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Formatirati kritiko

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Formatirati kritiko


ENGLISH BELOW

[SLO]
Mednarodni simpozij v sodelovanju z Društvom gledaliških kritikov in teatrologov Slovenije (DGKTS)

Gledališka kritika je v svojem starem formatu doživela širok niz sprememb, zaradi katerih vedno teže ohranja svoje mesto in domet. Pogosto uporabljena sintagma obenem predpostavlja, da je skupaj z izgubo mesta na področju javne sfere kritika ostala tudi brez svoje vrednosti. V hitro spreminjajočem se svetu z virtualizirano interaktivno medijsko krajino ter v erodirani javni sferi najbrž ne želimo rehabilitirati smisla kritike v starem pomenu besede, saj se je skozi rekontekstualizacijo preteklih desetletij zamajala tudi kritiška paradigma, ki je ustoličevala suveren položaj kritika kot absolutnega razsodnika umetniške vrednosti.
Kritiko je treba formatirati in na novo premisliti njene možnosti. Kako naj se kritika na novo postavi in vzpostavi? Kakšna instanca kritike bi bila sinhronizirana s sodobnim svetom in sodobno medijsko krajino? Kateri so nujni parametri, da neko besedilo javnega sporočanja še lahko opredelimo kot kritiko Obstajajo primeri besedil, ki po formi niso več klasični kritiški zapisi, pa vendar funkcionirajo na tem strukturnem mestu? Kdo je bralec, s katerim mora kritika računati?

Dopoldanski del z mednarodnimi gosti Una Bauer, Diana Damian Martin, kolektiv Nezavisna kritika
Popoldanski del Andreja Kopač, Rok Vevar, Alma Selimović, Kaja Kraner, Maša Radi, Klara Drnovšek
Pripravljalni odbor Rok Bozovičar, Pia Brezavšček, Alja Lobnik

[ENG]
Formatting Criticism
International Symposium in cooperation with the Association of Slovenian Theatre Critics and Researchers (DGKTS)

The old format of theatre criticism has encountered a long series of changes, which have made it difficult for it to retain its place and reach. At the same time, the oftused phrase “criticising criticism” presumes that along with the loss of place in the public sphere, criticism has also been left without its worth. In the fast-changing world, with a virtualised interactive media landscape in the eroded public sphere, we probably don't want to rehabilitate the sense of criticism in the old meaning of the word, because through the re-contextualisation of past decades the critical paradigm, which made the critic the sole arbiter of artistic worth, has also changed.
Criticism has to be formatted and its possibilities re-thought. How should criticism reposition and re-establish itself? What instance of criticism would be in sync with the contemporary world and the contemporary media landscape? What are the necessary parameters to still consider a published text a form of criticism? Are there cases of texts that are no longer classical critical pieces in their format, yet function in this structural place? Who is the reader that criticism has to take into account?



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