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Maska, časopis za scenske umetnosti

WRITING FOR THE SCENE, WRITING ON THE SCENE

MASKA - Performing Arts Journal, nos. 198–199 (Winter 2019)


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. This focus of the issue is also responding to the still resounding echo of her receiving the Prešeren Fund Award in 2018; on this occasion Teja Reba and Janez Janša curated a festival Abonma Simona Semenič (Seasonal Ticket for Simona Semenič). As her writing was already the subject of the research symposium Vsak cuka svojo delicijo (Everyone Slurps on Their  Own Delicacy) that was organised by the Amfiteater Journal, which will also publish a series of texts that are based on the contributions for the symposium and will be published almost at the same time, we as the editors of Maska Journal decided to pursue a differentia specifica, namely, opting formore experimentally oriented contributions – be it in the sense of a creative approach to the writing on her texts or in the sense of writing about her more obscure practices. Since we organically supplemented the content in the Amfiteater Journal, we decided to mark the publication of both issues together. Next to this, we felt like it would be great to retain some openness towards the currently forming practices and polygons, be it in the local or regional space, that often continue to tread on the path first walked by the writing of Simona Semenič. Adept Journal, which will also join us in this launch event, is a space for new playwriting and is dedicating this issue to four new plays, which is a nice supplement to the publication of the three thematically interlinked issues of theatre journals.

In this series, we are publishing an extremely beautiful and valuable letter of its long-term friend and collaborator Milan Marković Matthis that plays with a progression between the private and the public. The author of the letter is also the author of the statement which the writer of the next article – and also one of the editors of this issue Alja Lobnik – had borrowed as the title of her lecture in the framework of Abonma Simona Semenič, where she, among other things, also focuses on the bodily in the writing of this female playwright – on the transposition. We felt that this collection would not be complete without a chapter from the outstanding diploma thesis by Katja Čičigoj, awarded with the student Prešeren Award, which deals with eventness of Simona Semenič’s writing, where the text and the performance have an equal status that evolves with every new run. The fact that experiment-based playwriting group PreGlej, which was active between 2005 and 2013 with Semenič as one of its co-founders, became a crucial influence also for the current initiatives, such as KUD Vzkrik, is reported in the article by Jaka Smerkolj Simoneti. The theme is further expanded geographically and genre-wise by the following two articles: Simon Smole is presenting the recent production of Serbian playwriting, while Eva Smrekar in her in-depth article tackles the series of works by the intermedia artist Maja Smrekar, who is tightly linked with Simona Semenič, albeit not in the way that would be desired by the both artists. As recipients of the Prešeren Fund Awards they were denigrated by anonymous zealous Internet users – the first as a defiler of state symbols and the second as a degenerate that likes to breastfeed dogs. We hope that the treatment in this issue managed to at least partially correct this injustice.

We are further expanding this issue the individual section Scenske drobtinice (Breadcrumbs from the Scene) in which we are, on this occasion, publishing a series of invited lectures that took place during one of the performances of the “ongoing moving sculpture”, the work On(the)Line by Mateja Bučar, in October, 2017. The lectures took place at the same time as the installation in the upper lobby of Cankarjev dom, where the whole space was separated by a glowing straight line, marking the space next to and on which the dancers and movement co-creators were working. The diversity of the effects, triggered by the flow of words, written for or about an abstract dance work, seems unusual. Sometimes they function as an associative digression, in other instances they escalate the work and its reading and direct the experience in unexpected ways. Female and male philosophers are contemplating the phenomena of line from various aspects: Tadej Troha, Robert Pfaller, Renata Salecl and the second editor Pia Brezavšček. 

We also had to give some space to Neodvisni (Independent) again, namely, reflective writing for the scene is on the rise, also due to some encouragement. The collection at the portal www.neodvisni.art grew significantly in volume and diversity in the last six months. Since certain theatre genres are seldom written about, one of them is definitely also contemporary clown theatre, we decided to publish an article by Nika Arhar on the Klovnbuf Festival that manages to exceptionally contextualise the phenomena of such theatre practices, which makes it extremely valuable. In the only interview in this issue, Jernej Kaluža talks to the cultural theoretician Giulia Palladini, who deals with work and pleasure in her research. The last article is our view on selected performances at the ImpulsTanz contemporary dance festival that we visited this summer as Maska Journal editors.

We hope you experience at least as much or even more reading on the scene and for the scene as there is great writing on it and for it, we are therefore pouring all our remaining energy into this issue of Maska Journal before the conclusion of this varied year. And a Happy 2020 (that will mark a jubilee of the Maska Journal as well)!

