Damir Bartol Indoš and Tanja Vrvilo — House of Extreme Music Theatre: Performative Translation of Croatian Neo/Avant-garde

Suzana Marjanić

doi:10.31261/PLS.2023.13.09

Opublikowane: 2023-07-18

Tom 13 (2023)

Damir Bartol Indoš and Tanja Vrvilo — Dom Ekstremalnego Teatru Muzycznego: przekład performatywny chorwackiej neo/awangardy

Suzana Marjanić

Dział: ARTYKUŁY

https://doi.org/10.31261/PLS.2023.13.09

Abstrakt

DB Indoš and Tanja Vrvilo — House of Extreme Music Theater work with material from the Croatian historical avant-garde scene in all their performances of exhausting, physical theater, which they approached through the Zagreb circle of zenithists, “through Kamov and Čerina as predecessors of the Futurists (but not the Marinettists), and their influence on the literary-revolutionary circle of rebellious youth. Some of them
included August Cesarec, Đuka Cvijić, Zora Ruklić and members of their ‘Republic of Stenjevac’, members of the Zagreb group Zenit, the lyrics of a visionary film through the books of Ivan Martinac, concrete poetry by Josip Stošić and the silent art that we ‘shachtophonize’ for our parallel performance canon” (Vrvilo 2020). Their systematic work on the performance and reactualization of the neo/avant-garde can be defined, by using Roman Jakobson’s definition, by intersemiotic translations (cf. Munday, Ramos Pinto, Blakesley 2022: 9) into musical theater which, in their example, is based on manipulating sound objects/installations/sculptures with the cut-up technique of original texts into schachtophone scores (moving away from music notation to graphic notation) for schachtophone music, all through the vision of the performance of exhausting (physical) theater with Indoš’s constant dedication to Artaud’s theater of cruelty, the alchemical theater of pre-logic and pre-rationality, a theater that, as a magical ritual, can lead to the healing of society.

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Marjanić, S. (2023). Damir Bartol Indoš and Tanja Vrvilo — Dom Ekstremalnego Teatru Muzycznego: przekład performatywny chorwackiej neo/awangardy. Przekłady Literatur Słowiańskich, 13, 1–21. https://doi.org/10.31261/PLS.2023.13.09

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Suzana Marjanić

suzana@ief.hr
https://orcid.org/0000-0002-6158-3006

Afiliacja:

Instytut Etnologii i Badań Folklorystycznych w Zagrzebiu Chorwacja

Biogram

SUZANA MARJANIĆ | research advisor, works at the Institute of Ethnology and Folklore Research in Zagreb (Croatia), where she realises her interests in the theories of ritual and myth, critical animal studies and the performance studies. She published the book Voices of “Bygone Days”: Transgressions of Worlds in Krleža’s Notes 1914—1921/22 (2005), Chronotope of Croatian Performance Art: From Traveleri until Today (2014), The Topoi of Performance Art: A Local Perspective (2017), Cetera animantia: From Ethnozoology to Zooethics (2021), Myths and Re/contructions: Tracing Natko Nodilo’s Old Faith of Serbs and Croats (2022) and Performance Art nad Kynicism: Performance Line of Resistance (2022). The book The Chronotope of Croatian Performance Art: From Traveleri until Today (2014), which is the first history of performance art in Croatia, won the Annual award for the Croatian Selection of AICA and the National Award for Science. She co-edited eight collections, for instance, the collection Ecofeminism: between Women’s and Green Studies (2020) with Goran Đurđević and Cat-Collection: from Bastet to Catwoman (2022) with Rosana Ratkovčić.

Tom 13 (2023)
Opublikowane: 2024-01-10

ISSN: 1899-9417

eISSN: 2353-9763

10.31261/PLS

Wydawca

Wydawnictwo Uniwersytetu Śląskiego | University of Silesia Press

Prześlij tekst

Damir Bartol Indoš and Tanja Vrvilo — Dom Ekstremalnego Teatru Muzycznego: przekład performatywny chorwackiej neo/awangardy

Abstrakt

Suzana Marjanić

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