"О(П)СТАНАК" (ЛИК ЖРТВЕ У ДОКУМЕНТАРНОМ ПОЗОРИШТУ)

Abstract

U ovom umetničko-istraživačkom radu polazi se od pretpostavke da je publika obaveštena da prisustvuje inscenaciji dokumentarnog materijala, što čini da dramu percipira kao stvarnu. Autor zapaža da aktuelnost i istinitost teksta stavljaju gledaoca u ulogu učesnika događaja koji može da iskoristi svoju kritičku moć, prepozna zlo u društvu i, zahvaljujući toj spoznaji, to društvo promeni. U zavisnosti od metoda koji je zastupljen u radu na predstavi, analizira se uticaj na publiku. Kao studija slučaja u ovom radu uzete su predstave koje su nastale na osnovu obrada ličnih priča u odnosu na društveni i politički kontekst kod nas, na primerima predstava u režiji Bobana Skerlića, Borisa Liješevića i Mie Knežević. U ovom radu autor se poziva na teoretičare koji su kroz svoje metode tretirali ulogu glumca i ulogu gledaoca, ali i pitanja koja bi mogla biti svrha nas kao ljudskih bića. To su Konstantin Sergejevič Stanislavski (Konstantin Sergeievich Stanislavski), Bertolt Breht (Bertolt Brecht) i Ježi Grotovski (Jerzy Grotowski). U analizi nastanka umetničkog dela od dokumentarnog materijala i uticaja koje dokumentarno pozorište ima obrađivani su primeri u radu britanskih autora Robina Soansa (Robin Soans), Dejvida Hera (David Hare), Maksa Staforda Klarka (Max Stafford-Clark), Aleki Blajd (Alecky Blythe), Ričarda Nortona Tejlora (Richard Norton Taylor) i Nikolasa Kenta (Nicolas Kent). Umetničko-istraživački doprinos je način nastanka umetničkog dela od dokumentarnog materijala, uticaj koji ima na publiku kroz različite metode glumačke igre i načini kojima se to postiže. Ovim radom dokazana je hipoteza da je dokumentarno pozorište, kroz viši stepen identifikacije gledaoca s likom, potvrda moći koje pozorište može imati menjajući svet nabolje.

In this art research paper it is assumed that the audience has been informed it will be attending a depiction of documentary material, which makes them perceive the drama as real. The author notices that the prevalent and truthful script places the viewer into the role of an active participant of the events who can use their critical thinking to recognize evil in society, and use that insight to make a change in the society. The play's effect on the audience is analyzed according to the method which was used while working on the play. As a case study in this work, plays based on renditions of personal stories against the backdrop of our social and political context were taken, on the examples of plays directed by Boban Skerlic, Boris Liješevic and Mia Kneževic. In this paper the author refers to theorethicists who have used their methods to treat the role of actor and the role of viewer, but also questions regarding our purpose as human beings. These are Konstantin Sergievich Stanislavski, Bertolt Brecht and Jerzy Grotowski. In the analysis of the genesis of a work of art based on documentary material and the influence documentary theatre has, examples in the works of British artists Robin Soans, David Hare, Max Stafford-Clark, Alecky Blythe, Richard Norton Taylor and Nicolas Kent have been used. Art research contributes ways to create a work of art based on documentary material, the influence it has on its audience via different acting methods and ways to achieve that. This work proves the hypothesis that documentary theatre uses a higher level of identification between the viewer and the character to confirm the power that theatre has to change the world for the best.