354 KB79 KB201520252020Kosi, KatjaMilohnić, Aldoštevilka:1letnik:8str. 18-45ISSN:1855-4539ISSN:1855-850XCOBISSID:239685632COBISSID:249943040URN:URN:NBN:SI:DOC-YHK66FTFenslAkademija za gledališče, radio, film in televizijoDruštvo gledaliških kritikov in teatrologov SlovenijeAmfiteater (Ljubljana)amatersko gledališčeamateur theatreBertolt BrechtBranko KreftDelavski oderdelavsko gledališčeFerdo Delakproletarian actingproletarska igraWorkers' Stage (Delavski oder)workers' theatreDelavski oder in amaterski učinek "proletarske igre"| The Worker Stage (Delavski oder) and the amateur effect of "proletarian acting"|In the historiography of Slovenian theatre, a commonly acknowledged thesis claims that socalled drama societies ( dramatična društva ) were the most important factor in the gradual transition from dilettantism to the professionalisation of Slovenian theatre. In the history of Slovenian theatre, a parallel stream existed - workers' stages, which were established in many of Slovenian cities, especially after World War I. These amateur theatres were driven primarily by the idea of social emancipation since the establishing of professional and national theatres was not their priority. Some of them, in particular, the Workers' Stage (Delavski oder) in Ljubljana, were staging quality performances. The thesis of this article is that the quality of the Workers' Stage was made possible by the distinctive way of performing that Bratko Kreft and Ferdo Delak developed when they were running it and also because the Workers' Stage did not succumb to the temptation of entering the nonproductive (and inevitably already lost) competition with Slovenian professional theatres. Additionally, Brecht's idea about "the simplicity of acting" that ought to be "the alpha and the omega of proletarian acting" can help us explain the success of Workers' Stage. In his opinion, the actors who practise "proletarian acting" are amateurs; however, they are by no means dilettantes. The article presents findings on the repertory and performing arts' practices of the Workers' Stage in Ljubljana using Brecht's perspective of this conceptual and methodological differentiation; by analogy with his "estrangement effect" ( Verfremdungseffekt ), we can call it the amateur effect of "proletarian acting"V historiografiji slovenskega gledališča je splošno sprejeta teza, da so bila dramatična društva najpomembnejši dejavnik postopnega prehoda iz diletantizma v profesionalizacijo slovenskega gledališča. V zgodovini slovenskega gledališča pa je obstajal tudi vzporedni tok - delavski odri, ki so jih ustanovili v mnogih slovenskih mestih zlasti po koncu prve svetovne vojne. To so bili amaterski odri, ki jih je bolj kot ustanavljanje poklicnih in narodnih gledališč vodila ideja socialne emancipacije. Nekateri med njimi, zlasti Delavski oder v Ljubljani, so uprizarjali kakovostne predstave. Avtorjeva teza je, da je bilo to mogoče zato, ker je Delavski oder v času, ko sta ga vodila Bratko Kreft in Ferdo Delak, razvil značilni način uprizarjanja in ni podlegel skušnjavi, da bi vstopil v neproduktivno (in vnaprej izgubljeno) tekmovanje s poklicnimi slovenskimi gledališči. Poleg tega nam lahko Brechtova zamisel o "enostavni igri", ki naj bi bila "alfa in omega proletarske igralske umetnosti", pomaga razložiti uspeh Delavskega odra. Brecht meni, da so igralci, ki prakticirajo "proletarsko igro", amaterji, vendar pa nikakor niso diletanti. V prispevku avtor predstavi ugotovitve o repertoarju in uprizoritvenih praksah Delavskega odra v Ljubljani z vidika te Brechtove konceptualne in metodološke razmejitve, ki jo - po analogiji z njegovim "potujitvenim učinkom" - imenuje amaterski učinek "proletarske igre"TEXTznanstveno časopisjejournalsSlovenian National E-content AggregatorNational and University Library of SloveniaSlovenski gledališki inštitut (SLOGI)