Abstract
This paper deals with the corporeality of a performance and its place in the process of the emergence of meaning, following a case study of a Serbian theatrical piece Vox Dei – Civil Disobedience. Performance is constituted by bodies brought together by a certain purpose and temporal and spatial coordinates, and it is more and more often now decoded by the feedback loop performers and participants form in specific kinds of spatiality. Artistic corporeality defies objectivization, therefore the relational aesthetics is needed instead of an idealistic one to investigate the materiality of these performances. Using this theoretical framework, the analysis of the two different performances of the same dramatic text from the recent Serbian political theater production will tend to examine the nature of political potential of bodily co-presence in artistically and socially different environments and its implications for the semioticity of the given embodied text. Article received: April 5. 2019; Article accepted: June 10, 2019; Published online: September 2019; Original scholarly paper
Highlights
When it comes to performance studies, in recent decades much has been done in order to shift the focus from the semiotic approach of the most part of theater historiography and critiques to the more performative one that refers to artwork – or, in this case more appropriately, art event – and every public occasion where two or more bodies share the same space in a certain time and with a certain common purpose
The analysis of the two different performances of the same dramatic text from the recent Serbian political theater production will tend to examine the nature of political potential of bodily co-presence in artistically and socially different environments and its implications for the semioticity of the given embodied text
In this paper we will use a theoretical framework of relational aesthetics given by a scholar Erika Fisher Lichte to deal with two different performances of the play Vox Dei – Civil Disobedience directed by Serbian theater author Zlatko Paković – one performed in a public space of a street square and other in the closed area of a municipal City Hall in Belgrade
Summary
When it comes to performance studies, in recent decades much has been done in order to shift the focus from the semiotic approach of the most part of theater historiography and critiques to the more performative one that refers to artwork – or, in this case more appropriately, art event – and every public occasion where two or more bodies share the same space in a certain time and with a certain common purpose. In this paper we will use a theoretical framework of relational aesthetics given by a scholar Erika Fisher Lichte to deal with two different performances of the play Vox Dei – Civil Disobedience directed by Serbian theater author Zlatko Paković – one performed in a public space of a street square and other in the closed area of a municipal City Hall in Belgrade. The act of performing and the act of its reception are seen as the reality of ‘here and now’, but the question remains whether the process of constant change of the autopoietic feedback loop is primarily social or aesthetic Certain artists, such as Schechner or the Vienna Actionists, did not consider bodily co-presence enough for automatic creation of a community in an artistic event. Tonality was mostly consisting of the sounds coming from the stage, without the interference of any outer noise
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