Medzikultúrny dialóg v súčasnej slovenskej dráme a divadle

The study deals with the possible inspirations from the external environment being the part of works by Karol Horák which undergo a creative transformation and produce a new aesthetic quality on the level of text, as well as the on the level of new staging forms or genesis of a completely new autochthonic theatre form (authorʼs theatre, postmodern theatre, medial theatre, happenings, performances, site-specific, etc.) There was a continuous pulsation among Slovak national theatre culture, or rather metonymically understood Prešov´s regional student theatre, and American (Living Theatre of J. Becka and J. Malinova, Schumannʼs Bread and Puppet, etc.), Polish (Kantorʼs Cricot 2, Grotowskiʼs Theatre Laboratory, Raczakʼs Theatre of Eighth Day, Mądzikʼs Plastic scene, Słupczynskiʼs Theatre Studio of Těšín, the Theatre Academy of Movement, Cracowian KTO, etc.) and Czech provenance (Theatre Orpheus Prague, Theatre X Brno, Theatre under Drain Pipe Ostrava, Quite Small Theatre Litvinov, Theatre on the Periphery, Prague, Quidam Brno, etc.) They have the form of a rational as well as a spontaneous reaction to the external stimulus which often acquired a form with surprisingly authentic aesthetic value. This value usually represented the latent affinity with the original stimulus and it often created an authentic theatre artefact with respect to the recipient having the peculiar status within the national context (e.g. Džura [1968], Démon [1967], Fragmenty [1974], Živý nábytok [1975], Tip-top biotop [1976], Materstvo [2011], Človek etudový alebo Konšpirácia alebo Od skúšky k predstaveniu [2013] etc.) This was the way how one wing of Slovak theatre tried to balance falling short of the European or world context.

Vício, metateatralidade e enfado em The Connection, de Jack Gelber

O artigo analisa The Connection, de Jack Gelber, estreada em 1959, no Living Theatre, onde se tornou um fenômeno cultural da Off-Broadway nova-iorquina. Utilizando o recurso da peça-dentro-da-peça, a obra mescla a espera de um grupo de viciados em heroína pela chegada de seu fornecedor, apresentada de modo bastante desimpedido, com o registro do próprio processo de dramatização do cotidiano de usuários de narcóticos. Através do estudo de sua ossatura metateatral, bem como de suas ambíguas provocações a diversas tendências formais e temáticas típicas do mainstream estadunidense coetâneo, propõe-se como uma legítima singularidade o seu investimento deliberado no enfado das plateias.

Interpretations of the Relationship Between Theatre and Crisis

The paper aims to analyse the relationship between theatre and crisis from the viewpoint of the role played by the theatre in exploring and presenting extreme situations, namely crisis situations. The impact of crisis on theatre determines the apparition of different theatrical viewpoints which are not meant to offer concrete solutions to the crisis, but which may contribute to the identification of possible ways of solving it due to its capacity to reveal certain aspects of the crisis which manifests itself on different levels of reality. At the same time, this relationship is viewed from the perspective of Antonin Artaud, The Living Theatre, Jerzy Grotowski and Samuel Beckett. Moreover, the paper makes reference to the fact that, in the current pandemic, the theatre performance faces a specific crisis, that is the crisis of audience.

Perleporten – et post-brechtiansk teater?

