engleski

How to Kill a Ruller?

The aim of this paper was to elucidate the transition prosesses on the Croatian theatre scene in the nineties, and implicitly on the cultural and political ones as well. The majority party of the Croatian theatre, committed to the ideological praxis of the rulling political party, was finding its ideal place on the repressive theological stage. However, a minority group of theatre artists initiated an aesthetic and eventually an ideological turn in the direction of post-logocentric, post-dramatic theatre. The distincitive features of the new Croatian theatre are: different thematic interests and the critical gestus; the procedures of new dramaturgy; the modes of deconstructing the relations between and the respective identities of characters, actors and performers; chalenging the representational roles and performace strategies of body and speech. The new Croatian theatre presents itself as the generator and promoter of the instability of the illusion of theatre, as well as of illusion of reality, and thus of every social/political/aesthetic order which would fain represent and establish itself as incontestable.

political transformations; theological stage; Croatian new theatre; critical attitude; new dramaturgy; deconstruction; identitiy; character; actor; representation; performance; speech; body

nije evidentirano