272 KB41 KB258 KB43 KB201520252016Glišić, NatašaZajec, Urškaštevilka:2letnik:4str. 74-106ISSN:1855-4539ISSN:1855-850XCOBISSID:239685632COBISSID:249943040URN:URN:NBN:SI:DOC-SOXF94O9enslAmfiteater (Ljubljana)dobesedno gledališčedokumentarno gledališčegledališke predstavesrbsko gledališčeuprizoritvezaporizapornicežrtve nasiljaZapor - absurdni prostor svobode| Prison - an absurd space of freedom|Over the last two decades, theatre practitioners across Europe and beyond have turned to documentary modes of playwriting and performance-making to confront new socio-political realities. This has led to a vast range of performance styles, ways of working and modes of intervention in varied sites of theatrical production. As a form of documentary theatre, verbatim theatre aims at what is understood as a true and authentic presentation of the problems within the public sphere, which are inevitably reflected in the private lives of real people. This essay focusses on the play Trpele They Suffered, which was staged at the Belgrade Drama Theatre (director and set designer Boban Skerlić) and addresses the issue of violence against women. The play is based on the documentary material and testimonies from the women victims of violence that have been collected as part of the research conducted in prisons by the Helsinki Committee for Human Rights in Serbia. The imprisoned women represented in the performance are serving sentences for murdering their respective abusers. This paper explores the viability and resonance of various dramaturgical strategies of the documentary mode of performance-making known as verbatim. It looks at the specific strategies employed in the documentary theatre piece written by Milena Depolo and Boban Skerlić, a theatre piece that gives shape to, represents and performs the precarious condition in which these marginalised and dispossessed female victims of violence in the Western Balkans have found themselves, challenges its audiences' imagination and demands their affective engagement with this difficult social issueZa soočanje z novimi družbenopolitičnimi realnostmi so v zadnjih dveh desetletjih gledališčniki po vsej Evropi in drugod začeli uporabljati dokumentarne načine dramskega pisanja in uprizarjanja. Rezultat je široka paleta slogov uprizarjanja, metod dela in načinov intervencije na različnih prizoriščih gledališke produkcije. Kot oblika dokumentarnega gledališča dobesedno gledališče (ang. verbatim theatre) stremi k temu, kar razumemo kot realno in avtentično prezentacijo problemov iz javne sfere, ki se neogibno zrcalijo v zasebnem življenju navadnih ljudi. Pričujoči članek se osredotoča na predstavo Trpele slov. Trpeče Beograjskega dramskega gledališča (režiser in scenograf Boban Skerlić), ki obravnava problem nasilja nad ženskami. Predstava temelji na dokumentarnem gradivu in pričevanjih žensk žrtev nasilja, zajetih v raziskavo, ki jo v zaporih opravlja Helsinški odbor za človekove pravice v Srbiji. V predstavi upodobljene zapornice prestajajo kazni zaradi umora nasilnikov. Prispevek raziskuje uspešnost in odmevnost različnih dramaturških strategij dokumentarnega načina uprizarjanja, poznanega kot dobesedno gledališče. Analizira specifične strategije dokumentarnega gledališkega dela avtorjev Milene Depolo in Bobana Skerlića, ki vzpostavlja, reprezentira in uprizarja kočljiv položaj, v katerem so se znašle omenjene marginalizirane in razlaščene žrtve nasilja na Zahodnem Balkanu, izziva domišljijo gledalcev in zahteva, da se glede tega zapletenega družbenega problema čustveno angažirajoTEXTznanstveno časopisjejournalsSlovenian National E-content AggregatorNational and University Library of SloveniaSlovenski gledališki inštitut (SLOGI)