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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战间和战后时期的“生”和“来世”。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审美生活。戈多在前南斯拉夫经历了一系列文化和政治转变，被禁止、解禁和上演。我将追踪戈多如何被改编为前卫、新前卫和南斯拉夫主流戏剧并成为政治象征。在与朗西埃的“美学政治”模型的对话中，我将质疑戏剧的触觉和美学元素如何在政治上表现出来，无论贝克特自己的政治（脱离）参与如何。我的立场是，戈多在《共和国》塞尔维亚舞台上的生活是对戈多的政治化、新前卫改编。我将阅读戈多的来世，作为后现代“政治美学”开端的一部分。德拉加纳·奥布拉多维奇的南斯拉夫后现代主义模型将其视为战间和战后时期的历史“需求”。当提到新前卫艺术时，我使用米斯科·苏瓦科维奇（Misko Suvakovic）的区域前卫模型。苏瓦科维奇将塞尔维亚新前卫艺术描述为1951年至1973年间发生在铁托领导下的南斯拉夫的“主流现代主义文化边缘的一种新的批判实践”。我将与先锋派的“政治”结构一起审视这种“批判”策略