Filozofski fakultet

Sveučilišta u Zagrebu

Gostujuća predavanja prof. Bonnie Maranca

Odsjek za komparativnu književnosti i PDS književnosti, izvedbenih umjetnosti, filma i kulture pozivaju na predavanja gošće iz New Yorka, teatrologinje i kazališne kritičarke, urednice časopisa PAJ (A Journal of Performance and Art) i voditeljice nakladničke kuće PAJ Publications Bonnie Maranca. Predavanje „Joan Jonas: The Theatre of Drawing“ održat će se u petak, 19. svibnja u 17:00 u dvorani A-214. Predavanje „How the World Sounds to Meredith Monk“ održat će se u subotu, 20. svibnja u 11:00 u dvorani D-IV. Predavanja se održavaju u sklopu PDS-a književnosti, izvedbenih umjetnosti, filma i kulture, a otvorena su svim zainteresiranima. Detalji pod opširnije.



„Joan Jonas: The Theatre of Drawing“ (petak, 19. svibnja u 17:00 u A-214)

For more than four decades the visual artist Joan Jonas has been generating a highly refined vocabulary of forms. In her recent work, Reanimation, she brings together multiple technologies of performance: drawing, movement, video, text, sound, photography. All of these elements demonstrate the process of making art the moment it is occurring in the performance event, at the center of which is the embodied artist—drawing the work, making sound and movement, speaking text (passages from the Halldór Laxness novel, Under the Glacier).  Her life-long interests are now elaborated in performance time through its relation to cosmic time, the ecological is positioned next to interspecies communication, the ritualistic accompanying the mediated. Whether from the point of view of mediaturgy or posthuman or poetics, in Reanimation Jonas draws her way through space and time, mapping a spiritual journey.

„How the World Sounds to Meredith Monk“ (subota, 20. svibnja u 11:00 u dvorani D-IV)

Meredith Monk has created a unique form of performance that brings together music, movement, image, and sound, whether in opera, site-specific projects, film or video. A prominent figure in the creation of contemporary performance vocabularies, she has also become known for her astonishing emotional range and  extended vocal technique. Little or no text is found in her theatrical work, which is generated instead from music and movement and image. Her company is valued for the individual freedom given to each performer, functioning more like a community than a cast. At the heart of Monk’s artistic approach is the idea of weaving, which refers not only to the frequent mingling of diverse forms of performance and composition, but also to the Buddhist notion of the interpenetration of all things. Frequent themes have been the idea of the quest/journey, the artist as visionary, the impermanence of life, and ecological consciousness. Monk links art practice to spiritual practice. Her theatre has a quality of stillness and grace, offering a certain mindfulness and the beauty of quietude. This is new kind of music theatre that honors the ancient and the contemporary, the liminal and the here and now.