Queer themes, an overlooked and marginalized area of Slovene performing arts, mostly appear on independent and alternative scene. On the whole, these topics mainly remain discussed and it is rare to stumble upon a material manifestation of their ideas. One of the exceptions are Image Snatchers, a technoburlesque, produced by Emanat, which takes the spotlight of this bachelor’s thesis. It serves as a playground for exploring the term queer dramaturgies or theatre of unease, the second one a proposed Slovene transaltion. Theatre of unease envelops those performances which question and go beyond the normative practices of local and global performing arts. Imagining potential futures, they offer a critique of the existing social systems and point out the failures of power relations that are currently in place not only in the field of performing arts but also in wider society. Unease in the Slovene equivalent of queer dramaturgies has multiple meanings as it follows the premises of queer theory which emphasizes the resistance to categorization and definiteveness. All of this is also true for Image Snatchers; they embody the idea of queer disidentities on multiple levels – from production structures, mozaic dramaturgies and thought provoking content to the acts of stealing and reappropriating pieces of popular culture. And finally, Image Snatchers as theatre of unease or queer dramaturgies constitute precious moments of utopian performatives, short spaces of time where all potentialities of erformed utopia are revealed.
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