Exciting new scholarship has been emerging as performance studies scholars begin to turn their attention to the performance of politics, nationhood, and jurisprudence. Branislav Jakovljevic's project ...on the history and eventual demise of the former Yugoslavia demonstrates how fruitful this approach can be. Jakovljevic considers the concept of theatricality as central to understanding the events that took place in Yugoslavia. He examines the country's trials, state ceremonies and festivals, army maneuvers, propaganda, and pop culture as rehearsals and temporary enactments of an ideologically formulated future. His first chapter reveals the surrealist, avant-garde origins of key members of the Yugoslav bureaucracy after WWII, suggesting that those connections helped the culture of socialist Yugoslavia become a performance-centered culture. Continuing to explore the relationship between the political avant-garde and the artistic avant-garde, he looks at the spectacle of student demonstrations in Belgrade in 1968, and, in their aftermath, the rise of performance art in the country. The third chapter (included here) zeros in on the various political performances of Slobodan Milosevic, including his courtroom testimony at the ICTY, the International Criminal Tribunal for the former Yugoslavia. The fourth chapter discusses the Peter Handke Affair, when the Austrian playwright had a major prize revoked after he attended Milosevic's funeral and recited a poem he had written in Milosevic's honor.
Pojav novih oblik uprizoritvenih pisav v šestdesetih in sedemdesetih letih prejšnjega stoletja sicer ni odpravil tradicionalnih dramskih oblik, je pa korenito spremenil vlogo besedilnosti v ...gledališču. V članku zagovarjamo tezo, da je uprizoritvena pisava, osvobojena pravil dramske pisave in celo sintakse ter gramatike, v besedilno produkcijo vnesla ilokacijsko logiko. Članek zaključimo s preliminarnim razmislekom o razlikah med eksperimentalnimi strategijami pisave in najnovejšimi oblikami umetne inteligence za generiranje besedil.
1968 was a watershed year not only for the new left but even more so for the rise of the New Right. It turns out that, if 1968 “prepared” 1989 as the next turning point in European and world history, ...it was probably more through the new right’s forging of ideas that would eventually provide ideological justification for illiberal democracies in Central and Eastern Europe. Yugoslavia is an important site in this history not only because of its early exposure to the ideas of the new right through the work of the painter and publicist Dragoš Kalajić but also because in his seminal book The Philosophy of Parochialism (1969), Radomir Konstantinović anticipated the rise of the new right and offered a penetrating critique of its fundamental premises.
For an Art of Participation Jakovljević, Branislav
Performance research,
07/2018, Letnik:
23, Številka:
4-5
Journal Article
Recenzirano
The principle of participation seems to offer an infinite potential for an economy that attempts to commodify all aspects of human existence. In this environment, participatory performance loses all ...of its subversive potential and becomes, in fact, the epitome of normative performance for the twenty first century. Taking as its main point of reference cases of coopted factories in Argentina and Bosnia, Jakovljević argues that the only relevant forms of participatory performance today are those that decisively reject the separation between aesthetic and productive performance in order to engage full production and affective relations of all participants, thus forging a common base of solidarity, collaboration, and engagement.
For an Art of Participation Jakovljević, Branislav
Performance research,
06/2018, Letnik:
23, Številka:
4-5
Journal Article
Recenzirano
The principle of participation seems to offer an infinite potential for an economy that attempts to commodify all aspects of human existence. In this environment, participatory performance loses all ...of its subversive potential and becomes, in fact, the epitome of normative performance for the twenty first century. Taking as its main point of reference cases of coopted factories in Argentina and Bosnia, Jakovljević argues that the only relevant forms of participatory performance today are those that decisively reject the separation between aesthetic and productive performance in order to engage full production and affective relations of all participants, thus forging a common base of solidarity, collaboration, and engagement.
Exciting new scholarship has been emerging as performance studies scholars begin to turn their attention to the performance of politics, nationhood, and jurisprudence. Branislav Jakovljevic’s project ...on the history and eventual demise of the former Yugoslavia demonstrates how fruitful this approach can be. Jakovljevic considers the concept of theatricality as central to understanding the events that took place in Yugoslavia. He examines the country’s trials, state ceremonies and festivals, army maneuvers, propaganda, and pop culture as “rehearsals and temporary enactments of an ideologically formulated future.” His first chapter reveals the surrealist, avant-garde origins of key members of the Yugoslav bureaucracy after WWII, suggesting that those connections helped the culture of socialist Yugoslavia become a performance-centered culture. Continuing to explore the relationship between the political avant-garde and the artistic avant-garde, he looks at the spectacle of student demonstrations in Belgrade in 1968, and, in their aftermath, the rise of performance art in the country. The third chapter (included here) zeros in on the various political performances of Slobodan Milosevic, including his courtroom testimony at the ICTY, the International Criminal Tribunal for the former Yugoslavia. The fourth chapter discusses the “Peter Handke Affair,” when the Austrian playwright had a major prize revoked after he attended Milosevic’s funeral and recited a poem he had written in Milosevic’s honor.
In this issue, Ben Hjorth writes about contemporary American poet and classicist Anne Carson's bold displays of untranslatability of tragedy in purely linguistic terms. In Carson's work, the ...liberatory potential of the works from classical antiquity emerges precisely from the inaccessibility of an 'original' meaning: tragedy is, temporally, beyond the point of no return.
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