Before the Fall: Yugoslav Theaters of Opposition
| Autor: | Erika Munk |
|---|---|
| Rok vydání: | 2001 |
| Předmět: | |
| Zdroj: | Theater. 31:5-25 |
| ISSN: | 1527-196X 0161-0775 |
| DOI: | 10.1215/01610775-31-1-5 |
| Popis: | ions. This kind of adaptation to the basic form of our public/political discourse was even more pronounced in theater than in literature or the visual arts, which by their nature show a greater measure of individuality. The statement we’re somehow so proud of, that theater is a mirror of life, has come back on us like a boomerang. In what way has Serbian theater in the 1990s been a mirror of a situation in which war “is and is not”? Two assumptions should be borne in mind. In the first place, Serbian theater, even during the most terrible years of war, hyperinflation, and isolation, managed, if nothing else, to preserve its own continuity: only to us who live in this country is it clear that this is a kind of success. We must acknowledge this (which does not mean putting it in second place), and then we can ask about the aesthetic level of achievements created under such circumstances. War is by definition a state in which any kind of critical thought is unwelcome. Still, perhaps we can ask ourselves how many times we spared an objectively poor performance just because it tried— munk 8 02-Munk_Essay.final 5/2/01 10:46 AM Page 8 |
| Databáze: | OpenAIRE |
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