Kako uprizoriti življenje oz. ali obstaja življenje izven umetnosti?
xx POVEZAVE MED RAZDROBLJENIMI ZGODBAMI/ZGODOVINAMI
Slovenija / 2016 / 90'
Pogovor
»Performer se torej v svojem nastopu
ne nanaša več na lik, temveč sam nase.
Performer se v tej samonanašalnosti, kot jo
imenuje E. Fischer-Lichte, nanaša na svoje
telo, na svojo biografijo, kakor jo izraža
njegovo telo (spomini, zapisani na telesu),
pogosto v svojem nastopu pripoveduje
lastno zgodbo, pa čeprav ta ni preverljiva in
je lahko tudi zgolj fiktivna, vendar jo (spet
pogosto) nenehno argumentira s svojim
telesom oz. njegovo navzočnostjo, velikokrat
pa performerji nastopajo, […] s svojim
lastnim imenom, kot naslovni liki svojega
lastnega nastopa, avtopersonalizirani
protagonisti scenske fikcije.«
– B. Lukan, Performativne pisave
V sodobnih scenskih umetnostih je vsaj
v zadnjih dvajsetih letih zaznati trend, ki
ga lahko poimenujemo »vdor realnega«,
kjer performerka (na odru) konstruira
nek pomen konstruirajoč samo sebe. S
premikom fokusa strategij uprizarjanja od
reprezentacije k prezentaciji (dogodkovnosti)
se subjektivizacija performerke zgodi prek
lastne subjektivizacije. Ta proces »uprizarjanja
subjekta« oz. »proizvodnje subjektivitete«
(A. Jones) postaja ključen nosilec pomena,
saj performerkin lik ne obstaja več onkraj
performerkinega fizisa, ni več razlike med
fenomenalnim in semiotičnim telesom (E.
Fischer-Lichte).
Če performerka aktivno črpa iz svojega
življenja za umetnost, kaj potem ostane od
življenja kot takega? Kot nekateri (A. Jones)
opozarjajo, se ob tem pojavlja nevarnost, da
subjekt, ki je postal vir ustvarjalnosti na polju
simbolnega, hkrati na polju realnega postane
implicitno neviden kot dejansko (ideološko,
čustveno, seksualno, rasno, razredno in še
kako drugače zaznano in identificirano) telo,
ki tvori umetniško delo. Zato nas zanima
kaj »performiranje identitete« (J. Butler)
proizvede v političnem smislu? Kako je
ta skrajni preplet umetnosti in življenja politično potenten oz. emancipatoren?
Kako v tej situaciji skonstruirati odpor proti
hierarhijam, izkoriščanjem, neenakostim,
ki so del življenja? Na kakšen način se
povezati v (realnem) življenju, če smo
ves čas – kot umetniki – na področju
(simbolnega) umetnosti? Ali politično
delovanje potemtakem lahko obstaja le še kot
performans?
O življenju in umetnosti bodo skozi analizo lastnih
del, predstavljenih v preteklosti na festivalu Mesto
žensk, premišljevale umetnice: Katarina Stegnar (Stegn se), Maja Delak (Drage Drage, Kaj če), Nataša
Živković (Prva ljubezen, drugič (Preboleti Naceta
Junkarja), Tihožitje, Zavoljoočeta), Simona Semenič (Večna medikacija, Jaz žrtev., drugič).
Koncept in moderacija: Lana Zdravković
V Slovenščini.
Prost vstop.
Organizacija: Mesto žensk v sodelovanju z Galerijo Škuc.
How to perform life or is there life outside the art?
xx CONNECTIONS BETWEEN FRAGMENTED HI/STORIES
Slovenia / 2016 / 90'
Talk
“Hence in the performance, a performer
no longer refers to the character but to
himself. In this self-reference as termed
by E. Fischer-Lichte, a performer refers to
his body, this biography as it is expressed
by his body (memories inscribed on the
body), often tells his own story in the
performance although this is not verifiable
and can also be merely fictional, but he
(again often) substantiates it with his
body or its presence; many a time the
performers perform […] with their own
name as the main characters of their own
show, the auto-personalised protagonists
of stage fiction.”
– B. Lukan, Performative Gestures
At least over the last twenty years, a
trend can be perceived in contemporary
performing arts that can be named “invasion
of the real” where a performer (on stage)
constructs a meaning constructing herself. By
shifting the focus of performative strategies
from representation to presentation (of
eventfulness), a performer’s subjectivation
occurs through her own subjectivation.
This process of “performing the subject” or
“the production of subjectivity” (A. Jones)
becomes the key bearer of meaning because a
performer’s character no longer exists beyond
her physis, there is no distinction between
phenomenal and semiotic body (E. FischerLichte).
If a performer actively draws from her
life for art, what is then left of her life as
such? Some point to (A. Jones) the occurring
danger that a subject which has become a
source of creativity in the field of symbolic,
simultaneously becomes in the field of the real
implicitly invisible as the actual (ideological,
emotional, sexual, race, class and otherwise perceived and identified) body that forms the
artwork. Therefore we are interested what
“performing identity” (J. Butler) produces
in the political sense? How is this ultimate
interlacement of art and life politically potent
or emancipatory? How in this situation
construct resistance against hierarchies,
exploitations, inequalities that make part
of life? In what manner can we connect in
(real) life if we are – as artists – constantly
in the field (of symbolic) in art? Can political
activity consequently only exist in the form of
performance?
Through the analysis of their own works
presented at previous City of Women festivals,
the connections between life and art will be
discussed by artists: Katarina Stegnar (Drop
Dead), Maja Delak
(Expensive Darlings, What
If), Nataša Živković
(First Love’s Second
Chance (Getting Over Heintje), Still Life, For
Father’s Sake), Simona Semenič (Endless
Medication, I, Victim., the second time).
Concept and moderated by: Lana Zdravković
In Slovene.
Organisation: City of Women. In collaboration with Gallery Škuc.