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ISSN 1409-6900 | UDK 82+7     Blesok no. 06 | volume II | January, 1999



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                     Peer-reviewed journal
Blesok no. 06January, 1999
Theatre Theory

An Introduction to the Theater Interculturalism

or: The Transculturalism and its Intertexts


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p. 1
Miruše Hodža

    Theory offers us today a lot of “application” terminology. These are being encouragingly enough applied in the daily speech as well as in the written texts, either if we want to estimate the unseriousness, or the seriousness of human games. However, it is a consequent question that follows as to whether we know to what we are dealing with when we apply these; which poses a difficult answer on its own terms. That's the reason why we say that the explanation of the dinstinctive significatios by way of the initial applicative theoretical concetptions becomes a precondition of the real comperhending of the contemporarary (theatre) aesthetics, and by that, as well a precondition of our personal standpoint towards it and its limitations. In the circle of such limitations the conceptions of transculturalism belong. Owing to the fact that the transculturalism becomes a hardly understandable category, if we try to determine it in the context of its intertexts, in this paper I will try to touch the following questions:
    1. What is postmodernism, pluralism, marginalism, multiculturalism, syncretism, acculturation, and the interculturalism ( or transculturalism) – by which I give concise explanations concerning the dinstictive features of these conceptions:
    2. What the theatre transculturalism is – by which I refer to some concrete connotations implied in the very said conceptions themselves:[1]

The texture and its junctures

   The crises of the categorization, balancing of the various perspectives of the absence of their homogenization are syntagms which Jean Françoais Lyotard has been trying to determine in terms of the conception of the postmodern (ibid., The Postmodern State: information concerning meaning). In case me, as a reader of a postmodern work, would have been limited in the very conception signification and would have said the following: even though I know that what am I reading or seeing is perfectly clear, I will tell you about the meaning of the work after I will have read it several times, only after its meaining would be reflected to me as whole, or, in the shape of the wholesome totality. If you ask me why, I'll answer to you in the shape of this question: can we refuse the fact that the postmodern work of art is divided (or decomposed) into many pieces?[2] Isn't it true that the meaining of those pieces are, said in Derrida's way, disseminated meanings or significations? You will say: on the one hand I talk

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1. In this paper I don't follow the stated points scheduling them orderly, but I rather make a combination of them. That is the way I create the simplest grounds to introduce the practical part of the theater transculturalism.
2. We should make a parallel here with the decomposed body of Jacques Lacan. That should then be taken as grounds for the possible comparing of the Lacan's Other by the word (the) other (in the sense of the other, non-imperialistic culture), which I expose further.






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