Maja Žerovnik (ed.): Memory, privacy, spectatorship

As a special pocket booklet edition, Maska has published a collection of theoretical texts Memory, Privacy, Spectatorship (edited by Maja Žerovnik), which brings an insight into the current opus of Emil Hrvatin, probably the only artist from the field of performing arts in our country that is no stranger to theoretical discourse, nor to pedagogical or editorial work. The theoretical texts deal with Hrvatin’s theatre-performing work and conceptual opus (above all Camillo’s conceptual series and late work), as well as with his theoretical work (with the focus on the work Jan Fabre – La Discipline du chaos, le chaos de la discipline (Armand Colin, Paris, 1994)).

Thus, the performance Q & A – Very Private, Very Public! is dealt with in a text Tear-jerkers and Mindgames by a Belgian theatrologist and expert on contemporary performing arts, a professor at the Theatre Academy in Antwerpen, Luk Van den Dries, Camillo Memo 4:0 The Memory Cabinet is treated by a philosopher, curator and video artist Marina Gržinić, Irena Štaudohar performs an analysis of Hrvatin’s Celica in the Memory section, Tatjana Greif tackles the performance Camillo Memo 1.0: Construzione del Teatro from the Milan’s Piccolo Tatero, Barbara Orel does a profile of performances entitled Rhetorics of Looking, the editor of Ballet International Arnd Wesemann writes about Drive in Camillo, and the dilemma of Hrvatin’s work between theatre, theory and performance is dealt with by the Beograd theoretician Miško Šuvaković. – The publication, issued in English, also brings a selected bibliography of articles on the works of Emil Hrvatin, a precise list of performance works and a selected bibliography of publications by Emil Hrvatin as a theoretician, editor and critic.