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Japanska Avangarda 60-Tih I 70-Tih Godina Xx Veka

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Japanska Avangarda 60-Tih I 70-Tih Godina Xx Veka UNIVERZITET U BEOGRADU FILOLOŠKI FAKULTET Marko S. Grubačić UMETNOST I DRUŠTVO U PREVIRANJU - JAPANSKA AVANGARDA 60-TIH I 70-TIH GODINA XX VEKA doktorska disertacija Beograd, 2014. UNIVERSITY OF BELGRADE FACULTY OF PHILOLOGY Marko S. Grubačić ART AND SOCIETY IN UPHEAVAL - JAPANESE AVANT-GARDE IN THE 60's AND 70's Doctoral dissertation Belgrade, 2014. Mentor: dr Ljiljana Marković, redovni profesor, Univerzitet u Beogradu, Filološki fakultet Ĉlanovi komisije: dr Ljiljana Marković, redovni profesor, Univerzitet u Beogradu, Filološki fakultet dr Vladimir Mako, redovni profesor, Univerzitet u Beogradu, Arhitektonski fakultet dr Marina Jović-Đalović, docent, Univerzitet u Beogradu, Filološki fakultet Datum odbrane: Umetnost i društvo u previranju - japanska avangarda 60-tih i 70-tih godina XX veka Rezime: Predmet ove disertacije je analiza avangardnih i "anti-umetniĉkih" pokreta u Japanu nakon Drugog svetskog rata, sa posebnim osvrtom na period od 1954-1970. Istraţivanje posleratnih avangardnih pokreta u Japanu se odvija kroz analizu i kritiĉku interpretaciju aktuelne literature i primarnih izvora. Istraţivanje ima u vidu širi socijalni kontekst u kome su avangardni pokreti nastali i njihovo pozicioniranje u okviru internacionalne umetniĉke scene. Ni u svetskoj, a pogotovo u ovdašnjoj struĉnoj javnosti, navedenim temama nije bila posvećena odgovarajuća paţnja. Otuda se nameće utisak da bi - osim onih ciljeva koji proistiĉu iz same koncepcije ovako zamišljenog rada - disertacija na temu ‖Umetnost i društvo u previranju - japanska avangarda 60-tih i 70-tih godina XX veka‖ mogla odigrati izvesnu ulogu u popunjavanju postojeće praznine. Neophodan pluralizam pristupa ovoj temi posluţio je kao zamajac analizama ĉije rezultate u radu predoĉavamo, a koje će svojom širinom nuţno premašuju iskljuĉivo metodološku ravan zalazeći u sferu tzv. kulturalnih studija, ideologije i estetike. Sagledavanje novih teorijskih prouĉavanja iz perspektive ovih odnosa u Japanu moţe se pokazati kao plodonosno utoliko što, za razliku od sumarnih i najĉešće pojednostavljenih osvrta na pojedinaĉna metodološka uporišta, omogućava uvid u do sada mahom previĊane kontinuitete japanske umetnosti, ali i pomaţe razumevanju ograniĉenja u kojima se nalazi većina savremenih ‖disciplinarnih‖ pristupa. Nakon opšteg uvoda u kome se iznosi kraći istorijat avangardnih pokreta, sagledava se opšti društveni kontekst i uslovi za nastanak pojedinih radikalnih umetniĉkih stremljenja : pokreta Gutai, Neo-Dada, Hi Red Center, Mono-ha i drugih. Ovaj šesnaestogodišnji period (1954-1970) bio je od izuzetne vaţnosti za posleratnu japansku umetnost. Oznaĉio je otiskivanje od predratne prakse asimilovanja zapadnih uzora i buĊenje osećanja pripadnosti jednoj specifiĉno japanskoj, odnosno azijskoj dimenziji umetniĉkog poimanja stvarnosti. Korpus dela iz oblasti performansa, iz domena likovne, pozorišne i filmske umetnosti, odreĊuje upotrebu metoda i diktira strukturisanje poglavlja. Disertacija se ne svodi na površno ocrtavanje širokih razvojnih društvenih kretanja i umetniĉkih tokova, nego produbljenom analizom pokušava da osvetli sloţenu i, u odnosu na Zapad, veoma specifiĉnu evoluciju stvaralaĉkih principa, ne zanemarujući zastranjivanje od matiĉnih pravaca i ‖manjinske‖ struje. Ovaj rad, drţeći se ĉvrsto svog predmeta, nastoji da se zasnuje na pouzdanoj i širokoj istraţivaĉkoj osnovi, kako bi njegova nit vodilja omogućila pokretanje i nekih širih pitanja, kao što su odnos umetniĉke teorije i prakse, pojam stilizacije i spontanosti u umetniĉkoj transpoziciji stvarnosti, pitanje tipiĉnog i individualnog u likovnom izrazu i dr. Ključne reči: Japan, avangarda, teorija avangarde, modernizam, kolektivizam, film, pozorište, likovna umetnost, ekperimentalni film i video, performans Naučna oblast: Filolološke nauke Uţa naučna oblast: Japanologija UDK broj: Art And Society In Upheaval - Japanese Avant-Garde in the 60's and 70's Abstract: This dissertation offers an analysis of avant-garde and anti-art movements in Japan after World War II, with a special emphasis on the period from 1954 to 1970. Research into post-war avant-garde movements is conducted through anaysis and critical interpretation of primary sources and current publications on the subject. This research considers a broad social context in which the avant-garde movements emerged and seeks to position them in the context of the international art scene of the period. The author believes that the aforementioned topics have not gained sufficient critical attention both internationally and domestically. This suggests that the research entitled Art and Society in Upheaval - Japanese Avant-Garde in the 60's and 70's succeeded in setting a conceptual