njegovi prvi igri resno zamajali prikazovanje nekega 'drugega' sveta in predstavljanje nekega fiktivnega sveta, ki naj ga bralec (in gledalec) opazuje, si ga razlaga in ga razume (Lichte 2004: 26), je v predstavi Pupilija, papa Pupilo in Pupilcki [Peter Bozic, Dusan Jovanovic] leta 1969 radikalno izpostavil performativno naravo spektakla; to, kar se dogaja med izvajalci in gledalci: avtopoeticno feedback zanko, ki nastane kot del ritualnega dogodka, v katerem njihova »dejanja niso bila nic drugega kot to, kar so izvrsevala. [...] Kot samonanasajoca in ustvarjajoca dejanskost [...] jih lahko razumemo v smislu Austinovega pojmovanja 'performativa'« (26-27). S tem udejanji zavest, da se »gledalisce konstituira znotraj povezave med igralci in gledalci, znotraj sklepa, da pri predstavi ne gre vec za delo [...], ampak za dogodek, ki stremi k temeljno novi definiciji povezav med igralci in gledalci ter tako odpira tudi moznost za (iz)menjavo vlog« (28). In prav k temu stremi tudi njegova dramatika. Zato ne pozna dileme: tekstocentrizem ali scenocentrizem (Pavis). Govorica in govor sta (spet receno z Derridajem) postala gesti: 'logicna in diskurzivna intenca je reducirana ali podrejena' (derrida 1996: 90). The article is devoted to the unique character of the Slovene post-WWII drama, which has been ignored by the previous attempts of a historical treatment of the drama and theater of the second half of the 20th century, despite the fact that it is, in the author's view, extremely important. Discussed is the special feature of the Slovene absurd drama and the significance derived from it in the deconstruction of the so-called literary or drama theater and in realization of the performative turn at the turn of the 1970s. Using the selected examples of plays (rather than dramatic texts for theater and performance) by Peter Bozic, [Milan Jesih], and Dusan Jovanovic as well as essays by [Rudi Seligo], the author aims to show how the history of the Slovene post- WWII drama and theater was a true breeding ground for dramatic and dynamic narratives about the relationship between the text, discourse, and the performance. They went from the first ruptures in the Social Realism and literary theater, through experimental theaters of the 1950s and 1960s, performative turn of the theaters Pupilija Ferkeverk, Pekarna, and Glej in the 1970s, as well as numerous new transformers of the theater, literature, and culture in the last decades of the 20th century. This era was marked by an extraordinary dynamics in realizing new concepts of stage presentation and continuous abolition of classic staging. This was not only a matter of acting and directing, but also and often mainly a matter of the text and of drama and other no-longer-drama authors. Nevertheless, within Slovene literary criticism and study of theater, the absurd drama was never considered a part of postmodern turn, which occurred in Slovenia considerably later than in the U.S. However, [Kerstin Schmidt]'s thesis- that the technique of transformation as cultivated by the American theater avant-garde, particularly by the Open Theater of [Joseph Chaikin], is the basic technique as well as the metaphor of the postmodern American drama-also holds true for the Slovene absurd drama and theater and for the series of literary and theater artists who realized the performative turn. As in the U.S., in Slovenia the performative turn took place directly linked to the contemporary drama and to the poetry and prose along with it. Furthermore, in the case of the Pupilija Ferkeverk Theater as the most obvious agent of the performative turn in the Slovene theater, there is an apparent connection between young poets-dramatists and other stage and visual artists. The essential characteristics of the literary parataxis of the generation that made a breakthrough in the beginning of the 1970s are related to the notions "performative" and "performativity" (Austin) and to the fact that their author derives from a doubt that the only characteristic of any utterance is that it is true or at least untrue, and that s/he is interested in performatives more than in constatives. Once the language becomes one of the main protagonists of his plays, Jesih abolishes any duality between the text and its performance. The word, the utterance as a performative in itself, becomes a spectacle, it is what creates the structure of the text and the performance. Jesih and Jovanovic with their textual and theater acts embody transformation from the verbal to the performative culture, which is specifically characterized by the performative character of corporeal co-presence. Jesih with Limite [Limits] and Grenki sadezi pravice [Bitter Fruits of Justice] and Jovanovic with Pupilija and the ritual slaughter of a chicken in the Krizanke hall (similarly to [Handke] in Offending the Audience) and with Jozica Avbelj's exact translation of the textual into the ritual-corporeal in Spomenik G [Monument G]-they both fully realize the turn from the theater as a piece of art, a fixed artifact to performative corporeal co-presence of co-subjects (actors and spectators) of the event/happening. Peter Bozic, Dusan Jovanovic, Milan Jesih, and Rudi Seligo with their (no longer) dramatic, theatric, and essayistic corpora demonstrate that Slovenia has also undergone the transformation from the textual to the performative culture. Bozic with his anti-drama Vojaka Josta ni [There is No Soldier Jost], Jesih with [Limite] and Grenki sadezi pravice, Jovanovic with Pupilija Ferkeverk and Spomenik G, Seligo with his early prose and drama and particularly with theoretization of his practice-they ultimately realized the turn from literature and theater as a piece of art, a fixed artifact to the performative corporeal co-presence of co-subjects: writers and readers, actors and spectators.
Editor: Ljubljana: Slavisticno Drustvo Slovenije
Idioma: Croatian;Inglês

PERFORMATIVNA DIMENZIJA V SLOVENSKI SODOBNI DRAMI BOZIC - JESIH - JOVANOVIC -SELIGO

Toporisic, Tomaz

Ljubljana: Slavisticno Drustvo Slovenije

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