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Maska, časopis za scenske umetnosti

WRITING FOR THE SCENE, WRITING ON THE SCENE

The current issue of Maska Journal brings forth a thematic focus on playwriting; not in the sense of a review of the whole current local and regional production but instead with an emphasis on its most vital, experimental, event-driven, carnal, borderline (yet no longer marginal) segment. Therefore, it is not surprising that a large part of articles in this issue is dedicated to the work of theatre creator Simona Semenič who is considered as one of the innovators in that sense. And much more.

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Maska, časopis za scenske umetnosti → Revija Maska

RE/DE-GENERACION

The decision to centre the first real issue of our editorial mandate around the topic of generation is not merely a consequence of the fact that (at least according to some censuses and tendering criteria) we ourselves belong among the so-called young (critics). Nor do we wish to follow what Maska already did in the past, i.e. to simply inaugurate a new, by the counting of this journal already 5th generation of directors who are just now autonomously entering the performative podium. This was,...

Maska, časopis za scenske umetnosti

Biotechnology, Philosophy and Sex

The present special issue of Maska, dedicated to Biotechnology, Philosophy and Sex, with its texts presented also on an international conference, brings a renewed reflection on science and technology, bio-chips and organs, the male and the female (trans-sexuality) within the framework of a philosophical and interdisciplinary (artistic, cultural, political) context. Cloning and diverse attitudes towards globality have a deep impact on the policy of representation that focuses on the human body...

Maska, časopis za scenske umetnosti

Theatrical tactics

The current thematic scope revolves around the detection of the theatrical medium itself, which by re-using some theatrological notions reveals the fluid boundaries of the performance territory (Milohnić, Pristaš, Strehovec, Valentini, Orel, etc.). The contemporary performance territories thus do not reveal themselves as models, but primarily as an oppositional and articulate use of different contents, by which the intertwining and nomadic territory of the “in-between” can be disclosed.

 
Maske, revija za gledališče (1985 - 1990)
Maske, revija za gledališče (1985 - 1990)
Maske, revija za gledališče (1985 - 1990)
Maske, revija za gledališče (1985 - 1990)
Maske, revija za gledališče (1985 - 1990)
Maske, revija za gledališče (1985 - 1990)
Maske, revija za gledališče (1985 - 1990)
Maske, revija za gledališče (1985 - 1990)
Euromaske, The European Theatre Quarterly (1990-1991)
Euromaske, The European Theatre Quarterly (1990-1991)
Euromaske, The European Theatre Quarterly (1990-1991)
Maske, revija za gledališče (1920 - 1921)
Maske, revija za gledališče (1920 - 1921)
Maske, revija za gledališče (1920 - 1921)
Maska, revija za gledališče, ples in opero (1991 - 1998)
Maska, revija za gledališče, ples in opero (1991 - 1998)
Maska, revija za gledališče, ples in opero (1991 - 1998)
Maska, revija za gledališče, ples in opero (1991 - 1998)
Maska, revija za gledališče, ples in opero (1991 - 1998)
Maska, revija za gledališče, ples in opero (1991 - 1998)
Maska, revija za gledališče, ples in opero (1991 - 1998)
Maska, revija za gledališče, ples in opero (1991 - 1998)
Maska, revija za gledališče, ples in opero (1991 - 1998)
Maska, revija za gledališče, ples in opero (1991 - 1998)
Maska, revija za gledališče, ples in opero (1991 - 1998)
Maska, revija za gledališče, ples in opero (1991 - 1998)
Maska, revija za gledališče, ples in opero (1991 - 1998)
Maska, revija za gledališče, ples in opero (1991 - 1998)