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Autor korisnik
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petak, 02. rujna 2011. 09:08 |
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Lani započeti kurs Theatrum Mundi pri IUC-u u Dubrovniku, nastavlja se i ove godine, od 5. do 10. rujna. Otvorena tema Theatre and Politics proširuje se novim istraživačkim poljem "Theatre and Memory".
Raspored izlaganja:
THEATRUM MUNDI: Theatre & Politics II Theatre and Memory Dubrovnik, 05. – 10. rujna 2011.
Ponedjeljak, 05. rujna, 10.00 • Uvodna riječ • Ante Armanini: Comoedia tragica erosa ili o Shakespeareovoj poetici nevjernog sjećanja • Ljiljana Filipović: Povijest kao san
Utorak, 06. rujna, 10.00 • Goran Gretić: Hamlet u obzoru povijesnog sjećanja: C. Schmitt vs. W. Benjamin • Sibila Petlevski: Oplakivanje moderniteta – sjećanja budućnosti
Srijeda, 07. rujna, 10.00 • Katica Kulavkova: Stereotipi na Balkanu i intertekstualna ironija • Goran Pavlić: Laž – sredstvo pretvaranja politike u teatar
Četvrtak, 08. rujna, 10.00 • Snježana Banović: Kazališni umjetnici u NDH – između totalitarizma i umjetnosti
Petak, 09. rujna, 10.00 Izlet
Subota, 10. rujna, 10.00 • Bojana Klepač: "Središnji događaj Riječkih ljetnih noći": Triptih opadajuće kvalitete
• Završna diskusija
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Autor korisnik
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četvrtak, 05. kolovoza 2010. 22:14 |
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U Dubrovniku se ove godine održava prva etapa kursa Theatrum Mundi pri IUC-u pod radnim nazivom "Teatar i politika". Tematski se kurs dijelom preklapa s programskim odrednicama projekta "Prostori identiteta u sferi izvedbenog". Prilažemo raspored izlaganja te njihov kratki sadržaj. THEATRUM MUNDI
Teatar i politika
Dubrovnik, 16. – 21. kolovoza 2010.
Ponedjeljak, 16. kolovoza 2010.
10.00
Uvodna riječ
Goran Gretić
Sveučilište u Zagrebu
PRIZORI ZABORAVA
O mogućnostima umjetničkog prikazivanja odnosa zaborava, sjećanja i oprosta.
Rasprava
Utorak, 17. kolovoza 2010.
10.00
Andrea Zlatar
Sveučilište u Zagrebu
UČINCI REALITETA: TEATAR I POLITIČKO
U ovome radu autorica se bavi analizom funkcioniranja realiteta kao performativnog ustroja. Polazeći od pretpostavke da je političko upisano u realitet, analiziraju se dva usporedna fenomena: građanske akcije neposluha koje kao namjerni oblik pojavnosti koriste performance, te kazališni tekstovi koji upisuju (politički) realitet u svoju materiju.
Rasprava
Goran Pavlić
Sveučilište u Zagrebu
VIRTUOZNA REVOLUCIONARNOST TEATRA
Uz sam naslov, koji je parafraza naslova Virnova teksta »Virtuosity and Revolution«, i analitička će procedura moje prezentacije biti bitno oslonjena na taj tekst. Aplicirajući Virnovu restrukturaciju transcendentalnog »ideološkog« polja (theoria, poiesis, praxis) na domenu umjetničke artikulacije, pokušat ću elaborati koje implikacije iz toga proizlaze, i kako je teatar po svom strukturnom statusu upravo ona instanca poiesisa koja otvara potencijal nove umjetničke, pa potom i političke subjektivnosti. Ovako naznačen poredak nije slučajan već se oslanja na Rancièreovo zastupanje ontogenetskog prvenstva estetike nad politikom. Rasprava Srijeda, 18. kolovoza 2010.
10.00
Nenad Prokić
Sveučilište u Beogradu
TEATAR ‒ SARADNIK SVAKOJAKE BEDE
Novac i vlast su oduvek bili dve otvorene rane pozorišta. Iz njih je ono crplo i svoju snagu i svoju slabost, zavisno od autora. Teatar se uvek i veoma mnogo zloupotrebljavao u političke svrhe, a i zavisio je direktno od politike. Međutim, to je i neophodno, čak i poželjno. Da nije tako, ne bi bilo Brehta, ne bi bilo Stanislavskog, ne bi bilo Piskatora, Krausa, Tolera, Čapeka, Sartra... Šekspira...
Rasprava
Četvrtak, 19. kolovoza 2010.
Ekskurzija
Petak, 20. kolovoza 2010.
