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Društvena Koreografija Tkh 21 Društvena Koreografija Sadržaj Društvena Koreografija Tkh 21 1 Društvena Koreografija decembar 2013. TkH časopis za teoriju izvođačkih umetnosti br. 21 Društvena koreografija TkH 21 Društvena koreografija Sadržaj Društvena koreografija TkH 21 1 Društvena koreografija Bojana Cvejić i Uvodnik Ana vujanović 3 Tejlorizam, nacizam i Skitnica: Jeroen Chaplinova kritika društvenih Ido FEDER i Plesno telo koje daje van WIJHE koreografija uModernim Shir HACHAM legitimitet državi 5 vremenima i Velikom diktatoru 45 Marko Kostanić Društvena koreografija, ili Igor KORUGA Koreografija kao analitičko društvena tenzija autonomije sredstvo za tumačenje društva 11 50 u kontekstu pozorišta Aldo Milohnić Koreografije otpora Goran Sergej Dvostruka ekspozicija 15 PRI55STAš Ana vujanović „Crni talas“ jugoslovenskog sleta: Christine De Društvena koreografija: Dan mladosti 1987. i 1988. SMEDT, Benjamin upotreba u umetničkim praksama POHLIG, Saša asentić, Mette 21 INGVAR57TSEN, Gabriele KLEIN Kolektivna tela protesta: društvene Michael KLIËN, koreografije i materijalnost Steve VA LK 28 društvenih figuracija Bojana Cvejić Ples-rat Randy MARTIN O plesu, derivatima, dekolonizaciji 32 66 i kinestemama 2 TkH 21 Društvena koreografija Impresum Impresum Impresum TkH br. 21 TkH Impresum: Urednice TkH br. 21 TkH, časopis za teoriju Bojana Cvejić, Ana Vujanović izvođačkih umetnosti izdaje: TkH (Teorija koja Hoda) Autori: teorijsko-umetnička platforma Saša Asentić, Bojana Cvejić, Christine Kraljevića Marka 4 (Magacin) De Smedt, Ido Feder, Shir Hacham, Mette 11 000 Beograd, Srbija Ingvartsen, Gabriele Klein, Michael Kliën, Igor [email protected] Koruga, Marko Kostanić, Aldo Milohnić, Randy www.tkh-generator.net Martin, Benjamin Pohlig, Goran Sergej Pristaš, Za izdavača: Ana Vujanović Steve Valk, Ana Vujanović, Jeroen van Wijhe Glavna urednica: Ana Vujanović Prevod sa engleskog na Odgovorni urednik: Miško Šuvaković srpski, sa srpskog na engleski Likovni urednik: Siniša Ilić i sa hrvatskog na engleski: Žarko Cvejić savet časopisa: Milena Dragićević Šešić, Ješa Denegri, Lektura i korektura: Jovan Ćirilov, Aldo Milohnić Žarko Cvejić i Bojana Cvejić (engleski) Ana Vujanović (srpsko-hrvatski) Časopis TkH je uvršten u registar javnih glasila na osnovu rešenja br Koordinacija: 651-03-277/02-01; ISSN 1451-0707 Dragana Jovović Izdanje je realizovano u okviru projekta Dizajn i prelom: TIMeSCAPES, platforme za umetničko istraživanje Katarina Popović i produkciju, koji partnerski realizuju BADco. (Zagreb), Teorija koja Hoda – TkH (Beograd), Priprema za štampu: Maska (Ljubljana), Science Communications Grafomarket studio Research (Beč) i Film-protufilm (Zagreb). Platforma TIMeSCAPES je podržana od strane štampa: programa Kultura Evropske Unije. Cicero, Beograd Finansijska podrška: tiraž: Program Kultura Evropske unije, Švajcarski 400 primeraka program za kulturu za Zapadni Balkan, Ministarstvo kulture i informisanja Republike Fotografija na naslovnici: Srbije, Skupština Grada Beograda Plesni solo Marte Paulin – Brine za partizanske borce Rapske brigade (Jože Petek, 1943.) Beograd, decembar 2013. Časopis se objavljuje pod licencom Creative Commons Ovaj projekat finansiran je uz podršku