1 episode
Lev Kreft - DRAMA V GLEDALIŠČU, DRAMA V ŠPORTU (DRAMA IN THEATRE, DRAMA IN SPORT ) radioCona, http://www.cona.si/radio
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- Society & Culture
Lev Kreft - DRAMA V GLEDALIŠČU, DRAMA V ŠPORTU
Članek Anthonyja D. Buckleya »Aristotel in kriket: drama v retrospektivi« (2006) je podaljšek razprave, ki jo je začel F. Keenan s tekstom »Športna tekma kot 'tragična' forma umetnosti«. Buckley svoj pripsevek sklene z mislijo, da ima lahko neka določena tekma, »čeprav ni umetniško delo, urejeno enotnost s formo Aristotelove 'kompleksne drame'«. Ob isten času se je David Osipovich lotil vprašanja »Kaj je gledališki performans?« (2006) in s tem navezal na razpravo, ki jo je sprožil simpozij »Uprizarjanje interpretacij« iz leta 2001, ko so se soočili David Z. Saltz, James R. Hamilton in Noël Carroll o nasprotujočih si interpretacijah in zgodovini teorij gledališkega performansa. V nasprotju z interpretacijskimi teorijami gledališča Osipovich trdi, da ima »performans lastno estetsko identiteto, ločeno od dramskega teksta«.
Med antičnimi grškimi in modernimi olimpijskimi igrami obstaja veliko pomembnih historičnih razlik, in nič manjše niso razlike med grškimi – atenskimi dionizijskimi svečanostmi, katerih del je bilo tudi tekmovanje tragedij, in sodobnim gledališčem. Tradicionalnim modernim, že ne več aristotelskim teorijam gledališkega dogodka se danes postavljajo po robu postmoderne teorije gledališča, in nekaterim od njih lahko upravičeno rečemo, da so teorije performansa in gledališča performansa. Te teorije se zdijo na prvi pogled bolj »prijazne do športa« od onih, ki so vztrajale, da gre v gledališču za interpretacijo literarnega dramskega besedila. In če se medtem Keenan in Buickley še vedno trduita s proučevanjem športnih tekem z Aristotelovimi prijemi, se zastavlja vprašanje: ali sodobno razpravljanje o ontologiji gledališkega performansa lahko ponudi kaj podlage, na kateri bi se dalo razviti ne-aristotelski, a še vedno ploden dostop do ontologije modernih športnih tekem? In: ali lahko prestopimo od sodobnega gledališča in pripadajoče mu teorije, v drugo umetniško polje, torej polje performansa nasploh, da bi tam naleteli tudi na šport? Kar končno pomeni vprašati se, ali naj estetika športa začne pri lepoti športa, ali naj se osredotoči na njegovo performativno teatralnost?
Dr. Lev Kreft predava estetiko na ljubljanski univerzi. Od leta 2004 je direktor Mirovnega inštituta. Objavil je več knjig s področja estetike in kulturne zgodovine, zadnjo, Vstop v estetiko (2005) skupaj z dr. Valentino Hribar – Sorčan kot univerzitetni učbenik. V zadnjih letih se ukvarja tudi s filozofijo športa, objavlja tekste s tega področja v mednarodnih revijah, jo letos prvič predava kot nov izbirni predmet na Filozofski fakulteti, in je predsednik Evropske zveze za filozofijo športa.
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Lev Kreft - DRAMA V GLEDALIŠČU, DRAMA V ŠPORTU
Lev Kreft
DRAMA IN THEATRE, DRAMA IN SPORT
Public lecture / Free admission
Cankarjev dom, M3/M4
Monday, 7 December 2009, at 19:00
Anthony D. Buckley's article “Aristotle and Cricket: Drama in Retrospect” (2006) is a continuation of a discussion initiated by F. Keenan with his text “The Athletic Contest as a ‘Tragic’ Form of Art”. Buckley concludes his contribution with the thought that “although not a work of art, a token game is likely to have an orderly unity with the form of Aristotle's 'complex drama'”. At the same time, David Osipovich addressed the question “What is a Theatrical Performance?” (2006), referring to the discussion triggered by the 2001 symposium on “Staging Interpretations” where
David Z. Saltz, James R. Hamilton and Noël Carroll confronted their views on opposing interpretations and the history of the theories of theatrical performance. Opposed to interpretational theories of theatre, Osipovich claims that “the performance has its own aesthetic identity, separate from the play”. There are many important historical differences between the Ancient Olympic Games and the modern ones, and no smaller are the differences between Greek – Athenian Dionysian festivals, which included tragedy competitions, and contemporary theatre. Nowadays, the traditional modern, already non-Aristotelian theories of a theatrical event are contested by postmodern theories of theatre, some of which can justifiably be called theories of performance art and the theatre of performance art. At first sight, these theories seem more ‘sports-friendly’ than those insisting that theatre is about an interpretation of a literary dramatic text. And while Keenan and Buckley still try to study sport competitions with Aristotelian instruments, a question arises: can a contemporary discussion on the ontology of a theatre performance provide a basis on which one could develop a non-Aristotelian but still fruitful approach to the ontology of modern sports games? And: can we proceed from contemporary theatre and its theory to another art field, the field of performance art in general, to find sport also there? In the final instance, this translates into the question of whether the aesthetics of sport starts with the beauty of sport or should it focus on its performing theatricality.
Dr. Lev Kreft is a professor of aesthetics at the University of Ljubljana. Since 2004, he has been Director of the Peace Institute – Institute for Contemporary Social and Political Studies. He has written several books in the fields of aesthetics and cultural history, his last one, Vstop v estetiko (2005), together with dr. Valentina Hribar–Sorčan as an academic textbook. In recent years, he has specialized also in the philosophy of sport, his articles in this field being published in international journals. For the first time this year, he lectures on it at the Faculty of Arts, where the philosophy of sport was introduced as an optional course. He is President of the European Association for the Philosophy of Sport.