THEATRE WITHIN THE CONTEXT Book of abstracts by Sandra Stojanovic

THEATRE WITHIN THE CONTEXT � AND NOT JUST THEATRE [the book of abstracts]

CONTENT

WELCOME NOTE pg.3 PROGRAM pg.4

ABSTRACTS: Day 1 pg. 6 - 16 Day 2 pg. 17 - 27 Day 3 pg. 28 - 40

BIOGRAPHIES pg. 41 - 47 PROGRAM COMMITTEE pg. 48

WELCOME TO THE SYMPOSIUM!

September 2015

Dear colleagues, Welcome to the “Theatre within the Context… and Not Just Theatre“ international symposium, which takes place from 23 rd until 25 th September 2015 at the Insitute for Cultural Development Research (ZAPROKUL), Rige of Fere 4 (Belgrade, Serbia), as part of the 16 th Bitef Polyphony. The symposium is dedicated to analysis, contextualization and critical interpretation of contemporary theories and performing practices, as well as understanding of principles, mechanisms and value system uniting different forms of their implementation. The intention is to acquire and exchange views about the multiple opportunities of the contemporary theatrical theories, methods and techniques, both in education and in programs of psycho-social support in the work with sensitive groups, as well as within other practices directed at social change and community culture development. Yourself, along with around thirty other Invited experts in scientific or activist-artistic fields, will participate in one of the six thematic sessions in the upcoming three days. Dialogues within sessions will be complemented by the participation of other invited and self-invited guests in the audience. The interludes between sections include workshops and presentation of works, aimed at raising new questions about the disciplinary boundaries of contemporary artistic practices. “Theatre within the Context” symposium is organized by Hop.La! as a part of 16 th Bitef Polyphony, in cooperation with CEDEUM, Centre for Drama in Arts and Education, Belgrade, Faculty of Dramatic Arts, and UNESCO Chair in cultural policy and management University of Arts in Belgrade, and with the support from the Ministry of Culture and Information of the Republic of Serbia. Please, note that official languages of the symposium are Serbian, Croatian and English. Selected works will be presented in the special edition, which will be published subsequently; after the symposium and reviewing process. Very much looking forward to meeting you all! Best regards,

Doc. dr Irena Ristić, Editor of Bitef Polyphony and President of the “Theatre Within the Context” Program Committee

PROGRAM DAY 1_23/09 9.00 Registration 10.00 − 12.00 Dialogue about Theatre Within the Context #1 12.00 − 13.30 Workshop: Teaching as Conceptual Art 14.00 − 16.00 Dialogue about Education

DAY 2_24/09 10.00 − 12.00 Dialogue about Community Theatre 12.00 − 13.30 Workshop and dialogue about the project TIME FOR A STORY 14.00 − 16.00 Dialogue about Principles of Participation in the Work with Sensitive Groups

DAY 3_25/09 10.00 − 12.00 Dialogue about the Political Nature of Performative 12.00 − 13.00 Contemporary Imponderabilia: Working Body 14.00 − 16.00 Dialogue about Theatre Within the Context #2 16.00 Closing ceremony

DAY 1_23/09 10.00 - 12.00 DIALOGUE ABOUT THEATRE WITHIN THE CONTEXT #1

Theatre Within the Context – How to Move from the History of Theatre to the History of Lives; Great and Small? Janko Ljumović, M.A. (Faculty of Dramatic Arts, Cetinje, Montenegro) Institutional Theatre and Social Conscienceness Bojana Ivanov-Đorđević, M.A. (National Theatre Sterija, Vršac, Serbia) Socio-Cultural Implications of Multilingual Theatre Lazar Jovanov, Ph.D. (Faculty for Media and Communication, Belgrade, Serbia) How the Body-Matrices are Guarding and Changing Theater and Dance institution Marko Pejović, M.A. (Let’s…, Belgrade, Serbia) Spoilsport: Vesna Đukić, Ph.D. (Faculty of Dramatic Arts, Belgrade, Serbia)

DIALOGUE ABOUT THEATRE WITHIN THE CONTEXT #1

Day #1

Abstract:

HOW TO MOVE FROM THE HISTORY OF THEATRE TO THE HISTORY OF LIVES; GREAT AND SMALL? Author: Janko Ljumović, M.A. (Faculty of Dramatic Arts, Cetinje, Montenegro)

The context inside or the context outside, context of the model, context of authority, context of audience, context of war or the context of emotionality is only a part of possible mapping, that reflects the overlapping of various spheres of influence that theatre has in the community, but it also extends to the sphere of the community influence on its contents. It is the notion of community rather than the notion of society, which has placed theatre in line with its ideological orientations in various institutional models that have served, and still serve, as a manifestation of the power of politics and culture. It helps us understand its emancipating practices, as well as the possibility of change that lies in redefining (and taking over) institutional models. This requires affirmation of the idea of the participating community interest, while bearing in mind that, due to the normative determination, the theatre system in the European context is dominantly subsidized (with our money). How does the contemporary theatre reach the level of the audience’s interest, outside the implied circle of the so called expert audience, and what are the reasons for it to expand, solely through its contents, the sphere of interpretation where other audience speak of it as well? An important issue in the analysis is mapping of contemporary performance practices that have redefined the notion of theatre policy in its traditional form, and where it is defined and established as a new repertoire value; a value of importance for the community. Theatre in the context of the community and its dilemmas, theatre through the community memory, theatre that speaks of the fears of the community – has a chance to not only be an ephemeral sign and bibliographical information relevant solely to the history of a theatre or of a theatre system. Keywords: context, community, contemporary theatre practices, emancipator role, audience’s interest

DIALOGUE ABOUT THEATRE WITHIN THE CONTEXT #1

Day #1

Abstract:

INSTITUTIONAL THEATRE AND SOCIAL CONSCIOUSNESS Author: Bojana Ivanov-Đorđević, M.A. (Sterija National Theatre, Vršac, Serbia)

The question of whether art should educate, inform, organize, influence, encourage, provoke or just be the subject of pleasure, does not cease to provoke its theorists. Even Aristophanes thought that comedy writer should not only gives pleasure, but rather be a teacher of moral and adviser of politics. Eratosthenes’s response to the issue was that a function of the poet is to impress their listeners, rather than teach them. In the case of Aristotle, poetry and politics are completely different disciplines – they should be regarded separately, because living according to specific laws serves different aims and pursues different objectives. When we talk about the national drama heritage we cannot bypass Sterija, who said that “the theater of moral cures the disease.” If art is one of the most important links in the chain of value system of a particular community or society as a whole, then it is hard to talk about art outside the context of its engagement. For this purpose, we will give an example of socially engaged theater already well known in the history of world theater, but also take a look around to point to positive examples of such theatrical thinking and acting in our immediate environment. The largest parade of demonstrators passed through New York City on the 15th of June 1982. The reason for the demonstration was the uprising against nuclear weapons. No one has so far not determined the exact number of demonstrators. They started in front of the United Nations and strolled through the city, led by giant puppets Bread and Puppet from the Peter Schumann theatre. It is speculated that the number of demonstrators reached the figure of half a million. Even the ancient theater whose capacity is was limited to tens of thousands of spectators is no match to this event. Vršac National Theatre “Sterija”, this year marks its 70th anniversary. When it was established in 1945, the fronts of World War II still burning in the struggle for liberation from fascism, part of the celebration was paid to the antiwar and anti-fascist right campaign, which in this theater next to the classical repertoire cultivated in the first decades of its existence, had an important place. This tendency at the same time fosters a more recent heritage and opens possibilities for other related topics in times of war, that still captures the world’s largest population migration in the past 50 years. Most of the planet turns their heads; for instance, Europe, which has started repairing the walls and barbed wires similar to those that have fenced camps of the Holocaust. Therefore, theater Vršac has planned a particular performance in the repertory, which examines the prism of contemporary perception of war victims focusing on a life of Anne Frank. The second program is dedicated to the victims of large-scale population migration to Europe and is planned for 2016/17 theater season. In this sense, the notion of theater in analyzed through the context of theater acting as social conscience, that sees the difficulties that communities face and finds partners outside the theater environment in order to confront or at least draw attention to the issues. Keywords: socially engaged theatre, avant-garde, community 7

DIALOGUE ABOUT THEATRE WITHIN THE CONTEXT #1

Day #1

Abstract:

SOCIO-CULTURAL IMPLICATIONS OF MULTILINGUAL THEATRE Author: Lazar Jovanov, Ph.D. (Faculty of Media and Communications, Belgrade, Serbia)

The research is focused at socio-cultural implications of dynamic multilingual theater, at the meso (city) and macro (national) level, on the example of the „National Theatre-Népszinház-KPGT“, and in the context of development the value of cultural diversity and affirmation of the Unified Yugoslav Cultural Space (concepts that has established by leaders of the movement and prominent Yugoslav theater artists: Ljubisa Ristic, Nada Kokotovic, Rade Serbedzija and Dusan Jovanovic). The research objective is to prove that multilingual theater, in a distinct form (as it was the concept of the Theatre City in Subotica) is a cross-cultural link and the kind of social value, which is encouraging intercultural dialogue and affirmation of cultural diversity, both at the micro (institutional) level, and at the meso (city) and macro (national) level. The paradigmatic projects implemented from 1985. to 1987.are analyzed as the case studies. The analysis has been focused on the model of Subotica Theatre City (project Madach, the comments), as well as the Theatre City on Palic Lake (Shakespeare fest), and YU fest. In the process of value determination, sociolinguistic theory of Ranko Bugarski is of particular importance, by which we aims to point out social and cultural impact of the principle of multilingualism in the theater, in terms of development of social capital and the dynamic relationship between different cultural entities. During the collection of relevant data, the following empirical methods were used: “desk” research (analysis of press clippings, archival research); qualitative method of in-depth interviews with representatives of decision makers (political functionaries and administrators of institutions), as well as with artists, and the originators of this authentic theater concept. This study should enable a deeper understanding of the socio-cultural and political role of multilingual theater in the contemporary social context. The intention, therefore, is to prove that multilingual theater, in a clearly defined form, or model, is an immanent segment of cultural policies, which promote and dynamise intercultural relations. Keywords: multilingual theatre, National Theatre-Népszinház-KPGT, Theatre City, cultural policy, cultural diversity

