The Theatre of Dissent in Non-aligned Slovenia and Yugoslavia from the 1950-ies till the Fall of the Berlin Wall
Abstract
The aim of the essay is to throw some additional light on the politics of dissent in the Slovene and Yugoslav theatre of the 20th century. It focuses on the specific Central and East European area of non-aligned Yugoslavia as a Second World cultural model in the period of socialism and post-socialism. It thus outlines the alternative culture that emerged after Tito’s break with Stalin in 1948 and continued with neo-avant-gardes and movements of dissent in the postmodern era marked by a severe crisis of self-management socialism. The essay starts from the definitions of the political in the post-dramatic by Hans-Thies Lehmann, and the theatre of opposition or dissidence and theatre of consensus by Valentina Valentini. It outlines the specific character of the Slovene theatre and the ideology of mild socialism that continued to define many aspects of the political within the one-party system of the former Yugoslavia. Thus, it maps a new geography of this specific East European theatre of dissent from the experimental theatre of the 1960's and 1970's until the retro-avant-garde subversive theatre of the Neue Slowenische Kunst.
Downloads
References
Arns, Inke, Neue Slovenische Kunst – NSK, Regensburg, Museum Ostdeutsche Galerie, 2002.
Auslander, Philip, Presence and Resistance: Postmodernism and Politics in Contemporary American Performance, Ann Arbor, University of Michigan Press, 1992.
Berger, Matjaž, “Umetnost je disciplina – jaz pa nisem oficir,” Maska, III.4/5 (1993): 53-54, (Maja Breznik).
Bibič, Polde, Izgon. Pripoved o uspehih, spopadih in padcih v Štihovem obdobju ljubljanske Drame, Ljubljana, Nova revija and Slovenski gledališki muzej, 2003.
Birringer, Johannes, “Enjoying One’s Symptoms”, Maska, IV.1/2, 1994, 15-20.
Blau, Herbert, To all Appearances. Ideology and Performance, London, New York: Rutledge, 1992.
Čufer, Eda, “Between the Curtains: New Theater in Slovenia, 1980-1990” In: Impossible histories: historical avant-gardes, neo-avant-gardes, and post-avant-gardes in Yugoslavia, 1918-1991. Dubrovka Djurić and Miško Šuvaković (ed.), London, MIT Press, 2003: 376-404.
Čufer, Eda, “Tretja generacija / Third Generation”, Maska, II. 3 (1992): 45.
Derrida, Jacques, L'écriture et la difference, Paris, Editions du Seuil, 1967.
Epstein, Mikhail, After the future: the paradoxes of postmodernism and contemporary Russian culture, Amherst, University of Massachusetts Press, 1995.
Erjavec, Aleš - Gržinič, Marina, Ljubljana, Ljubljana, Eighties in Art and Culture. Ljubljana, Mladinska knjiga, 1991.
Erjavec, Aleš (ed.), Postmodernism and the Postsocialist Condition, Berkley/Los Angeles/London, University of California Press, 2003.
Erjavec, Aleš, Estetika in kritična teorija, Ljubljana, Znanstveno in publicistično središče, 1995.
Feral, Josette, Pluralism in Art or Interculturalism?, Amsterdam, vc.minibuza.nl/ukverslag_feral.html, 1996.
Gómez-Peña, Guillermo, “The New Global Culture”, The Drama Review 45.1, 2001.
Helbo, André - Johansen, Dines - Pavis, Patrice - Ubersfeld, Anne, Théâtre, modes d'approche, Brussels: Archives du futur, Labor, 1987.
Hočevar, Meta, “Verjamemo samo osebnemu.”, Uganka korajža, Gledališki list SNG Drama, 1994/95, 4: 7-10.
Hribar, Tine, Sveta igra sveta (Umetnost v post-moderni dobi), Ljubljana, Mladinska knjiga, 1990.
Jameson, Frederic, Postmodernism, or The Cultural Logic of Late Capitalism, London, Verso, 1991.
Jay, Martin, Downcast Eyes. The Denigration of Vision in Twentieth-Century French Thought, Berkeley, University of California Press, 1993.
Juvan, Marko, “Iz 80. v 90. leta: slovenska literatura, postmodernizem, postkomunizem in nacionalna država,” Jezik in slovstvo, 1/2 (1994): 25-33.
Kermauner, Taras, “Pismo Miletu Korunu.” In Mile Korun, ed. Vasja Predan and Ivo Svetina, Ljubljana, Slovenski gledališki muzej, 2002: 290–297.
Kralj, Lado, “Hipijevsko, čutno, razpuščeno,” Zbornik 20 let EG Glej, Ljubljana, 1990: 6-7.
Kušej, Martin, “O poskusu uprizoritve Cankarjevega Pohujšanja v dolini šentflorjanski,” Pohujšanje po Cankarju, gledališki list SMG, 1 (1991): 6-10.
Lehmann, Hans-Thies, “Politično v postdramskem.” Maska, XVII, 74/75: 6-10.
Lehmann, Hans-Thies, Postdramatisches Theater, Frankfurt am Main, Verlag der Authoren, 1999.
Oder 57, Žarko Petan, in Tone Partljič (ed.), Ljubljana, Knjižnica MGL 103, 1988.
Ravnjak, Vili, Mariborski gledališki nemiri, Ljubljana, Knjižnica MGL 111, 1990.
Reinelt, J.G. – R oach J.R. (Eds.), Political Theory and Performance, The University of Michigan Press, 1992.
Sellars, Peter, Cultural Activism in the New Century. 1999 www.abc.net.au/arts/sellars/text.htm.
Šuvaković, Miško, “Negotovost ali point de capiton”, Maska, VIII.5, 6 (1999): 39-44.
Taufer, Veno, Odrom ob rob. Ljubljana, DZS, 1977.
Tomše, Dušan (ed.), Živo gledališče III, Ljubljana, Knjižnica MGL 65, 1975.
Troha, Gašper, Ujetniki svobode. Maribor, Aristej, 2015.
Valentini, Valentina, Aesthetics and politics in Eastern European Theatre, www.datum.org/12DATUM/Valentini_Avantgarde.html
Vivisecting the 90s: An Interview with Jean Baudrillard, www.ctheory.net/text_file.asp?pick=66, online (last accessed 18/09/2013).
Wallon, Emmanuel (ed.), Théâtre en pièces, Le texte en éclats, Louvain-la-Neuve, Etudes Théâtrales 13/1998.
Wright, Elisabeth, Postmodern Brecht: A Re-Presentation, London and New York, Routledge, 1989.
Copyright Notice
You are free to copy, distribute and transmit the work, and to adapt the work. You must attribute the work in the manner specified by the author or licensor (but not in any way that suggests that they endorse you or your use of the work).