10.00
Ljiljana Filipović
Sveučilište u Zagrebu
ISTINA JE NA POZORNICI
Nije upitno da je performans moguća strategija kolektivna promišljanja, izmještanja, te rekonfiguracije sebe i zajednice. No što je to što onemogućuje »performativnu« djelotvornost? Psihoanaliza može pomoći kritici ideologije upravo tako da objasni paradoksalni jouissance kao plaću koju eksploatirani sluga prima za služenje Gospodaru.
Rasprava
Subota, 21. kolovoza 2010.
10.00
Sibila Petlevski
Sveučilište u Zagrebu
JAVNI INTELEKTUALCI I FANTOMSKE JAVNOSTI POST-ČINJENIČNOG DOBA
Rad istražuje pojam javnoga intelektualca (public intellectual) i ulogu medija u formiranju i performiranju mišljenja javnosti. S polazištem u debati Dewey-Lippmann nastoji se istražiti relevantnost rasprava dvadesetih godina za medijsku teoriju danas.
Rasprava
Odjavna riječ
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Autor korisnik
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subota, 06. veljače 2010. 22:13 |
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Workshop
Wednesday, February 10th
Academia moderna
Šenoina 11 (backyard)
10.00 – 16.00
Audiences
An international working group
European start-up seminar
Initiator and coordinator: Kim Skjoldager-Nielsen ---------------------------------------------------------------------------------------------------------------------------------------------------------
Papers
Thursday, February 11th
Villa Arko, Basaričekova 24
10.00 h
10.15
Sibila Petlevski
Opening words
10.30
Tatjana Jukić
Faculty of Humanities and Social Sciences, Zagreb
Identifying Europe as the Promise of Tragedy
10.50
Goran Gretić
Faculty of Political Science, Zagreb
European Space: Other – Foreign – Enemy
11.10
Nadežda Čačinovič
Faculty of Humanities and Social Sciences, Zagreb
Continuity and Discontinuity: A Critical Reading of Galen Strawson
11.30-11.50
discussion
11.50
Ivan Lozica
Institute of Ethnology and Folklore Research, Zagreb
The Discursive Construction of Carnival Politics
12.10
Aleksej Kišjuhas
Faculty of Philosophy, Novi Sad
Network Theory of Randall Collins: Towards a Microsociology of Creativity
12.30
Chiara Bonfiglioli
Utrecht University
Barbaric “Slavo-communists” vs. “Good Italians”. Performing Ethnicized Memories of Second World War in Post-Cold War Italian Popular Culture
12.30-12.50
discussion
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Friday, February 12th
Villa Arko, Basaričekova 24
10.00 h
10.10
Kim Skjoldager-Nielsen
Independent Scholar
„Who are you, who am I in a performance?“: Potential Spaces for Identity Formation in the Work of SIGNA
10.30
Hrvoje Jurić
Faculty of Humanities and Social Sciences, Zagreb
Crucifixion of the Identity: Persons and Beings, Bodies and Genes
10.50
Goran Pavlić
Academy of Dramatic Art, Zagreb
Poetics of Theatrical Space: Where Bachelard meets Gavella
11.10-11.30
discussion
11.30
Monika Bregović
Faculty of Humanities and Social Sciences, Zagreb
Performing National Identity: The Clash between Social Memory and Trauma in German Documentary Theatre
11.50
Blaženka Perica
Academy of Arts, Split
Performative Images
12.10
Leonida Kovač
Academy of Fine Arts, Zagreb
Ivana Sajko's "The Scene with an Apple" in the interspace of image, text and voice
12.30-12.50
discussion
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Saturday, February 13th
Villa Arko, Basaričekova 24
10.00 h
10.10
Lucia Leman
University of Nottingham
The Reason before Identity? Short Guide to the Postmodern Croatian Literature
10.30
Tomislav Pletenac
Faculty of Humanities and Social Sciences, Zagreb
Surplus of Performance. Coping with Absolute Identity
10.50
Lada Čale Feldman
Faculty of Humanities and Social Sciences, Zagreb
Loss of Identity in the Acting Sphere: from Diderot's Paradox to Ridout's Stagefright (via Lacoue-Labarthe’s Diderot: paradox and mimesis and Krleža’s Behind the Mask)
11.10-11.30
discussion
11.30
Miloš Lazin
Independant theatre group MAPPA MUNDI-Paris
Five Patterns of European Theatre Directing
11.50
Goran Sergej Pristaš
Academy of Dramatic Art, Zagreb
Minor Praxis and Poetics of "Whatever" Identity
12.10-12.30
discussion
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Sunday, February 14th
Villa Arko, Basaričekova 24
10.00 h
10.10
Sibila Petlevski,
Academy of Dramatic Art, Zagreb
Virulent Ideas, Memetic Engineering, Memeoid Identity, Aesthetic Warfare.
