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:
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 On what grounds, on the basis of what historical references and conceptual frameworks do we have this “theoretical intuition” that artistic performance and politics are close?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.