JUGOSLOVENSKO DRAMSKO POZORIŠTE I JUGOSLOVENSKI RATOVI (1991–1999)

Abstract

Rad ispituje kako se repertoar Jugoslovenskog dramskog pozorišta odnosio prema društvenoj stvarnosti u vreme nasilne dezintegracije druge Jugoslavije. Ključni pojmovi koji oblikuju teorijsku perspektivu rada – suočavanje i poricanje, hronotopi jeze, svedočenje i zaposednutost – pomoći će nam da istražimo višestruke, manje ili više direktne veze između pozorišta i konteksta. Period koji je u fokusu našeg istraživanja biće određen kao treća faza u radu Jugoslovenskog dramskog pozorišta u XX veku, koju su obeležili jugoslovenski ratovi i rukovođenje Jovana Ćirilova, jednog od najznačajnih upravnika ovog teatra. Nakon šireg, panoramskog pregleda repertoara, fokus sužavamo na teatrološke analize odabranih predstava suočavanja, tj. na ona ostvarenja JDP-a koja tokom naznačenog perioda nisu skretala pogled od akutnih pitanja savremenosti. Među njima se nalaze režije klasičnih drama Pozorišne iluzije (1991), Troil i Kresida (1994), Poslednji dani čovečanstva (1994) i inscenacije savremenih tekstova Bure baruta (1995), U potpalublju (1996) i Beogradska trilogija (1997). Kroz analizu navedenih ostvarenja vodiće nas hipoteza da se kontekst jugoslovenskih ratova ne upisuje samo na onom očiglednom, tematsko-motivskom planu, već i u koncepcije vremena i prostora savremenih tekstova i predstava – u njihove hronope izgubljenog grada.

The aim of the dissertation is to show how the repertoire of the Yugoslav Drama Theatre reacted to social reality at the time of the violent disintegration of the Socialist Federative Republic of Yugoslavia. The key concepts that shape the theoretical perspective of the thesis – acknowledgement and denial, chronotopes of the uncanny, testimony and ghosting – will allow us to explore the multiple, more or less direct connections between the theatre and its context. The period that is the focus of our research will be defined as the third phase in the work of the Yugoslav Drama Theater in the XX century, which was marked by the Yugoslav wars and the leadership of Jovan Ćirilov, one of the most important managers of this theater. After a broader, panoramic review of the repertoire, we narrow the focus to theatrological analyses of selected performances of acknowledgement, i.e. to those projects of the YDT which, during the indicated period, did not turn their eyes away from the acute issues of the time. Among them are the stagings of both classical texts – L'Illusion Comique (1991), Troilus and Cressida (1994), The Last Days of Mankind (1994) – and contemporary ones – Powder Keg (1995), In the Hold (1996) and Belgrade Trilogy (1997). Through the analysis of the aforementioned works, we will be guided by the hypothesis that the context of the Yugoslav wars is inscribed not only on the obvious, thematic level, but also in the conceptions of time and space in contemporary texts and performances – in their chronopes of the lost city.