The Dramaturgy of Dance

The first half of the issue is dedicated to contemporary dance. Maska shines a light on the state in Plesni teater Ljubljana (the Ljubljana Dance Theatre) after the death of Ksenija Hribar. In talks with the artistic management, representatives of public financers and some dancers and choreographers, the image of not just the only organisation of contemporary dance that manages its own infrastructure, but also of the contemporary dance scene in general is revealed. The ex artistic manager of Balet, Tomaž Rode, talks about how to improve the current position of the Ljubljans Balet and contemporary ballet in general. Rode claims that “a revolution is necessary”, and the issue also brings talks with dancer Sanja Neškovič Peršin, Mateja Bučar and Goran Bogdanovski. The central topic part of the issue is dedicated to the dramaturgy of dance.

Acclaimed stage managers and theoreticians Marianne van Kerkhoven (Rosas), Eda Čufer (En knap), Andre Lepecki (Meg Stuart, Vera Mantero) and Irena Štaudohar (Maja Delak, Ivan Peternelj, Fourklor) write about the position of the stage manager in the creation of dance performances and the difference between work with a choreographer and a director. Dramaturgical thinking is also the topic of the essay by Paul Virilio and of the interviews with Jolante de Keersmaeker, Boris Charmatz and Meg Stuart.

Theory on the Scene brings discussions by Martina Šiler, Janez Vrečko, Mladen Dolar and Janez Strehovec, that are connected to the most recent shows that divided the Slovenian theatrical public: the three Noordund products, Drive in Camillo, Die Traumdeutung and Brainscore. The famous director Romeo Castelluci (Societas Raffaello Sanzio) writes in the section Post-dramatic Theatre. Bojana Cvejić analyses different layers of dramaturgical cooperation with a Dutch director Jan Ritsema. Matjaž Berger assesses the ideological parameters of the Olympic games opening in Sidney.

Barbara Orel, Petra Pogorevc and Primož Jesenko write about The Idiot by Mile Korun and the Ljubljana Drama Theatre, the two Godot’s and the newest Gertruda Stein by Sebastjan Horvat. The unknown dimensions of work in foreign theatres are this time explained by some Slovenian actors that have had a chance to work in foreign ensembles and projects. Maska continues with the presentations of Slovenian theatres. This time, Slovensko mladinsko gledališče Theatre is introduced on 20 pages.