framework and serves as a modest attempt in filling this vacuum. The necessary pluralism of approaches to this subject serves as a impetus for analysis of the presented results, whose amplitude exceedes a purely methodological plane, permeating the sphere of cultural studies, ideology and aesthetics. Examination of new theoretical studies from the perspective of these relationships in Japan may prove to be fruitful inasmuch as it provides - unlike the summary and usually simplified overview of the individual methodological standpoints - an insight into largely overlooked continuities of Japanese art, facilitating an understanding of the constraints of most modern "disciplinary" approaches. A general introductory chapter presents a short history of the avant-garde movements, leading to a more detailed examination of a general social context and conditions that led to the emergence of some radical artistic pursuits: Gutai movement, Neo-Dada, Hi Red Center, Mono-ha, etc. This sixteen-year period (1954-1970) was of great importance in postwar Japanese art, marked by the gradual abandonment of pre- war practice of assimilating and imitating Western models and an emergence of a sense of belonging to a specifically Japanese or Asian dimension of artistic perception of reality. A corpus of work in the fields of performance, fine art, theater and film, determines the use of methods and dictates the structuring of the chapters. This thesis is not limited to a superficial sketching of the broad social developments and artistic trends, but seeks to provide an in-depth analysis by illuminating the complex and - in the relation to the West - very specific evolution of the creative principle, not neglecting aberrations from the dominant tendencies and the "minority" currents. While resting firmly grounded in its subject matter, this research endeavors to establish a reliable and broad research basis that would enable its guiding principle to facilitate consideration of some wider issues, such as the relationship between art theory and practice, the concept of stylization and spontaneity in artistic transposition of reality, questions of the typical and individual in artistic expressions, and other related topics. Keywords: Japan, Avant-Garde, Theory of the Avant-Garde, Modernism, Collectivism, Film, Theater, Fine Arts, Experimental Film and Video, Performance Scientific field: Philology Specialized scientific field: Japanology UDC number: SADRŽAJ: Uvod - pojam avangarde ...................................................................................................................... 1 Avangarda i modernizacija ............................................................................................................... 22 Predratna avangarda ............................................................................................................................ 38 Počeci moderne umetnosti u Japanu ......................................................................................... 38 RaĎanje individualizma i umetničke subjektivnosti .............................................................. 43 Pokret Mavo, nastanak modernog pozorišta i avangardne kinematografije................. 46 Film ..................................................................................................................................................... 60 Predratni šingeki i zaostavština premodernog pozorišta .................................................... 62 Nadrealizam ..................................................................................................................................... 69 Angura i politiĉki prostor šezdesetih ............................................................................................. 76 Posleratni šingeki ........................................................................................................................... 86 Drugi talas avangarde: uspon Angure .................................................................................... 89 Slučaj Terajama ŠuĎija ................................................................................................................. 98 Ankoku Buto i pobuna tela ........................................................................................................ 101 Kraj pozorišne avangarde? ....................................................................................................... 110 Film ....................................................................................................................................................... 113 Eksperimentalni film, video i fotografija ................................................................................... 142 Epilog – pripitomljavanje avangarde ...................................................................................
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