Janez Janša's Camillo 4
2012; Routledge; Volume: 17; Issue: 3 Linguagem: Inglês
10.1080/13528165.2012.696866
ISSN1469-9990
AutoresΚωνσταντίνα Γεωργέλου, Janez Janša,
Tópico(s)Eastern European Communism and Reforms
ResumoJanez Janša: Camillo 4.0 presents and discusses Janša's art projects that are inspired by Giulio Camillo's Theatre of Memory (The Cell, Camillo Memo 1.0: Constructing the Theatre, Camillo Memo 4.0: the Cabinet of Memories, The Wailing Wall, Drive in Camillo). Drawing the emphasis first on Camillo's enigmatic and complex structure of theatre, this article observes how it elicited imagination but also assumed faith in an absolute universal knowledge. Although in Janša's projects memory operates by means of imagination too, it is nevertheless experienced very differently than in Camillo's Theatre. Janša's spectators are namely invited to engage with their memory in performative, creative and critical ways, experiencing how memory works not only imaginatively but also as a constructed system. In this way, any absoluteness of knowledge is cracked, rendering one aware of historical and cultural factors that determine perception and ways of remembering. Showing how Janša's projects in-question contain, make visible and unsettle implications about theatre, knowledge, spectating and performing, this article also turns to W. Benjamin and suggests to consider them as processes of '(re)collecting' and 'unpacking' memories. Consequently, the actions of imagining, spectating and remembering, as they happen in Janša's theatre, are understood through the perspective of a non-linear, a-systematic and performative relationship to time and memories.
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