321 KB0 KB201520252022Hrvatin, VarjaRadi Buh, MašaRibič, Jakobštevilka:1letnik:10str. 250-270DOI:10.51937/Amfiteater-2022-1/250-270COBISSID_HOST:114025731ISSN:1855-4539URN:URN:NBN:SI:doc-XADR11H7slSlovenski gledališki inštitutAmfiteater (Ljubljana)biovirtualbiovirtualnodružbena omrežjamlada generacijanew technologiesnove tehnologijepost-internet dramapostinternetna dramaSlovenian dramaslovenska dramatikasocial networksyoung generationDramatika brez generacije|In this paper, we will concentrate on the playwriting of the so-called young generation. In doing so, we will ask how this generation can be defined, given that the writers are quite individualised and dispersed among themselves, and their texts are quite diverse in terms of content, genre and form. We will argue that being born and growing up concurrently with the development of the internet, social networks and other new technologies, which are nowadays fundamentally inscribed in the social fabric, has significantly defined the young generation. Consequently, the boundaries between the virtual and the reality are constantly being blurred, and the symbiosis between the two, summed up in the term “biovirtual”, is continuously being established. Using examples of four theatre texts (The Thirty Somethings by Eva Mahkovic and Tereza Gregorič, It All Began with the Bunny Rabbit Goulash by Varja Hrvatin, The Interpretation of Sanja by Ela Božič and Work and the Maiden I-V: Serf Dramas by Nika Švab), we will reflect on how young authors are incorporating the post-internet reality, defined by the ubiquity of new technologies, into their playwriting. We will consider whether these writers’ generation generates new playwriting forms and dramaturgical approaches. Finally, we will draw attention to the conditions under which these authors operate, which (from systemic education and the repertory logic of staging to the pervasive precarisation and instability) do not provide economic security. Hence, there is no room for experiment and error. This forces writers to opt for already tested dramatic forms, strategies and themes. How, then, can one define the playwriting of a generation if it lacks a clear break with the tradition that would characterise this generation?V pričujočem prispevku se bomo osredotočili na dramsko pisanje tako imenovane mlade generacije. Pri tem se bomo spraševali, kako bi to generacijo definirali glede na to, da so pisci med seboj precej individualizirani in razpršeni, njihovi teksti pa vsebinsko, zvrstno in formalno povsem raznoliki. Ugotavljali bomo, da mlado generacijo pomembno določa dejstvo, da se je rodila in odraščala vzporedno z razvojem interneta, družbenih omrežij in drugih novih tehnologij. Te so danes temeljno vpisane v družbeno tkivo, tako da nenehno prihaja do brisanja mej med virtualnostjo in realnostjo ter do njune simbioze, ki jo povzemamo s pojmom »biovirtualnega«. Na primerih štirih gledaliških besedil (Tridesetletnice Eve Mahkovic in Tereze Gregorič, Vse se je začelo z golažem iz zajčkov Varje Hrvatin, Interpretacija Sanje Ele Božič in Delo in deklica I.–V.: Drame tlačank Nike Švab) bomo premišljali, kako postinternetno realnost, določeno z vseprisotnostjo novih tehnologij, v svoje dramsko pisanje vključujejo mladi avtorji, pri tem pa bomo skušali premisliti, ali generacija teh piscev generira nove dramske prakse in dramaturške prijeme. V zaključku bomo opozorili na razmere, v katerih ti avtorji delujejo in ki (vse od sistemskega izobraževanja do repertoarne logike uprizarjanja in vsesplošne prekariziranosti ter nestabilnosti) ne omogočajo ekonomske varnosti, s tem pa tudi ne prostora za eksperiment in napako. To pisce sili v zatekanje k preverjenim dramskim formam, postopkom in vsebinskim problematikam. Kako torej definirati dramatiko generacije brez tistega determinirajočega dramskega preloma, ki generacijo kot tako sploh definira?TEXTznanstveno časopisjejournalsSlovenian National E-content AggregatorNational and University Library of SloveniaSlovenski gledališki inštitut (SLOGI)