DIALOGUE ABOUT THEATRE WITHIN THE CONTEXT #1

Day #1

Abstract:

HOW THE BODY-MATRICES ARE GUARDING AND CHANGING THEATER AND DANCE INSTITUTION Author: Marko Pejović, M.A. (Let’s…, , Belgrade, Serbia)

This work considers body-matrix as a set of physical characteristics, that have the function of the signifiers, and form the structure. It is a reference value of eligibility (of the body) in one culture, or an institution. The aim of this paper is to present the changes of the body-matrix, regarding the context in which specific (theater and dance) practice is implemented. The issue in focus is how much a certain body-matrix supports the institution of theater and dance, and how some matrices have subversive and deconstructing potential. The starting point for consideration is Hegel’s postulate about the totality. For him, the truth is total, without lack, deficit-less. In the theater, this postulate is applied in practice of “closed” form that Volker Klotz wrote about. The application of closed forms in the theater and dance, led up to “closed” bodymatrix. On the other hand, the presence of various bodies in the public space is a threat to oppressive ideology that is trying to prevent any friction and tension. Body diversity revokes the reference bodymatrix as the sole, and puts observers in an awkward position to notice the difference that brings tension. In a culture that is so anxious to control bodily functions and desires, “different” body (such as “disabled” or “transgender” body) immediately is positioned as “deviant”. It reminds us of the vulnerability of the body, the inability of control, and the loss of certainty. The paper addresses the change from monolith, structured, to the rhizomatic body-matrix in dance, using examples from different dance practices. Keywords: body-matrix, dance practices, deconstruction, totality

12.00 - 13.30 WORKSHOP: TEACHING AS CONCEPTUAL ART

WORKSHOP

Day #1

Description:

TEACHING AS CONCEPTUAL ART Authors: Eugene Matusov, Ph.D. (University of Delaware, Newark, USA) Ana Marjanović-Shane, Ph.D. (Chestnut Hill College, USA)

Like artistic conceptualism, pedagogical conceptualism focuses on engaging people in experiences that destabilize their familiar paradigms with a possibility for emerging an alternative paradigm and, thus, promotes education without learning. Teaching as art of conceptualism is a part of teaching as a performance art and complements teaching focusing on promoting learning. Teaching as conceptual art is based on the notion that the essence of education is transformation of the person – the way how she or he relates to and perceives the world, other people, and the self — and may exist distinct from and in the absence of the focus on studying a particular out-there object or process or practice (i.e., knowledge, skills, attitudes). Working in ontological dialogic pedagogy, we especially interested in pedagogical conceptualism as a powerful genre of dialogic ontological provocations. Dialogical ontological provocations are, as their name suggests, ways to bring unexpected and powerful alternatives to the ways of relating to the world, to life, to the others and to the self. Through such encounters, participants may experience enstrangement and begin to reexamine their own ways of being and to test their ideas. In our view, dialogical ontological provocations are the core of Bakhtinian dialogic pedagogy. In our workshop, organized as conceptual art, we will engage the workshop participants in experience, discussion, and problematization of teaching as conceptual art. Keywords: dialogic pedagogy, conceptual art, enstrangement, Backhtin

14.00 - 16.00 DIALOGUE ABOUT EDUCATION

Teaching as Conceptual Art Eugene Matusov, Ph.D. (University of Delaware, Newark, United States), Ana Marjanović-Shane, Ph.D. (Chestnut Hill College, United States) Drama Pedagogy – Art or Pedagogy? Vlado Krušić, Ph.D. (Croatian Centre for Drama Education - HCDO, Zagreb, Croatia) Theatre Workshops as the Physics Lectures Improvement Method Zvonimir Peranić, M.Sc. (University in Rijeka, Croatia) Spoilsport: Dragana Koruga (Center for Interactive Pedagogy - CIP, Belgrade, Serbia)

DIALOGUE ABOUT EDUCATION

Day #1

Abstract:

TEACHING AS CONCEPTUAL ART Authors: Eugene Matusov, Ph.D. (University of Delaware, Newark, USA) Ana Marjanović-Shane, Ph.D. (Chestnut Hill College, USA)

DIALOGUE ABOUT EDUCATION

Day #1

Abstract:

DRAMA PEDAGOGY – ART OR PEDAGOGY? Author: Vlado Krušić, Ph.D. (Croatian Centre for Drama Education - HCDO, Zagreb, Croatia)

Various forms of practice of contemporary drama pedagogy, which some theorists call “applied theatre”, regardless of wherever they are realized, still represent some form of drama and/or theatre work in context, i.e. in an environment that is outside of original domain of arts in which, by deeply rooted convictions, we usually place any kind of drama/ theatre work. The intensive development of drama pedagogy in the last decades has opened a number of problems not only for theorists who explore and interpret this area, but also for numerous practitioners involved in it, including a large number of trained theatre professionals. It confronted them with a series of questions about the objectives of their engagement, methods applied and the criteria of assessment of their work and its effects. Educated in the still nowadays predominant theatre culture and supporting theoretical disciplines, the author will trace his own experience of transition from the theatre professional to drama pedagogue and point out some of the main issues and conclusions he reached in the process of developing this paper. Keywords: drama pedagogy, applied theatre, context, methods, criteria of assesment

DIALOGUE ABOUT EDUCATION

Day #1

Abstract:

THEATRE WORKSHOPS AS THE PHYSICS LECTURES IMPROVEMENT METHOD Author: Zvonimir Peranić, M.Sc. (Univesity in Rijeka, Croatia) Students’ attitudes towards research content are in direct relationship with the level of their comprehension of it. Students with the positive attitude are more successful in the comprehension of the contents. Physics, as the (university) course, has bigger impact on the students than other courses. Specific attitude is not composed from the unique construction; it is composed from the number of the sub-constructions that are affecting the formation of the individual attitude on the different levels. The environment in which lectures takes place is significantly affecting attitudes; the most positive attitudes are associated with high levels of mutual assistance, strong connections between participants in the educational institution and involvement of different teaching strategies, as well unusual learning activities. The most influent variable is the student personal learning experience, respectively the quality of teaching. The aim of this research is the improvement of the insights in contemporary teaching in order to get better results from the teaching process and contribute to the development of the education in natural sciences. This research is aimed at demonstrating that the use of the specially created non-verbal theatre workshops could improve the students’ attitudes toward the physics lectures and the physics in general, and that it could be helpful in improving the conceptual knowledge of physics. The workshops are developed in the period of the approximately 15 years. Contrary to the classical experiments in which students are to perceive ‘from the outside’, in this workshops their bodies are set in the role of the active subject, which is passing through the certain states and situations. Through the perception ‘from the inside’, certain concepts are easier to understand, since they are physically experienced. Specially designed workshops were conducted as part of the Physics for Engineers lectures on the Collegium Fluminense Polytechnic of Rijeka, in the form of the exercises. The special questionnaire was created as the measurement tool. The cluster analysis was used for classification and structuring of the particles. Reliability of the questionnaire is shown by analysis with Cronbach alpha factor of 0,818. The validity of the questionnaire was analysed by division of the particles into the two groups, which correlation factor was 0,773, and Guttman split half factor was 0,871. Factor analysis showed that all of the particles were represented by one factor. The conclusion of the research is that the questionnaire is valid measurement tool for the attitude(s) toward physics lectures. The conceptual knowledge was measured by diagnostic conceptual test (FCI) which is a standard measurement of the basic conceptual comprehension in mechanics.

