openEDsource

Frakcija: The key concept and the title of your book is “social choreography” and you use it in relation to both dance and the aesthetic of everyday movement. How do you frame that concept and how is it related to choreography as artistic practice? Andrew Hewitt: My methodology of “social choreography” is rooted in an attempt to think the aesthetic as it operates at the very base of social experience.

I gave to this talk the title: «the emancipated spectator». As I understand it, a title is always a challenge. It sets forth the presupposition that an expression makes sense, that there is a link between separate terms, which also means between concepts, problems and theories which seem at first sight to bear no direct relation on each other.

Iz štampe je nedavno izašla knjiga Alda Milohnića, Teorije sodobnega gledališča in performansa, u izdanju Zavoda Maska, Ljubljana, 2009. godine. Knjiga Teorije savremenog teatra i performansa, svojim teorijski sofisticiranim, kritičkim i polemičkim diskursom, razvja analize i rasprava nekoliko ključnih aspekata savremenih izvođačkih umetnosti: performativnost, političnost, angažman i mesto umetnosti u savremenom kapitalističkom društvu.

Intentions of this lecture are: to situate from which point I am talking and to bring into the story new positions of theory, knowledge and analysis; to differentiate in- between biopolitics and necropolitics; to take into an analysis an art performative project produced in Slovenia in order to see if contemporary art services necropolitics; to see the linking of necropolitics and neoliberal capitalism and the relation toward institutions of art and culture...

Tema „video u teatru“ spada u legitimne i važne teme savremenih izvođačkih umetnosti, ako ih – svesni realnosti koja nas okružuje – posmatramo kao umetnost u doba kulture, koja je nezamisliva bez masmedija i digitalnih tehnologija. Ipak, o temi „upotreba videa na lokalnoj tetarskoj sceni“ se teško može napisati ma kakva analiza, a da nije oštra kritika. Za takvu analizu nedostaje sam predmet.

This will be about the conditioning and the conditions for improvisation as performance. I won’t talk about improvisation as a technique to create new movement, or as a technique to free the body from habitual movement patterns, or as a technique in contact improvisation to explore movement by physical contact.

Broj 11 ruskog umetničko-teorijsko-aktivističkog časopisa Что делатъ? (Chto delat?) / What Is to Be Done? posvećen je savremenom preiščitavanju teorije i prakse Bertolda Brechta. Broj je objavljen u januaru 2006, dvojezično (na ruskom i engleskom jeziku).

Strategije i taktike u avangardnoj, neoavangardnoj i postavangadnoj pedagogiji u izvođačkim umetnostima...Bauhaus, Rusi, Peter Bűrger, John Cage, Merce Cunningham, Robert Rauschenberg, Jasper Johns, Allan Kaprow, Isidora Duncan, Rudlof von Laban, Sergei Eisenstein, Joseph Beuys, Antonin Artaud...

STVARALAČKA STRANA HUMANISTIKE još uvek nije naišla na prihvatanje u zvaničnoj klasifikaciji i metodologiji naučnih disciplina. Da li je humanistika oblast koja se bavi isključivo izučavanjem, ili bi u njoj trebalo da bude i aktivnog, konstruktivnog dopunjavanja? Znamo da tehnologija služi kao praktično proširivanje ("primenjivanje") prirodnih nauka, kao što je politika proširivanje društvenih nauka.