10.30
Nataša Govedić
Independent Theatrologist
To act, to do, to perform: the work of/on histrionic desire and “her“ Hamlet
10.50
Matjaž Potrč,
Faculty of Philosophy, Ljubljana
Phenomenology of dance
11.10-11.30
discussion
11.30 Boris Čučković
Igor Dvoršćak
Faculty of Humanities and Social Sciences, Zagreb
Performing (with) Sculpture: Fluid, Sound and the Digital 11.50 Zvonko Maković
Faculty of Humanities and Social Sciences, Zagreb
Me as Someone Else
12.10
Žarko Paić
Faculty of Textile Technology, Zagreb
The Spatial Turn and New Identities
12.30-12.50
Discussion
12. 50
Sibila Petlevski
Closing Words --------------------------------------------------------------------------------------------------------------------------------------------------- Performance
Thursday, February 11th
20.00
&TD theatre
Student centre, Savska 25
DB Indoš, Tanja Vrvilo
ANTI OEDIPUS: ANARCHISM AND SCHIZOPHONY ---------------------------------------------------------------------------------------------------------------------------------------------------
Book presentations
Friday, February 12th
19.00
Academia moderna
Šenoina 11 (backyard)
Samuel Weber: Targets of Opportunity: On the Militarization of Thinking
Presenters:
Ivan Molek
Žarko Paić
Sibila Petlevski (Art of Science series editor, at Kigen d.o.o.)
Saturday, February 13th
19.00
Academia moderna
Šenoina 11 (backyard)
Jonathan Gottschall: The Rape of Troy
Presenters:
Jonathan Gottschall
Lada Čale-Feldman
Sibila Petlevski (Art of Science series editor, at Kigen d.o.o)
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Autor korisnik
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srijeda, 16. prosinca 2009. 11:54 |
Audiences
An international working group
European start-up seminar
Zagreb, 10 February 2010
This is an invitation for all who are doing research into audiences, or who is artistically or otherwise practically interested in audience activating techniques and strategies, to join an international working group. The aim of the working group is to establish an international forum for furthering and developing research into the complex and difficult phenomena of performance audiences. A start-up seminar takes place in Zagreb, Croatia, in connection with the international conference “Spaces of Identities” (www.prostoridentiteta.org) February 10th -14th, 2010. At the seminar on February 10th, each participant will be given time to present his/her interest in audience and the working group (10 minutes). A strategy for the working group will be presented: 1) becoming part of the PSi network (a meeting in Toronto in June, 2010; 2) setting up a web site as a platform for the group; 3) publications. Please note that the number of participants is limited to 15. Those first served will be admitted. The deadline for signing up is January 25th, 2010. Participants should submit a 250 word abstract presenting the interest in audience and eventual contribution to the working group. Please find contact information below.
Rationale
Audiences are the raison d’être of most performances. Without an audience, there is no performance! Thus, performance is understood as an activity done by someone for or before someone else. This is certainly the case with theatre, which is constituted by the very act of spectatorship. As goes for a variety of performances which serves aesthetic, social, and ritual(istic) purposes, the performance is not contained within the confines of a closed circle, a secret society, a private party; organizers invite people to come to witness, watch, listen, interact, in short, participate in it as a public event. The audience is a publicus, a gathering of representatives of society. Different public performances appeal to and attract different interests in a population, and different types of audience are formed defined by the societal function, participants’ social, cultural, political, religious affiliation, art form, genre, and media of the performance in question. Of course, in such categorization of audiences lurks the danger of reductionism. One must always be careful not to reduce an audience to a homogeneous group of people. Collectivity is challenged by the individuality of aesthetic preference, cultural competence, social background, etc., let alone the contingency of assessing the participants’ actual experiences of a performance. One may indeed ask to what extent attempts at audience typology is useful in understanding audiences. Collective response to a performance may provide participants with notions of solidarity, mutual connection, or community, and such experiences has given rise to claims that public performances brings coherence to society. Other claims concerned with what happens on the level of the individual, are that performances have transformative power at least in as far as spectators’ reflection is influenced, and that some performances empower audiences to act politically. These claims are often based on experts’ opinion only. In her recent publication Theatre & Audience (2009) Helen Freshwater is concerned with the lack of investigation into ‘ordinary’ participants’ responses. “[W]hy, when there is so much to suggest that the responses of theatre audiences are rarely unified or stable, do theatre scholars seem to be more comfortable making strong assertions about theatre’s unique influence and impact upon audiences than gathering and assessing the evidence which might support these claims?” And she continues: “Why do they appear to prefer discussing their own responses, or relaying the opinion of reviewers, to asking ‘ordinary’ theatre-goers – with no professional stake in the theatre – what they make of a performance?” Given the contingency of participants’ experiences, the development of research into these matters depends completely on audience survey. After all, the efficacy of performance and audience response can only be truly assessed if one knows how participants really feel, think, and react.
