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Peripeti 7 – 2007 (Teatralitet) Peripeti – tidsskrift for dramaturgiske studier | nummer syv | 2007 Teatralitet Peripeti © Peripeti og forfatterne TEMAREDAKTION Erik Exe Christoffersen og Torunn Kjølner REDAKTION Erik Exe Christoffersen (ansvarshavende), Janicke Branth, Falk Heinrich, Mads Thygesen, Thomas Rosendal Nielsen, Birgitte Hesselaa, Laura Schultz, Solveig Gade, Michael Eigtved, Jens Christian Lauenstein Led og Jeppe Sejer Sørensen (PR). Layout: Christian Brink Christensen og Mads Thygesen Foto på omslag: Torunn Kjølner Tryk: Werks Offset Oplag: 500 ISSN: 1604-0325 REDAKTIONSADRESSE Peripeti Afdeling for Dramaturgi Institut for Æstetiske Fag, Aarhus Universitet, Langelandsgade 139, DK – 8000 Århus C. E-mail: [email protected] BESTILLING OG ABONNEMENT [email protected] Abonnement (to numre): 150 kr. Løssalg 100 kr. Internet: http://www.dramaturgi.au.dk/forskning/publikationer/peripeti Peripeti udgives af Afdeling for Dramaturgi (Aarhus Universitet) i samarbejde med Teatervidenskab (Københavns Universitet) og Dramatikeruddannelsen (Aarhus Teater) Tidsskriftet udgives med støtte fra Forskningsrådet for Kultur og Kommunikation. Alle temaartikler gennemgår et peer review. Peripeti udkommer to gange om året. Planlagte udgivelser: Teatertekster (nr. 8 – Efterår 2007), Instruktion og iscenesættelse (nr. 9 – forår 2008), Dramaturgi (nr. 10 – Efterår 2008). Tidligere udgivelser: Jon Fosse (nr. 1 – 2004), Why a Theatre Laboratory? (nr. 2 – 2004), Ny dansk dramatik (nr. 3 – 2005), Dogme og dramaturgi (nr. 4 – 2005), Henrik Ibsen (nr. 5 – 2006), Performativitet (nr. 6 – 2006). Særnumre: Ny Fransk Dramatik (2005), Serendipitet (2007) Indhold 5 Redaktionelt forord 7 Teatralitet og performativitet Torunn Kjølner 37 »Dobbeltkontrakten« Annelis Kuhlmann 51 »Jeg kan lide, når teatret spiller med åbne kort« Mads Thygesen 65 Teater som materiell imaginasjon Anita Hammer 77 Øyeblikkets dramaturgi Lise Hovik 89 Teatralitet, teatralsk og teatralisering Erik Exe Christoffersen 99 Den dybtgående orden, der kaldes turbulens Eugenio Barba Anmeldelser 110 Glemslens hospital Thomas Rosendal 117 Forumteater som teatralt virkemiddel Marlene Balleby 122 Kulturforskning og -analyse antologiseret Jørn Langsted 125 Renæssancens teatralitet Erik Exe Christoffersen 130 Holberg: teatral og anti-teatralsk Erik Exe Christoffersen 134 Begivenhedshed Niels Lehmann 139 Vsevelod Mejerhold og det teatrale teater Erik Exe Christoffersen 142 Devised og/eller postdramatisk? Torunn Kjølner 149 Samtidskunst og teatralisering Erik Exe Christoffersen > Ensemblet i »Greifswalder Strasse« (iscenesættelse: Peter Dupont Weiss, Aarhus Teater 2007, Foto: Jan Jul) Redaktionelt forord Teatralitet Dette nummer af Peripeti indeholder artikler om teatralitet. Begrebet knytter sig til teatret, til forståelsen af dramaet og til det at iscenesætte og skabe relationer mel- lem skuespillere og tilskuere. Teatralitet betragtes som en term i teatervidenskabens analyse- og teaterteori og som et fænomen i teaterhistorien. Begrebet anvendes ofte i distinktioner mellem sandt og falsk, autentisk og teatralsk. I den forbindelse knyttes det til tilskuerens syn på teater og til teatret som kunstnerisk medium. Siden tres- serne er begrebet imidlertid også anvendt indenfor andre kunstarter, såsom maleri der teatraliseres i dets rumlige og tidslige udfoldelse, f.eks. som installation eller performance. Endvidere er begrebet blevet brugt som metafor på mange forskellige måder. I det senmoderne, hvor medierne skaber de nødvendige rammer for selv- fremstilling og selviscenesættelse, har det typisk været identitet og identitetsdannelse som forbindes med teatralitet og iscenesættelse. På denne baggrund kan man sige, at teatralitet er ikke et begreb, der uden videre lader sig afgrænse og definere. Begrebet anvendes i mange forskellige tekster og kon- tekster. Det kan være forvirrende, men det peger blot på nødvendigheden af en per- manent analyse af teatralitetsbegrebet. Teatralitetsforskningen udgør en begrebslig kompleksitet, som afspejler forskellige syn på teater, kunst og teori. I dette tema- nummer findes flere eksempler på, hvordan man kan tænke teatralitet og teater- forskning, historisk og aktuelt. Teatralitet forholdes ofte til performativitet, som dannede temaramme for forrige nummer. Disse to numre kan derfor med fordel læses sammen. Temasektionen indledes med en oversigtsartikel af lektor Torunn Kjølner, der dis- kuterer teatralitetbegrebet og dets relation til performativitetsbegrebet som to sider af næsten samme sag. Lektor Erik Exe Christoffersen skriver om forholdet mellem teatralitet, teatralsk og teatralisering. Lektor Annelis Kuhlmann behandler begre- bet dobbeltkontrakt og ytringsfrihed i forhold til Molières improvisationskomedie L’Impromptu de Versailles. Ph.d.