Drugi zvezek trinajstega letnika Amfiteatra uvajata razpravi iz simpozijske tematike »Avantgardna umetnost, gledališče in revolucioniranje razmerja med periferijo in središčem«, ki ji je bila sicer natančno posvečena prejšnja številka revije (1/2025). Prvi članek se zavzema za ponovno ovrednotenje ter priznanje vzhodnoevropske umetnosti v kánonu svetovne umetnostne zgodovine. Drugi članek obravnava razvoj futurističnega plesa in vlogo plesalke Giannine Censi. V nadaljevanju so objavljene še tri razprave: prva se loteva angažiranega gledališča na primeru dveh uprizoritev Žige Divjaka, druga interpretira hibridnost v literaturi s fokusom na Handkejevi drami Še vedno vihar, tretja pa analizira šolsko dramatiko v povojni Sloveniji skozi delo Marije Vide Kovačič. Avtorji razprav so: prof. dr. Aleksandra Jovićević, mag. Manca Lipoglavšek, doc. dr. Blaž Lukan, mag. Miša Glišič in prof. dr. Milena Mileva Blažić. Številko sklepata knjižni recenziji: v prvi Tajda Lipicer analizira knjigo Gašperja Trohe Slovenska dramatika in tuji vplivi po letu 2000, v drugi pa Nik Žnidaršič pretresa zbornik Theatre Censorship in Contemporary Europe: Silence and Protest urednikov Anne Etienne in Chrisa Megsona.
Pretežni del prve številke štirinajstega letnika Amfiteatra predstavljajo razprave, pripravljene na podlagi prispevkov na Amfiteatrovem mednarodnem simpoziju, ki je na temo »Ekologija in uprizoritvene umetnosti / Ecology and the Performing Arts« potekal jeseni 2025 v Slovenskem gledališkem inštitutu v Ljubljani. Namen Amfiteatrovega jesenskega simpozija je bil premisliti ekologijo in podnebne spremembe v povezavi z dramatiko, gledališčem, uprizoritvenimi in hibridnimi umetniškimi praksami (npr. performans, novomedijska in intermedijska umetnost). Vprašanja, kako se odzvati na bližajočo se katastrofo ter kaj in kako lahko umetnost pripomore k zelenemu prehodu, so vse pogosteje prisotna tudi v umetnosti. Simpozij je idejno zasnoval prof. dr. Janez Strehovec (1950–2025), filozof in teoretik novomedijske umetnosti ter njenih kontekstov, ki je v zadnjih letih objavil tudi nekaj poglobljenih člankov o ekoloških temah v sodobni umetnosti in družbi. Številka je posvečena njegovemu spominu. Tematski sklop prve številke letošnjega Amfiteatra prinaša trinajst člankov v slovenskem in angleškem jeziku. Avtorji razprav so: prof. dr. Lada Čale Feldman, dr. Gašper Troha, prof. dr. Mateja Pezdirc Bartol, dr. Petra Ježková, doc. dr. Giada Cipollone, asist. Bruna Bonanno, Maria Paola Zedda, mag. Anja Dimitrijević, prof. dr. Narvika Bovcon, prof. dr. Aleš Vaupotič, doc. dr. Kaja Kraner, mag. Tery Žeželj in mag. Jatun Risba. Zunaj tematskega bloka so objavljene tri razprave: o transformacijah tradicionalnih lutkovnih likov v srednjeevropskem kulturnem prostoru mag. Uroša Trefalta, o komediji z začetka dvajsetega stoletja dr. Eve Kraševec in o avtorskih baletnih koreografijah The Dying Swans Project v virtualnem prostoru izpod peresa Helene Valerije Krieger.
