Ana Vujanović (2009-13)
It is commonplace or even commonsense that the bulk of knowledge that reaches the periphery is second-hand knowledge. And the periphery—that is us, Serbia, Southeast Europe, Yugoslavia, the Balkans. There is no irony here, for these regions are peripheral, provincial, and marginal with respect to the centres of the First World, Europe, the European Union, the Austro-Hungarian Empire, or the Ottoman Empire. For instance, let us briefly consider some prominent examples from Serbian twentieth-century art. Dadaism reached us through Dragan Aleksić, his studies in Prague and connections with the Dadaists circles there. Eurhythmics and Laban’s method arrived here by way of the gymnastic dance workout and dance practice of Maga Magazinović, who studied with Max Reinhardt and Rudolf Steiner. Early conceptual art arrived mostly with Hungarian magazines, thanks to the Hungarian minority in Vojvodina, Serbia’s northern province. Still later, Tanztheater reached us through the modern ballet of Sonja Vukićević and theatre anthropology of the 1990s through a few local figures who studied with Eugenio Barba at Odin Teatret. And today, we also have our own versions of new British drama and contemporary—especially so-called conceptual—dance as the predominant practices on the contemporary performing arts scene…
Transdisciplinary research project by Bojana Cvejić, Marta Popivoda and Ana Vujanović
In the frame of TkH [Walking Theory] residency How To Do Things By Theory at Les Laboratoires d’Aubervilliers (2010-2012), we started a research about Performance and the Public. The main focus of Cvejić’s and Vujanović’s theoretical part of research are the concepts of “social choreography” and “social drama”, while Popivoda focuses on mass performances of ideology in former, socialist Yugoslavia.
Presentation of the research Performance and the Public at the symposium “Broken Performances: Time and (In)Completion”, March 21-23, 2013, Zagreb:
full title: Jan Ritsema, Ana Vujanović, and participants of the dramaturgical workshop Politicality of contemporary performance medium: dramaturgical and anti-dramaturgical principles and procedures: "The Politics of Performance", performance-presentation powered by Générique tool from Everybodys Toolbox
Institute of Music and Dance / The Museum of Modern Art
March 26-3o, 2011, Warsaw
Performative turn. The Politics of Performance. (english) from Muzeum Sztuki Nowoczesnej on Vimeo.
Ana Vujanović (2011)
It is easy to note that politics has become a keyword in the contemporary international performing arts world. However, this immediately poses a more difficult question: why do we speak so much about politics in art, about art and politics, political art, the politicality of art, etc. today? Why has politics indeed become a keyword? What has been the driving force of all those books, texts, presentations, conferences, festivals, grants? What does the metaphor of politics qua theatre mean and, more broadly, what does teatrum mundi mean? On what grounds, on the basis of what historical references and conceptual frameworks do we have this “theoretical intuition” that artistic performance and politics are close? What I find particularly challenging in reflecting on these questions is that, in parallel with the performing arts’ keen interest in politics, we are facing their societal marginalisation and ever more limited access to the public over the course of the 20th century, which, at the macro-social level question the relevance of this topic.
theoretical-artistic research and performance by Ana Vujanović and Saša Asentić
The domain of the project Examining communitas (Communitas na ispitu) is the performing arts, dance in particular, by means of which we are trying to understand our recent social history and its actual state of affairs in terms of body images, behaviour in public, and relations between human beings as social subjects.
sinisa ilic, katarina popovic: on trial together – an illustration
The project is context-based, as these images of the body are informed by two main social contexts of the twentieth century, both of which we have lived in – Eastern socialism and Western neoliberal capitalism. We start with our life-experienced limbo between them.