logo

Maska, časopis za scenske umetnosti → Revija Maska → Maska, revija za gledališče, ples in opero (1991 - 1998)

Space

The Maska magazine has begun to be published less frequently during the years 1995 – 2000, due to the disproportion between the work involved in the preparation of individual issues and the subsidies from the Ministry of Culture, along with the money from the sold issues. The home cultural public (especially the one that was bound to the constant salaries in the institutions) was frequently complaining because of the irregular publication of the magazine. A large part of the home theatre public started to reject Maska because of its specific approach to contemporary theatre problems. This was largely a case of a priori resistance, that could be marked by generational disagreement, and simultaneously of exposure of the positions of power; Maska largely followed the performances outside institutions and put forward a fresh approach to the reflection of these events.

The triple issue of Maska from 1995 came out in the days of the first Exodos, perhaps precisely at the party after the opening performance, Nagy’s Woyzeck, that took place in SMG on the day of the former Yugoslavian holiday: the Day of Youth. The present issue is probably one of the best issues of Maska in the 90, due to its excellent thematic scope. It was created in a time when the transition period was still breathing optimism into people and when the right time for popular culture seemed still to be on the way (that the conditions in production were improving), and at the same time, the first Exodos has opened the way for hope for even greater value of home projects from the field of performing arts in the international space. Thus it seems symptomatic that the new theoretical spirit of Maska’s circle in this issue tackles precisely the notion – of space, and what is even more symptomatic is perhaps the fact that less than a decade ago, the new home theory of performing arts set her eye mainly on performances and the phenomenon of space inside them. After ten years, the question would be: which and what kind of space/ spaces do contemporary and canonized forms of theatre take place in and what kind or relations exist between the spaces of performances and the spaces of theatre.

The issue brings a talk with Claus Lynge from the Hotel Pro Forma theatre group, essays on the performances of Koreodrama, Egon March Institute, Gledališče VR, on the staging of Bernarda Alba by Jablanovec, on Butterendfly by Pograjc, Pandur’s Russian Mission and Živadinov’s Dome 1: 10 000 000 (which is supposed to get its revival in the year 2005). There are interesting artiocles in the Authorial Range, and the thematic scope Space brings talks with Meta Hočevar, Marko Japelj, Jože Zajc, an article by Barbara Pušič on Scenography in the History of Slovenian Theatre, Maja Breznik writes about the OHO group, Emil Hrvatin is publishing an article on Reterritorialisation of the View, Bojana Kunst on the relationship of Space and the Body, and Vlado Repnik On the Scenography of Indexes. “The perceptive loops that the contemporary Slovenian creators of performing arts offer to the spectators in their parallel spaces, will undoubtedly continue to be one of the essential characteristics of their plotting. The allure of interaction, dictate and interdiction is too strong for them to be able to think otherwise. Even though par negationem, for the price of one single – last spectator,” says Simon Kardum, the then member of the editorial board, critic and publicist, in the conclusion of his Introduction to the thematic scope, entitled The spaces of Space.

The present issue is also partly translated into English. 

Contents

INTERVIEW

Marko Peljhan: CLAUS LYNGE (HOTEL PRO FORMA)
PERFORMANCES

Blaž Lukan: BEAUTIFUL VIDA

Sonja Dular: SUGAR HOUSE

Irena Štaudohar: GERTRUDE STEIN

Tatjana Ažman: BUTTERENDFLY

Uršula Cetinski: THE RUSSIAN MISSION

Vladimir Stojsavljević: COSMIST ACTION - CUPOLA 1: 10.000.000

Sonja Dular: BREAKFAST IN THE GRASS, IIZA, TRAVELLERSD, ROSE & MARGUERITE, REFLECTIONS, WHO DREW STANKO’S SPRINGBOARD
AUTHORIAL BLOCK

Snežana Golubović: FRANKFURT BEFORE FRANKFURT

Snežana Golubović: WORDS WITHOUT WORDS

Suzana Koncut: DANCE STAGES OF PARIS

Gordana Vnuk: WOMAN’S TEAR AS PERFORMANCE’S RESIDUE

Johannes Birringer: THEATRE FROM NOWHERE

Michael Uytterhoeven: SOME QUESTIONS FOR SLOVENIAN ARTISTS

Aljoša Kolenc: MASKA

Aldo Milohnić: EXPERIMENTATION WITH SPACE
IN-SIGHT
REVIEWS
THEMATIC BLOCK

Simon Kardum: SPACES OF SPACE. Introduction.

Tomaž Toporišič: INTERVIEW WITH META HOČEVAR

Livija Pandur: INTERVIEW WITH MARKO JAPELJ

Simon Kardum: INTERVIEW WITH JOŽE ZAJC

Barbara Pušič: SCENOGRAPHY IN THE HISTORY OF SLOVENIAN THEATRE

Maja Breznik: URBAN THEATRE

Bojana Kunst: SPACE AND BODY

Vlado Repnik: ON THE SCENOGRAPHY OF INDICATORS

Events
— 17-05-2006 : Constitution and disappearing of the spaces of art
Cabinet Maska, ICGA, Ljubljana
Tanja Lesničar Pučko and guestsi


— 22-09-2006 : Mapping/archiving/analysing the lost spaces of art
001, Gallery of Modern Art, Ljubljana
Bojana Piškur


— 24-10-2009 : WALK PERFORMANCE: Samo Gosarič, different locations in public space at 5PM, conversation after the performance, moderator: Miško