-stipendiat Mads Thygesen skriver om teatralitet og udsigelse i to iscenesættelser af Roland Schimmelpfennigs Auf der Greifwalder Strasse (2006). Alle disse bidragsydere er ansat ved Institut for Æstetiske Fag, Århus Universitetet. Førsteamanuensis i Teatervidenskab Anita Hammer (Universitetet i Oslo) tager udgangspunkt i Gaston Bachelards teorier og fokuserer på teater som materiel imagination i en analyse af den norske performancegruppe Verdensteatret. Høgskolelektor ved Dronning Mauds Minne Høgskole i Trondheim, Lise Hovik, bidrager med refleksioner om øjeblikkets dramaturgi i relation til leg og improvisa- 6 Redaktionelt forord tion i børneteater. Rækken af artikler afsluttes med et essay om dramaturgiens tre ansigter, skrevet af Odin Teatrets kunstneriske leder, Eugenio Barba. I dette nummer bringer vi desuden en række anmeldelser, som sætter fokus på teatralitet. Thomas Rosendal Nielsen beskriver og analyserer Signa Sørensens per- formance-installation A Night at the Hospital. Marlene Ballebye vurderer forumtea- ter som teatralt virkemiddel i Rasmus og Djamilla (Edison, 2007). Niels Lehmann anmelder Willmar Sauters nyeste bog, Eventness, og ser nærmere på dens konstruk- tion af det performative. Jørn Langsted anmelder fire antologier om kulturanaly- tisk forskning. Erik Exe Christoffersen anmelder bøger om renæssancens (teatrale) verden, om Holbergs teatrale og anti-teatralske drama, Jonathan Pitches’ Vsevelod Meyerhold og desuden bøger om samtidskunst og teatralisering. I sin anmeldelse »Devised og/eller post-dramatisk?« analyserer Torunn Kjølner forholdet mellem tysk- og engelsksproglige traditioners anvendelse af begreberne »postdramatisk« og »devising«. Teatralitet og performativitet to sider af samme sag – næsten? Af Torunn Kjølner Denne artikels ærinde er at give den læser, der ikke kender begreberne teatralitet og performativitet et sted at starte, og at invitere den læser, der kender dem, til at tænke med på, hvordan disse begreber forstås og anvendes teatervidenskabeligt og i en teaterpraksis. Lad mig starte med at fastslå, at jeg ser det lige så unyttigt at jagte ende- lige definitioner af begreberne, som det er at skyde myrer med haglgevær. For det første rammer man måske kun en eller et par, mens der er tusindvis, man ikke ram- mer. For det andet, er der for en jæger ikke meget bytte i en myre eller to – omtrent lige så lidt som i en definition. Ikke desto mindre er der et udtalt behov for at dis- kutere forståelsen af begreberne teatralitet og performativitet og at afgrænse nogle af disse i forhold til teaterforskning og andre sammenhænge, hvor der indgår ekspli- citte eller implicitte forståelser af teater, fx i oplevelsesøkonomi og begivenhedskul- tur, management, human ressource etc., hvor forskellige former for handlinger og betydningsproduktion studeres. Begreberne teatralitet og performativitet (teatral, teatralsk, det teatrale, performer, performans, det performative) anvendes relativt tit og begge begreber indgår i mange og forskellige vidensforståelser og sammenhænge. Ikke sjældent bruges begreberne alligevel i flæng og ofte uden afgrænsninger eller ekspliciteringer af, hvad der egentlig refereres til når man anvender dem. Det er lettere sagt end tænkt at afgrænse begreber som teatralitet og performa- tivitet. Der henvises først og fremmest ikke til fysiske objekter eller realiteter. Eller gør der? Er teatralitet et fænomen? Er performativitet? Måske er det præcis disse spørgsmål, der bedst åbner for en forståelse af, hvordan man kan forstå teatralitet og performativitet. Der er mindst to veje. Enten leder man efter hvad teatralitet og/eller performativitet egentlig er. Når man har defineret det (eksplicit eller impli- cit), vil man kunne udpege ting eller fænomener, der er teatrale. Man kan strides om hvilke ting eller fænomener, som er teatrale, uden at man af den grund strides om forudsætningen for at mene, at der er noget, der er teatralt eller ej. Man kan fx strides om, hvorvidt vor tid er mere teatral end før, og om teatret er mindre teatralt end før, uden at strides om, hvorvidt teatraliteten eksisterer som et noget, det giver mening at referere til, når man vil diskutere. Hvis man ikke er til onto- logiske bestemmelser af, hvad teatralitet er, vil man måske give sig i kast med at undersøge hvem, det er, der siger hvad, og med hvilken hensigt, begrebet anvendes. Her er der fokus på begrebsanvendelsen eller brugssituationen. Fra denne position er det en pointe at analysere bestemte begrebsanvendelser for at identificere hvilke 8 Torunn Kjølner perspektiver, begrebsanvendelsen trækker med sig. Her kan man strides om, hvor- dan man skal fortolke, hvad, det er, hvem siger, når fx begrebet teatralitet anvendes i en specifik kontekst. Men man vil ikke strides, om det er korrekt eller forkert at anvende begrebet på denne
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