DIALOGUE ABOUT THEATRE WITHIN THE CONTEXT #1

Day #1

The research was conducted during the two academic years. Students were divided into three groups; one research group and two control groups. Examination by questionnaire and test before and after the lectures was conducted on research and one control group. The other control group was exanimated only after the lectures in order to avoid the possibility of the influence of the memory from the questionnaire and test on the final results. Although all the groups were equally considering physics as complex matter (there was no statistically significant difference), the research group showed statistically significant difference in positive attitude toward the curiosities in physics, the experiments as part of the lectures. Moreover, students found workshops helpful in mastering new contents. Students from the research group used less additional instructions. Two control groups did not show significant statistical differences in the results. The conclusion is that the use of non-verbal theatre workshops can improve students attitudes toward the physics lectures and physics in general, and conceptual comprehension of contents. Keywords: conceptual knowledge, physics, non-verbal theatre, workshop, attitudes

DAY 2_24/09

10.00 - 12.00 DIALOGUE ABOUT COMMUNITY THEATRE

The Enigma of Community Theatre Paul Murray, Ph.D. (Bel Theatre, United Kingdom-Serbia) Why Community Theatre? Karolina Spaić (ZID Theatre, Amsterdam, the Netherlands) Collective Acts of Witnessing – The problem with Community Theatre Sean Aita, (The Arts University, Bournemouth, United Kingdom) Spoilsport: Tanja Pajović (POD theatre, Belgrade, Serbia)

DIALOGUE ABOUT THE COMMUNITY THEATRE

Day #2

Abstract:

THE ENIGMA OF COMMUNITY THEATRE Author: Paul Murray, Ph.D. (Bel Theatre, United Kingdom-Serbia)

Community theatre is recognizable by its approach and aims. Its approach is simple: a professional team of theatre directors, scenographers, actors, playwrights, musicians etc. work with a group of nonprofessionals to create an original play/performance about an issue, which the professional and nonprofessional participants alike themselves consider to be significant. Community theatre’s aims encompass (often utopian) ideas of pluralism, democracy, community, non-commercialism, activism, playfulness and joy. Community theatre artists believe that their art-form has the capacity to: (1) Strengthen the bonds of community; (2) Initiate democratic processes; (3) Empower and educate individuals; (4) Help underrepresented views be heard by a wider audience, and (5) Intervene directly not just to interpret the world, but to bring about change within it. Through both its approach and aims, Community is a form of political theatre. ‘The very fact that it is called community theatre itself betrays the neo-liberal belief in individualism and the idea that things such as “the public good” and “the community” should be discarded as unnecessary components of a welfare state.’ (Martinez and García 2000). As the oldest of participatory forms of theatre, one could argue that ‘Community theatre’ has lost much of its identity in recent times as its approach have been increasingly utilized by State’s, cultural institutions and neo-liberal philanthropists to promote their own aims through forms such as ‘drama in education’ and ‘applied theatre’. On the other hand, one could argue that community theatre is defined clearly enough in relation to its political aims in order to retain its identity. Either way, the enigma of community theatre is that it can only be truly recognized and appreciated in relation to what it aims to achieve; whether or not these aims are achievable. Keywords: community, theatre, pluralism, activism, non-commercialism

DIALOGUE ABOUT THE COMMUNITY THEATRE

Day #2

Abstract:

WHY COMMUNITY THEATRE? Author: Karolina Spaić (ZID Theater, Amsterdam, the Netherlands)

You never get a second chance to make a first impression. This definitely applies to community theatre, because once a work process begins, it cannot be stopped. It may seem that there are no rules in community theatre and that anything goes, but especially here the rules determine the quality and effect of the work and safeguard its authenticity. At the same time this is the reason why people choose to work in, support or actively participate in this art form. The most important rules are: 1) collectiveness, 2) multilayeredness 3) contagiousness and 4) endless creativity. Apart from that there are no rules for how the work is made and what the end result may be. Anyone can participate and the work is by nature politically engaged. Community theatre is one of the few places where people can realise their fundamental need to express themselves, to contribute and to change things, no matter how big. Whether it is about certain needs of a group, about exchanging personal stories or getting to know your neighbours better in a new neighbourhood. Community theatre is an effective way of acting ‘glocally’ – globally and locally at the same time – by addressing universal human themes and needs within local settings. And how does the work influence the artists who engage in this co-creative process together with the representatives of the community? Transparency of the work process, the uncertain outcome and end result of it demand great flexibility and openness. At the same time, optimal preparation and analysis are required, both in terms of the artistic process and of the social political context, if the work is to have maximum effect. Although they work within community theatres, the makers are active in various domains simultaneously. For the makers it is important to realise that the community does not end when the project ends, but continues to exist. The results of the work will be permanent, as long as the maker has the capacity to create a bond based on mutual respect and trust between him/her and members of the community. For her blog in The Guardian, theatre critic Lyn Gardner wrote in her text ‘Why every artist should be a community artist’ that the most interesting theatre today is being made together with the audience and not for the audience. And that is what keeps this art form alive. When we analyse the patterns in community theatre and collect the results of this work, then it is no longer an illusion but a ticket to the future. I am interested in how we can develop an optimal concept for community theatre that allows the audience to become active participants in the performance. How can we create a shared meaningful experience for all those present? How might the performance empower the audience to make choices, shape their own experience, and contribute to the collective experience? Keywords: community theatre, collectiveness, openness, active participation 19

DIALOGUE ABOUT THE COMMUNITY THEATRE

Day #2

Abstract:

COLLECTIVE ACTS OF WITNESSING – THE PROBLEM WITH COMMUNITY THEATRE Author: Sean Aita, (The Arts University Bournemouth, United Kingdom)

Despite the fact that what has traditionally been described as Community Theatre has had a major influence on contemporary theatrical culture in the UK descriptions of the practices which attend to the term have been subsumed into a taxonomic sub-set within the more commonly used Applied Drama and Theatre (ADT). The development of wider range of socially-engaged performative and theatrical approaches and/or techniques, aligned with a growing scepticism from practitioners within the field of ADT of any tendency towards a “homogenised, essentialist concept of community” (Prentki and Preston; 2013, 12) has made a broader all-embracing classification convenient, and has facilitated the gradual elision of Community Theatre as a term for professional practice. Indeed, in Britain, it is gradually becoming associated with wholly amateur theatre, mirroring its use in the United States. Community Theatre’s diminution within the professional theatrical lexicon is also reflective of its corresponding occlusion ontologically. Companies, theatre spaces, and resources which have been identified with this form of work, (particularly within a rural touring context) have been disappearing at an alarming rate. Paradoxically, changes in arts and funding policies in the United Kingdom, has meant that elements of Community Theatre practice, have increasingly been incorporated into the mainstream. Supported by research into the history of Community Theatre in the UK, this paper also draws on knowledge that is tacit and intuitive, utilising aspects of Moustakas’ (1990, p. 15-27) model of Heuristic Enquiry, based in the extensive experience the author acquired as a practitioner within the Community Theatre sector over a period of thirty years. This paper argues that this discrete branch of performance is in danger of becoming a victim of the ongoing struggle for the ownership of theatrical space between counter, and hegemonic cultures. Keywords: community theatre, occlusion, applied drama and theatre (ADT), Moustakas’ model,

12.30 - 14.00 WORKSHOP AND DIALOGUE ABOUT TIME FOR A STORY PROJECT

Day #2

WORKSHOP

Description:

TIME FOR A STORY Author: Vera Večanski, Ph.D candidate Performed by: Ivan Jevtović

Time for a Story is a storytelling project carried out in libraries. It is based on similar projects and library storytime programs in children’s libraries worldwide, performed by professional storytellers or actors, sometimes by teachers, but most often by librarians themselves, through the use of interactive storytelling techniques and tools such as language, sound, motion, gesture or repetition, with the aim of bringing to life or revealing to the audience certain elements and images of a story. Storytelling for children often includes various visual elements and tools, such as pictures, puppets or objects helping visualization, and making storytelling more interesting to the children. Very often children themselves are given little “roles”, for example, they are asked to produce a certain sound or to make a motion, or they are asked to make a drawing or a prop to be used in the story, which transforms them from passive listeners into active participants. Time for a Story is a project aimed primarily at preschool and primary school children. Each session lasts about thirty minutes and includes several stories with the same topic (for example, stories about friendship and help, stories about perception and acceptance of self, stories about food, or about artistic expression, etc), with equal attention paid to both the artistic and the educational aspect. The emphasis is not only on rich visual identity, but even more so on quiet, meditative atmosphere providing complete immersion into the world of stories and literature, very much needed by children today, as a balance to the overly strong stimuli they are exposed to from many sides. The primary objective of the project is twosome: first, to instill and develop in young children love for literature and storytelling, and to draw them into the magical world of literature even before they can read and write. Children are simultaneously sensitized to theater, visual arts, music, and dance. And second, to attract and encourage children at an early age to find joy in visiting and using libraries and their resources, to feel “at home”, be comfortable and move freely around the library, since it is presented not only as a place for learning, but also for socializing and communicating with other children and with adults, as well as for having fun.

14.00 - 16.00 DIALOGUE ABOUT PRINCIPLES OF PARTICIPATION IN THE WORK Performing Creative Diversities Bojana Škorc, Ph.D. (Faculty of Fine Arts, Belgrade, Serbia) Problems of Stigmatization of Minority Groups in Participative Art Projects Boris Čakširan (ERGstatus, Belgrade, Serbia) The Importance of Cultural Diversity in Work with Political Asylants in the Center Cimade Richard Grolleau (Compagnie Arti-Zanat, Serbia-France) Drama and Children with Autism: Helping Abraham to Deal with Life Tasos Angelopoulos, Ph.D. candidate (Drama Department AUTH, Thessaloniki, Greece) Spoilsport: Dubravka Crnojević Carić, Ph.D. (Academy of Dramatic Art, Zagreb, Croatia)

DIALOGUE ABOUT THE PRINCIPLES OF PARTICIPATION IN Day #2

THE WORK WITH SENSITIVE GROUPS

Abstract:

PERFORMING CREATIVE DIVERSITIES Author: Bojana Škorc, Ph.D. (Faculty of Fine Arts, Belgrade, Serbia)

Alternative education process is seen as a joint project of children/youth and adults, and a part of social, historical and cultural context in which it exists. This is contextually based process and its totality have enormous developmental potentials. The mixed groups of people bring together their multi-leveled diversities based on social status, vulnerability, age-span, ethnicity, cultural background, profession – in different play and creative activities. That way, diversities become invaluable sources of learning for development. In accordance to ideas of Lev Vygotsky, creative activities are seen as drivers of future development. Through improvisation, art performance and play, participants build mutual psychological space – the zone of proximate development; group members present not only who they are but who they are becoming. Zdravo da ste approach to vulnerable groups and war-affected people initiated in 1994. during collective disaster, has been transformed today in alternative work with vulnerable groups, youth and teachers in Serbian education system. Creative and open-ended activities involved many thousands of participants in joint process of building constructive response to crisis, poverty, alienation and lack of opportunities. Transformation of play and interactive capacities are regarded as crucial for the overall revitalization of human capabilities to create and recreate social environments and life practices – these are “hidden treasures”, new tools for change, as said by the young participant. Keywords: multi-leveled diversity, learning for development, play, performance, zone of proximate development

