Pub Date : 2019-03-13DOI: 10.7146/NTS.V31I1.113000
A. Žukauskaitė
The essay examines different cases of bioart, which, by combining biological materials and technological processes, present new forms of biological assemblages. For example, such collectives as Tissue Culture and Art Project and Art Orienté Objet, artists Eduardo Kac, ORLAN, Maja Smrekar and Robertina Šebjanič invent new forms of hybridization and symbiotic forms of cohabitation. The essay will question what is so specific in bioart and in what respect does it differ from scientific research conducted in laboratories, or fromsome biological phenomena found in the natural world. My hypothesis is that bioart introduces a specific mode of bio-performativity and creates a unique moment of bio-presence: it does not represent but presents and produces new material bodies, which are living and decaying in our presence. The essay will seek to discuss the specific time in which these Semi-Living objects perform their existence: this time, which is “the time of the now”, can be called (in Giorgio Agamben’s terms) kairos and contrasted with our habitual chronological time.Kairos is a messianic time, a contraction of time (similar to time in specific laboratory conditions), which helps to imagine new ways of organizing living materials. In this sense, bio-presence and bio-performativity can be seen as a resistance to the habitual arrangement of space and time and its biopolitical implications
本文考察了生物艺术的不同案例，通过结合生物材料和技术过程，呈现出生物组合的新形式。例如，像组织文化和艺术项目和艺术东方客体这样的集体，艺术家Eduardo Kac, ORLAN, Maja Smrekar和Robertina Šebjanič发明了新的杂交形式和共生形式的同居。这篇文章将质疑什么是生物艺术的特殊性，以及它在哪些方面不同于在实验室进行的科学研究，或者不同于在自然界中发现的一些生物现象。我的假设是，生物艺术引入了一种特定的生物表现模式，创造了一个独特的生物存在时刻:它不是代表，而是呈现和产生新的物质身体，这些身体在我们的存在中生存和腐烂。这篇文章将试图讨论这些半生命物体表现其存在的具体时间:这个时间，这是“现在的时间”，可以被称为(用Giorgio Agamben的话来说)kairos，并与我们习惯的时间顺序形成对比。Kairos是一个弥赛亚时间，是时间的收缩(类似于特定实验室条件下的时间)，它有助于想象组织生命材料的新方法。从这个意义上说，生物存在和生物表演性可以被看作是对空间和时间的习惯性安排及其生物政治含义的一种抵抗
{"title":"Hybrids, Chimeras, Aberrant Nuptials:","authors":"A. Žukauskaitė","doi":"10.7146/NTS.V31I1.113000","DOIUrl":"https://doi.org/10.7146/NTS.V31I1.113000","url":null,"abstract":"The essay examines different cases of bioart, which, by combining biological materials and technological processes, present new forms of biological assemblages. For example, such collectives as Tissue Culture and Art Project and Art Orienté Objet, artists Eduardo Kac, ORLAN, Maja Smrekar and Robertina Šebjanič invent new forms of hybridization and symbiotic forms of cohabitation. The essay will question what is so specific in bioart and in what respect does it differ from scientific research conducted in laboratories, or fromsome biological phenomena found in the natural world. My hypothesis is that bioart introduces a specific mode of bio-performativity and creates a unique moment of bio-presence: it does not represent but presents and produces new material bodies, which are living and decaying in our presence. The essay will seek to discuss the specific time in which these Semi-Living objects perform their existence: this time, which is “the time of the now”, can be called (in Giorgio Agamben’s terms) kairos and contrasted with our habitual chronological time.Kairos is a messianic time, a contraction of time (similar to time in specific laboratory conditions), which helps to imagine new ways of organizing living materials. In this sense, bio-presence and bio-performativity can be seen as a resistance to the habitual arrangement of space and time and its biopolitical implications","PeriodicalId":53807,"journal":{"name":"Nordic Theatre Studies","volume":"38 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85993621","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-03-13DOI: 10.7146/NTS.V31I1.113002
E. Linder