Evropske komisije. Ova “Autorstvo-nekomercijalno-deliti pod istim uslovima 3.0. Srbija”. publikacija (komunikacija) odražava samo stavove autora i Komisija ne može biti odgovorna za bilo kakvu upotrebu koja može biti napravljena od informacija sadržanih u njoj. Uvodnik Društvena koreografija TkH 21 3 Uvodnik Bojana Cvejić i pokretima, gestovima, držanjima ili stanjima. Ana vujanović ● ● U svojoj knjizi Druga zapažanja pronalaze u istim telesnim Social Choreography: Ideology as Performance izrazima politički ambivalentna značenja ili, in Dance and Everyday Movement (Društvena pak, ubedljivu simptomatičnost pobune. Veze i koreografija: ideologija kao izvedba u plesu nesporazumi koji nastaju spajanjem koreografije i svakodnevnom pokretu; Duke University, u umetničkom smislu s političkim nemirima Durham, NC, 2005), teoretičar književnosti u društvenom smislu zavređuju teorijsku Andrew Hewitt uspostavlja koreografiju kao pažnju. Potencijal koji tu postoji za postavljanje nov model postmarksističke kritičke analize modela ideološke kritike tek treba proučiti. ideologije. On izvodi koreografiju iz književnih tropa i plesnih tehnika kao pokušaj građanskog Ovo izdanje časopisa TkH donosi poseban niz društva da se uspostavi putem plesa kao tema, oblasti proučavanja i metoda u istraživanju estetskog ideala i matrice za novi društveni društvene koreografije u savremenoj umetnosti, poredak u književnosti, diskursima društvenih plesu i izvedbi, kao i u društvenim i političkim nauka i umetničkim praksama od 90ih godina pojavama. Većina tekstova je posebno naručena 18. do 30ih godina 20. veka. Hewitt tvrdi da je za ovo izdanje, pri čemu se autori bave: odnosom građanstvo uspostavilo izvedben vid estetske između koreografije i društvenih pokreta kroz ideologije, proizvodeći, usađujući, vežbajući povest i u današnje vreme nereda i protesta; i odražavajući društveni poredak izravno na savremenim i povesnim izrazima koreografije razini tela, na ekonomskoj osnovi proizvodnih kao oblika estetske ideologije; društvenom odnosâ i snagâ, istovremeno materijalnih, koreografijom u izvedbama javnog prostora društvenih i estetskih. Za istoriju ne samo oblikâ (Milohnić, Vujanović); koreografijom, plesom i već i funkcijâ ideologije, društvena koreografija teatralnošću u proširenom vidu (Pristaš, Koruga). označava promenu u načinu rada ideologije, Dok neki od autora nastoje da primene ili prošire koja obuhvata danas i ekonomiju iskustva i Hewittov pojam u teorijskom razmatranju afektivne materijalne proizvodnje. Društvena protesta danas (Klein) ili analizi reprezentacije koreografija nudi otelovljenje kao mehanizam povesnih gestova (Wijhe), drugi kritički ispituju ideologije, umesto interpelacije; ona tvrdi da pojam društvene koreografije sa njegovih ideologija funkcioniše kao izvedba otelovljenih vlastitih marksističkih osnova (Kostanić) ili obreda, za čije vršenje nije potrebna vera. dalje razmatraju kako bi se on mogao primeniti u ekonomiji (Martin). Koreografija se takođe Dok Hewitt svoje tvrdnje iznosi bez osvrta pojavljuje u analizi odnosa ratovanja i plesa na studije plesa i izvedbe, pojedini koreografi i (Cvejić, Hacham i Feder). Konačno, ovaj broj iznosi umetnici koriste termin „društvena koreografija“ i kolaž stavova izravno iz koreografske