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TkH No. 10 • BELGRADE 2005/2006 CONTENTS Theory TkH: Erratum Walking Theory (manifesto) ð published in TkH No. 1 . 5 Mi{ko [uvakovi}: Technologies of Performing in Performance Art ð published in TkH No. 5 . 8 Bojana Cveji}: The Way to Make Something Yours Is That You Fuck It Up By Giving It Your Body; Powered by Emotion, Medium Specificity or Situation? ð published in TkH No. 5 . 21 Ana Vujanovi}: Whither Cyberformance?; Notes on Net-theatre as a Symptomatic Theatre Practice ð published in TkH No. 7 . 27 Ivana Stamatovi}: Dramaturgical Function of Ko{tana’s Singing in Petrar Konjovi}’s Opera ð published in TkH No. 3 . 35 Jelena Novak: Matrix in Opera ð published in TkH No. 2 . 45 Nevena Dakovi}: (A) Land (in the) South/Southeast ð published in TkH No. 9 . 58 Aleksandra Jovi}evi}: From the Über-Marionette to Neuromancer: A Brief Review of the Deployment and Development of Technology in the 20th-Century Theatre ð published in TkH No. 7 . 65 Bojan Djordjev: Avant-garde Cuisine: Recipes for Works of Art ð Erratum published in TkH No. 8 . 76 Nikolina Bujas-Prista{, Bojana Cveji}, Ana Vujanovi}: Choreography-in-Process: Nikolina Bujas-Prista{ (discussion) ð published in TkH No. 4 . 84 Working Theory Sini{a Ili}: In Search of Lost Guilt ð published in TkH No. 7 . 95 Maja Pelevi}: Cyberchick Vs. Real Time ð published in TkH No. 7 . 111 Maja Mirkovi}: XEROX – Cloning of an Ideal Body ð published in TkH No. 6 . 117 Discussions Bojana Cveji}, Ana Vujanovi}: The Open Work – Does it Deserve Theory Today? ð published in TkH No. 9 . 128 Appendix TkH 01–10: Contents . 142 Erratum IMPRESSUM TkH, Journal for Performing Arts Theory is published by: TkH – Centre for Performing Arts Theory and Practice address: Gunduli}ev venac 56, 11000 Belgrade, Serbia e-mail: TkH.centarªsezampro.yu, TkH_centarªyahoo.com web site: www.tkh-generator.net fax: (+381 11) 3061 524 (accountancy) on behalf of the publisher: Ana Vujanovi} TkH Journal Council: Milena Dragi}evi} [e{i}, PhD (Belgrade), Je{a Denegri, PhD (Belgrade), Jovan ]irilov (Belgrade), Aldo Milohni}, MA (Ljubljana) Editors: Ana Vujanovi} (Editor-in-Chief), Mi{ko [uvakovi} (Executive Editor) Art Director, Drawings: Sini{a Ili} Editors of TkH No. 10: Bojana Cveji}, Mi{ko [uvakovi}, Ana Vujanovi} TkH No. 10 Contributors: Bojana Cveji}, MA, musicologist, performer, lecturer at P.A.R.T.S. in Brussels; Nevena Dakovi}, PhD, film theorist, professor at the Faculty of Drama Arts and Interdisciplinary Postgraduate Studies of the University of Arts in Belgrade, lecturer at AAEN; Bojan Djordjev, theatre director, occasionally performer, MA student of Art and Media Theory at the Interdisciplinary Postgraduate Studies of the UA in Belgrade; Sini{a Ili}, MA, visual artist, occasionally performer; MA of Painting at the Faculty of Visual Arts in Belgrade; Aleksandra Jovi}evi}, PhD, professor of Theatre History and Performance Theory at the Faculty of Drama Arts and UA in Belgrade; Maja Mirkovi}, costume designer, MA student of Stage Design at the Interdisciplinary Postgraduate Studies of the UA in Belgrade; Jelena Novak, MA, musicologist and art theorist; PhD candidate at Amsterdam School for Cultural Analysis (ASCA), contemporary music broadcasting editor at Radio Belgrade 3, founding member of CHINCH; Maja Pelevi}, playwright, graduated Dramaturgy at the Faculty of Drama Arts in Belgrade, MA student of Art and Media Theory at the Interdisciplinary Postgraduate Studies of the UA in Belgrade; Ivana Stamatovi}, MA, musicologist, teaching assistant at the Department for Music Theory of the Faculty of Music in Belgrade; Mi{ko [uvakovi}, PhD, art theorist; professor at the Faculty of Music and Interdisciplinary Postgraduate Studies of the UA in Belgrade; Ana Vujanovi}, PhD, theatrol- ogist, freelance worker (theorist, organizer, editor, writer, lecturer) in the fields of theatre, performing arts, and culture TkH No. 10 Translation and Proof-reading: Katarina Pejovi}, Irena [entevska, Svetlana Dim~ovi}, Ana Vujanovi}, Bojan Djordjev, Bojana Cveji}, Andros Zinsbrown Layout: Du{an ]asi} Printed by: Akademija, Kraljice Natalije 43, Belgrade Print run: 300 Distributor: Stubovi kulture, Bulevar despota Stefana 31, Belgrade & TkH-centre Financial support: Ministry of Culture – Republic of Serbia, City of Belgrade Government – Secretariat of Culture All published papers, photos and illustrations are created exclusively for the TkH journal or published by permission of copyright holders. TkH journal does not hold any copyright. TkH Journal is enlisted in the registry of public media, according to the act No. 651-03-277/02-01 ISSN 1451-0707 5 Walking Theory TkH Walking Theory (in Serbian Teorija koja hoda – TkH) is a common project by Ana Vujanovi}, Jelena Novak, Ksenija Stevanovi}, Bojana Cveji}, Jasna Veli~kovi}, Bojan Djordjev, Sini{a Ili} and