The concept of the public sphere by Jürgen Habermas has inspired humanities and theatre studies. Estonia, as a small post-totalitarian nation state, proves the concept especially relevant as its recent history reveals three different phases of the theatrical public sphere. 1) Theatre as a secret forum. In Soviet times, theatre served as a political and ideological tool, providing a place for keeping the national memory and consolidating society. 2) The active and technical use of the public sphere by newly awakened political theatre NO99 since 2005. 3) The agonistic theatrical public sphere. During the past decade, a whole wave of projects have discussed national identity with concurrent antagonisms: globalization vs nationalism, civic vs ethnic nationalism, the Estonian vs Russianspeaking community. Theatre has commented on two concepts of national identity, e-Estonia and Organic Estonia, innovative digitalization and cultural traditions. The discursive public sphere has led to increased civic awareness and structural changes in the developing democracy, supported integration, and anti-xenophobia in Estonia. At the same time, two main characteristics of the theatrical public sphere have been highlighted: spatiality and political relevance
{"title":"Three Phases of the Theatrical Public Sphere in Estonian Theatre","authors":"E. Linder","doi":"10.7146/NTS.V31I1.113002","DOIUrl":"https://doi.org/10.7146/NTS.V31I1.113002","url":null,"abstract":"The concept of the public sphere by Jürgen Habermas has inspired humanities and theatre studies. Estonia, as a small post-totalitarian nation state, proves the concept especially relevant as its recent history reveals three different phases of the theatrical public sphere. 1) Theatre as a secret forum. In Soviet times, theatre served as a political and ideological tool, providing a place for keeping the national memory and consolidating society. 2) The active and technical use of the public sphere by newly awakened political theatre NO99 since 2005. 3) The agonistic theatrical public sphere. During the past decade, a whole wave of projects have discussed national identity with concurrent antagonisms: globalization vs nationalism, civic vs ethnic nationalism, the Estonian vs Russianspeaking community. Theatre has commented on two concepts of national identity, e-Estonia and Organic Estonia, innovative digitalization and cultural traditions. The discursive public sphere has led to increased civic awareness and structural changes in the developing democracy, supported integration, and anti-xenophobia in Estonia. At the same time, two main characteristics of the theatrical public sphere have been highlighted: spatiality and political relevance","PeriodicalId":53807,"journal":{"name":"Nordic Theatre Studies","volume":"27 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79198857","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-03-13DOI: 10.7146/NTS.V30I2.112955
Maja Šorli, Hedi-Liis Toome
In the years 2009–2015, a comparison of theatre systems in seven smaller European cities was conducted and named the STEP City Study. The study also included reception research, conducted with an extensive questionnaire, and qualitative research comprised of focus groups and interviews with audience members. One of the surprising results showed that, generally, the spectators enjoyed the performances a lot, but at the same time, did not rate them as very personally or socially relevant. That is why we decided to explore the notion of relevance in this article, or in other words, to examine what we are measuring when we ask the audience if the performance was relevant for them. In this study, we combine audience research and performance analysis of the shows that were evaluated as the most personally or socially relevant. The shows had either existential or contemporary political topics, were created in rather traditional ways, and did not stand out in any particularly innovative theatrical approach. We also conclude that relevance is a complex issue expressed in different dimensions of theatrical experience and cannot be straightforwardly measured.
