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Ljubiteljsko Gledališce/Amateur Theatre Ljubljana, 2020

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Ljubiteljsko Gledališce/Amateur Theatre Ljubljana, 2020 am fi 8.Letnik / Volume 1 Številka / Number te Revija za teorijo scenskih umetnosti Journal of Performing Arts Theory 2020 at er Ljubiteljsko gledališce/Amateur Theatre Ljubljana, 2020 am fi 8.Letnik / Volume 1 Številka / Number te Revija za teorijo scenskih umetnosti Journal of Performing Arts Theory 2020 at er Ljubiteljsko gledališce/Amateur Theatre AMFITEATER Revija za teorijo scenskih umetnosti / Journal of Performing Arts Theory Letnik / Volume 8, Številka / Number 1 ISSN 1855-4539 (tiskana izdaja) 1855-850X (elektronska izdaja) Glavni in odgovorni urednik: Gašper Troha Uredniški odbor / Editorial Board: Bojana Kunst, Barbara Orel, Primož Jesenko, Blaž Lukan, Aldo Milohnić, Tomaž Toporišič, Maja Šorli Mednarodni uredniški odbor / International Editorial Board: Mark Amerika (University of Colorado, US), Marin Blažević (Sveučilište u Zagrebu, HR), Ramsay Burt (De Montfort University, GB), Joshua Edelman (Manchester Metropolitan University, GB), Jure Gantar (Dalhousie University, CA), Janelle Reinelt (The University of Warwick, GB), Anneli Saro (Tartu Űlikool, EE), Miško Šuvaković (Univerzitet Singidunum, RS), S. E. Wilmer (Trinity College Dublin, IE) Soizdajatelja: Slovenski gledališki inštitut (zanj Mojca Jan Zoran, direktorica) in Univerza v Ljubljani, Akademija za gledališče, radio, film in televizijo (zanjo Tomaž Gubenšek, dekan) Published by: Slovenian Theatre Institute (represented by Mojca Jan Zoran, Director) and University of Ljubljana, Academy of Theatre, Radio, Film and Television (represented by Tomaž Gubenšek, Dean) Prevod v angleščino in slovenščino / Translations into English and Slovenian: Katja Kosi, Barbara Skubic, Jaka Andrej Vojevec, Urška Zajec Lektoriranje slovenskega besedila / Slovenian Language Editing: Andraž Polončič Ruparčič Lektoriranje angleškega besedila / English Language Editing: Jana Renée Wilcoxen Korektura / Proofreading: Gašper Troha in/and Jana Renee Wilcoxen Bibliotekarka / Librarian: Bojana Bajec (UL AGRFT) Oblikovanje / Graphic Design: Simona Jakovac Priprava za tisk / Typesetting: Nina Šturm Tisk / Print: CICERO, Begunje, d.o.o. Število natisnjenih izvodov / Copies: 200 Revija izhaja dvakrat letno. Cena posamezne številke: 10 €. Cena dvojne številke: 18 €. Letna naročnina: 16 € za posameznike, 13 € za študente, 18 € za institucije. Poštnina ni vključena. The journal is published twice annually. Price of a single issue: 10 €. Price of a double issue: 18 €. Annual subscription: 16 € for individuals, 13 € for students, 18 € for institutions. Postage and handling not included. Prispevke, naročila in recenzentske izvode knjig pošiljajte na naslov uredništva / Send manuscripts, orders and books for review to the Editorial Office address: Amfiteater, SLOGI, Mestni trg 17, Ljubljana, SI-1000 Ljubljana, Slovenija E-pošta / E-mail: [email protected] Ljubljana, junij 2020 / Ljubljana, June 2020 Revijo za teorijo scenskih umetnosti Amfiteater je leta 2008 ustanovila Akademija za gledališče, radio, film in televizijo Univerze v Ljubljani. / Amfiteater – Journal of Performing Arts Theory