{"?xml":{"@version":"1.0"},"edm:RDF":{"@xmlns:dc":"http://purl.org/dc/elements/1.1/","@xmlns:edm":"http://www.europeana.eu/schemas/edm/","@xmlns:wgs84_pos":"http://www.w3.org/2003/01/geo/wgs84_pos","@xmlns:foaf":"http://xmlns.com/foaf/0.1/","@xmlns:rdaGr2":"http://rdvocab.info/ElementsGr2","@xmlns:oai":"http://www.openarchives.org/OAI/2.0/","@xmlns:owl":"http://www.w3.org/2002/07/owl#","@xmlns:rdf":"http://www.w3.org/1999/02/22-rdf-syntax-ns#","@xmlns:ore":"http://www.openarchives.org/ore/terms/","@xmlns:skos":"http://www.w3.org/2004/02/skos/core#","@xmlns:dcterms":"http://purl.org/dc/terms/","edm:WebResource":[{"@rdf:about":"http://www.dlib.si/stream/URN:NBN:SI:doc-HF95ETF2/f2f92659-d7f6-4a20-836f-057388661f67/PDF","dcterms:extent":"342 KB"},{"@rdf:about":"http://www.dlib.si/stream/URN:NBN:SI:doc-HF95ETF2/49b72c1f-5293-44ed-b381-567841db4e07/TEXT","dcterms:extent":"83 KB"}],"edm:TimeSpan":{"@rdf:about":"2015-2025","edm:begin":{"@xml:lang":"en","#text":"2015"},"edm:end":{"@xml:lang":"en","#text":"2025"}},"edm:ProvidedCHO":{"@rdf:about":"URN:NBN:SI:doc-HF95ETF2","dcterms:isPartOf":[{"@rdf:resource":"https://www.dlib.si/details/URN:NBN:SI:spr-I624P2HE"},{"@xml:lang":"sl","#text":"Amfiteater (Ljubljana)"}],"dcterms:issued":"2020","dc:creator":"Orel, Barbara","dc:contributor":"Zajec, Urška","dc:format":[{"@xml:lang":"sl","#text":"številka:1"},{"@xml:lang":"sl","#text":"letnik:8"},{"@xml:lang":"sl","#text":"str. 92-120"}],"dc:identifier":["ISSN:1855-4539","ISSN:1855-850X","COBISSID:239685632","COBISSID:249943040","URN:URN:NBN:SI:DOC-HF95ETF2"],"dc:language":["en","sl"],"dc:publisher":[{"@xml:lang":"sl","#text":"Akademija za gledališče, radio, film in televizijo"},{"@xml:lang":"sl","#text":"Društvo gledaliških kritikov in teatrologov Slovenije"}],"dc:subject":[{"@xml:lang":"sl","#text":"1970-1980"},{"@xml:lang":"en","#text":"acting"},{"@xml:lang":"en","#text":"alternative theatre"},{"@xml:lang":"sl","#text":"alternativno gledališče"},{"@xml:lang":"en","#text":"amateur theatre"},{"@xml:lang":"sl","#text":"eksperimentalno gledališče"},{"@xml:lang":"en","#text":"experimental theatre"},{"@xml:lang":"sl","#text":"igranje"},{"@xml:lang":"sl","#text":"ljubiteljsko gledališče"},{"@xml:lang":"en","#text":"not-acting"},{"@xml:lang":"sl","#text":"profesionalno gledališče"},{"@xml:lang":"en","#text":"professional theatre"}],"dcterms:temporal":{"@rdf:resource":"2015-2025"},"dc:title":{"@xml:lang":"sl","#text":"Ljubiteljsko gledališče in alternativa osemdesetih| Amateur theatre and the alternative of the 1970s| obrat k neigranju v slovenskih scenskih umetnostih| the turn to not-acting in the Slovenian performing arts|"},"dc:description":[{"@xml:lang":"sl","#text":"The article explores the field between amateur and experimental theatre in Slovenia in the 1970s. It draws on Peter Božič's finding that the amateur, non-professional groups consisting of self-made artists who created on the edge of amateur and professional theatres played a pivotal role in the history of the Slovenian and international theatre avant-gardes. The discussion focuses on the experimental theatre groups founded by theatre amateurs in that period (e.g., the Pupilija Ferkeverk Theatre, the Pekarna (Bakery) Theatre, the Nomenklatura (Nomenclature) group, groups founded by Tomaž Kralj, Vlado Šav, Jani Osojnik, etc.). They offered an alternative to the repertory theatres as well as to the institution of experimental theatre (in the 1970s, this was the Glej Experimental Theatre). Despite the diversity of their theatrical visions, they shared a common tendency towards not-acting. Their efforts to perform beyond