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Samuel Beckett's Arrivals on the Yugoslav Stage: Godot's "lives" and "afterlives" in the former Socialist Federal Republic of Yugoslavia

塞缪尔·贝克特登上南斯拉夫舞台：戈多在前南斯拉夫社会主义联邦共和国的“生”与“来世”

基本信息

批准号：
2748354
负责人：
金额：
--
依托单位：
University of St Andrews
依托单位国家：
英国
项目类别：
Studentship
财政年份：
2022
资助国家：
英国
起止时间：
2022 至无数据
项目状态：
未结题

来源：
https://gtr.ukri.org/projects?ref=studentship-2748354
关键词：
Samuel Beckett Arrivals Yugoslav Stage

项目摘要

Samuel Beckett's Arrivals on the Yugoslav Stage: Godot's "lives" and "afterlives" in the inter and post-war periods of the former Socialist Federal Republic of Yugoslavia. My research will assess Samuel Beckett's impact in former Yugoslavia. I will investigate the political and aesthetic lives of the Yugoslav Godot between 1954-2002. Godot would be banned, unbanned, and staged through a series of cultural and political shifts in former Yugoslavia. I will track the ways in which Godot was adapted for the avant-garde, neo-avant-garde, and mainstream Yugoslav theatres and became a political emblem. In conversation with Rancière's model of the 'politics of aesthetics', I will interrogate how the tactile and aesthetic elements of theatre here manifested politically regardless of what is considered Beckett's own political (dis)engagement.My position is that Godot's lives on the Serbian stage in the Republic are politicised, neo-avant-garde adaptations of Godot. I will read Godot's afterlives as part of the beginnings of postmodern 'political aesthetics'. Dragana Obradovic's model of Yugoslav postmodernism correlates this as being a historical 'demand' of the inter and post-war periods. When referring to the neo-avant-garde, I use Misko Suvakovic's model of regional avant-gardes. Suvakovic describes the Serbian neo-avant-garde as 'a renewed critical practice on the fringes of mainstream modernist culture' that occurred between 1951-1973 in Tito's Yugoslavia. I will examine this 'critical' strategy alongside the 'political' structures of the avant-garde

塞缪尔·贝克特在南斯拉夫舞台上的到来：戈多在前南斯拉夫社会主义联邦共和国的中间和战后时期的“生活”和“来世”。我的研究将评估塞缪尔·贝克特在前南斯拉夫的影响。我将研究1954-2002年间南斯拉夫戈多的政治和美学生活。戈多将被禁止，解除禁令，并通过一系列文化和政治转变在前南斯拉夫上演。我将跟踪戈多是如何被改编为前卫，新前卫和主流南斯拉夫剧院，并成为一个政治象征。在与朗西埃的“美学的政治”模型的对话中，我将询问戏剧的触觉和美学元素在这里是如何在政治上表现出来的，而不管贝克特自己的政治（不）参与。我的立场是，戈多在共和国塞尔维亚舞台上的生活是政治化的，是对戈多的新先锋派改编。我将阅读戈多的来世，作为后现代“政治美学”开端的一部分。德拉加娜·奥布拉多维奇的南斯拉夫后现代主义模型将其作为战后时期的历史“需求”。当提到新先锋派时，我使用Misko Suvakovic的区域先锋派模型。苏瓦科维奇将塞尔维亚的新先锋派描述为1951-1973年间发生在蒂托的南斯拉夫的“主流现代主义文化边缘的一种新的批评实践”。我将把这种“批判性”的策略与先锋派的“政治”结构放在一起考察