Gledališki terminološki slovar

Humar, Marjeta; Michieli, Barbara Sušec; Podbevšek, Katarina; Lokar, Slavka

doi:10.3986/9789610502920

Slovarji

2008

DOI: 10.3986/9789610502920

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Gledališki terminološki slovar

Marjeta Humar¹,

Barbara Sušec Michieli²,

Katarina Podbevšek³

et al.

Abstract: 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

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O skupinskem in snovalnem ustvarjanju v slovenskem gledališču

Milohnić

2021

Theatre and Community

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V prvem delu prispevka avtor analizira pojav režiserja in spremembe njegovega položaja v slovenskem gledališču od druge polovice 19. stoletja do danes. V tem kontekstu ga še posebej zanimajo premene gledališke režije, ki so se zgodile v drugi polovici 20. stoletja s pojavom skupinskega gledališča. Avtor metodološko kombinira zgodovinsko in primerjalno analizo, saj ti procesi potekajo še danes, ko se čedalje pogosteje govori in piše o »snovalnem gledališču« in drugih oblikah gledališkega ustvarjanja, ki se oddaljujejo od konvencionalnega postopka, po katerem dramatik napiše dramsko besedilo kot literarno umetnino, režiser pa jo prevede v gledališko umetnino. V sodobnem slovenskem gledališču je vse več predstav, kjer vnaprej napisano dramsko besedilo ni ključno za končni produkt ustvarjalnega procesa. Najpogosteje uporabljana izraza, ki označujeta to vrsto predstav, sta »po motivih« in »avtorski projekt«. Čeprav izraza nista sinonima in ju ni mogoče enačiti, oba implicirata tako imenovani »snovalni« tip gledališča. Avtor primerja skupinsko s snovalnim načinom ustvarjanja in opozori, da gre za praksi, ki sicer lahko potekata vzporedno, vendar ju ne moremo enačiti. Premislek o razmerju med skupinskim in snovalnim v sodobnem gledališču zgosti v ugotovitvi, da je za skupinsko gledališče konstitutivno specifično razmerje med ustvarjalno skupino in pozicijo režiserja, medtem ko je za snovalno gledališče ključno razmerje med ustvarjalno skupino in pozicijo dramatika. Na koncu se dotakne tudi povezav med postdramskim in postrežijskim gledališčem ter pojava ustvarjalne skupine kot kolektivne subjektivitete.

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O skupinskem in snovalnem ustvarjanju v slovenskem gledališču

Milohnić

2021

Theatre and Community

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On Collective and Devised Creation in Slovenian Theatre

Milohnić

2021

Theatre and Community

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In the first part of the article, the author analyses the appearance of the director and the changes in his position in Slovenian theatre from the second half of the 19th century to the present day. In this context, he is particularly interested in the changes in theatre directing that took place in the second half of the 20th century with the emergence of collective theatre. The author methodologically combines historical and comparative analysis, as these processes still take place today, when devised theatre and other forms of theatrical creation are increasingly spoken and written about, moving away from the conventional process by which a playwright writes a dramatic text as a literary work of art and the director then transforms it into a theatrical work of art. There are more and more performances in contemporary Slovenian theatre in which a pre-written dramatic text is not crucial for the final product of the creative process. The two most commonly used terms for this type of performance are po motivih (based on the motifs) and avtorski projekt (auteur performance). Although the terms are not synonymous, both terms imply a devised type of theatre. The author compares group creation with the devised way of creating and points out that although these are practices that can take place in parallel, they cannot be equated. The author concludes that for collective theatre, the specific relationship between the creative group and the director’s position is constitutive. In contrast, for devised theatre, the relationship between the creative group and the playwright’s position is crucial. Finally, the author also touches on the connections between postdramatic and post-directors’ theatre and the emergence of the creative group as a collective subjectivity.

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Gledališki terminološki slovar

Cited by 2 publications

References 0 publications

O skupinskem in snovalnem ustvarjanju v slovenskem gledališču

O skupinskem in snovalnem ustvarjanju v slovenskem gledališču

On Collective and Devised Creation in Slovenian Theatre

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