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Affect, Emotion, Passion: The Personal and Beyond

 

MASKA, vol. XXIX, No. 161–162 (spring 2014)

Getting Affective

When publishing the final issue of last year’s volume of Maska (vol. XXVIII), a double issue that focused on shifts in contemporary dance, we planned for the topic of dance to spill over into this spring issue as well. In the middle of February, however, all plans for a continued themed section on dance had to be postponed until summer as its writers, opening different archival folders while researching the dance history of Slovenia, became unexpectedly stuck among the long shelves and myriad boxes of documents kept by the Archives of the Republic of Slovenia under the auspices of the Ministry of Culture, and most especially among those of the private archives and legacies of Slovenian choreographers, dancers, dance pedagogues, collectors and historians.

Volume XXIX of our journal is therefore starting off in a rather surprising and affective way, as befits its main subject. The journal before you focuses on the issues of affectivity and emotionality in contemporary theatre and on their (performative) theorisations. It was planned and designed for almost a year, with the same care and passion as we devote to (our) dance history.

Somewhat paradoxically, the authors invited to participate attempted to rethink especially that which precisely evades discursive definition in the theatre experience. When coming up with this exciting topic, the editorial board members asked themselves how affective conditions/ actions in theatre could be rethought as extra-personal categories in the framework of which it would no longer be possible to speak either of the subjective or of the (ir)rational. To what extent does theatre practice enable the rethinking of affects, emotions and passions not only as individual psychological conditions but as socially constructed reactions, as (un)intentional technologies of the operation of power, economy, politics?

The issue before you draws from theorisations and/or case studies to develop diverse discussions about the mentioned aspects of the performing arts that also result from the modes of production themselves; in addition, it raises issues regarding emotions in the theatre, both in the past and today, and reflects on the manner in which theatre art is determined and driven by passions. It also addresses the phenomenon of the actor’s fear of passion (convulsions, stress and the resulting burnout of artists…), the question of the (absence of) courage of theatre creators and theoreticians, which also includes a reflection on the history of stage fright, different trainings of actors’ emotions, their objectives and methods; it reflects on passions from the aspect of theatre excess, the passion for prohibition and the question of conventions, on the authenticity of emotions in (contemporary) theatre and performance – doing all this in order to unfold the notion of passion as an issue of the political.

This issue opens with the justifications of two awards, the Evergreen Crocodile and Borštnik’s Earring, which were awarded without any planning, official juries or protocols at the most important Slovenian theatre festival – the Maribor Theatre Festival in October 2013. Because they were awarded without any desire or intention to ever go down in Slovenian theatre history, and because they were awarded for and because of genuine theatre passion and courage,  we decided to celebrate them in Maska – as a memory of our future.

— Amelia Kraigher

Translated by Polona Glavan

 

Content

48TH MARIBOR THEATRE FESTIVAL 2013

Vlado G. Repnik Simon Kardum, Igor Štromajer: ADDRESS AT THE PRESENTATION OF THE ²EVERGREEN CROCODILE² AWARD

Jaka Andrej Vojevec, Simona Hamer, Blaž Bačar: THE JUSTIFICATION OF THE ²BORŠNIK EARRING² AWARD

Thomas Irmer: GIVING IT ALL ARTISTICALLY

AFFECT, EMOTION, PASSION: THE PERSONAL AND BEYOND

Stefan Apostolou-Hölscher: BIOPOLITICS, DELEUZIANISM AND THE DESTINY OF AESTHETICS

Paula Caspão: STICKY TALES FOR AFFECT: EPISODES OF SITUATED THOUGHT

Bara Kolenc: AUTHENTIC EMOTION AND BODY-SUBJECT: ARE THESE TEARS FOR REAL?

Katarina Veselko: THE DUALITY OF AN ACTOR’S EMOTIONAL EXPERIENCE

Anja Bajda: AFFECT AND THE PERFORMING ARTS: BIOPOLITICS, TRANSFORMATION AND POTENTIALITY

Ixiar Rozas: THE DESIRE TO BE AFFECTED

Christian Koch: BEYOND PATHOS. Interview with Annika Tudeer

Quim Pujol: AFFECT THEORY AS A TOOL: THE WORK OF JORDI GALÍ

André Schallenberg: THE RESURRECTION OF THE SPECTACLE

Urška Brodar: WHO THE HELL IS MARIA?

Kalina Stefanova: PARADISE LOST

Jasmina Založnik: NOBODY IS INNOCENT

CRITICISM WITHOUT ADJECTIVES

Jasmina Založnik: FROM AFFECTIVE READING TO THE THEORY OF AFFECT

Colophon

MASKA Performing Arts Journal
Since 1920
vol. XXIX, No. 161–162 (spring 2014)

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

Editor-in-chief: Amelia Kraigher | Editorial Board: Pia Brezavšček, Katja Čičigoj, Zala Dobovšek, Ida Hiršenfelder, Janez Janša, Jedrt Jež Furlan, Simon Kardum, mag. Diana Koloini, mag. Andreja Kopač, dr. Bojana Kunst, dr. Aldo Milohnić, dr. Barbara Orel, Alja Predan, mag. Martina Ruhsam, Ana Schnabl, Rok Vevar | Contributing Editors: Nika Arhar, dr. Nenad Jelesijević, Nika Leskovšek | International Advisory Board: Stefan Apostolou-Hölscher, Thomas Irmer, Katarina Pejović, Ixiar Rozas, André Schallenberg

Design and Layout: Ajdin Bašić, Mitja Miklavčič | Slovene Language Editors: Tatjana Capuder, Mateja Dermelj, Amelia Kraigher, Melita Silič | English Language Editor: Eric Dean Scott | Print: Cicero | Copies: 400

Price of double issue (international): 10 € | Annual international subscription for four (4) double issues: Individual rate for Europe 67 €, Individual rate, Rest of World 77 € (distributed by Maska Ljubljana). International institutional rate: print and online subscription 143 € / 119 £ / 154 $, online only 90 € / 75 £ (distributed by Intellect Ltd. and Turpin Distribution, UK) | Package and postage included. | Business secretary: Ana Ivanek | Subscription and distribution for individuals from Europe and Rest of World: ana.ivanek@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.

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).

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.