THE CRITIC IS PRESENT OR TOWARDS EMBODIED CRITICISM

THE CRITIC IS PRESENT OR TOWARDS EMBODIED CRITICISM

STERIJINO POZORJE, NOVI SAD, 2017 In September 2015, the traditional International Symposium of Theater Critics and Scholars, organized by the Sterijino pozorje festival in collaboration with the International Association of Theater Critics (IATC), was held in Novi Sad.  The topic of this Symposium was: The Critic is Present or: Towards Embodied Criticism . The main theoretical context for this topic emerged from some contemporary streams of theater and performance studies, including the works of Erika Fischer-Lichte among others, in which performance is seen not as a piece made on/for the stage but as an event. A performance emerges ...

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ALWAYS CONTEXTUALIZE!

ALWAYS CONTEXTUALIZE!

STATION SERVICE FOR CONTEMPORARY DANCE AND WALKING THEORY The book is the result of a theoretical experiment initiated within Practice (Made in Yugoslavia) platform in cooperation with 10 curators of different dance festivals and programmes. The participants were Gigi Argyropoulou, curator of several festivals in Athens; Florian Malzacher, curator of the Impulse Festival in Dusseldorf; Sina Saberi, curator of the festival in Tehran; Christa Spatt, curator of Tanzquartier in Vienna; Agnes Quackels, artistic director of the Buda Arts Centre in Kortrijk, Ana Janevski, curator for performance and new media of the Museum of Modern Art (MoMA) in New York, Dragana ...

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AN UNTIMELY BOOK. CRITICAL PRACTICE (MADE IN YUGOSLAVIA) 3

AN UNTIMELY BOOK. CRITICAL PRACTICE (MADE IN YUGOSLAVIA) 3

LOKOMOTIVA CENTRE FOR NEW INITIATIVES IN ART AND CULTURE, STATION SERVICE FOR CONTEMPORARY DANCE An Untimely Book is a collection of critical texts by young authors who participated in the mentor programme for young dance critics and theoreticians called Critical Practice (Made in Yugoslavia) in 2016/2017. The texts are the fruit of the research participants engaged in during the programme within the framework of their professional activity, artistic or theoretical work and on the basis of incentives from their cultural milieus. In view of the idea behind the programme: to encourage writing about modern dance and performing arts ...

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CONTEMPORARY GERMAN DRAMA, III, 1989, 2008

CONTEMPORARY GERMAN DRAMA, III, 1989, 2008

ZEPTER BOOK WORLD The third volume (1989-2008) includes works by Elfriede Jelinek, Werner Schwab ( The Presidents ), Marlene Streeruwitz, Urs Widmer ( Top Dogs ), Dea Loher ( Innocence) , Roland Schimmelpfennig ( Arabian Night ), Albert Ostermeier (Virus), Falk Richter ( Ice Bound ), Lucas Berfus ( Sexual Neuroses of Our Parents ), Ewald Palmetshofer ( Hamlet is Dead. No Gravity ), Anja Hilling (Black Animal Sadness), Marius von Mayenburg ( The Stone ) and Feridun Zaimoglu ( Black Virgins ). The playwrights of this period in time use novel drama procedures and markedly subjective language to explore the problems of both the personal, local and the ...

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STAGE DESIGN AS ART

STAGE DESIGN AS ART

CLIO AND SCEN The book lays down the theoretical platform for the perception of stage design as a form of professional activity, a complex structure of special artistic and curator practices; it is also an area of possible views on the value of creative work and even life in general. Theoretical postulates are added ten case studies indicating the diversity of outcomes, artistic forms and means, different settings in which the pieces are performed, the kind of audience and public addressed and specific forms of conception and diverse use of media lines. The author presents the evolution of stage design and establishes its three key characteristics: multimedia nature of ...

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MUSICAL THEATRE AS AN ARTISTIC SYNTHESIS

MUSICAL THEATRE AS AN ARTISTIC SYNTHESIS

FACULTY OF DRAMATIC ARTS, BELGRADE – INSTITUTE FOR THEATRE, FILM, RADIO AND TELEVISION Do opera, operetta, musical, ballet and their numerous derivatives belong legitimately to theatre art or are they to be seen as music where the share of basically theatre performance is minimal and secondary in importance? Has opera theatre gone astray at some point because in it, to use Wagner’s words, the means (music) become the purpose and the purpose (drama) becomes the means? Does the idea of musical theatre signify only the established genres performed in standard musical-stage institutions or does this idea have a much wider and deeper range like a ...

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