representation are more closely examined by drawing on the work of Michael Kirby, who (based on examples from American stages) developed a continuum from not-acting to acting. The article analyses different categories of acting in Slovenia, which ranged from non-matrix acting through non-matrix representation, received acting and simple acting to so-called complex acting. The turn to not-acting is explored in the period between 1966 (when the first happenings took place) and the beginning of the 1980s (when the theatre innovators who sprang from the field of amateur culture started gaining acclaim, which had previously not been the case). In this, the article points out that the turn to not-acting in the Slovenian performing arts was possible precisely due to the untrained actors and theatre enthusiasts who were not active in theatre on a professional basis"},{"@xml:lang":"sl","#text":"Članek prouči vmesno polje med ljubiteljskim in eksperimentalnim gledališčem v Sloveniji v sedemdesetih letih 20. stoletja. Opre se na ugotovitev Petra Božiča, ki poudarja, da so v zgodovini gledaliških avantgard, slovenskih in mednarodnih, ključno vlogo odigrale amaterske, neprofesionalne skupine, sestavljene iz samorastnikov, ki so ustvarjali na obrobju ljubiteljskih in profesionalnih gledališč. Razprava se osredotoči na eksperimentalne gledališke skupine, ki so v tistem času izšle iz vrst ljubiteljev gledališča (med njimi Gledališče Pupilije Ferkeverk, Pekarna, Nomenklatura, skupine Tomaža Kralja, Vlada Šava, Janija Osojnika idr.). Ponudile so alternativo v odnosu do repertoarnih gledališč pa tudi v odnosu do institucije eksperimentalnega gledališča (v sedemdesetih letih je bilo to Eksperimentalno gledališče Glej). Ne glede na raznolikost njihovih gledaliških vizij jim je bila skupna težnja k neigranju. Njihova prizadevanja za predstavljanje onkraj reprezentacije so natančneje proučena s pomočjo Michaela Kirbyja, ki je (na primerih z ameriških odrov) razvil lestvico razmerij med neigranjem in igranjem. Članek analizira različne kategorije igranja v slovenskem prostoru, ki od nematričnega igranja prek nematrične reprezentacije, sprejetega igranja in enostavnega igranja vodijo k t. i. kompleksnemu igranju. Obrat k neigranju razišče za čas med letom 1966 (ko so bili izvedeni prvi hepeningi) in začetkom osemdesetih let (ko so prizadevanja inovatorjev gledališča, ki so izhajali s področja ljubiteljske kulture, začela pridobivati veljavo). Ob tem pokaže, da je bilo obrat k neigranju v slovenskih scenskih umetnostih mogoče izpeljati prav s pomočjo netreniranih igralcev in ljubiteljev gledališča, ki se z gledališčem sicer niso profesionalno ukvarjali"}],"edm:type":"TEXT","dc:type":[{"@xml:lang":"sl","#text":"znanstveno časopisje"},{"@xml:lang":"en","#text":"journals"},{"@rdf:resource":"http://www.wikidata.org/entity/Q361785"}]},"ore:Aggregation":{"@rdf:about":"http://www.dlib.si/?URN=URN:NBN:SI:doc-HF95ETF2","edm:aggregatedCHO":{"@rdf:resource":"URN:NBN:SI:doc-HF95ETF2"},"edm:isShownBy":{"@rdf:resource":"http://www.dlib.si/stream/URN:NBN:SI:doc-HF95ETF2/f2f92659-d7f6-4a20-836f-057388661f67/PDF"},"edm:rights":{"@rdf:resource":"http://creativecommons.org/licenses/by/4.0/"},"edm:provider":"Slovenian National E-content Aggregator","edm:intermediateProvider":{"@xml:lang":"en","#text":"National and University Library of Slovenia"},"edm:dataProvider":{"@xml:lang":"sl","#text":"Slovenski gledališki inštitut (SLOGI)"},"edm:object":{"@rdf:resource":"http://www.dlib.si/streamdb/URN:NBN:SI:doc-HF95ETF2/maxi/edm"},"edm:isShownAt":{"@rdf:resource":"http://www.dlib.si/details/URN:NBN:SI:doc-HF95ETF2"}}}}