Urednice marjeta Humar, Barbara sušec michieli, katarina Podbevšek, slavka lokar Avtorji Barbara sušec michieli (od 2000), katarina Podbevšek (od 1998), marjeta Humar, slavka lokar, viktor molka (do 2005), †Janko moder (do 2006), †miran Herzog (do 2001), edi majaron (lutke), ana Kocjančič (od 2006), Mojca Žagar Karer (od 2004) Angleški ustrezniki
The history of the Theatre Historiography Working Group in IFTR/FIRT provides a case study of how and why the Federation has been transformed by its working groups during the last two decades. Founded in 1992, the historiography group has developed into one of the largest and most active in IFTR/FIRT. Over the last nineteen years, the members of the group, drawn from many of the countries in the Federation, have used the annual meetings to develop a diverse and often challenging scholarship on the history of theatre (broadly defined). By focusing on the basic issues in historiography, the participating scholars have refined their research and writing methods. Moreover, the essays and books, published in several languages, have contributed to major transformations in the methods and topics in performance history. The working group, besides serving as a transnational community for historical scholarship, has also contributed to revisionist methods in the teaching of theatre history in dozens of countries, especially during the last decade.
Urednice marjeta Humar, Barbara sušec michieli, katarina Podbevšek, slavka lokar Avtorji Barbara sušec michieli (od 2000), katarina Podbevšek (od 1998), marjeta Humar, slavka lokar, viktor molka (do 2005), †Janko moder (do 2006), †miran Herzog (do 2001), edi majaron (lutke), ana Kocjančič (od 2006), Mojca Žagar Karer (od 2004) Angleški ustrezniki
In times of crises and existential disorientation, the arts often lean on gestures of radical doubt, the articulation of which demands the art of masquerade, deception, diversion and dissimulation, and simultaneously includes characteristic constellations of pathos and melancholy. The authors of this article analyse different artistic projects in Slovenia, Germany, Russia and elsewhere, which were created in the breakthrough period after the fall of the Berlin Wall and connect these projects to the wider social events of the previous two decades. In their treatment of the contemporary ‘art of doubt’ they focus especially on the perspective of the political and existential and in addition point out the fundamental historical concepts of doubt which have influenced the development of theatre and experimental knowledge in Europe from the beginnings of the early modern era until today.
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