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Vprašanje specifike performansa in hepeninga na Slovenskem na primerih gledališča Pupilije Ferkeverk in skupine OHO : diplomsko delo
Bračko, Urška (Author), Troha, Gašper (Mentor) More about this mentor... This link opens in a new window

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Abstract
V diplomskem delu so predstavljeni temeljni teoretski pojmi, ki zadevajo uprizoritev, performans in hepening. To služi kot podlaga pri primerjavi dveh različnih umetnikov oziroma skupin umetnikov, Gledališče Pupilije Ferkeverk in skupino OHO. V diplomskem delu se postavlja vprašanje, ali so avantgardni performansi in hepeningi s konca šestdesetih in sedemdesetih let prejšnjega stoletja v Sloveniji primerljivi z evropsko oziroma svetovno produkcijo? Uprizoritev Pupilija, papa Pupilo pa Pupilčki je v slovensko gledališče prinesla nove smernice in začrtala drugačne meje (ali pa jih odstranila) med tradicionalnim gledališčem in performansom. Gledalce so soočili z dejanji iz realnega življenja, ki so tudi izvajalce postavila pred drugačno pojmovanje gledališča. V uprizoritev so vnesli posamezne prizore, ki so bili med sabo povezani samo asociativno, igralci pa niso igrali tradicionalnih vlog iz teksta, ampak so po nekem scenariju predstavljali splošne vloge, kot so Sneguljčica, Anka ali pa njihova vloga sploh ni bila poimenovana. V novo gledališče so poskušali vnesti svobodo. Skupina OHO je v slovenski prostor vnesla novo pojmovanje performativnega - hepeninge. Njihovi hepeningi niso veliki spektakli, ampak dejanja narejena iz zanimanja za predmete in reistično filozofijo. Svojih hepeningov niso pojmovali politično, ampak kot npr. darilo Ljubljančanom za novo leto (hepening Triglav). Kljub temu je marsikdo v njihovih dejanjih videl politične geste.

Language:Slovenian
Keywords:slovensko gledališče, avantgarda, eksperimentalno gledališče, performativnost, happening, performans, Gledališče Pupilije Ferkeverk, Skupina OHO, diplomsko delo
Work type:Bachelor thesis/paper (mb11)
Tipology:2.11 - Undergraduate Thesis
Organization:FF - Faculty of Arts
Year:2017
Publisher:[U. Bračko]
Number of pages:30 str.
UDC:792(497.4)"197"
COBISS.SI-ID:65186914 Link is opened in a new window
Views:410
Downloads:235
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Secondary language

Language:English
Abstract:
Thesis introduces the main theoretic facts about play, performance and happening. This serves as a foundation for comparing two different group of artists -Theater of Pupilija Ferkeverk and Group OHO. The main question of the thesis is: Whether Slovene avant-garde performances and happenings at the end of the 1960s and 1970s are comparable to the European and global production? Performance of Pupilija, papa Pupilo pa Pupilčki brought in Slovenian theatre new guidelines and outlined new borders (or removed them) between traditional theatre and performance. The audience was confronted with real, physical and psychological acts from real life, which forced them to look at the theatre from a different angle. In performance they brought together scenes that were connected just associatively. Actors were not playing traditional parts from dramatic work, but rather some general roles, e.g. Snow White, Anka or their role was not named. They tried to bring freedom into the new theatre. Group OHO brought into the Slovenian grounds the whole new conception of performativity - happenings. Their happenings were not some magnificent spectacles, they were the acts done from the interest for things and reistic philosophy. They did not consider their happenings to be political acts, but rather gifts for people of Ljubljana e.g. for New Year (happening Triglav). Nevertheless, some interpretations pointed out their ideological potential.


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