Mi{ko [uvakovi}. These persons are students of three fac- ulties of Belgrade University of Arts: Faculty of Music Arts (FMU), Faculty of Drama Arts (FDU) and Faculty of Visual Arts (FLU) along with a FMU professor. The activities of the group unfold within the frame of the Belgrade Centre for New Theatre and Play. The areas and segments of research they plead for encompass a wide span: from concrete creative process – composing, painting, directing – to more speculative and verbal expressions of artistic phenomena in the context of Musicology, Aesthetic of Arts, Theatrology and Cultural Studies. The Group: Through the Walking Theory project we strive to explore the space between the primary media, i.e. to connect the artistic-performative act with theoretical texts that determine, encircle and define it. By implementing interdisciplinarity, we do not strive however to be classified within the frame of alternative and Avant-garde cur- rents nor do we belong to them. Our departure point is an acknowledged academic tool, especially in the presently ruling Postmodern context. What brings together our various media is the field of theory. In that sense, interdisciplinarity is not a field of tranquil and easy security; it effectively engages in obliterating the solidarity of the old disciplines (solidarity in the sense of each of the disciplines keeping its portion of territory) in the interest of studying the Text, i.e. the situation of theoretical performance. The fundamental premise of such procedure is the open concept of art and the world of art. Our primary task is not creating a theory of art but to conceptualise artistic phenomena. We will particularly put an effort into describing the conditions under which certain concepts are being implemented and understood within the frame of culture. This means that we see each work of art as an effect of the consensus within the society, i.e. a particular social group. In other words, what is being considered as art is not the result of the ontological traits of works or art as such; the perception (grasping) of something as being artistic is also a product of that what could be seen, heard and felt by the eye, ear and body – the atmosphere, artistic the- ories, the knowledge of history of art, art worlds, interpretations. The participants of the Walking Theory project understand it as the space of creating consensus rather than the space of synthesis of a few like-minds. Their departure positions are different to an extent where Walking Theory cannot and does not want to be the realisation of the utopia of an ideal artistic circle. Quite the contrary: the concept of the project as a group-cell is constantly scrutinised by permanent changes of the rules of the game that has to be played to its end. The movement and the fluid moving represent the implemented strategy and/or tactics, i.e. the vacilla- tion in making the final decision, the one that totalises all other possibilities of dis- course. Therefore, Walking Theory is intentionally a performative theory, a theory that offers its body. The group: We want to investigate and demonstrate the conditions under which the “We” of the group has been constituted. We want to emphasise that our We is not unalterable; it 6 is the consequence of interaction and conflict of primary artistic paradigms, of con- scientious agreement. We are therefore in quest for those factors that “close” and fix- ate the meaning and the context, striving to make them visible and work with them. We do not share the jargon; we do not take for granted the understanding of certain terms. Definitions are the subject of consensus and verification. We know that there might be and that there are more of them than the ones at hand. We does not mean Ana, Jelena, Ksenija, Bojana, Jasna, Bojan, Sini{a and Mi{ko, but a theoretical platform that is established and offered by Walking Theory. We does not represent a com- munity of eight Authors but the problematisation and correction of our infinite Ego intentions. Thus the Author-function of each of us is conditioned by the platform on which we float in the waters of theory and the world of art. We promise/s a sort of unity but We at once question/s if it is possible at all. Let us get back to the beginning. Walking Theory is a common project of Ana Vujanovi}, Jelena Novak, Ksenija Stevanovi}, Bojana Cveji}, Jasna Veli~kovi}, Bojan Djordjev, Sini{a Ili}a, and Mi{ko [uvakovi}. It is their theoretical We. In fact, the problem that is more significant than the problem of shifting from I to We is the problem of constituting of I itself. They leave the question Who am I? to those who believe that I could be somebody and, instead of that, offer the answer to the question What am I? I neither wants to have a unique identity nor to be determined by it.

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