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战间和战后时期的“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。我将调查1954-2002年间南斯拉夫戈多人的政治和审美生活。戈多将被取缔、解禁，并通过前南斯拉夫的一系列文化和政治变革上演。我将追踪戈多是如何被改编成前卫、新前卫和南斯拉夫主流戏剧，并成为政治象征的。在与兰奇埃尔的“美学政治”模型的对话中，我将询问这里的戏剧的触觉和美学元素是如何在政治上表现出来的，而不考虑贝克特自己的政治(DIS)活动。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、新先锋改编。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式认为，这是战后时期和战后时期的历史要求。在提到新前卫时，我使用了米斯科·苏瓦科维奇的地区性前卫模式。苏瓦科维奇将塞尔维亚新先锋派描述为1951年至1973年发生在铁托统治下的南斯拉夫的主流现代主义文化边缘的新的批判性实践。我将结合先锋派的“政治”结构来审视这一“关键”战略。

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