"Библиотека свих чула - режија документарне представе о перцепцији слепих и слабовидих људи"

Abstract

Tema umetničko-istraživačkog rada „Biblioteka svih čula” je način na koji slepi i slabovidi ljudi čitaju i zamišljaju drame. Kroz dvogodišnji istraživački rad, proces pripreme i izvođenje performansa „Biblioteka svih čula”, želela sam da pronađem novu, drugačiju perspektivu u metodologiji učenja čitanja drama, upotrebom svih raspoloživih čula. Na ovu ideju došla sam zbog problema nepreciznog prvog čitanja drama kod studenata pozorišne režije. Veliku pomoć u artikulaciji ovog cilja, ali i odabiru metodologije rada, pružio mi je jedinstveni prevodilac filozofske i dramske literature s nemačkog jezika, Sead Muhamedagić. Inspirisana njegovim iskustvom slepe osobe koja se bavi pozorištem, njegovom ličnošću i pogledom na svet, odabrala sam da se u fokusu mog rada nađu slepi i slabovidi ljudi. U teorijskom poglavlju bavila sam se istorijom dokumentarnog i verbatim pozorišta, pojmovima predrasuda i sinestezije, reprezentacijom slepih i slabovidih kroz istoriju umetnosti, a ovo poglavlje zaključila razmatranjem današnjih praksi i mehanizama njihove inkluzije u pozorište. U poglavlju o metodologiji rada, na dokumentaristički način bavila sam se svim etapama dvogodišnjeg procesa istraživanja, prepoznavanja i intervjuisanja pojedinačnih sagovornika, te pripreme performansa. U analizi praktičnog rada, bavila sam se svim aspektima performansa „Biblioteka svih čula”, kroz koji sam načine čitanja odabrane grupe slepih i slabovidih uočila kao korisne za kreativni proces – kroz zadatak da čitaju i zamišljaju deset izabranih drama iz istorije pozorišta. U zaključku rada, analizirala sam iskustvo učešća publike na performansu, kao i načine na koje je sinestetsko čitanje doprinelo i omogućilo da ostvarim projektovane ciljeve ovog rada. Izvela sam zaključke koji se tiču: aktivnog rediteljskog prvog čitanja dramskog teksta, kao i vizualizacije teksta u projektovanju predstave, korišćenjem svih čula. S iskustvom da bez zamišljanja nema ni razmišljanja, ovim radom i studijom slučaja napisanom u prvom licu jednine, želela sam da pomognem budućim studentima pozorišne režije u procesu čitanja i, posledično, zamišljanja dramskih tekstova.

The subject matter of the artistic research “Library of all senses“ is reading and imagining plays by blind and visually impaired people. During my two-year research, preparation process and performance, I aimed to open a different, new perspective in the methodology of learning to read plays using all available senses. I came up with the idea due to the repeated issue of unprecise first reading of plays among different students of Theater Directing. In articulating my aim, as well as thinking up the specific work methodology, I had great help from a unique Croatian translator Sead Muhamedagić who translates both philosophical and dramatic literature from the German language. Inspired by Muhamedagić’s own experience of a blind person working in theater, his personality and point of view, I chose to focus on blind and visually impaired people in my work. In the theoretical chapter I dealt with the history of documentary and verbatim theater, the concepts of prejudice and synesthesia, the representation of the blind and partially sighted throughout the history of art. This chapter was concluded by considering the current practices and mechanisms of the inclusion of the blind and partially sighted in theater. The chapter on work methodology deals with all the stages of the two-year process of preparation, finding and interviewing individual interlocutors in a documentary manner. In the analysis of practical work, I dealt with all the aspects of the performance of “Library of all senses“, through which I took the reading methods of the blind and partially sighted as interesting for the creative process, taking into account their opinion and different view of the world. In the performance, I opened questions regarding how the blind and visually impaired critically read and imagined ten selected plays from history of theater. In the conclusion, I analyzed the experience of audience participating in the performance, as well as how synesthetic reading contributed and enabled me to achieve the goals of this work. I also drew conclusions concerning: the active director's first reading of the play, as well as the visualization of the text in building the world of the play using all senses and sensory imagination. Considering the fact that without imagining – there is no thinking either, with this work and 1st person case study I wanted to provide aid to future students of Theater Directing in their process of reading and imagining plays.