IVANA SAJKO PDF

Zulkill Rights Available — English speaking territory asjko Please contact: The unusual roles showcase his enormous talent. In our club is always a good atmosphere and there is no quarrel. History of My Family From till and beyond. How can we break through the membrane that envelops theater, in order to create an individual act of agency from the conventional act of speaking, an act of agency that moves others, both on a physical and personal level? By continuing the review, you agree to our Terms of Use and agree to the use of cookies I agree. You can find more information in our data protection declaration.

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Year Ivana Sajko is considered one of the leading voices of the Southern Eastern European theater scene and has long been an important guest at international theater festivals. Thereafter, she worked to renew and further develop contemporary theater in her role as co-founder of the performance collective BadCompany based in Zagreb, where she served as dramaturg and director from to Beginning in , she chose to only stage her own award-winning dramas.

Since then, in her hybrid stagings she has explored the relationship between dramatic text and its execution on stage; she probes the possibilities of art and its ability to develop an adequate contemporary aesthetic of resistance that ventures into the space of reality, and into the body of reality, into the body of every individual.

In other words: How can we break through the membrane that envelops theater, in order to create an individual act of agency from the conventional act of speaking, an act of agency that moves others, both on a physical and personal level? To abandon the prescribed role and allow yourself to embrace real interaction, instead of focusing on results? Ivana Sajko addresses the issue of representation in theater with the help of the text itself, that is, by making the boundaries of language the subject of her texts.

Thus, her dramas offer resistance to the very practices they are subjected to. Since , the international rights to her plays have been owned by the German publishing house Verlag der Autoren. Overlapping of time and space could be considered the defining characteristic of all three of her monologues, which question the relationship between politics and aesthetics from a consciously female perspective.

She understands theater itself not so much as an act of one-sided consumption, but as an instrument of and medium for practical enlightenment; or, in other words, as a public space that invites spectators to interact together, to act, and, in so doing, to test out a form of ideal democratic procedures.

These are also the raw ingredients of her first novel Rio Bar. She loses her mind and, while stuck in a bunker, sews together bandages from the scraps of her destroyed wedding dress.

The atmospheric density of the text oscillates with its visual, almost corporeal, language, between genres, jumping from monologue to novel and, like in a fiddly game, continually changing the voices. As the voices become entangled within each other beyond the point of recognition, the reader is never sure who is speaking.

At the same time, the act of speaking itself belongs to the eight female characters. Time and again, the text opens up in all possible directions, gaining permeability, as being torpedoed by minefields of fundamental nature — memory, fear, xenophobia — in other words, by the painful echoes of the Yugoslavian war, which continue to plague its victims even ten years after it ended.

In her work, art and political theory go hand and hand to an extraordinary degree. That the author questions our notion of freedom as well as the foundations of civil society, which are now under threat in Western society, only increases her importance and timeliness, as she is set apart by her urgency, refusal to compromise, and language of resistance. Print - Rio Bar. A novel. Translated from the Croatian by Alida Bremer.

Verlag der Autoren, Frankfurt Events by DAAD.

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Year Ivana Sajko is considered one of the leading voices of the Southern Eastern European theater scene and has long been an important guest at international theater festivals. Thereafter, she worked to renew and further develop contemporary theater in her role as co-founder of the performance collective BadCompany based in Zagreb, where she served as dramaturg and director from to Beginning in , she chose to only stage her own award-winning dramas. Since then, in her hybrid stagings she has explored the relationship between dramatic text and its execution on stage; she probes the possibilities of art and its ability to develop an adequate contemporary aesthetic of resistance that ventures into the space of reality, and into the body of reality, into the body of every individual. In other words: How can we break through the membrane that envelops theater, in order to create an individual act of agency from the conventional act of speaking, an act of agency that moves others, both on a physical and personal level? To abandon the prescribed role and allow yourself to embrace real interaction, instead of focusing on results? Ivana Sajko addresses the issue of representation in theater with the help of the text itself, that is, by making the boundaries of language the subject of her texts.

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