DIALOGUE ABOUT THE PRINCIPLES OF PARTICIPATION IN THE WORK WITH SENSITIVE GROUPS

Day #2

Abstract:

PROBLEMS OF STIGMATIZATION OF MINORITY GROUPS IN PARTICIPATIVE ART PROJECTS Author: Boris Čakširan (ERGstatus, Belgrade, Sebia)

The anxiety of meeting up with a vulnerable group is based on realistic ground stemming from the prejudices that have a long history as taboos, predominant in our region. Hiding these tabooed groups and erasing them from the public space has created image of their small number, while statistics present us with quite a different situation. This lack of knowledge and inability to meet members of vulnerable groups in public have resulted in even stronger ring of stigma that leads these groups to ghettoization, whilst creating their own culture and social patterns within each group. Any interference in this ghettoized space can be experienced as usurpation, instead of the expression of need for communication. These stigmas are so strong that some processes need more than 10 years to open closed culture boundaries; to be involved and exposed into the public scene, and thus become a part of the culture of the wider community. The questions arising from this are rather important for the process of de-stigmatization, in which opening, inclusion and participation can be experienced as stigma by themselves, because of their confusing messages. Questions such as these arise: why do processes and problems have to be opened and presented in public space; what do one want; who are audiences and what is their motive; whether one can partake and remain consistent in a group; can one return to the group if all fails; what is a success, etc. One of the most important elements in the encounter and work with vulnerable groups is the building of trust. What happened in many projects where the human factor was is denied was such that instead of the open door, the door was slammed ever more stronger and louder in the face of project initiators. These fears arising from distrust can permanently exclude individuals who were valuable individuals for the first steps. To build a solid trust requires a long period, but also accurately selected and balanced steps that demonstrate continuous and long-term investment in the processes of emancipation. The elements of stability and solidity are also important in relation to group dynamics. The changes are not welcome, and acquired rights are barely won. This default setting leaves little room for significant changes. Minority groups are unsafe when one shows weakness and empathy. Many groups have adopted forms of abuse and manipulation just by using their own stigmas. They also estimate one’s strength and safety, i.e. in whose hands they put their hard-won security and stability. One faces a lot of important elements and problems ahead, so the procedure of participation and inclusion is of great importance for the realization of the first steps and gain of mutual respect and trust. Finally one of the perhaps most important elements is the art itself. It is perhaps the first step and therefore the biggest, strongest and least safe than all other steps. Keywords: participation, stigma, inclusion, vulnerable group, ghettoization 25

DIALOGUE ABOUT THE PRINCIPLES OF PARTICIPATION IN Day #2

THE WORK WITH SENSITIVE GROUPS

Abstract:

THE IMPORTANCE OF CULTURAL DIVERSITY IN WORK WITH POLITICAL ASYLANTS IN THE CENTER CIMADE Author: Richard Grolleau (Compagnie Arti-Zanat, Serbia-France)

The presentation includes a review of the experience and methodology of work with vulnerable groups through theatrical creative workshops with political asylants at the Association Cimade Center in France, where the author has been working for three years. General principles in “workshops of artistic support,” as the author calls them, will be exposed, in the attempt to explain how the distinct method adapts to working with asylants. Within the project which Compagnie Arti-Zanat leads in the Center Cimade, a number of activities including creative theater workshops for adults and theater workshops for children and parents have been organized. At the beginning of the author’s work with asylants, it was evident that the work within the art workshops in the integration process of asylants in a new society and a new culture, is complementary to social work. Migrants who have left their country and family, sometimes also a higher social status, are displaced from their midst and have to start all over again, get over what they have lost, fit into a new culture and often learn a new language. The focus in working with this population is providing support in the integration process, enabling everyone to maintain a connection with their own culture. For the author workshops are a place where everyone can fully experience and express the richness of their own culture, and at the same time, experience the culture of others. The workshops usually develop using a generally well known theater play the author selects based on themes and questions he considers important for the participants. This format allows the participants to talk about topics that are close to them, but with detachment represented by the existing work of art. During the creative process, the author examines with the participants how each of them can adopt the selected work to find a personal connection with a certain dramatic situation, as well as the manner in which the piece could be enriched by the culture of each participant. It is a way for each of them to express the values of their own culture in the process of integration into a new society. Keywords: political asylants, theater, integration, cultural diversity, community

DIALOGUE ABOUT THE PRINCIPLES OF PARTICIPATION IN Day #2

THE WORK WITH SENSITIVE GROUPS

Abstract:

DRAMA AND CHILDREN WITH AUTISM: HELPING ABRAHAM TO DEAL WITH LIFE Author: Tasos Angelopoulos, Ph.D. candidate (Drama Department of AUTH, Thessaloniki, Greece)

The paper describes the writer’s experience working in Greek education system both as a drama and as parallel support teacher for Abraham, a child with autism spectrum disorder (ASD). It also presents the complete psychokinetic program based on drama exercises and tools conducted in order for Abraham to manage dealing with everyday matters (e.g. eating and playing with other children during the breaks, reducing his normal aggression, finding a way to participate at the lesson etc.), recognizing simple (relative to us) notions or school subjects (such as right-left, do-not to do, colors and numbers, letters etc.) and, finally, getting better integrated into his classroom. The experience also includes the social and psychological support provided through drama games with Abraham’s classmates, aiming to reduce conflicts with and related to Abraham’s participation in a regular classes and to convince, through children, the entire community (e.g. parents etc.) about the utility of his participation. The results of that program allows the writer to claim that drama can make the difference both for the life of children with ASD and for the community. Keywords: autism, drama, integration, education system

DAY 3_25/09

10.00 - 12.00 DIALOGUE ABOUT POLITICAL NATURE OF PERFORMATIVE The Maid Vanishes: Performing Gendered Citizenship in the Context of Work-Related Migration Silvija Jestrović, Ph.D. (Warwick University, United Kingdom) Theater on the Edge of its Autonomy Vlatko Ilić, Ph.D. (Faculty of Dramatic Arts, Belgrade, Serbia) Who’s Afraid of Big Bad Theatre… Aleksandra Jelić (ApsArt, Belgrade, Serbia) Ideology, Performance, Spectacle (two case studies: Laibach and Let 3) Dragana Kružić, Ph.D. candidate (University of Arts in Belgrade, Serbia) Spoilsport: Irena Ristić, Ph.D. (Hop.La!/ Faculty of Dramatic Arts, Belgrade, Serbia)

DIALOGUE ABOUT THE POLITICAL NATURE OF THE PERFORMATIVE

Day #3

Abstract:

THE MAID VANISHES: PERFORMING GENDERED CITIZENSHIP IN THE CONTEXT OF WORK-RELATED MIGRATION Author: Silvija Jestrović, Ph.D. (Warwick University, United Kingdom)

In this paper, the point of departure is the disappearance of an Indian woman, who worked as domestic help for a Saudi family. They arrived together to the UK and took residence in Cryfield Cottages at Warwick University, where the mother of the family was taking a postgraduate course. Around the same time, I, too, moved to the UK and into the Cryfield Cottages to take up a new job at the Warwick University. The Indian maid and I chatted one morning over laundry. Afterwards, I was thinking about the fact that we both were migrants from different parts of the world, who came to the UK to work, yet even though we lived next door, our experiences, legal rights and prospects, couldn’t be further apart. A few days later, she disappeared. The Saudi family was not surprised as this apparently happens all the time with domestic help in their circles. The police investigated for a short while before it was agreed that the maid had slipped through the immigration net. My Practice as Research project, which I will present in this paper, retraces the steps of this disappearance from the idyllic setting of Warwick University’s family housing to Coventry Police Records (and beyond). In this actual and conceptual investigation of my neighbour’s disappearance, I seek to engage with various aspects of her otherness on a deeper political, ethical, and personal level, which I failed to do at the time the incident happened. My paper will contextualize the PaR project within the existing scholarship on migrant labour and gender, as well as within the frames of labour and immigration laws, in order to investigate how gendered performances of citizenship are variously shaped and conditioned in the context of work-related migration through different socioeconomic circumstances and legal systems. This paper is part of the UKIERI funded (UK-India Education and Research Initiative) project “Gendered Citizenship: Manifestations and Performance”. Key words: migrants, performance, gendered citizenship, otherness, PaR project

DIALOGUE ABOUT THE POLITICAL NATURE OF THE PERFORMATIVE

Day #3

Abstract:

THEATER ON THE EDGE OF ITS AUTONOMY Author: Vlatko Ilić, Ph.D (Faculty of Dramatic Arts, Belgrade, Serbia)

