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Bitstream 14578.Pdf (10.89Mb) BIBLIOTEKA PH − PREKO HUMANISTIKE ORION ART BOJANA RADOVANOVIĆ EKSPERIMENTALNI GLAS Savremena teorija i praksa Orion Art Beograd, 2018. Mojim roditeljima, Mirjani i Srđanu Biblioteka PH − preko humanistike Bojana Radovanović EKSPERIMENTALNI GLAS Izdavač Orion Art, Beograd Direktorka Orion Arta Nadežda Kovačević Glavni i odgovorni urednik Dragorad Kovačević Urednik biblioteke dr Miodrag Šuvaković Recenzenti dr Miodrag Šuvaković dr Vesna Mikić dr Dubravka Đurić Dizajn i prelom Bojana Radovanović i Aleksa Milanović Ilustracija na koricama Milana Jović, the expression, 2018. Ilustracije u ovom izdanju su štampane ljubaznošću i sa dozvolama Itanga Čena, Antonije Ber, Golana Levina, Stiva Mekaferija, Geti istraživačkog insti- tuta i izdavačke kuće Edition Peters. Štampa Donat Graf, Beograd Tiraž 300 ISBN 978-86-6389-073-2 SADRŽAJ Kako čujem/razumevam glas? / 11 Opšta teorija glasa / 15 Glas - pogled iz psihoanalize / 17 Glas i politika / 29 Taj glas nikako ne može poticati iz tog tela - Glas i telo / 37 Glas / telo u izvođačkim umetnostima / 53 Kratka istorija glasa u muzici, poeziji i teatru / 53 Izvođačke umetnosti i studije izvođenja / 69 Virtuozitet i političnost izvođenja. Izvođenje kao vrsta rada / 71 Eksperimentalna izvođačka umetnost. Eksperimentalni glas? / 74 Eksperimentalni glas / 77 Merz i glas - Švitersova Ursonata / 77 Glas kao mogući protivotrov paradoksu znaka – Stiv Mekaferi o/u zvučnoj poeziji / 87 Glas u Teatru okrutnosti / 93 Novi vokalitet u teoriji i praksi Keti Berberijan / 99 Podignite glas! Političnost u delima Dijamande Galas i Lori Anderson / 108 Glas koji oživljava slike - rane opere Roberta Vilsona / 118 Glas mesečevog deteta / 126 Glas u Teatru smeha – Rire / Laugh / Lachen / 131 Izvođenje epiloga / 137 Prilog / 141 Novi vokalitet u savremenoj muzici (1966) – Keti Berberijan / 141 Kratke biografije umetnika / 145 Glosar / 151 Bibliografija / 153 Indeks imena / 161 Summary / 169 Beleška o autorki / 171 Hvala... ...mom mentoru, dr Miodragu Šuvakoviću, na pažljivom vođenju mog rada na osnovu kog nastaje ova knjiga, na pravovremenim pitanjima, komentarima i savetima, i, konačno, upornosti da se ovo izdanje ostvari. ...recenzentkinjama izdanja i članicama komisije, dr Vesni Mikić, na dugogodišnjoj plodonosnoj saradnji i svakom podstreku na mom putu, i dr Dubravki Đurić, koja mi je otvorila vrata eksperimentalne poezije i potakla me u traganju i interesovanjima u ovom polju. ...Antoniji Ber, Stivu Mekaferiju i Golanu Levinu, na inspiraciji i doz- voli za korišćenje njihovih partitura i fotografija. ...Ani Đorđević, Stefanu Saviću i Milošu Braloviću, sa kojima pro- fesionalno i lično rastem od prvog susreta. Hvala na svakom čitanju teksta, razgovoru i ohrabrenju. ...mojoj porodici, na bezgraničnoj podršci, sigurnom utočištu i podsticaju da iskoristim svaku priliku koja se učinila kao da je ‘stvorena za mene’. ...Milanu, sa kojim svakodnevno učim i koji je moj oslonac u svakom novom izazovu. KAKO ČUJEM/RAZUMEVAM GLAS? Istraživanje glasa uopšte, a stoga i u izvođačkim umetnostima, pred teoretičara postavlja jednu „paradoksalnu enigmu“.1 Da bih se uhvatila u koštac sa ovim izazovom, postaviću