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时期和战后时期的“生前”和“死后”。我的研究将评估塞缪尔·贝克特对前南斯拉夫的影响。我将调查1954年至2002年间南斯拉夫戈多的政治和美学生活。《戈多》被禁，又未被禁，并在前南斯拉夫经历了一系列文化和政治转变。我将追踪戈多是如何被改编为先锋派、新先锋派和南斯拉夫主流戏剧，并成为政治象征的。在与ranci<e:1>的“美学政治”模型的对话中，我将询问戏剧的触觉和美学元素是如何在政治上表现出来的，而不管贝克特自己的政治（不）参与是什么。我的立场是，戈多在塞尔维亚共和国舞台上的生活是政治化的，是对戈多的新先锋派改编。我将把戈多的死后作为后现代“政治美学”开端的一部分来读。德拉加纳·奥布拉多维奇的南斯拉夫后现代主义模型将其与战后时期的历史“需求”联系起来。当提到新前卫时，我使用Misko Suvakovic的区域前卫模型。Suvakovic将塞尔维亚的新先锋派描述为“主流现代主义文化边缘的一种更新的批判实践”，发生在1951-1973年铁托的南斯拉夫。我将与先锋派的“政治”结构一起考察这种“批判”策略

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