was founded in 2008 by the University of Ljubljana, Academy of Theatre, Radio, Film and Television. Revija je vključena v / The journal is included in: MLA International Bibliography (Directory of periodicals), Scopus. Izdajo publikacije sta finančno podprla Agencija za raziskovalno dejavnost Republike Slovenije in Ministrstvo za kulturo Republike Slovenije. / The publishing of Amfiteater is supported by the Slovenian Research Agency and the Ministry of Culture of the Republic of Slovenia. Kazalo / Contents Uvodnik 9 Preface 13 Razprave / Articles Aldo Milohnić Delavski oder in amaterski učinek »proletarske igre« 19 The Workers’ Stage (Delavski oder) and the Amateur Effect of “Proletarian Acting” 33 Ana Kocjančič Valo Bratina: arhitekturno in scenografsko delo za ljudske in delavske odre (Hrastnik, Zagorje, Trbovlje, Kočevje, Štore, Duplica, Ljubljana [Moste, Bežigrad]) 47 Valo Bratina: Architectural and Scenographic Work on the People’s and Workers’ Stages (Hrastnik, Zagorje, Trbovlje, Kočevje, Štore, Duplica, Ljubljana (Moste, Bežigrad)) 61 Tomaž Toporišič Med zapeljevanjem in sumničavostjo eksperimentalnega, ljubiteljskega in profesionalnega gledališča 65 Between Seduction and Suspicion: Experimental, Amateur and Professional Theatre 79 Barbara Orel Ljubiteljsko gledališče in alternativa sedemdesetih: obrat k neigranju v slovenskih scenskih umetnostih 93 Amateur Theatre and the Alternative of the 1970s: The Turn to Not-Acting in the Slovenian Performing Arts 107 Gašper Troha Položaj in podoba sodobnega ljubiteljskega gledališča na Slovenskem 123 The Situation and Image of Contemporary Amateur Theatre in Slovenia 137 Anneli Saro, Hedi-Liis Toome Izzivi polja ljubiteljskega gledališča v Estoniji 151 The Challenges of the Estonian Amateur Theatre Field 167 Vicki Ann Cremona, Marco Galea Ljubiteljsko gledališče na Malti 183 The Amateur Theatre in Malta 197 Tomaž Krpič »Pasijon ima zdravilno moč!« Protislovja Škofjeloškega pasijona 211 “THE PASSION PLAY HAS A HEALING POWER!”: The Controversies of the Škofja Loka Passion Play 223 Ana Vrtovec Beno Ohranjanje, predstavitev in uporaba kulturne dediščine na primerih ljubiteljskega gledališča 237 The Preservation, Presentation and Use of Cultural Heritage in Amateur Theatre 251 Louise Ejgod Hansen Otroci na odru v Aarhusu 2017. Participatorni obrat kot izziv razmejevanju med poklicno in ljubiteljsko umetnostjo 255 Children on Stage in Aarhus 2017: The Participatory Turn as a Challenge for the Distinction Between Professional and Amateur Art 269 Barbara Polajnar Gledališče zatiranih kot oblika artivističnega gledališča v Sloveniji 283 The Theatre of the Oppressed as a Form of Artivist Theatre in Slovenia 295 Kaja Novosel Čufarjevi dnevi: od srečanja do festivala 299 Čufar Days: From a Meeting to a Festival 313 Tara Milčinski Ljubiteljska gledališča v urbanem in ruralnem okolju: primerjava loškega odra in gledališča belanskega 317 Amateur Theatres in Urban and Rural Environments: a comparison between Loka Stage and Bela Theatre 333 Ajda Sokler 70 let ljubiteljskega gledališča na Studencu 337 70 Years of Amateur Theatre in Studenec 353 Recenzije / Book Reviews Tjaša Jakop Govor v pedagoški praksi (Katarina Podbevšek in Nina Žavbi, ur: Govor v pedagoški praksi) 358 Nenad Jelesijević Javna tajna: