412 KB58 KB54 KB1 KB201520252019Leskovšek, Nikaštevilka:1letnik:7str. 108-130ISSN:1855-4539ISSN:1855-850XCOBISSID:239685632COBISSID:249943040URN:URN:NBN:SI:DOC-D4KMQ3OFenAkademija za gledališče, radio, film in televizijoDruštvo gledaliških kritikov in teatrologov SlovenijeAmfiteater (Ljubljana)democracydemokracijaDragan ŽivadinovDrama observatory KapitalDramski observatorij KapitalGledališče sester Scipion NasiceNSKperforming artspoliticalitypolitičnostRepublic of SloveniaRepublika SlovenijasocialismsocializemThe Scipion Nasice Sister Theatreuprizoritvene umetnostiThe socio-political function of performing arts and the democratisation of the Republic of Slovenia| the example of Drama observatory Kapital (1991)|The paper deals with a performance with the meaningful title Drama Observatory Kapital. It premiered in 1991, in the year of Slovenian independence. Directed by Dragan Živadinov, it was made in the context of the politically subversive art collective NSK (Neue Slowenische Kunst). I am analysing the performance by taking a different approach, which enables highlighting the political context and public responses to the performance with an analysis of its introductory rituals (E. Čufer, S. Kardum). In the case of Kapital, those took the form of theatralised conferences, consequential media reports and readers' responses, as well as Dragan Živadinov's hunger strike before the performance. These accompanying events to the performances - popular exactly at the turn of the Republic of Slovenia from Yugoslav socialism to parliamentary democracy - enabled the artists, Živadinov in particular, to publicly provoke a discussion about the socio-political role of art and the national cultural policy in the newly established democratic state, thus testing the level of its democratisation. By analysing these introductory rituals to Kapital, I am therefore employing a discussion on the wider subject of "today's culture in democracy" (van Maanen) and its specifics in the Slovenian transition, which touches upon crucial issues about understanding democracy, democratisation and politicality in relation to art, especially to its socio-political function. In the end, I emphasise the change in public discourse on art by framing the polemics in the question of today's socio-political role of art, thus offering a broader viewpoint on the current happeningsV razpravi obravnavam predstavo s pomenljivim in zgovornim naslovom Dramski observatorij Kapital iz leta slovenske osamosvojitve 1991. Gre za predstavo v režiji Dragana Živadinova, ki si je do danes ustvaril prepoznaven mednarodni opus (tega obširno analizira B. Anđelković v delu Umetniški ustroj Noordung). Čeprav sama predstava Kapital do te mere celovito še ni bila analizirana, zlasti ne v kontekstu kolektivnega projekta NSK (Neue Slowenische Kunst), je namen razprave raziskava in predstavitev javnega dojemanja vloge umetnosti v družbi v času spremenjenih družbenopolitičnih razmer in tranzicije iz socializma v demokracijo, in sicer s pomočjo analize (medijske) recepcije dogodka Kapital v najširšem pomenu besede. Kot metodo uporabljam analizo "uvodnih ritualov" (E. Čufer, S. Kardum), tj. spremljevalnih dogodkov k umetniškim praksam, ki so bili posebej značilni za slovenske uprizoritvene prakse v obdobju slovenske osamosvojitve. Ker govorim o začetku devetdesetih, to pomeni fokus na časopisne objave. Zlasti me zanimajo (umetniško izzvane) objave v medijih, ki so jih sprožile tiskovne konference, kontekst kolektivnega projekta NSK in gladovna stavka Dragana Živadinova, ki jih obravnavam kot uvodne rituale k predstavi KapitalTEXTznanstveno časopisjejournalsSlovenian National E-content AggregatorNational and University Library of SloveniaSlovenski gledališki inštitut (SLOGI)