troslojnu tezu o svom razumevanju glasa. Najpre, slede- ći stav italijanske filozofkinje i feminističke teoretičarke Adrijane Kavarero (Adriana Cavarero) tvrdim da je glas zvuk, a ne govor. Glas je više od govora. Potom, na tragu Rolana Barta (Roland Barthes), Brendona Labela (Brandon LaBelle) i drugih teoretičara na toj liniji razmišljanja, smatram da postoja- nje glasa gotovo neminovno garantuje postojanje tela, odnosno, subjekta ko- jem glas pripada, subjekta kog glas, iako je „izbačen iz usta, nikada zaista ne napušta“.2 Konačno, u trećem sloju ove teze ukazujem na to da, osim toga što se glas može postaviti kao „najintimnije jezgro subjektiviteta“, on se istovremeno može tumačiti i kao osnovna potka društvenosti.3 Postavljajući ovako shvaćen glas kao svoju polaznu tačku, krećem se, sa jedne strane, ka njegovim savremenim teorijskim postavkama, a sa druge, ka umetničkim praksama 20. i 21. veka koje sa posebnom pažnjom promišljaju i izvode glas. Fokus na izvođenje, odnosno, odvijanje izvesne radnje ili zbi- vanja u vremenu, prvobitno je, verujem, bio uslovljen mojom muzikološkom vokacijom. Bavljenje muzikom neminovno najsnažnije baca svetlo na njeno postojanje u protočnoj, vremenskoj dimenziji, koja se ispostavila kao osnova i za razumevanje glasa. Teoriji glasa i pitanjima glasa u muzici, teatru i poeziji ipak nije potpuno svrsishodno pristupiti iz snažno utvrđenih pozicija muziko- loga, teatrologa ili teoretičara književnosti, već se baš zbog prirode materijala i 1 Brendon LaBelle, Lexicon of the Mouth Poetics and Politics of Voice and the Oral Imaginary, New York, Bloomsbury, 2014, 11. 2 Ibid., 12. 3 Mladen Dolar, Glas i ništa više, Beograd, Fedon, 2012, 23. 12 BOJANA RADOVANOVIĆ / EKSPERIMENTALNI GLAS usredsređenja na sâm glas, treba okrenuti brižljivo biranim inter- i trans- dis- ciplinarnim metodologijama i načinima pristupa predmetu izučavanja. U tom smislu, u ovoj studiji me zanimaju: • aktuelne opšte teorijske postavke glasa sa akcentom na objektnost glasa, njegovu političnost i vezu glasa i tela; • performativnost/izvodljivost glasa u eksperimentalnim umetničkim praksama 20. i 21. veka; • glas u liminalnim zonama između poezije, muzike i teatra. Imajući u vidu moje polazište, cilj ove studije je ispitivanje performativ- nosti glasa u liminalnim prostorima izvođačkih umetnosti i lociranje mesta korenitih promena u savremenim umetničkim praksama nastalim na područ- ju evropskih zemalja, Sjedinjenih Američkih Država i Kanade. Ove promene uočljive su kada se istraživačka pažnja usmeri na pojavu približavanja različi- tih umetničkih disciplina, te status, ulogu i mesto tela i glasa u tom procesu. Usredsređenost na polje „između“ muzike, poezije i teatra, izvođačkih umet- nosti i rituala, teorije i prakse, omogućava mi da ispratim dinamične odno- se koji se uspostavljaju u ovim zonama. Ispostavlja se, što postavljam kao još jednu širokopoteznu tezu, da je glas jedan od značajnih vezivnih elemenata za sve ove oblasti delovanja. Eksperimenti sa glasom vršeni su kroz preispitivanje i raskidanje sa tradicionalnim načinima posmatranja, između ostalog, tela, je- zika/teksta i vokalne tehnike. Odabrane studije slučaja bave se umetnicima koji su, dolazeći iz sveta mu- zike, poezije, teatra, performans