Collection TRANSformacije, book number 29
Editor: Marin Blažević
©Maska, Ljubljana, 2010
215 pages
ISBN 978-961-6572-20-0
This book was published in Slovenian.
Marin Blažević (ed.): The No
The No, journal is the 29th book in Maska’s Transformacije series and brings an extensive reflection on one of the most interesting performing arts projects in the last decade, Via Negativa. The project that opened many questions of contemporary performing arts and, in a radical way, introduced into the theatre elements of performance art and body art received great affirmation in Slovenia and abroad. Via Negativa managed to make the theme of the seven deadly sins a theme of contemporary theatre and at the same time address numerous questions: an implicit and explicit metaperformative and metatheatrical dialogue into which the performers and authors enter with historical poetics or concrete performance art works (body art and autobiographical performance); the testing of the effects of the performing arts performative, the staging of theory (of theatre, performance art, etc.); the interaction between the performers and the spectators at seemingly opposing sides of the performance situation; the strategy of the politicalness of the performance; the contextualisation of aesthetics, ethics and work policies…
Collection TRANSformacije, book number 29
Editor: Marin Blažević
©Maska, Ljubljana, 2010
215 pages
ISBN 978-961-6572-20-0
This book was published in Slovenian.
Performance as representation of book
Originally, the book was conceived as a collection of theoretical, analytical and critical texts. But in time, it became increasingly clearer that such a format would establish the predomination of a discourse that Via Negativa certainly provokes, even more, often also includes (although in its germs and always ironically), but at the same time resists – already with the fact that, as an art project, it primarily operates in other spheres of experience, work, production, interests, institutional frameworks and the market. What the book edited as a collection of texts on Via Negativa lacked was the voice of Via Negativa itself, its performers-authors, a view from the process of creating the performances, the view from the other side of the stage apron. Already during the preparation of the conversation with Via Negativa, it became clear that the originally planned factual survey of the project’s development would not suffice as a possible reference frame and guideline for the conversation, the essays and studies by theoreticians and critics. The inclusion of the excerpts of texts used in Via Negativa’s performances, reviews and a number of photos opened the possibility to – metaphorically speaking – co-create a third dimension of reading the book: now, it is no longer merely a discussion of the questions of forming, devising, performing, presenting, perceiving, analytically treating, interpreting and, if you like, consuming the Via Negativa project, but also a challenge of its reconstruction from multilayered sources that the book provides, that is, the challenge of the reader’s commitment in creating (at least) the visual idea.
O uredniku
Dr. sc. Marin Blažević je dramaturg, operni režiser, kreativni producent, avtor in urednik knjig in revij in teatrolog. Kot asistent, docent in kasneje, izredni profesor je predaval teorijo gledališča in drame na Akademiji dramskih umjetnosti (oddelek Dramaturgije 1997-2016) in dramaturgijo opere na Akademiji za glasbo (oddelek operno petje 2009-2016).
Kazalo
Marin Blažević, Uvod v Ne,
VN 02–08
Izhodiščna točka: Jeza
Še
Incasso
Bi ne bi
Viva Verdi
Ne kot jaz
Štiri smrti
Out
VIA NEGATIVA O VII NEGATIVI
Pogovor
ESEJI IN ŠTUDIJE
Blaž Lukan, Izbris gledalca
Florian Malzacher, Pogled skozi publiko
Nataša Govedić, Minus in preveč je … Via Negativa
Una Bauer, Znoj v barvi belega mošta in bankovci v zadnjiku
Annalisa Sacchi, Retorika in brezoblično
Bojana Kunst, O nemoči radikalne potrošnje: Via Negativa
O AVTORJIH
VIA NEGATIVA – KRONOLOGIJA 2002-2008
Knjiga v javnosti
Jela Krečič: Kakšni so rezultati lova na realno
Delo / 1. 2. 2011
V tej scenski raziskavi je v ospredju predvsem vprašanje vznika realnega, ki se ustvarja predvsem z razmerjem med performerjem in gledalcem. V nedavno izdanem zborniku Ne Blaž Lukan v tekstu Izbris gledalca Vio Negativo zasleduje prav z vidika tega vprašanja.
Pogovor z Bojanom Jablanovcem
intervju / Petra Tanko / Radio Slovenija / Ars program / Oder / 28. 1. 2008
Tu je veliko zanimivih zgodb, v zvezi z našim delom. Dejstvo je, da do vsake zgodbe lahko prideš samo skozi nek svoj zelo intimen občutek, odnos, doživljaj, dogodek, biografija, če hočeš, dejstva, kar koli. Konec koncev se niti ne sprašujemo veliko o tem ali je to, kar pripoveduješ na odru, res v smislu neke fikcije, ampak se bolj sprašujemo, koliko je to realno, kot dogodek med nami. In veliko, zares veliko, sploh v prvem obdobju, je bilo zelo osebnih, zelo iskrenih zgodb, tako rekoč priznanj, na odru. Postopek dela je pa tak, da ne gre za improvizacije, gre za v naprej premišljene in zamišljene prizore, ki jih je treba pripeljat zmeraj do te točke, da postanejo stabilen material. Gre za zelo natančno zapisano partituro, tekst, situacijo, akcijo, trajanje in tako naprej.
Tomaž Krpič: Ena na ena plus opazovalci
Delo / Pogledi / 10. 7. 2011
Dogovorno gledališko razmerje je v prvi vrsti družbena konvencija o razmerju med aktivnim igralcem na odru in pasivnim gledalcem v parterju. Via Negativa v takšno razmerje noče privoliti. Od gledalca zahteva emancipacijo oziroma, kot pravi B. Lukan v svojem eseju, njegov »izbris«, kar pa nikakor ni enostavno. Niti za gledalca niti za performerja. Hitro se namreč lahko zgodi, da namesto »izbrisa« gledalca dosežemo zgolj to, da gledalec želi ali pa je celo pripravljen zamenjati svojo vlogo s performerjevo.