329 KB35 KB350 KB37 KB201520252016Jelesijević, NenadJelesijević, Nenadštevilka:1letnik:4str. 42-69ISSN:1855-4539ISSN:1855-850XCOBISSID:239685632COBISSID:249943040URN:URN:NBN:SI:DOC-WTRX6ZUGenslAmfiteater (Ljubljana)FilozofijagledalcikritičnostKritikaKulturna industrijaobčinstvophilosophysodobno gledališčesubjektivizacijaO utelešenju kritike v performansu| On the embodied critique of/in performance|The disidentification of the co-participants in a performative situation allows fluid variations of bodily experiences released from the ties of specialisations within "the field of performance" - specialisations such as actress, critic, performer, dancer, dramaturg, producer, etc. This very challenging situation dehierarchises both the mode of criticism and the performative act, stimulating an experimental search for creative links between systemically/unconsciously divided forms of creativity, potentially embodying them into a performative discourse beyond the closed-circuit of the dominant art production of the existing. In-between the fragments of five contemporary performances that explore and/ or relativise the relations between audience, critic(s), performer(s), and devisor(s), this contribution involves a critical perception of the function of the critic(ism) in a performative situation. In the proposed context, embodied critique is a feature of a live and ever changing collage of performative bodies actively involved in a specific here-now dissensual situation, aiming at establishing speech (which emerges in performance as experiment) rather than a presentation (a product, a commodity, a spectacle)Dezidentifikacija so-udeležencev performativne situacije omogoča pretočne variacije telesnih izkustev, ki so osvobojena spon specializacij znotraj "polja performansa" - igralke, kritika, performerja, plesalke, dramaturginje, producenta itd. Ta zelo zahteven položaj dehierarhizira tako kriticizem kot performativno dejanje in spodbuja eksperimentalno ustvarjalno iskanje vezi med sistemsko/nezavedno razdeljenimi oblikami ustvarjalnosti ter jih potencialno uteleša v performativni diskurz onkraj zaprtega krogotoka prevladujoče umetnostne produkcije obstoječega. Med fragmenti petih sodobnih performansov, ki raziskujejo in/ali relativizirajo odnose med občinstvom, kritiki, performerkami in oblikovalci konceptov, želimo v tem prispevku afirmirati kritično percepcijo funkcije kritike (kriticizma) v performativni situaciji. V predlaganem kontekstu je utelešena kritika značilnost živega in nenehno spreminjajočega se kolaža performativnih teles, ki so dejavno udeležena v neki tukaj-zdaj disenzualni situaciji in stremijo prej k vzpostavitvi govora (ki vznikne v performansu kot eksperimentu) kot predstavitve (umetniškega izdelka, blaga, spektakla)TEXTznanstveno časopisjejournalsSlovenian National E-content AggregatorNational and University Library of SloveniaSlovenski gledališki inštitut (SLOGI)