The reflections on complex relations between arts and politics, which marked the 20th century, pointed out two different orientations in terms of theatre arts, its practice and theory. On one hand, the desire to incorporate arts in the social life, in the way that was articulated by the avant-garde movements at the beginning of the last century, in the most radical cases led to decrease in art production – for instance, in case of Situationist International and Guy Debord, or Sergei Tretyakov, or even Augusto Boal. While on the other, during the period to which we refer to as to neo-avant-garde (due to the reaffirmation of the category of autonomous art piece), focus of artists and theorists moved mainly towards the politics of the artworld. Hence, one could conclude that the goal of revolutionizing social life though arts has led to the revolutionizing of the field of arts itself. However, despite the popular belief that this sort of development of creative practices throughout the last century could and should be understood as a failure of avant-garde aspirations, they fundamentally altered the way in which we think theatre. During the second half of the last century and the beginning of the 21st one, a lot of attention has been devoted to the question of performativity (in a way in which this term was introduced by the feminist studies and theory of culture /Butler/), in regards to the role of theatre arts in social life; even though we still lack precise articulation of notions and thesis that would support a consistent theorization. That is why there are significant differences among American performance studies for instance, Lehmann’s theory of postdramatic theatre and the easthetics of performative /Fischer-Lichte/. On top of that, the current social conditions, generated by global market, additionally challenge the ways in which we think contemporary theater. Hence, the questions we will address will deal with the status of arts, further on, the assumption of its autonomy (by looking at it as a political project), as well as effects and domain of those critically oriented theatrical practices. Key words: arts, theater, politics, avant-garde, neo-avant-garde

DIALOGUE ABOUT THE POLITICAL NATURE OF THE PERFORMATIVE

Day #3

Abstract:

WHO’S AFRAID OF THE BIG BAD THEATRE… About the project “From Lawbreaking to Law Making” and the play “Prison Resort” Author: Aleksandra Jelić (ApsArt, Belgrade, Serbia) Each system is a prison, despite the existence of the theory of open systems. State is imprisons. School is imprisons. The company is imprisons. How then do we observe actual prison as a detention institution? Prison is not an image, but an icon of oppression. It is worshiped and served by its loyal employees, continuing a kind of religion to surveillance and punish (Michel Foucault) that begins in a system of mandatory schooling, multiplied then, modify and lives through other legitimate and accepted forms of government suppression and control, similar to prison but named differently. What kind of theatre is possible in prison, and how is it possible at all? Is it only the kind which supports and mimics the system of control and punishment? How to achieve the field of personal freedom? In prison, everything is seen as currency for trade, blackmail or snitching, even the participation in drama workshop, or text line in the performance. Was theatre performance “Prison Resort” based on prisoners’ testimonials and performed by former convicts, a shock to the Serbian legal system, which responded by meta-theatrical act, but also featuring real threats? The “Prison Resort” performance was created within the project “From Lawbreaking to Law Making” implemented by the “ApsArt Centre for Theatre Research” in collaboration with two other organizations – YUCOM and BG Centre for Human Rights. This is the first time in Serbia and the region that the modification of legal acts in the legal system has tried to be carried out by the means of legislative theater – the heritage of the Brazilian director Augusto Boal. Legislative theater is a kind of socially engaged theater which aims to give opportunity to particular social group in order to help them affect the general and professional public, as well as the executive authorities in a bid to improve their social position, and also gain certain changes or additions to certain laws that defined their positions. With this pioneering project and the process that has included more than 1,000 convicts, audiences in five towns in Serbia, online community, many relevant stake holders, organizations and the media, supported by the Ombudsman – the door of state legal system has been opened in a new way. Deep inside, behind prison walls and bars, the concrete problems of convicts have been revealed by their words and their own insights. These findings are transposed into performance, and subsequently into interaction with the audience that has turned them out into concrete legislative proposals. The “Prison Resort” performance has raised numerous questions in the community about the organization and functioning of the legal system, and it has touched finally the extremely closed executive authorities of the legal system of Serbia. During the process, a number of obstacles, simulations and manipulations made up part of the daily struggle with the executive authorities of the legal system. The final outcome is that performance has banned in prisons by Directorate for Execution of Criminal Sanctions, and the final implementation of the project has been disabled on a legal level as well. The theater was declared dangerous, undesirable and as an element that can provoke riots. Especially, it was banned from giving a voice to prisoners. Truthful theater, which occurs beyond the expected, permissible, acceptable, decent social context, created by the living witnesses of injustice and oppression, is and should be a disturbing act for each individual or system – phenomenon that does not allow injustice to hide, huts or be justified. Are we ready for this kind of theatrical process as creators; where exactly, and under what conditions? Do we recognize the systems of control – the censorship – the blackmails in other social contexts and what the theater has to do with that? Whether and when the theater itself becomes part of social control? Keywords: legislative theater, legal system, convicts, surveillance, social control 31

DIALOGUE ABOUT THE POLITICAL NATURE OF THE PERFORMATIVE

Day #3

Abstract:

IDEOLOGY, PERFORMANCE, SPECTACLE (TWO CASE STUDIES: LAIBACH AND LET 3) Author: Dragana Kružić, Ph.D. candidate (University of Arts, Belgrade, Serbia)

With the advent of the New Wave, a rock movement in the 1980s on the territories of the former Yugoslavia, new bands Let 3 and Laibach appeared. Their specific genre experiment and transgression of the genre boundaries exclusively made them leave musical sphere of expression. They accepted conceptual and performative form of presentation, indicating that the kind of subversion of political, cultural and traditional moments, resulting in their discourse, is their basic, starting point in artistic creation. Specific ways of media promotion in the society of the spectacle, indirect or direct interpretation of attitudes on social issues through a process of transformation (transvestitism), highlighting masculinity, vulgar rhetoric, ideological iconography, eclectic and appropriative access to their musical and performative opus, confirms the authenticity of the artistic, powerful, intellectualized art concept bands Let 3 and Laibach arising from culture and therefore presenting a product of cultural industry. Adorno and Horkeheimer, members of the Frankfurt School, explain that the categories and the content of cultural industry are actually the goal of liberalism and that the difference in the field of popular culture are a way of preserving its state. Deviations and departures are mutations of the system itself. That what deviates can only survive by getting classified. In other words, they do not make a complete shift or even resist belonging to one cultural sphere. It serves them as a strong basis point where there is a certain traditional layering of (moral) values and adds secondary vision to the “lack” of not belonging to this sphere. The exploitation of religious, gender, ethnic or political issues leads to questioning of traditional values of an ideological society and a system. Nietzsche pointed out the negative effects of most social institutions, traditions and customs on the development and freedom of an individual. In relation to morality he argues: “A free human being is (rated) immoral because in all matters it chose to rely on itself and not on the (moral) tradition.” Methodological levels of verbal (lyrics) and nonverbal (body) communication with the audience, their behavior on the stage, and particularly their vulgar rhetoric (according to Barthes’ term grandiloquence- “excessive talking” of gestures, postures and the body) indicate a high level of awareness to the approach of criticism to social reality.

DIALOGUE ABOUT THE POLITICAL NATURE OF THE PERFORMATIVE

Day #3

This interpretation, suggests Fiske, claims that vulgar speech is an oral, opposite participatory culture, that does not distinguish between performers and the audience. If the choice between euphemism and disruption of linguistic and iconographic conventions made the two bands accept the latter, then such rhetoric reversals and opportunities offered by these rhetorical games became their distinctive discursive form. Victor Turner connects performance, ritual and theater. He believes that play is the final completion of an experience that emerges from what is usually closed in depths of socio-cultural life, inaccessible to ordinary observation and reasoning. Through direct involvement in the execution of performance or in its successive display through the media, the audience receives verbal, visual or musical “inputs”. They contain a abundance of stratus denotations and connotations where the boundaries between fiction and reality gradually dissolves and where a kind of an ideological ritual as a media event transfigures itself into a spectacle. If, due to the stimulus which offers the audience a lot of their musical and performative work, their artistic creativity can be perceived as an interactive art, i.e. work whose constitutive aspect is the intervention of recipient’s interaction with an appropriate technological system, then it can be perceived as an open work. It is as such based on the interaction with the audience, who responds to a proposal offered by the artist, and by their involvement is not exclusively in receptive completion of the work; rather with their behavior and actions it is performing the work or participating in its completion. Key words: ideology, performance, society of the spectacle

12.00 - 13.00 CONTEMPORARY IMPONDERABILIA: WORKING BODY

Day #3

WORKSHOP

Description:

CONTEMPORARY IMPONDERABILIA: Working Body Author: Maja Ćirić, Ph.D. (Independent curator, Belgrade, Serbia) Interpreted by: Sandra Stojanović, M.F.A. (Artist, Belgrade, Serbia) Contributors: Annie Vigier and Franck Apertet (les gens d’Uterpan), Parterre Iva Kontić, AGIT-PROP-FLASH-MOB (or The Workers’ Dance into the Twilight) Karolina Kucia, PARASITE: A Performer, the Mental Hotel and Life in the Gallery. Notes on Immaterial production depression and precarious labor Rena Rädle & Vladan Jeremić, OUT Praxa & Red Winter Jovana Stojanović, Little Wars

By the means of documentation (presentations, screenings and interviews), this session aims to establish a link between the history of performance art and contemporary artistic production, as well as to discuss its relationship to the socio-political moment. Inspired by the performance Imponderabilia (Marina Abramovich/Ulay, 1977), in which the naked artists stood in the narrow entrance of the gallery space facing each other and facing the audience with their own gaze, likewise today we reconsider the role of art/artists in relation to the society. Between proletariat and/or cognitariat, as a social coorporeality of cognitive work (F. Berardi: 2009), this session examines the collective, individual, and non-anthropomorphic bodies. If the performance Imponderablia opens the distance between the body of the artists and the audience; in the performance Parterre, this distance is abolished, in a sense that the bodies of performers directly glide over the audience. Agit-prop-FLASH-MOB (or The Workers’ dance at dusk) is inspired by the increasingly popular phenomenon of collective dancing under the self-organized street protests. OUT Praxa and Red Winter are two interventions from different spatio-temporal frameworks that link the withdrawal strategy and non-attendance in order to constitute political bodies. PARASITE rexamines immaterial production, depression and precarious work among the cultural workers. Small wars is a self-referential analysis of diseases; an attempt to run the deconstruction of personal identity.

