THEATRE SPACE AFTER 20TH CENTURY Thematic Proceedings of the 4th International Scientific Conference in the cycle “Spectacle – City - Identity” Department of Architecture and Urbanism, Faculty of Technical Sciences Novi Sad, 2012 Thematic Proceedings of the 4th International Scientific Conference in the cycle “Spectacle – City - Identity” THEATRE SPACE AFTER 20TH CENTURY This book is result of scientific papers presented at the 4th International Scientific Conference in the cycle “Spectacle – City - Identity”, which was organized as a part of the project "Technical and Technological Condition and Potentials of Community Cultural Centre Buildings in the Republic of Serbia" (TR 36051), financed by the Ministry of Education and Science, Republic of Serbia. Editors: Dr Rаdivoje Dinulović, full professor, Faculty of Technical Sciences, University of Novi Sad, Serbia Dr Milenа Krklješ, assistant professor, Faculty of Technical Sciences, University of Novi Sad, Serbia Mr Oliverа Grаčаnin, assistant professor, Academy of Arts, University of Novi Sad, Serbia Reviewers: Kate Burnett, MA, Nottingham Trent University, United Kingdom Marina Raytchinova, associate professor, National Academy of Arts, Bulgaria Dr Jelenа Todorović, associate professor, Faculty of Fine Arts, University of Arts Belgrade Dr Jelena Atanacković Jeličić, associate professor, Faculty of Technical Sciences, University of Novi Sad, Serbia Dаrko Rebа, assistant professor, Faculty of Technical Sciences, University of Novi Sad, Serbia Design: Višnja Žugić Cover design: Karl Mičkei, Višnja Žugić ISBN 978-86-7892-435-4 Publisher: Department of Architecture and Urbanism Faculty of Technical Sciences, Novi Sad Printed by: Department of Architecture and Urbanism Faculty of Technical Sciences, Novi Sad Publishing helped by: Ministry of Education and Science, Republic of Serbia Department of Architecture and Urbanism Faculty of Technical Sciences University of Novi Sad Contents: PERFORMABILTY OF THEATRE SPACE AFTER 20th CENTURY ............................ 2 Radivoje Dinulović ART AND ARCHITECTURE IN BERLIN ....................................................................... 4 Biljana Aranđelović NEO-BAROQUE AESTHETICS: INTERPLAY BETWEEN PHYSICAL AND VIRTUAL MANIFESTATIONS OF SPACE IN ART ..................................................................... 22 Milica Bajić Đurov CONCERT-LIKE PERFORMANCES .......................................................................... 40 Emin Durak TECHNOLOGY AT PLAY – DRAMATURGICAL POTENTIALS OF TECHNOLOGICAL PROCESSES IN THEATRE ....................................................................................... 56 Olivera Gračanin PUBLIC SPACES IN FRONT OF THEATRE BUILDINGS IN THE CITIES OF VOJVODINA ............................................................................................................... 74 Ksenija Hiel, Milena Krkljes, Vladimir Kubet ............................................................... 74 “THE HOUSE OF ACTORS” AS AN INTEGRAL PART OF A COMPLEX WHOLE ... 98 Karl Mičkei, Goran Govedarica THE SPECTACULAR AUDITORIUM OF 1539. DECORATION OF AN EPHEMERAL THEATRE IN THE SERVICE OF DUKE COSIMO DE' MEDICI'S POLITICAL PROPAGANDA ......................................................................................................... 116 Angelina Milosavljević Ault I KNOW THIS, I DO THIS ALL THE TIME (I DON'T LIKE IT THOUGH)-SHIFTING THE BOUNDARIES BETWEEN PERFORMANCE SPACE AND AUDIENCE SPACE ..... 134 Xristina Penna ELECTRONIC DATABASE ”THEATRE ATLAS SERBIA” ........................................ 154 Dragana Pilipović, Aleksandra Pešterac SUBURBAN DYSTOPIA AND SHOPPING AS A SOAP OPERA ............................. 170 Gordan Savičić, Selena Savić TAKING OVER THE CITY: DEVELOPING A CYBERNETIC GEOGRAPHICAL IMAGINATION - FLASH MOBS & PARKOUR .......................................................... 188 Yael Sherill Mohilever A [NEW] SPACE FOR CONTEMPORARY DRAMA? ............................................... 205 Roula Tsitouri THEATRE BUILDINGS: POTENTIAL SYMBOLS OF SETTLEMENTS .................... 227 Ljiljana Vukajlov, Aleksandra Bandić, Marija Dorić, Monika Červenjak AGEING OF THE MODERN ARCHITECTURE – Cultural and Architectural Decontextualisation of Performance Buildings in Former SFRY ............................... 246 Dragana Konstantinović BIOGRAPHIES ......................................................................................................... 266 SHOW CASE: SCENE DESIGN SPACE .................................................................. 