hrvatski

KAKO KAZALIŠTE SLIJEDI VLADAJUĆI SVJETONAZOR ILI STROSSMAYEROV PRIMJER KAO MOGUĆI SVJETIONIK (ODNOS RELIGIJE/DRŽAVE/UMJETNOSTI)

In the 20th century arts proclaimed its own freedom from all influences but nevertheless, arts, as well as theatre always reflect fundamental worldview and the society's hierarchy of values. This phenomenon is related to the emergence of the theatre as a social art (as opposed to a private game) because it originated from the ritual, the most sacred in society and served to convey the most important truths (moral) and empower the audience. This role of the theatre was dominant in two most important epochs of our civilization: in ancient times (mythology) and the Middle Ages (Christianity) and lasted till the 20th century. Likewise, the Christian worldview (based on belief in God and the duty of the individual to higher values in order to save soul) also dominated till the 20th century and then was replaced by secular (based on the common sense, science, technology and individual freedom) which also reflected on the theatre. Through analysis of the history of European cultural circle and today's contemporary context, this article demonstrates how today's mainstream theatre poetics emerged from the new worldview and its radical implementation. Based on the initial idea that criticism of society will raise general awareness of the audience and change society for the better, arts brought it to extremes. It all ended up on imposing negative and dark image of the world as the only truth and the demolition of all positive values under verdict of being false and non-existent. Since this phenomenon drove the European audience away from the theatre (which in the history of the theatre always happens when the epochs are governed by foreign worldviews or foreign role models) obviously this new world view has not taken hold, although it officially rules throughout Europe for almost hundred years. Fortunately, at the edges of the mainstream theatre there is another movement that proves that the Christian worldview is alive both in its' creators and the audience, because this type of performances survive without media response and major financial support. That is the reason why Strossmayer, as one of the last major active fighters for art that confirms a Christian worldview and acts for the well-being of the people, can today still represent a lighthouseibeacon and a role model. His views can serve as a bypass that will help overcome this period of secularist criticism in the arts and enable us to tum back to e1ementaryibasic/core values both in society and arts.

umjetnost, kazalište, svjetonazor, politika, ideologija, Strossmayer

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