320 KB0 KB201520262026Krieger, Helena Valerijaštevilka:1letnik:14str. 326-351DOI:10.51937/Amfiteater-2026-1/326-351ISSN:1855-4539COBISSID_HOST:289144067URN:URN:NBN:SI:doc-M5LAKY7Tsl= University of Ljubljana PressAmfiteater (Ljubljana)contemporary balletintermedia artistic practiceintermedijska umetniška praksapost-pandemic dancepostpandemijski plessodobni baletHeterotopije digitalne transformacije| prostorska analiza The dying swans project v pandemijskem in postpandemijskem kontekstu|The artistic director of the Stuttgart-based Gauthier Dance Company, Eric Gauthier, named his dancers the Dying Swans after the extensive cancellation of international tours in 2021. The social and health-related challenges that affected the arts during the period of pandemic restrictions (2020–2022) allowed artistic work to be realised only in digital or screen-mediated forms, which became the sole means of artistic creation and of maintaining contact with audiences. The online premiere of The Dying Swans Project, which features sixteen original ballet choreographies, took place on 16 April 2021. The article examines the approaches to space employed by the choreographers, as well as the modes of artistic expression enabled through the digital medium, which, according to Gauthier, remains only an alternative to the traditional stage experience. Addressing the audience through the camera requires different performative elements, in which the stage is replaced by the urban environment, the studio or nature. This establishes new phenomenological, conceptual and theoretical foundations for the transformation of dance theatre. Theoretical interpretations, supported by an analysis of performance practice, point to the forced acceptance of virtual theatre as a temporary solution; at the same time, virtuality represents a challenge of the contemporary moment. Using Patrice Pavis’s method of analysis, the article examines the spatial aesthetics of The Dying Swans Project within the framework of hybrid forms that transcend the traditional stage space and, in the post-pandemic period, enter a new social paradigm. Pavis’s method is complemented by Foucault’s understanding of heterotopia as an “other space” in which incompatible spatial orders are juxtaposedUmetniški vodja Gauthier Dance Company iz Stuttgarta, Eric Gauthier, po obsežni odpovedi mednarodnih gostovanj leta 2021 svoje plesalce poimenuje Dying Swans. Družbeni in zdravstveni izzivi, ki so vplivali na umetnost v obdobju pandemijskih omejitev (2020–2022), so omogočali realizacijo projektov le v virtualnem prostoru, ki je postal edina možnost za umetniško ustvarjanje in ohranjanje stika z občinstvom. Virtualna premiera The Dying Swans Project, ki vsebuje šestnajst avtorskih baletnih koreografij, je bila 16. aprila 2021. Članek raziskuje pristope k prostoru, ki so jih uporabili koreografi, ter načine umetniškega izražanja skozi digitalni medij, ki po Gauthierju ostaja le alternativa tradicionalni odrski izkušnji. Nagovarjanje občinstva prek kamere zahteva drugačne uprizoritvene elemente, kjer oder nadomestijo urbano okolje, studio ali narava, kar vzpostavlja nove fenomenološke, konceptualne in teoretske temelje za transformacijo plesnega gledališča. Teoretske razlage, podkrepljene z analizo uprizoritvene prakse, kažejo na prisilno sprejemanje virtualnega gledališča kot začasne rešitve, hkrati pa virtualnost predstavlja izziv sodobnosti. Z uporabo Pavisove metode analize članek preučuje prostorsko estetiko Dying Swans Project v okviru hibridnih form, ki presegajo tradicionalni odrski prostor in v postpandemijskem obdobju vstopajo v novo družbeno paradigmo. Pavisova metoda je dopolnjena s Foucaultevim razumevanjem heterotopije kot drugega prostora, v katerem se sopostavljajo različni, zgodovinsko, medijsko in zaznavno neenotni prostorski rediTEXTznanstveno časopisjejournalsSlovenian National E-content AggregatorNational and University Library of SloveniaSlovenski gledališki inštitut (SLOGI)