274 Tatjana Dadić Dinulović 1 PERFORMABILTY OF THEATRE SPACE AFTER 20TH CENTURY Radivoje Dinulović1 1 Full professor, University of Novi Sad, Faculty of Technical Sciences, Trg Dositeja Obradovića 6, 21000 Novi Sad, Serbia As a poly-semantic word, “theatre” also relates to the built architectural environment – the theatre building. During the two millennia of its development, the theatre has existed in various creative, social and spatial frameworks which have directly determined its form. The 20th century witnessed the rethinking all traditional and conventional values. In the theatre this was marked by the ambition to establish a space which suited the needs of modern drama and the conditions of the changed ideological, social and cultural context. A pluralism of options arose, rather than a single response to the problem of the acting space and auditorium configuration in the modern theatre. At the same time, the space for theatre performance and the architectural structure of the building as a whole were almost always thought of as two separate issues. Since the question of theatre building as a unit was never asked, and modern drama and modern architecture did not manage to find a common language, the tendency to abandon theatre buildings in search of spaces to suit new theatre sensibilities became one of the most powerful developments of modern times. Nonetheless, many new values were brought into modern theatre by various successful pieces of architectural research, projects and buildings. This particularly relates to the relativisation of traditional contradictions existing between the social, economic, production and artistic parameters of theatre and theatre space. The social character of the house changed permanently, while the house itself moved closer towards its original values. The development of stage technique and technology also resulted in radically wider possibilities for defining both the acting space and scenography. This freed the architect from all the responsibilities previously imposed by the permanency of the theatre as a building and increased the ephemerality of theatre as an art phenomenon. On the other hand, the functional, formal and 2 semantic values of theatre as part of the city structure were proved and further developed. Therefore, the position and function of modern theatre buildings, in parallel with the development of the theatre in different city environments, are becoming part of the overall phenomenon of the urbanization of the theatre act, as well as the theatralisation of the urban structure. This is why the most important questions today, both for architects and theatre people, are how to identify, explore and exploit performability of the environment – built as well as natural, theatrical as well as ‘profane’. And, more than ever, in the ‘society of spectacle’ – why to do that. 3 ART AND ARCHITECTURE IN BERLIN Biljana Aranđelović1 1 PhD, Assistant Professor at Faculty for Civil Engineering and Architecture at University of Nis; A. Medvedeva 14, 18000 Nis, Serbia Abstract: Art in public space plays an important Berlin is a subjects for this paper due to high level of development and the interest of the state in participating in the “Art on building sites” (Kunst am Bau) projects. Thus, Berlin is a logical choice as the main city for this research considering its visual changes caused by the influence of the contemporary art scene. Investigating how art can influence and display the changes of the new urban look of the city is the main theme of this paper. Keywords: Berlin, art and architecture, art and the city, urban design, creative city, art in public space 4 1. INTRODUCTION There has always been some kind of relationship between art and architecture. This relationship has never been at the same level as the role of art within architecture has been changeable through history. Contemporary cities are facing changes. The speed of change in metropolises is amazing. The growing diversity is uncontrollable and old traditional ways of systematization and urban planning are not possible anymore in the way they used to be in the past. Town centers empty fast and what is significant today maybe won’t be tomorrow. There is competition between cities to attract visitors. Thus, art might be a relevant factor for city development in the future, and architects are expected to raise this question of art within the city in order to achieve competitiveness. [3] The city of Berlin is today one of the most appealing metropolises in the world. Then, it is no wonder why this city attracts so many different people. Living and working in Berlin is a privilege. The activity of artists may contribute to the city’s appeal. Some of the examples that are included in this paper are: the luminous box at Checkpoint Charlie, the German parliament, the Reichstag building, then the Wrapped Reichstag by the artists Christo and Jeanne- Claude as famous proof of how the Parliament building can serve the purpose of art, ,the