14.00 - 16.00 DIALOGUE ABOUT THEATRE WITHIN THE CONTEXT #2 Self-consciousness and Drama in Education Aleksandra Stojanović (Faculty of Dramatic Arts, Belgrade, Serbia) Performing Practices in Digital Environment (case of virtual worlds) Biljana Mitrović, Ph.D. candidate (Faculty of Dramatic Arts, Belgrade, Serbia) Audience as Discursive Formation and the Failure of Socially Engaged Theatre Goran Tomka, Ph.D. candidate (Faculty for Sport and Tourism TIMS, Novi Sad, Serbia) Contexts of Bitef Polyphony…and Not Just Polyphony Ljubica Beljanski-Ristić (Cedeum, Belgrade, Serbia) Spoilsport: Vlatko Ilić, Ph.D. (Faculty of Dramatic Arts, Belgrade, Serbia)

DIALOGUE ABOUT THEATRE WITHIN THE CONTEXT #2

Day #3

Abstract:

SELF-CONSCIOUSNESS AND DRAMA IN EDUCATION Author: Aleksandra StojanoviÄ&#x2021; (Faculty of Dramatic Arts, Belgrade, Serbia)

In a world in which technology development has reached such a rise that the Internet and all of the technological resources enabling connection to the network create our reality, in a world in which it is possible to require all the information we need, and much more just by clicking a button, what role does classical education play in our lives? Is the position of the omniscient teacher and a student who should be filled with knowledge sustainable in such a system? More importantly, can theatre play an important role in such a system? What is its purpose and can it be used in education; can it help us in finding a compass in the chaos that is the world that surrounds us? In his book Education for critical consciousness Paulo Freire, Brazilian educator and philosopher, highlights the importance of critical thinking in education, as well as the need to use dialogue between the ones who transfer knowledge and the ones who receive it, opposing it to the relationship of monologue and silence. Even though Freire researched and dealt with a different kind of education, first and foremost teaching the poorest citizens of Brazil how to read and write, his ideas of conscientization, exchange through dialogue and encouragement of critical thinking are very relevant today. The teacher-student relationship can be, as seen through the prism of Freireâ&#x20AC;&#x2122;s philosophy, the relationship of the oppressor and the oppressed. Can the introduction of drama in education, that is to say the usage of theatre with the function of learning, incitement to think critically and indulge in independent research, change this dynamic that is still omnipresent in the educational system? Lead by contemporary discoveries in psychology and pedagogy and by the idea that learning through play can have a high impact on stimulating children and the youth to connect, develop and discover independently, this paper aims to show how it is possible to connect ideas of conscientization (set by Freire while working with the poor in Brazil) with the usage of drama in education in order to raise consciousness and stimulate the youth to think critically. In this paper, an attempt has been made to transpose the term conscientization, which Freire uses as more of a political term, to the feeling of consciousness that young people can develop while learning and creating. This paper is the examination on of how drama, as a way of learning, can contribute to raising of awareness and encouragement of students to be more independent, create stronger bonds between classmates and make room for a higher degree of freedom in learning and investigating. Reasons behind this experiment lay in the fact that the current education system is still set as a space of no freedom, where students spend most of the classes sleeping, being bored or hating the teacher, because they are still, in spite of development of the internet and the bigger accumulation of knowledge, seen as passive and subordinate. Keywords: theatre, education, consciousness, freedom, Freire 37

DIALOGUE ABOUT THEATRE WITHIN THE CONTEXT #2

Day #3

Abstract:

PERFORMING PRACTICES IN DIGITAL ENVIRONMENT (CASE OF VIRTUAL WORLDS) Author: Biljana MitroviÄ&#x2021;, Ph.D candidate (Faculty of Dramatic Arts, Belgrade, Serbia)

The aim of this paper is to present some of the performing practices represented in the digital environment, focusing on those practices that are related to virtual worlds, especially in the context of MMORPG video games (Massively Multiplayer Online Role-Playing Games). In virtual worlds, where a huge number of players simultaneously access constructed environment using the concept of role-playing, specific performative possibilities are present, in addition to playing games according to predefined rules or following the fixed game narrative. These include gatherings focused on entertainment, social, political objectives concerning the events and occurrence of a real, physical world, as well as the practice of organization of conferences within the virtual environment, and attempts of creative (potentially artistic) performative forms. In all these cases the presence of participants is provided by means of avatars, with more or less present elements of role-playing, depending on the type and purpose of the gathering and characteristics of particular virtual environments. In the proposed paper, these technological possibilities and social and cultural (and political) practices are contextualized in accordance with Richard Schechnerâ&#x20AC;&#x2122;s observations on the relationship between play, games, sports, theater and ritual, whilst bearing in mind the interactivity and the phenomenon that Erving Goffman has identified as focused gathering. Key words: performance, virtual environment, MMORPG, presence, politics

DIALOGUE ABOUT THEATRE WITHIN THE CONTEXT #2

Day #3

Abstract:

AUDIENCE AS DISCURSIVE FORMATION AND THE FAILURE OF SOCIALLY ENGAGED THEATRE Author: Goran Tomka, Ph.D. candidate (Faculty for sport and tourism - TIMS, Novi Sad, Serbia)

Theatre audiences are traditionally understood as temporary social formations gathered around a theatrical event; in other words, engaged in the practice of watching, experiencing or participating in the theatrical oeuvre. At the same time, audiences can also be seen as discursive formations or socially recognizable constructs used to describe and explain features of audience members as well as give arguments for, or justify certain practices related to the audiences (e.g. seating arrangements, pricing strategies, dramaturgical decisions and so on). They are produced through discursive practices (such as acts of thinking, talking and writing) of theatre practitioners, critics, policy makers and particular members of the audience. However, the boundary between these two practices – being an audience member and talking about audience – is a blurred one, since one informs and shapes the other. Hence, the production of discourses is embedded not only in the process of theatre production itself, but it also defines the social and political aspects of the entire theatrical field. Starting from this point, the presented research explores discourses on audiences in a particular cultural institution. Student cultural center Novi Sad is taken as a case study as, amongst else, theatre production house with an explicitly activist standpoint, with recent plays including To Kill Zoran Đinđić (Ubiti Zorana Đinđića), Dogvil and Balerine. Research findings show that discourses are produced through the interplay of institutional mission and culture, personal experiences of producers and selective and partial information on actual audience experiences and behavior. However, since the entire inherited system of theatre production is highly insensitive to the audience feedback (knowledge on and exposure to the audiences is very weak), discourses on audiences are mostly projections of various personal and institutional ideological standpoints. As a result, audiences members are portrayed as weak subjects deprived of agency, which itself is contradictory to the emancipatory mission of the socially engaged theatre. Based on the empirical findings, this paper suggests several conclusions. First, through their discourses on audiences – and not only theatrical texts and events on stage – theatre practitioners are producing (or approving) subjectivities that serve as desirable socio-psychological patterns of behavior. Second, engaged theatre, one that inspires critical thinking and empowers political participation, is possible only when audiences are treated as active subjects. Third, for such active agents to occur, institutions have to expose themselves to differing audience experiences in order to deconstruct an image of it as a passive social conglomerate. Key words: theatre audience, discourse analysis, practice theory

DIALOGUE ABOUT THEATRE WITHIN THE CONTEXT #2

Day #3

Abstract:

CONTEXTS OF BITEF POLYPHONY… AND NOT JUST POLYPHONY Author: Ljubica Beljanski Ristić (Founder of CEDEUM and BITEF Polyphony, Belgrade, Serbia)

How was the BITEF Polyphony created? In what context? How much has the context changed in the course of 15 years? In what way has the presentation of Art for Social Changes – Play against Violence regional programme within 34th BITEF in 2000, called Polyphony, responded to the contextual realities, and which kind of mechanisms were developed by BITEF Polyphony, in the following years, to enable intervention in the particular context, and all other contexts that existed and/or emerged? How has the BITEF Polyphony managed to influence the context? And how have different contexts influenced the BITEF Polyphony? What is the feedback of the BITEF Polyphony’s cyclic structures? How did they discover and develop polyphonic approach as a distinctive sign, concept and value? Through a review of the origin and development of the BITEF Polyphony, the author explores and reveals mechanisms of social dependence of artistic, educational, and other program initiatives that pretain to be activist, and to engage different stakeholders of the local community who foster dialogue, exchange of experiences, mutual partnership and cooperation on a larger scale, especially in regional frames. At the same time, the author opens a series of questions about the potentials and limitations of engagements of stakeholders that directly or indirectly change the work circumstances. The author also touches upon sustainability of the BITEF Polyphony as a program, given that it operates on the ground of insufficiently known rules the world it created itself and which, in spite of all, continues to build. Keywords: contextual realities, programme initiatives, developmental process, performing arts, potentials

PARTICIPANTS’ BIOGRAPHIES

Aleksandra Jelić is a film and theatre director, and author of several award-winning documentaries, theatre performances, music videos and commercials. She is founder of ApsArt Centre for Theatre Research. Over the past eleven years her professional engagement has been mainly focused on applied theatre. She has worked with children with learning disabilities, victims of family violence, Roma people, prisoners, children with cancer, drug addicts, psychiatric patients, youth in detention and other socially marginalized groups. She worked for six years in Serbian maximum security prisons and has been pioneer in the field of prison art in Serbia. In 2009. she won the ERSTE Award for Social Integration. In 2011. in Novi Beograd she founded a first Community Theatre in Serbia, creative center for socially active citizens. Devoted to spreading applied theatre practice and advocacy for right on arts.