umetnosti, nastojali da manifestno, koncep- tualno i promišljeno deluju na svoje svetove umetnosti. Počevši od Artoovog (Antonin Artaud) Teatra okrutnosti, koji je snažno uticao na poimanje teatra u drugoj polovini 20. veka i Švitersovog (Kurt Schwiters) kolažno-kompozitor- skog rada u oblasti zvučne poezije, širila sam krug eksperimentalnih glasovnih dostignuća ka Novom vokalitetu Keti Berberijan (Cathy Berberian), zvučnoj poeziji Stiva Mekaferija (Steve McCaffery), politički angažovanim performan- sima Dijamande Galas (Diamanda Galás) i Lori Anderson (Laura Phillips „La- urie“ Anderson), eklektičnom vokalnom virtuozitetu Majka Patona (Michael Allan „Mike“ Patton), te glasu u postoperi Roberta Vilsona (Robert Wilson) i pozorištu smeha Antonije Ber (Antonia Baehr). U tom smislu, savremenu umetnost u ovoj studiji shvatam u najširem odre- đenju: kao umetnost 20. i 21. veka. Na taj način želim da se ogradim od upo- trebe nešto specifičnijih termina poput moderne, avangardne, postmoderne KAKO ČUJEM/RAZUMEVAM GLAS? 13 umetnosti. Pored toga, značajnu odrednicu predstavlja i pojam eksperimen- talna umetnost, ili, drugačije rečeno, eksperiment u umetnosti koji ću takođe shvatiti šire od njegovog uobičajenog definisanja (potpoglavlje „Eksperimen- talna izvođačka umetnost / Eksperimentalni glas?“, v. str. 74). Računajući Uvod i zaključna razmatranja, ova studija ima ukupno pet poglavlja. Drugo poglavlje, „Opšta teorija glasa“, ima za cilj da osvetli važne teorijske postavke glasa u psihoanalizi, (bio)politici i studijama glasa i tela. U trećem poglavlju, naslovljenom kao „Glas / telo u izvođačkim umetnostima“, razmatraju se odlike i uloga glasa u istoriji muzike, poezije i teatra. Takođe, ovo poglavlje pruža kontekstualni okvir za sagledavanje studija slučaja, budu- ći da govori o stvaranju liminalnih zona između izvođačkih umetnosti u 20. veku, ustanovljenju studija izvođenja i mogućim pravcima razmišljanja kada je reč o eksperimentalnim dostignućima u pomenutim izvođačkim umetno- stima. Pojedinačnim studijama slučaja posvećeno je četvrto poglavlje, „Ekspe- rimentalni glas“, nakon kog slede zaključna razmatranja („Izvođenje epiloga“). OPŠTA TEORIJA GLASA Naizgled, glas je jedna sasvim obična pojava koja nas okružuje. Izvodimo je i svakodnevno opažamo sijaset različitih glasova. Oni potiču iz nas samih (tu su, osim osobenog, ličnog, jedinstvenog Glasa kojim se oglašavamo, i svi naši glasovi u glavi), dopiru do nas od ljudi sa kojima komuniciramo, kao i iz apa- rata (poput radija, televizora i kompjutera) koji nas okružuju. Poznati ili nepo- znati, o njima uglavnom ne razmišljamo, percipirajući najpre poruku koju oni prenose. To bi, uslovno rečeno, mogla biti njihova uloga. Poruke, međutim, ne moraju biti jezičke prirode, artikulisane u vidu niza označitelja kojima se sporazumevamo. One, samom činjenicom da je glas tu i da ga opažamo, mogu ukazivati na prisustvo, telo, subjekat. Upravo će ta pro- blematika biti razmatrana u ovom delu teksta. Ipak, ako sam, sasvim ovlaš i sa pregršt mogućih fusnota, dotakla pitanje uloge glasa, valja se zapitati i šta je sâm glas. To je, zapravo, pitanje koje uzro- kuje najviše nedoumica. Kako definisati
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