292 KB42 KB175 KB5 KB201520252016Jelesijević, Nenadštevilka:236-52, 140letnik:4ISSN:1855-4539ISSN:1855-850XCOBISSID:239685632COBISSID:249943040URN:URN:NBN:SI:DOC-77EK0DCWslAmfiteater (Ljubljana)gledališki likinemi likiobčinstvosamorefleksijascenske umetnostisodobno gledališčeZev, ki zamaje institucijo| nemi lik v utopiji performansa|We understand manifestations of muteness in today's capitalist mise en scene - that keeps and encourages the status of exception via mechanisms of management, surveillance, administration, classification and selection - as a consequence of the depoliticisation of life. In the realm of performance, however, such manifestations might mean resistance against the existing. We are not interested in the mute character as a potential stage(d) representation of the excluded ones, but as a factor that can influence the opening of a space in which silenced voices can be heard. Staging the mute character raises a series of questions: How do we open the delimited stage space? How do we establish conditions for the muted voices to be heard, while at the same time avoiding the trap of representation? How do we gain the space-time of speaking? How do we act outside of the institutional paradigm? How do we face the audience's muteness? The mute character might make a rupture in the spectacle's canon of speaking at any cost, which exactly proves the mute character's performative potential that politicises a stage situation, and also takes effect beyond the very performance. We have noticed foundations for thinking the mute character in the context of institutional critique in two performances: Via Negativa's Last Rehearsal for the Generation and Simona Semenič's The Second TimeManifestacije nemosti v aktualni kapitalistični mizansceni, ki prek mehanizmov upravljanja, nadzora, administriranja, klasifikacije in selekcije vzdržuje in spodbuja status razlike, beremo kot posledico depolitizacije življenja, v performansu pa lahko pomenijo upor zoper obstoječe. Nemi lik nas ne zanima kot morebitna odrska reprezentacija izključenih, temveč kot dejavnik, ki lahko vpliva na odpiranje prostora, v katerem se utišani glasovi slišijo. Scenske rabe nemega lika so povezane z vrsto pomembnih vprašanj: Kako odpreti zamejen odrski prostor? Kako vzpostaviti pogoje za slišnost utišanih glasov, ne da bi se pri tem ujeli v past reprezentacije? Kako si priboriti prostor-čas govorjenja? Kako delovati onkraj institucionalne paradigme? Kako se soočati z nemostjo občinstva? Nemi lik lahko povzroči razpoko v spektakelskem kanonu govorjenja za vsako ceno, ravno od tod njegov performativni potencial, ki politizira scensko situacijo in deluje tudi onkraj samega performansa. Nastavke za premišljevanje nemega lika v kontekstu kritike institucije smo zaznali v predstavah Generalka za generacijo Vie Negative in drugič Simone SemeničTEXTznanstveno časopisjejournalsSlovenian National E-content AggregatorNational and University Library of SloveniaSlovenski gledališki inštitut (SLOGI)