I denne artikkelen viser jeg til Perleporten Teatergruppes særegne formspråk i forestillingene Knoll & Tott (1975) og i Jug meg en saga (1976), og hvordan formspråket er et resultat av gruppens politiske ståsted og anarkistisk livssyn, samt deres bakgrunn fra dramalinjen på Hartvig Nissen skole. Gruppens mål synes å ha vært å invitere publikum til å gjøre opp sine egne meninger og holdninger til sosiale, kulturelle og politiske problemstillinger. Disse ble løftet fram gjennom en bruk av anti-autoritære virkemidler og en fragmentarisk dramaturgi. I analysen av Perleportens teater har jeg sett på mulige berøringspunkter mellom The Living Theatre og Perleporten, som begge hadde anarkistiske idealer. I tillegg gjør jeg en nylesning av Jug meg en saga hvor jeg sammenstiller Perleportens bruk av fragmenterte narrativer og montasje av kontrasterende scener med et post-brechtiansk uttrykk. Et slikt uttrykk er særlig Heiner Müller kjent for. Ved å diskutere likheter og forskjeller mellom bruk av sceniske virkemidler og dramaturgi i oppsettinger av Perleporten Teatergruppe, The Living Theater og Heiner Müller søker jeg å vise hvordan Perleportens teater står i en anarkistisk-politisk tradisjon, som på 1970- og tidlig 80-tallet var usedvanlig i en norsk kontekst, men ikke nødvendigvis i en amerikansk eller europeisk kontekst.

Agency and Its Effects

Throughout his life Darwin collected and investigated a host of creatures from a wide range of relatively simple species—zoophytes, sea pens, corals, worms, insects, and a diversity of plants. These studies aimed to answer fundamental questions about the characteristics of life, the nature of individuality, reproduction, and the implications of agency. Central amongst these implications were interdependencies between organisms, with their conspecifics, with different species, and with their conditions of life. In this way Darwin built up a picture of the living world as a theatre of agency. The derivation of evolution from this living theatre—which he called ‘the struggle for existence’—gave Darwin’s vision of nature its distinctiveness. While twentieth-century biology sidelined the agency of organisms in favour of the gene, the twenty-first century has returned to Darwin’s view that evolution is led by organisms (or ‘phenotypes’)—with implications for psychology differing considerably from contemporary evolutionary psychologies.

Arte anarquista no pós-Segunda Guerra: The Living Theatre e Laboratório de Ensaios

Por meio de dois movimentos artísticos ocorridos no pós-Segunda Guerra (The Living Theatre e Laboratório de Ensaios), este artigo analisa a maneira como os anarquistas promoveram ações de transgressão e de experimentação da utopia anárquica. As práticas artísticas permitiram a construção de um campo de experimentação no qual as ideias libertárias poderiam ser efetivadas, vivenciadas e propagadas, minando os desdobramentos e valores associados à guerra, como trevas, fronteiras e individualismo. Essa concepção de arte, fundamentada na aliança entre estética e vida, não partiu de uma elaboração exclusivamente anarquista, mas foi apropriada pelos militantes como forma de combate à alienação e ao autoritarismo da sociedade vigente. A estética, com seu inesgotável potencial para instruir e incentivar a ação, tornou-se uma ferramenta de estímulo da sensibilidade libertária.

Happenings e Aqui e Agora – Diálogos entre Abordagem Gestáltica e o Living Theatre

The present article aims to propose a reflection on the concepts involved in the experience here and now treated by the Gestalt approach. To do so, based on the avant-garde proposal of Living Theater, a group founded by Julien Beck and Judith Molina in 1947, such a debate will have as an analytical device the theatrical performance methodology called happening. From a look at the experience of the theater group and the resumption of bibliographic references that address the definition and characteristics of this concept, the proposal is to assume experience here and now in its continuous processuality marked by immediate and unique human experiences. From this point of view, there is a significant relevance of certain terms, such as contact, experience, spontaneity and improvisation in dealing with the present experience.

Grotowski´s Poor Theatre: An Experiment in Theatre

This research paper is about Grotowski´s poor theatre. Before Grotowski´s there were many theatre, but these theatre were not suitable for Grotowski´s purpose. Before Grotowski´s theatre there were Schechner´s Environmental theatre, Stainslavaski´s Experimental theatre, Meyerhold´s Avant-grade theatre, Alexander Tiraov´s Kamerney theatre, Brecht´s Epic theatre, Judith Malina and Tulian Beck´s Living theatre, Bread and Puppet theatre by Peter Schumana. During the 1960´s a voice of deploration came by a number of persons, who demanded the abandonment of every element of the theatre borrowed from other media and not really required. This leading exponent was Jerzy Grotowski´s Poor theatre.