{"title":"Is Theatre Personally and Socially Relevant?","authors":"Maja Šorli, Hedi-Liis Toome","doi":"10.7146/NTS.V30I2.112955","DOIUrl":"https://doi.org/10.7146/NTS.V30I2.112955","url":null,"abstract":"In the years 2009–2015, a comparison of theatre systems in seven smaller European cities was conducted and named the STEP City Study. The study also included reception research, conducted with an extensive questionnaire, and qualitative research comprised of focus groups and interviews with audience members. One of the surprising results showed that, generally, the spectators enjoyed the performances a lot, but at the same time, did not rate them as very personally or socially relevant. That is why we decided to explore the notion of relevance in this article, or in other words, to examine what we are measuring when we ask the audience if the performance was relevant for them. In this study, we combine audience research and performance analysis of the shows that were evaluated as the most personally or socially relevant. The shows had either existential or contemporary political topics, were created in rather traditional ways, and did not stand out in any particularly innovative theatrical approach. We also conclude that relevance is a complex issue expressed in different dimensions of theatrical experience and cannot be straightforwardly measured.","PeriodicalId":53807,"journal":{"name":"Nordic Theatre Studies","volume":"19 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88046142","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-03-13DOI: 10.7146/NTS.V30I2.112954
Jurgita Staniškytė
Contemporary theatre performances offer many examples of audience engagement - its forms range from physical interventions into public space to mental emancipation of the audience’s imagination. These practices put into question the effectiveness of the existing tools of audience research because, in some instances, theatre serves as a manipulation machine, “tricking” the public to perform specific social actions, while in other cases, it becomes a tool for the deconstruction of manipulation mechanisms at the same time serving as a platform for engaging entertainment. Audience research paradigms, based on dichotomies such as passive/active, inclusion/exclusion or incorporation/resistance are no longer able to address the complex concepts of spectatorship as performance, co-creation, or audience participation. Therefore, new practices of audience participation, conspicuously emerging in contemporary Lithuanian theatre, can only be adequately addressed by combining methodologies from different disciplines and critically evaluating historical and theoretical implications of these practices. In my article, I will focus on the historical implications of the term “audience participation” as a form of public engagement and issues of its application as experienced by theatre artists and audiences in Lithuania. The article will also examine the theoretical implications of the notion of participatory turn and its effect on theatre productions at the same time challenging the conceptual equations of “active spectatorship” in the aesthetic sphere to the emergence of “active participant” in the public sphere.
{"title":"Spectatorship, Politics and the Rules of Participation","authors":"Jurgita Staniškytė","doi":"10.7146/NTS.V30I2.112954","DOIUrl":"https://doi.org/10.7146/NTS.V30I2.112954","url":null,"abstract":"Contemporary theatre performances offer many examples of audience engagement - its forms range from physical interventions into public space to mental emancipation of the audience’s imagination. These practices put into question the effectiveness of the existing tools of audience research because, in some instances, theatre serves as a manipulation machine, “tricking” the public to perform specific social actions, while in other cases, it becomes a tool for the deconstruction of manipulation mechanisms at the same time serving as a platform for engaging entertainment. Audience research paradigms, based on dichotomies such as passive/active, inclusion/exclusion or incorporation/resistance are no longer able to address the complex concepts of spectatorship as performance, co-creation, or audience participation. Therefore, new practices of audience participation, conspicuously emerging in contemporary Lithuanian theatre, can only be adequately addressed by combining methodologies from different disciplines and critically evaluating historical and theoretical implications of these practices. In my article, I will focus on the historical implications of the term “audience participation” as a form of public engagement and issues of its application as experienced by theatre artists and audiences in Lithuania. The article will also examine the theoretical implications of the notion of participatory turn and its effect on theatre productions at the same time challenging the conceptual equations of “active spectatorship” in the aesthetic sphere to the emergence of “active participant” in the public sphere.","PeriodicalId":53807,"journal":{"name":"Nordic Theatre Studies","volume":"94 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73448992","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-03-13DOI: 10.7146/NTS.V31I1.113003
Zane Radzobe
The article introduces the topic of Latvian documentary theatre of the second decade of the twenty-first century using Michael Foucault’s concept of counter-memory. The article analyses a series of performances by artists of the Latvian post-Soviet and post-memory generation dealing with history and memory discourses and highlights the main strategies of use of countermemory discourses in the creation of national, cultural, and individual identities; emphasizing memory as a construct and highlighting strategies of its creation and maintenance; emphasizing the oppressive nature of dominant-discourses; a disassociation with the past and memory, both cultural and individual.
