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23. SEPTEMBAR SVEČANA SALA REKTORATA UNIVERZITETA UMETNOSTI 10:30-11:00 OBRAČANJE PROF. MR ZORANA ERIČA, REKTORA UNIVERZITETA UMETNOSTI 11:00-13:00 TRIBINA U savremenoj umetnosti uopšte, pa tako i u izvođačkim umetnostima, nemoguče je, zbog njihove višestruke složenosti, prepoznavati i izdvajati estetske fenomene bez podrške teorije. Kao i prošle godine, središnji estetski fenomen koji mapira glavni program festivala izoštrava se i kontekstualizuje teorijskom debatom, s torn razlikom što ove godine u njoj, pored teoretičara, učestvuju i umetnici. Tema Tribine jeste fenomen koji presudno ili značajno odreduje predstave Quizoola! trupe Forsd Enterteinment, Olimp Jana Fabra, pa i Biblija, prvi pokušaj Jerneja Lorencija: reč je o vrlo dugim predstavama (traju 3,5, 6, pa čak i 24 sata). Za ovakve se predstave ill, sire posmatrano, ovakva izvodenja, cesto koristi izraz „durational performances". U tim predstavama, a kroz dugo trajanje koje se fiziološki percipira, iskustvo vremena se izdvaja kao središnje: ono više nije spoljašnja okolnost izvodenja, več njegova glavna tema. Kada analizira fenomen vremena u postdramskom pozorištu, Hans-Tis Leman proširuje ovu hipotezu, tvrdeči da ne samo sporo ili dugo, več svako „osveščeno trajanje" izvodenja (dakle, i izuzetno kratko, kao u predstavi Vojnik ruskog reditelja Dimitrija Volkostrelova koja traje 15 minuta, prim. L M.j čini da vreme počinjemo da opažamo, da ga s nivoa puke izvodačke datosti uzdižemo na nivo teme. Kad govorimo o sporom i dugom trajanju, treba imati u vidu da se „estetika usporavanja" javlja i u drugim umetnostima - recimo, na filmu - ali, daje, zbog aspekta dogadajnosti, posebno izražena u izvodačkim umetnostima, Analizirajuči fenomen „velikog" u pozorištu, pa tako i dugog trajanja, francuski teoretičar Fredrik Moren iznosi provokativnu hipotezu da ovaj fenomen uvek čini da „napustimo teatar", kako figurativno tako i doslovno. Dugo trajanje implicira „križu reprezentacije", čini da i čvrsto strukturisana predstava postane performans, Ako iz teorijskog predemo u umetnički govor, onda ova hipoteza dobija jaku potporu u onom što tvrdi reditelj Tim Ečels, jedan od osnivača angleške trupe Forsd Enterteinment, koja je svetski čuvena upravo po svojim „durational performances“. Dugo trajanje vrši psi-

23 rd SEPTEMBER FORMAL HALL, UNIVERSITY OF ARTS, THE RECTORY 10:30-11 AM: ADDRESS OF PROF. ZORAN ERIC, THE RECTOR OF THE UNIVERSITY OF ARTS 11 AM-1 PM: PANEL Due to the multilayered complexity of modern art in general and the performing arts in particular, it is impossible to recognise and highlight aesthetic phenomena without some theoretical support. This year, as well as last year, the central aesthetic phenomenon as defined by the festival's main programme is brought into focus and contextualised in a theoretical debate, except that this year artists will participate side by side with theorists. The subject of the panel decisively or significantly determines the performances Quizoo/a! by Forced Entertainment company, Mount Olympus by Jan Fabre, and even The Bible, the First Attempt by Jernej Lorenci: these are all very long performances (lasting three and a half, six. and even 24 hours). Such performances are often called 'durational'. In such performances, due to their long duration perceived physiologically, the experience of time stands out as central: it is no longer an external circumstance of the performance but its principal subject. Analysing the phenomenon of time in postdramatic theatre, Hans Thiess Lehmann expands on this and argues that not only very slow and long performances, but any performance whose duration is 'sensitised' (therefore even very short performances, such as Soldier, a 15-minute performance by the Russian director Dimitry Volkostrelov 1.M.) makes us aware of the time and raises it to the level of the subject from that of a mere performing given. When talking about slow and long duration, one needs to bear in mind that the 'aesthetic of slowing down' appears in other arts as well - film, for instance - but it is particularly manifest in the performing arts due to their "experientiality”. Analysing the phenomenon of 'great' or ‘large-scale’ in theatre, including that of long duration, the French theorist Frédéric Maurin has offered a provocative hypothesis arguing that this phenomenon always makes us 'leave the theatre', both figuratively and literally. Long duration implies a ‘crisis in representation', turning even a firmly structured spectacle into art of performance. If we move from the theoretical to the artistic domain, this hypothesis finds much support in the work of Tim Etcheils, one of the founders of

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