{"?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-OPXFJ7X6/2c10ff0d-f4c8-4fc6-9b03-c978c47d4352/PDF","dcterms:extent":"307 KB"},{"@rdf:about":"http://www.dlib.si/stream/URN:NBN:SI:doc-OPXFJ7X6/1fa35813-94e1-40ed-80a5-9f4d2f015532/TEXT","dcterms:extent":"0 KB"}],"edm:TimeSpan":{"@rdf:about":"2015-2026","edm:begin":{"@xml:lang":"en","#text":"2015"},"edm:end":{"@xml:lang":"en","#text":"2026"}},"edm:ProvidedCHO":{"@rdf:about":"URN:NBN:SI:doc-OPXFJ7X6","dcterms:isPartOf":[{"@rdf:resource":"https://www.dlib.si/details/URN:NBN:SI:spr-I624P2HE"},{"@xml:lang":"sl","#text":"Amfiteater (Ljubljana)"}],"dcterms:issued":"2025","dc:creator":"Lukan, Blaž","dc:format":[{"@xml:lang":"sl","#text":"letnik:13"},{"@xml:lang":"sl","#text":"številka:2"},{"@xml:lang":"sl","#text":"str. 68-91"}],"dc:identifier":["DOI:10.51937/Amfiteater-2025-2/68-91","ISSN:1855-4539","COBISSID:265913347","URN:URN:NBN:SI:doc-OPXFJ7X6"],"dc:language":"sl","dc:publisher":{"@xml:lang":"sl","#text":"= University of Ljubljana Press"},"dc:subject":[{"@xml:lang":"sl","#text":"angažirana umetnost"},{"@xml:lang":"sl","#text":"angažirano gledališče"},{"@xml:lang":"sl","#text":"angažma"},{"@xml:lang":"sl","#text":"Divjak, Žiga"},{"@xml:lang":"sl","#text":"dokumentarno gledališče"},{"@xml:lang":"sl","#text":"recepcija"},{"@xml:lang":"sl","#text":"učinek"}],"dcterms:temporal":{"@rdf:resource":"2015-2026"},"dc:title":{"@xml:lang":"sl","#text":"Angažma v gledališču| dve uprizoritvi v režiji Žige Divjaka| Engagement in theatre: two productions directed by Žiga Divjak|"},"dc:description":[{"@xml:lang":"sl","#text":"The article examines engaged art – or more specifically, engaged theatre – beginning with the question: How can theatre generate an effect on its spectator? This is a twofold question that concerns the how – the expressive form or aesthetic mode of the performance – and the effect – a concept or category rooted in Aristotle that concerns the influence of an aesthetic act on the spectator through the process of reception. Despite this duality, the emphasis nevertheless lies on the latter: the impact on the spectator. This is perhaps the essential point of engaged art: it indeed engages, first drawing the creator into its marked process and then decisively defining the creative act. However, it is always directed from the subjective to the objective, towards a statement about the world that the spectator is meant to perceive accordingly. Thus, in this reflection, the specific forms or procedures of effect – sensitisation, solidarisation, mobilisation, or any other activation of the spectator’s potential – are not as important as the mere fact of the “effect” itself, produced through the particular, almost “technical”, materialisation or organisation of the performative material. The discussion is thus primarily interested in the mechanisms of effect and engagement, whereby engagement is understood in its full range of semantic nuances. The second part of the article turns to two productions by theatre director Žiga Divjak, Bodočnost ( The Future, Ljubljana City Theatre and Belgrade Drama Theatre, 2024) and Anhovo (Slovene National Theatre Nova Gorica, 2025), and attempts to situate them within his broader artistic practice. Within Divjak’s poetics, the analysis identifies two distinct approaches to engaging both the theatrical means and the audience’s attention. It proposes a critical stance towards the former – a more or less explicit statement about the deviations of the modern world – and an affirmative stance towards the latter – whether documentary-based or metaphorically associative – through which Divjak’s theatre can fully activate the spectator"},{"@xml:lang":"sl","#text":"Članek razpravlja o angažirani umetnosti oz. angažiranem gledališču, za začetek pa si zastavi vprašanje: kako doseči učinek pri gledalcu? Gre torej za kako, torej za izraz, obliko ali estetiko izvedbe, in za učinek, kjer gre za pojem ali kategorijo, ki jo poznamo že od Aristotela, torej za vpliv estetskega akta preko procesa recepcije na gledalca. Kljub dvojnosti izjave pa je poudarek vendarle na drugi strani, torej na učinku na gledalca, kar je nemara tudi bistvena poanta angažirane umetnosti: ta resda angažira, pritegne v svoj zaznamovani proces najprej samega ustvarjalca in nato ključno definira ustvarjalni akt, vendar je iz subjektivnega vselej usmerjena v objektivno, v izjavo o svetu, ki naj jo ustrezno percipira gledalec. Tako v tem razmisleku niti niso toliko pomembne oblike ali procedure učinkovanja umetniškega dela oz. gledališke, scenske uprizoritve, torej učinek kot senzibilizacija, solidarizacija, mobilizacija ali vsakršna oblika aktiviranja gledalčevih potencialov, kot samo dejstvo »učinka« kot posledice specifične, domala »tehnične« materializacije oz. organizacije uprizoritvenega materiala. Zanimajo ga predvsem mehanizmi učinkovanja, angažiranja, pri čemer angažiranje razume v različnih semantičnih niansah. V drugem delu se članek ukvarja z dvema uprizoritvama gledališkega režiserja Žige Divjaka, Bodočnost (Mestno gledališče ljubljansko in Beograjsko dramsko pozorište, 2024) in Anhovo (Slovensko narodno gledališče Nova Gorica, 2025), zanima pa ga Divjakova avtorska poetika v njegovem širšem opusu. V tej razprava zazna dva pristopa k angažmaju tako uprizoritvenih sredstev kot gledalčeve pozornosti, pri čemer poskuša utemeljiti kritični odnos do prvega, bolj ali manj eksplicitne izjave o deviacijah sodobnega sveta, in apologetski odnos do drugega, najsi bo dokumentaristično podprtega ali metaforično asociativnega, s katerim lahko celovito aktivira gledalca"}],"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-OPXFJ7X6","edm:aggregatedCHO":{"@rdf:resource":"URN:NBN:SI:doc-OPXFJ7X6"},"edm:isShownBy":{"@rdf:resource":"http://www.dlib.si/stream/URN:NBN:SI:doc-OPXFJ7X6/2c10ff0d-f4c8-4fc6-9b03-c978c47d4352/PDF"},"edm:rights":{"@rdf:resource":"http://creativecommons.org/licenses/by-sa/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-OPXFJ7X6/maxi/edm"},"edm:isShownAt":{"@rdf:resource":"http://www.dlib.si/details/URN:NBN:SI:doc-OPXFJ7X6"}}}}