Audience survey is the Achilles’ heel of audience research, and there is much to be done in this field. The working group would in particular provide a network for research projects based on surveys, or projects dedicated to the development of methodology in this field. Notwithstanding, there are other recent developments and tendencies in both performance studies and praxis, which also should be mentioned as inspiration for joining this working group.
Cognition has been the main trend in Film Studies for the last 20 years. Remarkably, it has not caught on in Theatre Studies and Performance Studies. This could be about to change with such groundbreaking work as Bruce McConachie’s Engaging Audiences (2009). Along with audience surveys cognitive studies may provide new concepts for understanding how audiences engage with performances which could challenge some of our precognitions and firm beliefs. For instance, experimental evidence provided by cognitive neuroscience and psychology abolishes the common distinction between reason and emotion as they cannot be separated. One consequence of this is a reconsideration of the importance Brecht’s Verfremdung and other theatrical devises which are thought to activate critical reflection. The involvement of the senses in the act of attending a performance is another issue addressed by cognitive studies. To what extent is the concept of the spectator still meaningful? And is it at all useful to think about the audience as individuals who are just responding and reacting to the action? How may the audience be seen as cognitive co-creators of the event? And how may cognitive studies contribute to the historiographies of audiences?
In the post-9/11 world of global economic and ecological crises, ethics and the relationship to the Other is a growing concern. Ethics is another overlooked aspect of understanding the ways audiences relate and respond to performances. Connections between ethics and performance can be established in a variety of ways depending on the type of performance and the relationship to the audience. Ethics may be seen as Helena Grehan does in Performance, Ethics and Spectatorship in a Global Age (2009) as the “process by which individual subjects make sense of [moral] systems and how they apply them to their own life”, hence applying ethics to the understanding of how audiences may connect to certain issues raised by performances and perhaps take responsibility for them. Or performance ethics may be understood as the Danish philosopher Ole Fogh Kirkeby has suggested in his work on the phenomenon of the event, Eventum Tantum (2005), as “understanding the event in terms of what is good”, i.e. finding the best way for allowing the event to happen, which would suggest the integration of this kind of ethics into strategies for developing dramaturgies of the spectator.
In recent years there seems to have been a growing number of international artists doing live interactive performances: SIGNA, Forced Entertainment, Blue Man Group, Gob Squad, Rimini Protokoll, just to mention a few. Positioning the audience as “spect-actors” raises the stakes artistically as well as ethically, especially as the potential of interactivity beyond Boal is explored. The contingency of audience response to encounters with performers has to be put to the fore in the design of these performances. How do we dramaturgically deal with the emergency of play between members of audience and performers and communicating certain themes or even dramatic stories? What does it mean to work with dramaturgy in interactive theatre? What can be learned from computer game design and Live Action Role Playing? To what extent do we have to reconsider acting in terms of strategies and techniques? How do the actors/performers approach and engage audiences in these performances? What can be learned from popular entertainment such as theme park or renaissance faire-based interactive performance? In a wider perspective, theorizing interactivity might challenge the whole way we define participation in performance. Is participation only to be considered a concept saved for so-called “participatory” performance? If live performance is an event realized through the co-presence of audience and performers, then participation is always occurring – a claim which might find support in cognitive studies. Do we then need new differentiations between forms of participation, interactivity being one of them?
These topics are just a few suggestions for joining this working group. To give an overview of possible topics of interest a list is added here:
• dramaturgies of the spectator
• audiences and cognition
• audiences and neuro-esthetics
• audiences and ethics
• audiences and event
• modes of participation
• audiences and interactivity
• audiences and Web 2.0
• audiences and ecology
• audience and durational performance
• audiences and gender
• audiences and politics
• audience as public
• audience histories
• audiences and sociology
• “audiencing” (creating audiences by means of PR, community work, etc.)
• different types of audience: sport, concert (rock, jazz, classical...), literary reading, stand-up comedy, courtroom, ceremony, ritual, opera, musical, dance, circus, children’s theatre, theatre
• performing spectatorship at art exhibitions
• performing spect-actor-ship on Facebook or in relation to other digital media
Contact
Initiator and organizer:
Kim Skjoldager-Nielsen, MA
Scientific assistant
Dept. for Theatre and Performance Studies
Institute for Art and Culture Studies
University of Copenhagen
Karen Blixen vej 1
2300 København S
Denmark
E-mail:
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Cell: +45 2782 0471
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