305 KB53 KB127 KB4 KB201520252016Lobnik, Aljaštevilka:2letnik:454-72, 141ISSN:1855-4539ISSN:1855-850XCOBISSID:239685632COBISSID:249943040URN:URN:NBN:SI:DOC-G6IJ7GN4slAmfiteater (Ljubljana)eventnessgenealogijagenealogygledališčegledališka semiotikagledališka teorijamaterialismmaterializemnew dramanova dramatikasemioticstheaterOd semiotike k pragmatizmu| pretres ontologije teksta na primeru "nove dramatike"|The antagonism of a thought as an event - as proposed by Deleuze - and a thought as representation is a line of thinking that makes a diversion from semiotics, the basic model of the 20th century theory of theatre, and instead applies a genealogical approach. The article addresses "new drama" on the basis of this tradition which poses the following question: "How to think the relation between the text and the event beyond representation?" Due to the intertwinement of the text and eventness - the texts are produced considering their performativity, with a clear knowledge of the theatre dispositif, they are produced within or by the event - such changes blur the liminality of the texts and their autonomous status. Investigating the relation between practice and knowledge, we are interested in whether there exists a sufficient conceptual apparatus within the literary/theatrical theory that would reflect literary originality, transgressiveness (across some classical drama postulates), liminality (between theatre and literature) and, in particular, the eventness of "new drama". Following the tradition of the (French) score of thought - Althusser, Deleuze, Massumi - the article focuses on the textual practices of new drama and theoretical shifts, their immanent liaison and a reflection on the academic disciplines that have - when confronted by interventions of theory and practice - been compelled to re-evaluate their autonomy and ontologyBoj misli kot dogodka - ki ga v temelju misli Deleuze - zoper misel kot reprezentacijo je tista miselna linija, ki zavije stran od temeljnega modela gledališke teorije 20. stoletja, semiotike, ter skuša premike razmisliti genealoško. Razprava skuša premisliti "novo dramatiko" prav na podstati te miselne tradicije, ki vzpostavi vprašanje: "Kako misliti odnos tekst - dogodek onkraj reprezentacije?" Zaradi bližine in prepletenosti teksta z dogodkovnostjo - teksti nastajajo z mislijo na uprizorljivost, z jasnim poznavanjem gledališkega dispozitiva, so v dogodku proizvedeni ali jih dogodek proizvaja - tovrstne spremembe zabrišejo mejnost tekstov in njihov avtonomni status. Na sledi razmerja med prakso in vednostjo nas zanima, ali znotraj literarne/gledališke teorije obstaja zadosten konceptualni aparat, ki bi lahko mislil literarno izvirnost, transgresivnost (nekaterih klasičnih dramskih postulatov), liminalnost (med gledališčem in literaturo) ter zlasti dogodkovnost "nove dramatike"? V članku, ki sledi tradiciji (francoske) misli - Althusser, Deleuze, Massumi -, se naše pisanje osredini okoli besedilnih praks nove dramatike in teoretskih premestitev, njune imanentne zvezanosti ter preizpraševanja akademskih disciplin, ki so bile ob vsakokratnih teoretsko-praktičnih intervencijah primorane reevaluirati lastno avtonomijo in lastno ontologijoTEXTznanstveno časopisjejournalsSlovenian National E-content AggregatorNational and University Library of SloveniaSlovenski gledališki inštitut (SLOGI)