{"title":"Performance as Counter-memory:","authors":"Zane Radzobe","doi":"10.7146/NTS.V31I1.113003","DOIUrl":"https://doi.org/10.7146/NTS.V31I1.113003","url":null,"abstract":"The article introduces the topic of Latvian documentary theatre of the second decade of the twenty-first century using Michael Foucault’s concept of counter-memory. The article analyses a series of performances by artists of the Latvian post-Soviet and post-memory generation dealing with history and memory discourses and highlights the main strategies of use of countermemory discourses in the creation of national, cultural, and individual identities; emphasizing memory as a construct and highlighting strategies of its creation and maintenance; emphasizing the oppressive nature of dominant-discourses; a disassociation with the past and memory, both cultural and individual.","PeriodicalId":53807,"journal":{"name":"Nordic Theatre Studies","volume":"23 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76719388","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-01-01DOI: 10.7146/nts.v24i1.114827
J. Edelman
What contribution can phenomenology make to contemporary theatre and performance studies? What sort of critical tasks is it better suited for than other available modes of analysis? In this article, I will address these questions from the perspective of the study of theatre as a social practice in the sense proposed by Pierre Bourdieu: that is, as a set of set-apart, taught and embodied patterns of social striving, which pursue their own values and are constantly subject to redefinition by their participants.1 It may seem at first that phenomenology has little in common with this sort of sociological view of the theatrical field. This is only partially correct. The two are distinct but complementary; neither alone can provide as complete a portrait of what theatre does than the two can together. My argument here is twofold: first, phenomenological methods are limited and cannot in themselves describe the functions that theatre serves for audiences or society; second, the social analysis that can aid in this task still has a particular need for phenomenological methods, particularly if it wishes to avoid the Scylla of rigid determinism and the Charybdis of social psychoanalysis. I will make this argument through an encounter between Bourdieu’s work and a few key contemporary examples of theatre phenomenology (principally, Bert States and Erica Fischer-Lichte). I will then demonstrate the applicability of this argument through an analysis of a specific moment from a performance of Rimini Protokoll’s Radio Muezzin in Aarhus. In so doing, I hope to contribute to a better understanding of how artistic fields such as theatre might be amenable to sociological analysis. I believe that such an approach can offer a more flexible, full and vibrant insight into the function that theatrical events serve for those who make and attend them. But the details of this approach remain only sketchily articulated in the existing literature. Detailing how a sociological method would relate to so central an approach as phenomenology would be a useful contribution to the filling in of that sketch.
{"title":"What Phenomenology Can Bring to Theatre Sociology, and What It Cannot, with Reference to Radio Muezzin in Aarhus","authors":"J. Edelman","doi":"10.7146/nts.v24i1.114827","DOIUrl":"https://doi.org/10.7146/nts.v24i1.114827","url":null,"abstract":"What contribution can phenomenology make to contemporary theatre and performance studies? What sort of critical tasks is it better suited for than other available modes of analysis? In this article, I will address these questions from the perspective of the study of theatre as a social practice in the sense proposed by Pierre Bourdieu: that is, as a set of set-apart, taught and embodied patterns of social striving, which pursue their own values and are constantly subject to redefinition by their participants.1 It may seem at first that phenomenology has little in common with this sort of sociological view of the theatrical field. This is only partially correct. The two are distinct but complementary; neither alone can provide as complete a portrait of what theatre does than the two can together. My argument here is twofold: first, phenomenological methods are limited and cannot in themselves describe the functions that theatre serves for audiences or society; second, the social analysis that can aid in this task still has a particular need for phenomenological methods, particularly if it wishes to avoid the Scylla of rigid determinism and the Charybdis of social psychoanalysis. I will make this argument through an encounter between Bourdieu’s work and a few key contemporary examples of theatre phenomenology (principally, Bert States and Erica Fischer-Lichte). I will then demonstrate the applicability of this argument through an analysis of a specific moment from a performance of Rimini Protokoll’s Radio Muezzin in Aarhus. In so doing, I hope to contribute to a better understanding of how artistic fields such as theatre might be amenable to sociological analysis. I believe that such an approach can offer a more flexible, full and vibrant insight into the function that theatrical events serve for those who make and attend them. But the details of this approach remain only sketchily articulated in the existing literature. Detailing how a sociological method would relate to so central an approach as phenomenology would be a useful contribution to the filling in of that sketch.","PeriodicalId":53807,"journal":{"name":"Nordic Theatre Studies","volume":"22 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89091107","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-01-01DOI: 10.7146/nts.v24i1.114826
Stuart Grant
{"title":"Genealogies and Methodologies of Phenomenology in Theatre and Performance Studies","authors":"Stuart Grant","doi":"10.7146/nts.v24i1.114826","DOIUrl":"https://doi.org/10.7146/nts.v24i1.114826","url":null,"abstract":"","PeriodicalId":53807,"journal":{"name":"Nordic Theatre Studies","volume":"5 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79041567","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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