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Avangardna Umetnost Kao Teorijska Praksa Black Mountain College , Darmštatski Internacionalni Letnji Kursevi Za Novu Muziku I Tel Quel

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Avangardna Umetnost Kao Teorijska Praksa Black Mountain College , Darmštatski Internacionalni Letnji Kursevi Za Novu Muziku I Tel Quel UNIVERZITET UMETNOSTI U BEOGRADU Interdisciplinarne studije Teorija umetnosti i medija, doktorske studije Doktorska disertacija Avangardna umetnost kao teorijska praksa Black Mountain College , Darmštatski internacionalni letnji kursevi za Novu muziku i Tel Quel autor: Sanela Nikoli mentor: dr Mirjana Veselinovi -Hofman, red. prof. komentor: dr Miodrag Šuvakovi , red. prof. Beograd, april 2011. SADRŽAJ APSTRAKT ...................................................................................................................... 1 ABSTRACT ...................................................................................................................... 3 UVOD Predmet rada, istraživaki problem i teorijski okvir ....................................................................... 6 1. AVANGARDNA UMETNOST, TEORIJA I PRAKSA ...................................................... 10 1. 1. O POJAVNOSTIMA AVANGARDE • Avangarda i moderno doba/moderna/modernizam .......................................... 11 • Avangarda u razli itim likovima – dosadašnje teorije o avangardi ................. 17 1. 2. AVANGARDA KAO TEORIJSKA PRAKSA • Avangarda kao društvena praksa ...................................................................... 32 • Avangarda kao teorijska praksa ........................................................................ 35 • Polje teorije umetnika. Od metajezika do tekstualne prakse ............................ 44 • Black Mountain College , Darmštatski internacionalni letnji kursevi i Tel Quel kao tri slu aja avangardne teorijske prakse ....................................... 53 2. BLACK MOUNTAIN COLLEGE KAO TEORIJSKA PRAKSA ....................................... 60 2. 1. BLACK MOUNTAIN COLLEGE KAO DRUŠTVENA PRAKSA ......................... 61 • Filozofija pedagogije Džona Djuja, Black Mountain College i ideja ’celokupnog obrazovanja’ oveka ............................................................. 64 2. 2. BLACK MOUNTAIN COLLEGE KAO AVANGARDNA TEORIJSKA PRAKSA • Avangardni profil umetnike prakse Black Mountain College -a ....................... 86 • Black Mountain College kao teorijska praksa ........................................................ 96 • Teorijski rad umetnika kao diskurzivna eksplikacija uloge umetnosti u okvirima eksperimentalnog obrazovnog programa ....................................................................................... 98 • Teorijski rad u okvirima Koledža kao odraz susreta avangardnih dostignu a evropskog modernizma i ameri kog eksperimentalnog umetni kog rada .............................................. 105 3. DARMŠTATSKI INTERNACIONALNI LETNJI KURSEVI ZA NOVU MUZIKU KAO TEORIJSKA PRAKSA ............................................................................................................ 130 3. 1. DARMŠTATSKI KURSEVI KAO DRUŠTVENA PRAKSA ................................ 131 • Internacionalizam prakse Darmštata .............................................................. 143 3. 2. DARMŠTATSKI KURSEVI KAO NEOAVANGARDNA TEORIJSKA PRAKSA • Neoavangardni profil darmštatske muzi ke prakse ........................................ 154 • Darmštatski kursevi kao teorijska praksa ....................................................... 158 • Autopoeti ki profil teorijskog rada kompozitora u okvirima Darmštatskih kurseva ............................................. 162 • Pronau an profil autopoeti kih diskursa ........................................................ 165 • Pedagoški aspekt autopoeti kog rada kompozitora ........................................ 171 • Intertekstualni nivo autopoeti kih diskursa .................................................... 176 • Konceptualna ravan autopoeti kih diskursa kompozitora .............................. 178 • Ideološki aspekat teorijske prakse Darmštata ...................................................... 188 4. TEL QUEL KAO TEORIJSKA PRAKSA ................................................................................ 202 4. 1. TEL QUEL KAO DRUŠTVENA PRAKSA ............................................................... 203 4. 2. TEL QUEL KAO POSTAVANGARDNA TEORIJSKA PRAKSA • Postavangardni profil rada grupe Tel Quel .......................................................... 224 • Tel Quel kao teorijska praksa: od književnosti i teorije književnosti do prakse pisanja i teksta ............................................... 227 • Marksizam kao uporište mehanizma sprovo enja društvene revolucije posredstvom prakse pisanja .......................................... 249 • Nov status teorijskog rada u kontekstu modernizma: teorija posle ’kraja’ teorije umetnosti ..................................... 