Aleksandra Stojanović graduated Management and production of theatre, radio and culture at the Faculty of Dramatic Arts in Belgrade. During her studies she was a volunteer on numerous theatre festivals and conferences, and she is currently working at DAH Theatre. She has participated in a number of seminars and courses in Serbia and abroad, in which she worked on perfecting her knowledge and skills. At the moment she is finishing her masters in Theory of dramatic arts and the media at the Faculty of drama arts in Belgrade.

Ana Marjanovic-Shane is an Associate Professor of Education at Chestnut Hill College, Philadelphia, PA /USA. She is developing a socio-cultural approach to education grounded in the key aspects of creative activities: play and drama, imagination, and the arts. Strongly committed to developing and promoting cultural historical approach to human development and education – an approach based on an understanding that human development in all its fulness and complexity takes place through unique and irreplaceable events in life in which people create relationships, exchange and test their ideas and points of view, create multiple perspectives through participating in meaningful practices.

Bojana Ivanov-Đorđević graduated from Teacher Training Faculty of Belgrade in 2007. She finished the postgraduate studies of Theory of dramatic arts and media at the Faculty of Dramatic Arts in Belgrade, in 2013. She is founder and president of Edu-theater which brings together artists and educators in the tasks of nurturing, developing and research of theatre culture, through theory and practice dealing with puppetry, interactive and intercultural theater. She writes and works for both theater and television. She is employed in National Theatre “Sterija” in Vrsac, as dramaturge. She is mother of three children.

Bojana Skorc graduated from the Department of Psychology at Faculty of Philosophy in Belgrade in 1987. In 1992 she finished her master’s thesis and in 1999 she defended her PhD dissertation in the field of dream psychology at the Faculty of Philosophy in Belgrade. She is a lecturer in Psychology and Psychology of Art at the Faculty of Fine Arts in Belgrade, Faculty of Fine Arts, University of Montenegro and Faculty of Physics in Belgrade. She works as an educator in the field of an alternative education. She is actively involved in the international network of psychological associations, associations of the experimental and empirical aesthetics of art research.

Boris Čakširan is costume designer, scenographer, choreographer and director. Since 1996 he is visiting choreographer at one of the most relevant schools for contemporary dancing in Israel – MASPA (Mateh Asher School for Performing Arts). He established an international educational project, ERGstatus in Belgrade, 1998, with the intention to educate young dancers and choreographers, by bringing famous choreographers and pedagogues on our artistic scene. He is artistic director of Off Frame festival and ERGstatus Dance Theatre. He won numerous awards and prizes for costumes and design of puppets. Among other awards one stands out – third place and UBUS medal won on Festival of Choreographic Miniatures in May 2000.

Dragana Kružić graduated painting at the Academy of Applied Arts in Rijeka in prof Emilija Duparova’s class. She is enrolled in doctoral study of Theory of art and media at the University of Arts in Belgrade, in the Center for Interdisciplinary Studies. She has received numerous accolades, scholarships and awards, among which, the Rector’s Award for Excellence. She exhibited in approx. seventy solo and group, national and international shows (MC Gallery – New York , MMCA – Rijeka , Rookie Gallery – Graz, UNICUM – Maribor , CVU Batana – Rovinj , 46th Zagreb Salon – Glyptotheque Zagreb , Diocletian’s Palace – Split , MMC , MMC – Umag , the World Biennial of Student Photography ” Spens – Novi Sad). Eugene Matusov is a professor in the School of Education at the University of Delaware. He was born in the Soviet Union. He studied developmental psychology with Soviet researchers working in the Vygotskian paradigm and worked as a school teacher before immigrating to the United States. He uses sociocultural and Bakhtinian dialogic approaches to education, which he views as transformation of participation in a sociocultural practice.

Goran Tomka is a researcher and lecturer at the Faculty of Sport and Tourism from Novi Sad, and UNESCO Chair in cultural policy and management from Belgrade, Serbia. He is a PhD student at the Faculty of Dramatic Arts, Belgrade. His main research interest is cultural participation and the ways it is shaped by cultural policy and arts management. He has also been active as a trainer, activist and cultural manager working for several cultural organizations in Novi Sad, Belgrade and Berlin, and giving workshops and leading seminars to numerous activists and cultural professionals in Armenia, Bosnia, Germany, Greece, Lebanon, Serbia and Slovenia.

Janko Ljumović has a Master degree in Dramatic Arts and is currently holding a position of Associate Professor at the Faculty of Dramatic Arts in Cetinje (Theatre production, Contemporary art production and Creative industries). He graduated from his B.F.A and M.F.A at the Faculty of Dramatic Arts in Belgrade. Participated in numerous national and international conferences and projects in the field of cultural policy, dramatic arts and management in culture and media. Author and editor of five book and publications: Culture Page, Production of meaning, Start-up Creative Podgorica, Platforma for new scope of the iGrad project at the park. Head of the Montenegrin National Theatre since April 2008.

Karolina Spaić is director and artistic director of ZID Theater. She followed a training in classical ballet, studied literature, and made her first steps onto the stage in “Škozorište”, that was led by Ljubica Beljanski Ristić in her native city, Belgrade. After that she graduated from the International Theatre Department at the Arts Academy (HKU) in Utrecht, the Netherlands, in 1988. She has directed many performances since then, in which she combines elements from a variety of disciplines: physical theatre, performance art and various media. From 1995 until 2005, she took part in a specialisation study in theatre anthropology at the International School of Theatre Anthropology (ISTA) under Eugenio Barba, in Denmark. Theatre anthropology explores both non-western and western styles of physical theatre and dance styles. Ms. Spaic has published articles in several countries and her texts have been included in a number of books. In 1992, she established ZID Theater, where she directed all the performances and worked together with actor Sebo Bakker. To them, the word ZID (in Serbian ‘the wall’) means: breaking through and tearing down the walls between people by means of theatre. Many of the performances were internationally acclaimed at various theatre festivals in the Netherlands and abroad. ZID Theater has performed from the USA to Russia, Colombia, Morocco and many European countries. Since 2003, ZID is based in its own venue in Amsterdam. Since then ZID has been creating performances, producing festivals and has been active in the field of community art, cultural education and cultural participation. In 2011, ZID was awarded the prestigious ‘Apple of Orange award from the Oranje Fonds (A Dutch Royal Foundation). From its home base in Amsterdam, Spaić operates with ZID on the regional, national and international level.

Lazar Jovanov graduated acting in 2008. from the Academy of Arts in Novi Sad, and two years later he graduated at the Faculty of Management (Department of Management in the media). In 2015 he received his PhD degree from the Faculty of Dramatic Arts in Belgrade, with the theme: “Theatre city as a dynamic model of the development of social-cultural capital of the cities in the former Yugoslavia”. Currently, he is a lecturer at the Faculty of Media and Communications at the Singidunum University, on the courses of Cultural Policy and Cultural Management. As an actor, Lazar is starring in plays of KPGT Theatre, Terazije Theatre, Madlenianum, Mostar Youth Theatre, Theatre Bora Stankovic from Vranje, with several roles in Serbian National Theater, in addition.

Ljubica Beljanski – Ristić graduated Yugoslav literature and the Serbo-Croatian language from the Faculty of Philology in Belgrade. Since 1977 she had worked in the Cultural Centre “Stari grad”, where she has initiated the innovative, creative and interactive programs and workshops for children and youth, gathering and providing support to young professionals and artists to educate through practice and practical research projects, This way she has created a base for creative education, and implementation of drama in education (Drama Studio “Škozorište” Studio of creative education “Školigrica” …). In 1999 she founded the Center for Drama in Education and Art CEDEUM which became a National Centre for the Drama in Education within IDEA. She leads the national projects and participates in international projects, conducts numerous seminars and workshops targeting teachers and artists. She was a member of the committee for educational reform, for development of education strategy and the strategy of culture in the field of intersectoral cooperation. She advocates for the drama methodology and its application in education system. She designed the concept of Bitef Polyphony in 2000, and she lead the program till 2014. After fifteen years of her editorial engagement, Bitef Poliphony became important sustainable side program of the Belgrade International Theatre Festival BITEF.

Maja Ćirić (1977) is an independent curator. Short selection of recent exhibitions: Displacement of All Places, UQBAR, Berlin(2015); Stone, Wood and Paradise Syndrome, 1933 Contemporary gallery, Shanghai, China (2014); We’re Everything to Each Other, Lanchester Gallery Projects, Coventry, Great Britain (2013); 0.1: Yet Another Effort to Understand if it Really Emerged from Now Here, Open Space Open Systems, Vienna, Austria (2012); The Power to Host, ISCP, Brooklyn, New York, USA (2011). Her texts on curating and art criticism are published in Sternberg Press i Blackdog Publishers editions, OnCurating and Flash Art International. Marko Pejović is a psychologist, art theoretician and theater practitioner. He is the author of several projects featuring artists and members of various marginalized groups. He is the author of plays The Death and Life of Experimental Bunnies (special recognition of the Association of Playwrights of Serbia) and Dora’s Land of Oz (produced by the Mostar Puppet Theatre as part of its 60th anniversary). He was the dramaturge for several dance productions: A Curve for Gauss, Reset (received the INFANT 2010 award), Thanatos, Dogs… He is a co-author of the play Silence, and Aphanisis or about Cross-dressing. He is the executive director of the Festival of socially engaged theatre Off Frame/Van okvira, organized by Group „Let’s…“. Paul Murray is director of the Belgrade English Language Youth Theatre (BEL). He has worked through the U.K. Europe and internationally as an actor, director, professor and art consultant. As well as being director of the school, Paul is active within a number of other organisations, he is guest professor at several academies and has published a number of articles on the subjects of theatre, education and theatre and development.

