IRENA ŠENTEVSKA
Nezavisni istraživač, Beograd, Srbija
irenasentevska@gmail.com
SAVREMENE KUSTOSKE PRAKSE U OBLASTI SCENSKOG DIZAJNA
CONTEMPORARY CURATORIAL PRACTICES AND STAGE DESIGN
Zbornik 13/2017 (Muzej primenjene umetnosti), strana 31-40
Kategorija članka: originalni naučni rad
UDK:
792.01/.02
792.021(497.11)"1996/2002"
792.021(437.311)
7.038.53:792(497.11)
Apstrakt:
Ovaj prilog ukazuje na teorijske postavke termina scenski dizajn i njegovog proučavanja u našoj sredini, kao i kustoske prakse koje su se razvijale u saradnji s Muzejom primenjene umetnosti u Beogradu u okviru Bijenala scenskog dizajna (1996–2006), prateći kulturnu produkciju u našoj zemlji koja se u ovom periodu razvija u uslovima akutne društvene krize i njenih posledica. U radu se razmatraju i teorijski koncepti na kojima počiva konceptualizacija novih kustoskih praksi u oblasti scenskog dizajna. Praško kvadrijenale, najveća svetska izložba posvećena scenskom dizajnu, posmatra se u ovom tekstu kao svojevrsna laboratorija savremenih kustoskih praksi u ovoj oblasti. Cilj priloga je da ukaže na značajne pomake koji su u ovoj (često zanemarivanoj) oblasti primenjene umetnosti učinjeni u našoj sredini na teorijskom i praktičnom planu, kao i da postavi kustoske prakse Bijenala scenskog dizajna na širu teorijsku platformu i u širi međunarodni kontekst.
Ključne reči:
Bijenale scenskog dizajna, kustoske prakse, Praško kvadrijenale, Srbija, scenski dizajn
Summary:
As a complex artistic and cultural practice, stage design lies at the crossroads of at least two research areas within the framework of culture (art) studies: visual culture studies and performing arts studies, as a discursive area focused on the (artistic and theoretical) problem of stage performance. This makes it an exceptionally complex area of applied art and a research subject that requires expertise from all of the abovementioned fields. Nevertheless, in the modern culture of the West, the development of theatre has traditionally implied the dominance of the drama text over other "stage texts" (including stage design), which has resulted in neglecting the visual component in performing arts and the status of stage design as a "less important" art field. The first section of the paper outlines the genesis of the term stage design, sets the theoretical platform for its use in the local context and examines the historical genesis of this paradox. The second section presents an analysis of the curatorial practices developed in collaboration with the Museum of Applied Art in Belgrade within the framework of the Biennial of Stage Design (1996–2006), while tracking the country's cultural production, developed under the circumstances of acute social crisis and its consequences. At the same time, the paper identifies the reasons for the success (and failure) of this project dedicated to the improvement of professional standards in performing arts in the local context. The paper also discusses the theoretical concepts underlying the conceptualization of new curatorial practices in the field of stage design. The Prague Quadrennial, the world's largest exhibition dedicated to stage design, is discussed in the third section of the paper as a specific laboratory of contemporary curatorial practices in this field. It also traces its historical development and changes in the exhibition practices and the curatorial approaches to the selection process for the Prague Quadrennial. The exhibition practices associated with stage design in the local context (and their ups and downs) are thereby set in a wider, contemporary context of the global(ized) world of performing arts.
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