256 • Semiotika/semanaliza kao ’univerzalna’ teorija posle ’kraja’ teorije umetnosti ....................................... 262 5. ZAKLJU NA ZAPAŽANJA – ZNA AJ AVANGARDE KAO TEORIJSKE PRAKSE .................................................................................................. 275 • Avangardni umetni ki svetovi i epistemološki prelomi kao ekspanzija umetni kog rada u zapadnom društvu modernog doba .................................. 276 • Teorijski rad kao bitno sredstvo ekspanzije umetni kog rada, te fundamentalne promene ontološkog i fenomenološkog statusa zapadne umetnosti modernog doba ................................................................................................................. 277 LITERATURA .......................................................................................................................... 284 Avangarda i teorija ......................................................................................................... 285 Black Mountain College .. .............................................................................................. 294 Die Internationalen Ferienkurse für Neue Musik Darmstadt ........................................ 307 Tel Quel ..... ..................................................................................................................... 321 PRILOZI .................................................................................................................................... 334 Prilog broj 1: Popis napisa nastavnika i studenata Black Mountain College -a – selekcija ................................................................. 335 Prilog broj 2: Tekstovi objavljeni u izdanjima Darmštatskih priloga za Novu muziku (Darmstädter Beiträge zur Neuen Musik , Mainz, B. Schott’s Söhne) u periodu od 1958. do 1990. godine ................................................................... 340 Prilog br. 3: Tekstovi objavljeni u asopisu Tel Quel , popis prema prezimenu autora, period 1960–1983. ................................................................... 347 INDEKS IMENA ...................................................................................................................... 370 BIOGRAFSKI PODACI O AUTORKI .................................................................................. 382 APSTRAKT Avangardna umetnost kao teorijska praksa – Black Mountain College , Darmštatski internacionalni letnji kursevi za Novu muziku i Tel Quel U fokusu istraživanja doktorske disertacije nalazi se problem odnosa izme u umetni kog i teorijskog rada u okviru tri avangardna sveta umetnosti – Black Mountain College -a, Darmštatskih internacionalnih letnjih kurseva za Novu muziku (Die Internationalen Ferienkurse für Neue Musik Darmstadt ) i Tel Quel -a. Teoretizacija fenomena avangarde sprovedena je primenom koncepta teorijske prakse kako je on postavljen u diskursu Luja Altisera. Osnovna teza ovog istraživanja sadržana je u trvrdnjama da je, u odnosu na utvr ene diskurzivne konceptualizacije umetnosti, svaka avangarda ostvarila efekat teorijske prakse ali i da je teorijski rad umetnika bio konstitutivan deo mehanizma svake avangarde, zajedni ki ozna itelj me usobno diferentnih avangardnih pojava, te bitan uslov uobli avanja avangarde kao teorijske prakse i prostora odigravanja svojevrsnih epistemoloških preloma . U svetu avangardne umetnosti teorijski rad je imao poseban status koji je bio odre en njegovim zastupanjem umetnosti i konkretnog umetni kog rada u procesu, za avangardu, neophodnog posredovanja izme u umetni kog rada i kulturalnih, društvenih referenci i pozicija. Avangardno umetni ko delo i avangardna umetni ka praksa su zbog svojih posebnosti zahtevali prate a objašnjenja i interpretacije koje su se iskazivale kao autopoeti ki spisi ili teorije umetnika. Paralelno stvaranju umetni kih dela i istraživanju materijala umetnosti, umetnici avangarde su stvarali i polje napisa o umetnosti koje je delovalo kao preduslov za razumevanje i shvatanje te ‘nove’ umetnosti. Tako su se izvan nau nih, filozofskih i esteti kih kompetencija mišljenja o umetnosti a unutar individualnih ili grupnih praksi istraživanja (u) umetnosti formirala pojedina na polja epistemologije umetnosti. Avangardnom novinom uslovljeni i provocirani pojmovi ‘umetnost’ i ‘teorija’ prestali su da budu grani ni i me usobno ‘spoljnje’ odnosni, te su postali delovi ontološki dvojakog, u umetni kom i teorijskom radu utemeljenog polja umetni ke produkcije. Ukazano je da teorija umetnika nije intencionalno formulisana pre ili prilikom stvaranja dela, ve da umetni ko delo nastaje u složenim odnosima razlika sa drugim delima i tekstovima kulture. Umetni ko i teorijsko se uvek konstituišu u intertekstualnom vidu a sa uspostavljanjem namernih ili slu ajnih relacija sa drugim 1 tekstovima (izvan) umetnosti. Kada je u pitanju me usobno uodnošavanje tri odabrane studije
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