Page 49 - Rezoničnik, Lidija, in Marcello Potocco, ur., 2016. Družbeni in politični procesi v sodobnih slovanskih kulturah, jezikih in literaturah ▪︎ Social and political processes in modern slavic cultures, languages and literatures. Koper: Založba Univerze na Primorskem.
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a njegova dejavnost ter kako se želi profilirati v umetniškem iz mednarodno znanstveno srečanje mladih humanistov, 2016 47
razu. Analiza repertoarja SSG Trst, ki ga bomo primerjali z osred
njo nacionalno gledališko hišo SNG Drama Ljubljana, bo prikazala
stanje na obeh straneh meje, razlike med dvema gledališčema, kjer
eno deluje v socialističnem sistemu in se obrača proti zahodu, dru
go pa deluje za zahodu in se obrača k socialistični Jugoslaviji. Pre
verili to trditev ob analizi dramskih del, ki so bila uprizorjena v tem
obdobju, proučili kritiški odziv na izbrane uprizoritve in poskuša
li dognati, če se gledališče, ki deluje za celoten zamejski prostor,
obrača na svojo publiko z uprizarjanjem del, ki se ukvarjajo s prob
lemom manjšine in kako se ta razmerja preizprašujejo v jeziku up
rizoritve. Tržaško gledališče, gledališče na robu, je študijski primer
razmerja med centrom in obrobjem, večino in manjšino, zahodom
in vzhodom ter zaradi teh silnic sinteza zgodovine slovenske upri
zoritvene umetnosti.
Theatre on the Edge
Theatre activity in Trieste has long history. It began with the pro
fessionalisation with the establishment of Dramatic Society in 1902,
was violently interrupted by the burning of the Narodni dom (1920)
and re-established by the end of 1945. The Slovene Theatre in Tri
este has a vital contribution to national identity and to the develop
ment of performance practices. In this article we will deal with the
period after the Second World War, which was groundbreaking
time for its aesthetics and artistic approaches. The theatre reper
toire is form of reception that shows how much a theatre is modern
or up-to-date and how it is profiled in artistic or aesthetic expres
sion. We will analyse the repertoire of SSG Trieste, which will be
compared with the national theatre SNG Drama Ljubljana and will
present the state of mind on both sides of the border, the differ
ence between the two theatres, where one worked in the social
ist system and was turning towards the west, the other worked in
the west and was turning towards socialist Yugoslavia. We will ver
ify this statement after analysing the plays that were staged during
this period, explore the critical response to the selected perfor
mances and try to ascertain if the theatre that works for the en
tire Slovene minority in Italy is turning to his audience by staging
works that deal with the problem of minorities and how are these
relationships questioning in a theatre language. Theatre in Trieste –
Theatre on the edge – is a case study of the relationship between
razu. Analiza repertoarja SSG Trst, ki ga bomo primerjali z osred
njo nacionalno gledališko hišo SNG Drama Ljubljana, bo prikazala
stanje na obeh straneh meje, razlike med dvema gledališčema, kjer
eno deluje v socialističnem sistemu in se obrača proti zahodu, dru
go pa deluje za zahodu in se obrača k socialistični Jugoslaviji. Pre
verili to trditev ob analizi dramskih del, ki so bila uprizorjena v tem
obdobju, proučili kritiški odziv na izbrane uprizoritve in poskuša
li dognati, če se gledališče, ki deluje za celoten zamejski prostor,
obrača na svojo publiko z uprizarjanjem del, ki se ukvarjajo s prob
lemom manjšine in kako se ta razmerja preizprašujejo v jeziku up
rizoritve. Tržaško gledališče, gledališče na robu, je študijski primer
razmerja med centrom in obrobjem, večino in manjšino, zahodom
in vzhodom ter zaradi teh silnic sinteza zgodovine slovenske upri
zoritvene umetnosti.
Theatre on the Edge
Theatre activity in Trieste has long history. It began with the pro
fessionalisation with the establishment of Dramatic Society in 1902,
was violently interrupted by the burning of the Narodni dom (1920)
and re-established by the end of 1945. The Slovene Theatre in Tri
este has a vital contribution to national identity and to the develop
ment of performance practices. In this article we will deal with the
period after the Second World War, which was groundbreaking
time for its aesthetics and artistic approaches. The theatre reper
toire is form of reception that shows how much a theatre is modern
or up-to-date and how it is profiled in artistic or aesthetic expres
sion. We will analyse the repertoire of SSG Trieste, which will be
compared with the national theatre SNG Drama Ljubljana and will
present the state of mind on both sides of the border, the differ
ence between the two theatres, where one worked in the social
ist system and was turning towards the west, the other worked in
the west and was turning towards socialist Yugoslavia. We will ver
ify this statement after analysing the plays that were staged during
this period, explore the critical response to the selected perfor
mances and try to ascertain if the theatre that works for the en
tire Slovene minority in Italy is turning to his audience by staging
works that deal with the problem of minorities and how are these
relationships questioning in a theatre language. Theatre in Trieste –
Theatre on the edge – is a case study of the relationship between