dolgčas (post)dramskega gledališča 364 (Florence Dupont: Aristotel ali vampir zahodnega gledališča) Navodila za avtorje 370 Submission Guidelines 372 Vabilo k razpravam / Call for Papers 374 Uvodnik1 9 Ljubiteljsko gledališče združuje veliko število ljudi po vsem svetu. V Mednarodno zvezo ljubiteljskih gledališč (International Amateur Theatre Association) so včlanjena posamezna gledališča in nacionalne organizacije iz 74 držav, ki prihajajo z vseh celin. Samo v Sloveniji je leta 2019 na področju ljubiteljskega gledališča delovalo več kot 7000 ljudi. Kljub temu je področje le redko predmet znanstvenega zanimanja. To dejstvo je še nenavadnejše, če pomislimo na nekatere pojave v 20. stoletju, ki so odločilno vplivali na razvoj gledališča in so se zgodili prav v neprofesionalnem gledališkem okviru. Tokratna številka Amfiteatra je zato v celoti posvečena vprašanju sodobnega ljubiteljskega gledališča v Sloveniji in Evropi, podobo pa dopolnjujejo analize nekaterih njegovih ključnih zgodovinskih trenutkov 20. stoletja, ko so se v njem rodile nove uprizoritvene prakse. Tako je že Bertolt Brecht pisal o »proletarski igri« ter o razliki med amaterji in diletanti. Amaterji so bili zanj gledališki ustvarjalci, ki svojo neprofesionalno pozicijo izkoriščajo za iskanje novih uprizoritvenih možnosti, diletanti pa tisti, ki skušajo posnemati institucionalno gledališče, a ga nikoli ne morejo doseči. To delitev Aldo Milohnić aplicira na raziskavo Delavskega odra pod Bratkom Kreftom in Ferdom Delakom. Po drugi svetovni vojni je bila ljubiteljska kultura ena od kulturno-političnih prioritet v nekdanji Jugoslaviji, saj je vključevala veliko število ljudi, omogočala pa je tudi ideološko indoktrinacijo. Država je pospešeno obnavljala in gradila infrastrukturo, pri čemer so sodelovali tudi znani arhitekti in scenografi. Takšen je bil Valo Bratina, ki je med letoma 1946 in 1954 načrtoval in izvedel več obnov in gradenj kulturnih domov (njegovo delo raziskuje Ana Kocjančič), kjer so domovale ljubiteljske gledališke skupine. Performativni obrat v šestdesetih in sedemdesetih letih se je na Slovenskem zgodil na obrobju. Izvedli so ga mladi profesionalci ali še študentje gledališke akademije in Filozofske fakultete, ki so iskali nove načine uprizarjanja. Odnose med institucionalnim in eksperimentalnim oz. neinstitucionalnim gledališčem v svojem članku analizira Tomaž Toporišič, ki pokaže, kako močno so ti pojavi vplivali na nadaljnji razvoj gledališča v osemdesetih letih in od kod so črpali ideje. Barbara Orel raziskuje nadaljevanje tega dogajanja v sedemdesetih letih prek specifičnega vprašanja obrata k neigranju (pojem Michaela Kirbyja), ki ponovno dokazuje močno vpetost slovenskega gledališča v tedaj aktualne ameriške gledališke avantgarde. Podobo sodobnega ljubiteljskega gledališča najprej zarišejo tri empirične raziskave, ki 1 Uredništvo te številke in pisanje uvodnika je potekalo na AGRFT Univerze v Ljubljani v okviru raziskovalnega programa Gledališke in medumetnostne raziskave P6-0376, ki ga financira Javna agencija za raziskovalno dejavnost Republike Slovenije iz državnega proračuna. 10 prihajajo iz treh evropskih držav (Gašper Troha, Anneli Saro in Hedi-Liis Toome, Vicki Ann Cremona in Marco Galea).
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