Richard Grolleau is an actor and director. He attended acting school of Pierre Debauche in Paris from 1991 to 1994. Since then he cooperates with a number of directors of the independent theater companies. In 2008, he attended school for art therapy INECAT in Paris, where he currently works as an educator and dramatherapist. He founded the association Compagnie Arti-Zanat in which he leads workshops of artistic support to vulnerable groups (persons with disabilities, children without parental care, asylum seekers), in France as well as in Serbia (association of users of psychiatric services “Duša”, the Center for support to young people who live with HIV-AS), creating its own performances.

Sean Aita is Associate Professor – Theatre at the Arts University at Bournemouth. He is trained originally as a classical actor at the Bristol Old Vic Theatre School, and performed professionally in a wide range of genres on stage, film, television, and radio. He is an award winning theatre director and playwright, and is interested in cross disciplinary performance models. PSean moved into directing by observing/assisting at the Royal Opera House, and English National Opera before starting his own company Animus in London. He became Associate Director at the Royal Theatre Northampton, where he won the Checkout Theatre award for his play Yallery Brown, co-produced with Forkbeard Fantasy which subsequently transferred to Greenwich Theatre. He has had a twenty five year association with Vienna’s English Theatre in Austria where he has written, adapted and directed work seen by over 100,000 young people each year. As artistic director of regional touring theatre company Forest Forge, Sean’s work was short-listed for the Stage Award for Achievement in Regional Theatre, for his season of productions in 2005/06. At Forest Forge Sean produced the company’s first ever international co-production with Theatre Newfoundland and Labrador commissioning award winning writers Nell Leyshon and Robert Chafe. As a writer Sean’s play Bin-it won the live event category of the 2009 International Visual Communications Association Clarion awards recognising best practice in communicating the importance of CSR, sustainable development, social inclusion and ethical debate.

Silvija Jestrović studied playwriting and dramaturgy at the University of Belgrade (1989–1992) and completed her postgraduate studies at the University of Toronto in 2002. From 1990 to 1996 she was a freelance playwright, dramaturge and journalist. Before coming to Warwick in 2005, Silvija was SSHRC Postdoctoral Fellow and lecturer at York University in Toronto. Whilst at Warwick she has designed modules that address her interest in performance and exile, avantgarde theatre, playwriting, and theatre and performance theory. Research interest are: exilic theatre and performance, citizesnhip, gender and labour migration, contemporary urban and political performances, performances of the cultural Left, avant-garde theatre and performance, and culture of the Balkans.* Tasos Angelopoulos is Ph.D. student at the Drama Department AUTH (MA in Sociology , BA in Drama Department AUTH, BA in Law AUTH), born and lives in Thessaloniki. He is director, Drama in Education teacher and Adjunct Lecturer at the Drama Department AUTH. From 2011 he coordinates Theatre Company “Papalangki”/theatre outside theatre. Performances in public spaces: Dear Dad, by Milena Bogavac, The Golden City, by Danae Tanidou and himself, Hunting Scenes from Bavaria, by Martin Sperr. Performances into school classrooms: The story of Victor and Mary, Dombre Den, Goodnight Mr. Bear and I am (not) the cool guy, in his text.

Vera Večanski graduated from the Faculty of Fine Arts in Belgrade, where she completed MA studies in the field of drawing as well. She participated in numerous exhibitions in the country and abroad. Simultaneously with the artistic activity, she works as a teacher of art education at the Teacher Education Faculty in Belgrade. In the moment she is completing doctoral studies in the field of methodology of teaching the fine arts culture. Also she participates actively in art education projects for preschool and school age children, as author, contributor and implementer, in various cultural institutions (Museum of Contemporary Art in Belgrade, Children’s Cultural Centre of Belgrade, Children’s Department of Belgrade City Library etc.). Vlado Krušić jis a drama pedagogue and theatre director from Croatia. Since 1988, he was the head of the Educational Department of the Zagreb Youth Theatre, and since 2008 he is the head of the Youth Theatre Studio of the Croatian National Theatre in Varaždin. In 1996 he founded the Croatian Centre for Drama Education, and is actually its president. From 2004 to 2010 he was president of the General Assembly of the International Drama/Theatre and Education Association (IDEA). He has led over 150 seminars, workshops and conferences in the field of drama and theatre education. Since 2000 he occasionally taught drama pedagogy to students of social work and of Croatian studies at the University of Zagreb as well as to students in teacher training college in Petrinja, and now he is teaching at the Zagreb Faculty of Teacher Education – Department in Čakovec. In 2012 he defended his doctoral thesis Paradigms of modern Croatian drama pedagogy. Vlatko Ilic is a theatre director and arts and media theoretician. Since 1999 till 2001 he attended Lester B. Pearson UWC College of the Pacific, Victoria, Canada, for which he was awarded a scholarship from CIDA (Canadian International Development Agency). Since 2001 till 2009 he was awarded a scholarship from the Ministry of Education of the Republic of Serbia. Since 2009 till 2011 he was awarded a scholarship from the Ministry of Science and Technology of RS. In 2010 he completed his interdisciplinary PhD studies at the Department for Theory of Arts and Media, the University of Arts in Belgrade. Ilić is active in the fields of contemporary theatre, its theory and artistic education. He was awarded the special prize for directing at the 52nd Sterijino Pozorje theatre festival (2007), his book An Introduction to New Theory of Theatre (Nolit/Altera, Belgrade) came out in 2011, and he is currently teaching at The Faculty of Dramatic Arts Belgrade and Faculty of Arts, UDG (Podgorica, Montenegro). 46

Zvonimir Peranić works on Collegium Fluminense Polytechnic of Rijeka teaching Physics and Mathematic courses. He has a degree in Mathematic and physic – Faculty of Philosophy in Rijeka, Croatia. He has Master of Science degree in Science education – physic – Faculty of Natural Sciences, Mathematics and Kinesiology in Split, Croatia. He finished MAPA – Moving Academy for Performing Arts from Netherlands, in Czecs Republic, and in GITIS – Russian Theatre Academy, Moscow, he specialized Meyerhold Biomechanics by Gennady Bogdanov. He is a founder of the Rubikon Theatre (1995.) He participated in more then 40 festivals, and more than 40 theatre productions. Work of The Rubicon Theatre is based on the principles of established theories such as the theory of relativity, quantum physics and theory of chaos in particular, applied on the theatre directing and dramaturgy. His performances are based on body language (biomechanics, physical theatre and corporal mime) and objects in space (visual theatre).

Biljana Mitrović is PhD candidate in Theory of Dramatic Arts, Media and Culture (Faculty of Dramatic Arts, University of Arts, Belgrade). She graduated from the Faculty of Philology University of Belgrade, department of Serbian Literature and Language & World Literature and holds M.A. in Philology. She was visiting lecturer in game studies (University of Skövde, Sweden, 2014). She participated in several national and international academic conferences in Serbia and abroad (Lisbon, Prague, Cluj-Napoca, Utrecht…). She is author and co-author of papers published in proceedings and in special editions of Institute for Balkanology (SASA).

PROGRAM COMMITTEE

Milena Dragićević Šešić, Ph.D. (Faculty of Dramatic Arts, University of Arts in Belgrade, Serbia) Ana Marjanović-Shane, Ph.D. (Chestnut College Pennsylvania, USA) Silvija Jestrović, Ph.D. (University of Warwick, UK) Janko Ljumović, M.A. (Faculty of Dramatic Arts, Cetinje, Montenegro) Irena Ristić, Ph.D. committee president (Hop.La! & Faculty of Dramatic Arts, Belgrade, Serbia) Michal Babiak, Ph.D. (Faculty of Philosophy, Bratislava, Slovakia) Ljubica Beljanski-Ristić, drama pedagogue (founder of Cedeum and Bitef Poliphony, Belgrade, Serbia) Boris Čakširan, director, choreographer and costume designer (ERGstatus, Belgrade, Serbia) Vlatko Ilić, Ph.D. (Faculty of Dramatic Arts, Belgrade, Serbia) Vlado Krušić, Ph.D. (Croatian Centre for Drama Education - HCDO, Croatia)

ORGANIZATIONAL COMMITTEE Sandra Stojanović (Hop.La! Belgrade, Serbia) Vlatko Ilić (Faculty of Dramatic Arts, Belgrade, Serbia) Irena Ristić (Hop.La! & Faculty of Dramatic Arts, Belgrade, Serbia)

CONTACT pozoristeukontekstu.wordpress.com pozoristeukontekstu@gmail.com +381 (64) 4247767

The symposium is organized by Hop.La! as a part of 16th Bitef Polyphony, in cooperation with CEDEUM, Centre for Drama in Arts and Education, Belgrade, Faculty of Dramatic Arts, and UNESCO Chair in cultural Policy and Management, University of Arts in Belgrade, and with the support from the Ministry of Culture and Information of the Republic of Serbia.

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