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ISSN 1409-6900 | UDK 82+7     Blesok no. 45 | volume VIII | November-December, 2005



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                     Peer-reviewed journal
Blesok no. 45November-December, 2005
Theatre Theory

Intracultural Theatrical Dispersion

or On Recent Macedonian Theatrical Matters


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p. 1
Ana Stojanoska

    I could have entitled this text “On the Ideal Theatre of the 21st Century”, which would have been more simple. However, by defining the theatre as ideal, I would have had to consider it from a superior position, which is not my objective. Therefore, I remain within the framework of the above title, and I will refer to the ideal theatre later, as part of the logical solution of the equation Intracultural theatre or a model of the theatre for the new millennium. In the beginning, I should explain why I use the phrase intracultural theatrical dispersion or, more precisely, the concept of dispersion, a term adopted from physics, to which I ascribe theoretically referential semantics. Starting from the idea of intraculturalism as an idea for the identification/recognition of sameness between cultures and the need not to allow its ‘globalisation’, I propose its dispersion/diffusion everywhere, and especially by the theatre, whose intraculturalism is powerful, visible and recognizable. In order not to turn this concept into a lifeless and dull admixture of more cultures, I would like to focus in this text on its dispersion and explore it further within the framework of a global constellation and contextualisation.

1. The Original Impulse or Varied Cultures/Cultural Variety and the Theatre


    As in the good old fairy tales, so in out theatrology, every idea has its magic, mystical and formulaic beginning. If in the tales the matrix begins with “Once upon a time…”, then in theatrology the beginnings of the story of intracultural theatre can be discovered in the ‘exotic’ study of theatre anthropology. It is one of those numerous scholarly theatrological disciplines which, as its father Eugenio Barba would put it, provides us with a series of small and useful pieces of advice as to “how theatre is made.”
    Intracultural theatre is one of the subjects or, more precisely, one of the emanations of theatre anthropology.
    Provoked by the title of this conference, I chose for my subject (in coordination with theatre anthropology) a phenomenon new to scholars, called INTRACULTURAL THEATRE.
    What is intraculturalism, what are its basic coordinates, how is it defined, determined and explicated? These are the questions with which my game with intraculturalism begins.






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