i plesne u opisivanju svojih praksi ili političkih stavova. prakse nekoliko evropskih autora koji promišljaju Štaviše, poslednjih nekoliko godina, svedoci upotrebu pojma u odnosu na telesni pokret, javni smo kako se izraz „društvena koreografija“ prostor, zajednicu, političku mobilizaciju i dr. ■ pretvara u plesni ekvivalent umetnosti zajednice (community arts), društveno angažovane i – kako je to Claire Bishop rečito uočila – participativne umetnosti. Međutim, veza sa ideološkim registrom tog pojma ostaje bez izražaja u mnogim umetničkim projektima koji sebe opisuju kao društvenu koreografiju. Stoga, ostaje otvoreno pitanje kako pokret, kroz ples i svakodnevno društveno, javno ili privatno ponašanje označava i deluje politički ili ideološki. Nakon skorašnjih nereda i protesta, umetnici i teoretičari tragaju za paralelama između koreografije i društvenog pokreta, od kojih neka tumačenja olako pripisuju utopijsku političku dejstvenost telesnim 4 TkH 21 Društvena koreografija Jeroen van Wijhe Tejlorizam, nacizam i Skitnica: Chaplinova... Društvena koreografija TkH 21 5 Tejlorizam, nacizam i Skitnica: Chaplinova kritika društvenih koreografija u Modernim vremenima i Velikom diktatoru Jeroen van WIJHE ● ● stavovima protiv liberalnog kapitalizma on je Chaplinov naredni film je takođe kritikovao Uvod ● Premijera filma Moderna vremena suštinski kritikovao vladajuću ideologiju razdoblja jednu vladajuću ideologiju. U Velikom diktatoru, Charliea Chaplina 1936. označila je prekretnicu i zemlje u kojoj je tada živeo – Amerike 20. veka. Chaplin koristi komediju da bi satirisao nacional- u njegovoj karijeri. Ovaj film je ne samo najavio Osim toga, pošto je bio jedan od najpoznatijih socijalistički režim Adolfa Hitlera. Kao i Moderna njegov prelazak s nemog na zvučni film umetnika svog vremena, njegove političke vremena, i Veliki diktator je bio kontroverzan i (simbolizovan poslednjom pojavom njegovog poruke stizale su do svetske publike i uticale uticajan film. On je isprva zabrinuo američku i čuvenog lika Skitnice), već je postao i prvi u na nju. Chaplinov politički glas primetio je i britansku vladu, koje su se bojale da će ugroziti nizu Chaplinovih eksplicitno političkih filmova. FBI, koji je počeo da ga prati 1942. Po jednom njihovu politiku popuštavanja nacističkoj Moderna vremena se bave uslovima života za članku poslatom J. Edgaru Hooveru 1944, Nemačkoj (Brownlow i Kloft 2002; Friedrich vreme Velike krize. Film oslikava jedno društvo 1986, 50). Međutim, sa eskalacijom rata, film pod sve jačom vlašću kapitalizma, koji ga Ima ljudi i žena u dalekim delovima sveta koji je postao veoma popularan, zahvaljujući svojoj sve više destabilizuje, u kojem su ulice pune nikada nisu čuli za Isusa Hrista; a ipak, svi oni znaju i jasnoj antifašističkoj propagandnoj vrednosti. demonstranata, a fabrike radnika od kojih se vole Charlieja Chaplina. Stoga, kada Chaplin napravi Mada ga je Hitler zabranio u Nemačkoj i svim traži da rade kao „šrafovi“ u industrijalizovanim film, njegove misli stignu do daleko šire publike okupiranim zemljama (Cole 2001, 149), Veliki mašinama. Chaplinov tada novi „politički glas“ nego novine, časopisi ili radio – i to rečima slikâ, diktator je postao Chaplinov
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