
<oai_dc:dc xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:oai_dc="http://www.openarchives.org/OAI/2.0/oai_dc/">
  <dc:date>2022</dc:date>
  <dc:title xml:lang="srp"> Aleksandar Denić: scenograf i koreditelj Franka Kastorfa</dc:title>
  <dc:title xml:lang="eng">Aleksandar Denić: Frank Castorf’s stage designer and co-director</dc:title>
  <dc:description xml:lang="srp">Apstrakt:
Cilj ovog teksta je da pruži uvod u buduću, sveobuhvatnu analizu specifičnosti
rada jednog od vodećih nemačkih i svetskih reditelja Franka Kastorfa i
njegovog, sad već desetogodišnjeg stalnog saradnika, srpskog scenografa Aleksandra
Denića. Polazi se od tvrdnje nemačkog kritičara Tomasa Irmera da
je Denić „koreditelj” Kastorfovih predstava i ona pokušava da se dokaže na
primeru njihove poslednje saradnje, predstave Božanstvena komedija Beogradskog
dramskog pozorišta (oktobar 2022), uz korišćenje i drugih primera.
Takođe, izdvajaju se i analiziraju stilska svojstva Denićevih scenografija
rađenih za Kastorfove predstave: odnos vidljivih i zaklonjenih (zatvorenih)
prostora, odnos različitih kulturnih i istorijskih okvira (transistoričnost/
transkulturalnost), gustoća znakova, reference na masovnu kulturu i potrošačko
društvo.</dc:description>
  <dc:description xml:lang="eng">Abstract
The aim of this text is to provide an introduction to a future, comprehensive
analysis of the particularities of the work of one of the leading German and
world directors, Frank Castorf, and his ten-year permanent collaborator,
Serbian stage designer Aleksandar Denić. The text is premised on the thesis
by German critic Thomas Irmer that Denić is the “co-director” of Castorf ’s
plays. We attempt to prove this thesis on the example of their last collaboration,
The Divine Comedy in Belgrade Drama Theater (October 2022), and
by using examples of their other collaborations as well. In particular, stylistic
characteristics of Denić’s sets created for Castorf ’s performances are distinguished
and analysed, namely: the relationship between visible and hidden
spaces, the relationship between different cultural and historical frameworks
(transhistorical/transcultural), the density of signs, and references to mass
culture and consumerism.</dc:description>
  <dc:format>application/pdf</dc:format>
  <dc:format>154525 bytes</dc:format>
  <dc:type>info:eu-repo/semantics/article</dc:type>
  <dc:subject xml:lang="eng">OSNO - Opšta sistematizacija naučnih oblasti, Pozorišni umetnici. Pozorišna tehnika</dc:subject>
  <dc:subject xml:lang="srp">OSNO - Opšta sistematizacija naučnih oblasti, Pozorišni umetnici. Pozorišna tehnika</dc:subject>
  <dc:subject xml:lang="srp">Ključne reči scenografija, Aleksandar Denić, Frank Kastorf, postdramski teatar, korediteljski rad</dc:subject>
  <dc:subject xml:lang="eng">Keywords scenography, Aleksandar Denić, Frank Castorf, post-dramatic theatre, co-director’s work</dc:subject>
  <dc:identifier>https://phaidrabg.bg.ac.rs/o:29084</dc:identifier>
  <dc:identifier>doi:10.18485/fdu_zr.2022.42.1</dc:identifier>
  <dc:identifier>cobiss:83413513</dc:identifier>
  <dc:identifier>ISSN: 1450-5681</dc:identifier>
  <dc:language>srp</dc:language>
  <dc:source>Зборник радова Факултета драмских уметностиAnthology of essays by Faculty of Dramatic Arts</dc:source>
  <dc:source>number: 42</dc:source>
  <dc:source>startpage: 11</dc:source>
  <dc:source>endpage: 22</dc:source>
  <dc:creator id="https://orcid.org/0009-0003-6810-7322">Medenica, Ivan</dc:creator>
  <dc:rights>All rights reserved</dc:rights>
</oai_dc:dc>