Pia Brezavšček and Alja Lobnik
Translated by Urban Belina

CONTENT

Maska 198-199
WINTER 2019
Writing on the Scene, Writing for the Scene

Milan Marković Matthis
DEAR SIMONA

Alja Lobnik
 »THERE IS SOMETHING BEAUTIFUL IN THIS« (Milan Marković Matthis): On autobiography, body and pain, sexual pleasure, biopolitics, the eventfulness of script and more

Katja Čičigoj
do me twice. AN EXAMPLE OF THE FUNCTIONING OF A TEXT-EVENT

Jaka Smerkolj Simoneti
PREGLEJ OVERVIEW

Simon Smole
DANGEROUS PROMISES

Eva Smrekar
MAJA SMREKAR: K-9_topology

CRUMBS FROM THE SCENE
Tadej Troha
THE LINES OF NO RETURN

Robert Pfaller
DRAWING A LINE OF DEMARCATION

Renata Salecl
DENIAL ALONG THE LINES OF TRUTH

Pia Brezavšček
THE LINE OF SENSE. The Outline of the On(the)line
INDEPENDENT
Nika Arhar
CIRCUS CHOREOGRAPHIES OF BODIES AND THINGS 

Jernej Kaluža
THE PLEASURE OF WORK AND THE WORK OF PLEASURE. Interview with Giulia PalladinI

Alja Lobnik in Pia Brezavšček
IMPULSTANZ 2019. A Few Thoughts 

COLOPHON

MASKA Performing Arts Journal
Since 1920
WRITING FOR THE SCENE, WRITING ON THE SCENE
vol. XXXIV nos. 198–199 (Winter 2019) 

ISSN 1318-0509

Published by: Maska, Institute for Publishing, Production and Education | Metelkova 6, 1000 Ljubljana, Slovenia | Phone: +386 1 4313122 | Fax: +386 1 4313122 | E-mail: info@maska.si | www.maska.si | For the publisher: Janez Janša 

Editors: Pia Brezavšček, Alja Lobnik 

Editorial Board: Katja Čičigoj, dr. Gregor Moder, Saška Rakef, Rok Vevar, Jasmina Založnik 

Design and Layout: Mak Mujezinović |Translations: Sonja Benčina, Špela Bibič, Lothar Orel, Svetlana Jandrič, Katja Kosi, Sunčan Stone, Urban Belina | Serbian Language Editor: Bojan Anđelković, Zavod Yugo translate | Slovene Language Editor: Ana Bogataj | English Language Editors: Sonja Benčina, Špela Bibič, Metka Božič, Tjaša Šket, Kristina Alice Waller | Print: Cicero | Copies: 400

Price of double issue (international): 10 € | Price of triple issue (international): 12 € |  Price of quadruple issue (international): 15 € | Annual international subscription for six (6) nos.: Individual rate for Europe 67 €, Individual rate, Rest of World 77 (distributed by Maska Ljubljana). International institutional rate: print and online subscription 195 € / 136 £ / 226 $, online only 136 € / 105 £ / 175 $ (distributed by Intellect Ltd. and Turpin Distribution, UK) | Package and postage included. | Business secretary: Nataša Božič | Subscription and distribution for individuals from Europe and Rest of World: natasa.bozic@maska.si | Account number: 02010-00165250861 | Maska is available in both print and electronic formats through Turpin Distribution, Pegasus Drive, Stratton Business Park, Biggleswade, Bedfordshire, SG18 8TQ, UK; T: +1 860 350 0031 (North America), +44 (0) 1767 604 951, F: +44 (0)1767 601640 (Institutional EU and Rest of World orders, except Slovenia and North America); E: custserv@turpin-distribution.com, W: www.turpin-distribution.com

Although we have tried our best to track down copyright holders of photos and other visual materials, we have not always succeeded. The authors are kindly asked to contact the editorial board. 

Maska was founded in 1920 by the Ljubljana sub-committee of the Association of Theatre Players of the Kingdom of Serbs, Croats and Slovenes (Udruženje gledaliških igralcev Kraljevine SHS). In 1985, the Association of Cultural Organisations of Slovenia (Zveza kulturnih organizacij Slovenije) revived this publication under the title of Maske. In 1991, its original name was restored and its co-founder – Institutum Studiorum Humanitatis – reinstated. 

Chief and/or executive editors thus far: Rade Pregarc (1920–21), Peter Božič & Tone Peršak (1985–90), Maja Breznik (1991–93), Irena Štaudohar (1993–98), Janez Janša (1998–2006), Katja Praznik (2007–2009), Maja Murnik (2011), Amelia Kraigher (2012-2017) & Andreja Kopač (2018). 

According to Article 25, Item 7 of the Value Added Tax Act, newspapers are taxed at the rate of 9.5%.  

The journal is supported by the Slovenian Book Agency.
Co-financed by TANZFONDS ERBE – An initiative by the German Federal Cultural Foundation.