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ON REPETITION

Maska - Performing Arts Journal, nos. 191–192 (Summer-Autum 2018)


ON REPETITION. EDITORIAL. THE LAST ONE.

 

“Isn’t life a series of images that change as they repeat themselves?” (Andy Warhol)

 

This special issue of Maska raises the question of repetition as one of the central and most complex concepts appropriated in various ways by a large segment of philosophical and theoretical currents of the twentieth century. Namely, repetition has proven to be a convenient conceptual tool for thinking about modern subjectivity, contemporary social and economic constellations, contemporary art and leverages of creativity, and for conceptualising a series of basic questions, such as the questions of the relationship between representation and the unrepresentable, between finitude and infinity, between urgency and change, between constraint and freedom, between sameness and similarity, between truth and illusion, or between the real and the alleged, the question of time, memory and history, the question of reproduction and the new. At its most general, the concept of repetition in the 20th-century philosophy (frequently cited authors include Deleuze, Derrida, Lacan and Foucault as well as Husserl and Heidegger, and Kierkegaard, Nietzsche and Leibniz in the history of philosophy) represents an alternative to a unified conception of being, the idea of origin, and the perception of the world as a whole, derived from the illusion of self-affection and from the assumption of originary mutual belonging of the subject and the object. In contrast, the concept of repetition takes as its starting point the originary heterogeneity of the subject and the object, the incompleteness and the unhealed state of subjectivity and the world, the tearing of time and the dynamics of structures that generate reality.

We encounter repetition literally at every step, in the shape of post-industrial reproduction, replication, as one of the most topical artistic procedures, in the form of seriality, repetition of patterns, motifs, words, gestures, as an almost fatal repetition of events beyond our control; repetition is present in rituals, habits and remembrance. In psychoanalytic practice, behavioural repetition occurs in transference, obsessive-compulsive patients turn their lives into a series of rituals… As it turns out, there is a kind of compulsion to repeat present at the very basis of human psyche… So what is this phenomenon of repetition really all about?

The present issue of the journal proposes to reconsider the conceptual relationship between repetition and (contemporary) art and to open up the connection between the concept of repetition and theatre, between performance and performativity. Theatre is known as the art of repetition, art whose essence is bound to repetition. The connection seems self-evident – but what assumption is it based on? What is the minimum of theatricality that makes theatre return to repetition time and again? Is the very structure of theatre inscribed with repetition? What is the relationship between repetition and imitation?

More broadly, while conceiving the thematic pages, we were also interested in how the issues of production, reproduction, variation, difference, surplus, excess and the real can be conceptually defined in relation to the issue of repetition... In what way are the conceptual stakes of repetition, difference, non-integrity, non-originality, variety, constructedness, substation, displacement and disparity brought to fruition in contemporary artistic practice?

We do not imagine that we succeed in giving answers to the complex questions that the concept of repetition is raising to us. The collection of articles is more an attempt to open the space for further discussions.

Amelia Kraigher and Bara Kolenc

Translated by the authors

Edited by Amelia Kraigher in collaboration with Bara Kolenc.

 

 

Maska 191–192
SUMMER-AUTUMN 2018

Content 

 

UMETNIKOV PORTRET: A PORTRAIT OF THE ARTIST: MATEJA BUČAR 

Pia Brezavšček: MATEJA BUČAR'S CHOREOGRAPHIC OBJECTS 

ON REPETITION 

Bara Kolenc: SUSPENSION: REPEATING REPETITION! (INTRODUCTION) 

Bara Kolenc: THEATRE AND REPETITION: AN INTERVIEW WITH MLADEN DOLAR 

Bara Kolenc: ON REPETITION AND THEATRICALITY: A DIALOGUE WITH SAMUEL WEBER 

Bojan Anđelković: PHILOSOPHY AND ITS DOUBLE: NIETZSCHE, DELEUZE AND THE THEATRE OF REPETITION 

Mirt Komel: TOUCH IN THE TOWN OF GOGA: TOUCH AND REPETITION IN SLAVKO GRUM'S AN EVENT IN THE TOWN OF GOGA 

Pia Brezavšček: UNTANGLING THE OXYMORON OF REPETITION OF THE UNREPEATABLE IN DANCE IMPROVISATION 

Katja Čičigoj: REPETITIONS OF A TEXT – A TEXT ON REPETITION 

CRITICISM WITHOUT ADJECTIVES 

Igor Burić: LOOKING BOTH WAYS: AN INTERVIEW WITH DIRECTOR RÓBERT LÉNÁRD

Igor Burić: SWITCH ON, SWITCH OFF, OR TRANSCENDING BOUNDARIES: CONTEMPORARY CURRENTS IN DRAMATURGY OF PERFORMING ARTS IN NOVI SAD THEATRE
Stefan Hölscher: MATTER THAT MATTERS 

Anja Rošker: PASSION FOR PERFORMATIVITY

MASKA Performing Arts Journal
Since 1920
vol. XXXIII, nos. 191–192 (Summer-Autumn 2018) 

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: Amelia Kraigher, Bara Kolenc 

Design and Layout: Ajdin Bašić | Slovene Language Editors: Tatjana Capuder, Živa Čebulj, Amelia Kraigher, Gašper Malej | Angleška lektura: Eric Dean Scott, Polona Petek | Tisk: Cicero | Naklada: 400 

Price of double issue (international): 10 € | Price of triple issue (international): 12 € |  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: Polona Calderera | DistSubscription and distribution for individuals from Europe and Rest of World: polona.calderera@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). 

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