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

Management, Festivals, Performances

At the time of publishing the second issue, Maska founded its International Board, in which it engaged the following collaborators: Mike Flood, director of ICA, London, Steve Austen of The Felix Meritis Foundation, Amsterdam, Chrissie Iles, curator of the Modern Art Museum, Oxford, Cis Bierinckx, critic and selector of the festivals, Belgium, Walter Porcedd, theatre critic, Cagliari, Michael Stolhofer, director of Die Szene, Salzburg.

The issue brings an interview with Maja Milenović – Workman, in the theme section it deals with scenic production and festival problematics, publishes the columnists Igor Lampret, Eda Čufer and Aljoša Kolenc, and introduces a rubric Reviews without Adjectives. The Slovenian theatre poetics are also discussed by foreign authors. The new designer of the magazine is a member of the New Collectivism Samo Lapajne.

There is, however, one more detail that makes the issue interesting: in the background of the front page, there are the ruins of one of the Croatian theatres, demolished by a bomb; thus the stage is occupied not with a show but with a bulldozer, removing the demolished remnants of the devastation. Perhaps the fact that the original front page was covered with a white filter also speaks of how delicate that time was for the then decaying Yugoslavian space.

 

 

Contents

EDITORIAL → PDF

Ženja Leiler: HOW TO CATCH THE DAYS OF DANCE

Aldo Milohnić: INTERMEDIALITY AS GENRE-PRODUCTIVE

Miha Zadnikar: EUROPE – THE GIVEN MYTH OR LOST HISTORY

Emil Hrvatin: THE WOOSTER CHEKHOV

Marina Gržinić: DOCUMENTA 9- MUSEUM FOR 100 DAYS. Conversation with Bart de Baer.

FESTIVALS OF THE WORLD (Selected by Ann Olearts)
INTERVIEW

Sinja Ožbolt, Roman Uranjek, Ičo Vidmar: IF YOU CAN MAKE IT IN NEW YORK, YOU MAKE IT EVERYWHERE. Interview with Maja Milenovič-Workman
PERFORMANCES

Vladimir Basara, Sonja Blum: NORGE

Cis Biernickx: FOUR TIMES FOUR

Uršula Cetinski: SCANDAL AFTER CANKAR
COLUMN

Igor Lampret: PASSIONATE CADAVER

Eda Čufer: THEATRE IN THE AGE OF SENSE CONFORMISM II.

Aljoša Kolenc: FROM CANVAS TO SCREEN. ANALYSIS OF THE VISUAL FIELD -LEONARDO, MODIGLIANI, FONTANA, MALEVICH
REVIEWS

Ičo Vidmar: EINSTÜRZENDE NEUBAUTEN “DIE HAMLETMASCHINE”

Marko Crnkovič: ALEŠ ERJAVEC, MARINA GRŽINIĆ: “LJUBLJANA, LJUBLJANA”

Igor Lampret: PETER FERDINAND DRUCKER “MANAGING THE NONPROFIT ORGANIZATION, PRACTICE AND PRINCIPLES”
NON-PROFIT MANAGEMENT

Maja Breznik, Irena Štaudohar: EDITORIAL
Bruno Verbergt: NEVER SAY IT’S IMPOSSIBLE

Nele Hertling: COMPETING WITH PERMANENT THEATRES

Matej Mihelčič: GLOBAL

Walter Porcedda: THEATRE DOESN’T LIVE HERE ANY LONGER

Julija Carruthers: PROFESSIONAL WORLD OF DANCE IN BRITAIN

Gil Mendo: AN ATTEMPT IN SOLIDIFYING THE MOVEMENT
PORTRAIT

Matjaž Loboda: IGNACIJE ŠUNJIĆ - ACO
TOPICAL TRANSLATION

Helga Finter: ON VOICE IN THEATRE – THE PATH OF THE TEXT OR TEXTS IN VOICE?
CONSTRUCTORS OF MODERN THOUGHT

Emile Jacques Dalcroze: RHYTHM AND GESTURE IN MUSICAL DRAMA AND CRITICISM
THEATRE MEMORY

Prof. Marko Marin: THE FIRST STAGING OF PREŠEREN’S “BAPTISM ON THE SAVICA”
ON CRITICIM WITHOUT ADJECTIVES