Abstract
Abstract In the contribution, I highlight cases of New Performative Art Practices in Yugoslavia in the period between 1965 and 1987 in which prominent changes in perception of the body and subjectivity emerged. With the term, I am accentuating the heterogeneity of the practices of my primary interest: I study performances, progressive theatre experiments, street theatre, contemporary dance as well as interdisciplinary performative experiments in music. By shedding light on these practices again I reveal connections between artistic practices of different periods in the aims of their attempts; in initiating socially relevant tactics and strategies and creating fresh cultural-artistic forms. By revealing the structural conditions for development and the boom of emancipatory artistic practices I show how they were socially constitutive, formed as a cause and a consequence of the Yugoslav social and political reality. The changes in approach, continued invention of new tactics and strategies, changes in contexts of work and audiences were necessary elements for assuring their social relevance and topicality.
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