Drugi zvezek trinajstega letnika Amfiteatra uvajata razpravi iz simpozijske tematike »Avantgardna umetnost, gledališče in revolucioniranje razmerja med periferijo in središčem«, ki ji je bila sicer natančno posvečena prejšnja številka revije (1/2025). Prvi članek se zavzema za ponovno ovrednotenje ter priznanje vzhodnoevropske umetnosti v kánonu svetovne umetnostne zgodovine. Drugi članek obravnava razvoj futurističnega plesa in vlogo plesalke Giannine Censi. V nadaljevanju so objavljene še tri razprave: prva se loteva angažiranega gledališča na primeru dveh uprizoritev Žige Divjaka, druga interpretira hibridnost v literaturi s fokusom na Handkejevi drami Še vedno vihar, tretja pa analizira šolsko dramatiko v povojni Sloveniji skozi delo Marije Vide Kovačič. Avtorji razprav so: prof. dr. Aleksandra Jovićević, mag. Manca Lipoglavšek, doc. dr. Blaž Lukan, mag. Miša Glišič in prof. dr. Milena Mileva Blažić. Številko sklepata knjižni recenziji: v prvi Tajda Lipicer analizira knjigo Gašperja Trohe Slovenska dramatika in tuji vplivi po letu 2000, v drugi pa Nik Žnidaršič pretresa zbornik Theatre Censorship in Contemporary Europe: Silence and Protest urednikov Anne Etienne in Chrisa Megsona.
Okoljska etika je področje, kjer se skušajo okviri moralnega delovanja in etičnih načel razširiti prek meja človeškega. Etični premislek postaja vedno bolj vključujoč od izhodiščne kantovske osredotočenosti na človeka; postopoma so vanj vključena čuteča bitja, živa narava, nato pa tudi neživa narava. Okolje v pomenu nečloveške entitete postane samostojna etična vrednota. Posebno vprašanje predstavljajo umetni artefakti, kot je kulturna dediščina. Najprej besedilo prek metod teorije diskurza opiše potek in strukturo izjavljanja na primeru novomedijskega projekta Vuka Ćosića Nacija – Kultura (2000, rekonstrukcija leta 2022). Gre za zgodnji prepričljiv primer avtonomne ustvarjalnosti stroja na področju novomedijske umetnosti. Besedilo nato pregleda temeljne makroetike in med njimi posebej informacijsko etiko Luciana Floridija, ki je del njegove filozofije informacije. Etična vprašanja so obravnavana v infosferi kot vseobsegajočem okolju, to okolje pa je koncipirano tako, da omogoča tudi razmislek o umetnih, tj. inženirsko načrtovanih agentih ter hibridnih povezavah umetnih, naravnih in človeških agentov. Zdi se, da večagentni sistemi odprejo pomembna vprašanja odnosov med osebami pa tudi v odnosu do skupnosti, s katerimi so povezani kulturni artefakti in prakse. Informacijska metafizika, ki jo predlaga Floridi, je podlaga za razumevanje in konstruktivno obravnavo kompleksnih pojavov digitalne dobe. Minimalistična zasnova etike informacijskega okolja omogoča ovrednotenje ter moralno odločanje med možnimi načini delovanja z namenom krepitve dobrobiti celotne infosfere, ki predstavlja resničnost na najbolj vključujoč način.
Umetniški vodja Gauthier Dance Company iz Stuttgarta, Eric Gauthier, po obsežni odpovedi mednarodnih gostovanj leta 2021 svoje plesalce poimenuje Dying Swans. Družbeni in zdravstveni izzivi, ki so vplivali na umetnost v obdobju pandemijskih omejitev (2020–2022), so omogočali realizacijo projektov le v virtualnem prostoru, ki je postal edina možnost za umetniško ustvarjanje in ohranjanje stika z občinstvom. Virtualna premiera The Dying Swans Project, ki vsebuje šestnajst avtorskih baletnih koreografij, je bila 16. aprila 2021. Članek raziskuje pristope k prostoru, ki so jih uporabili koreografi, ter načine umetniškega izražanja skozi digitalni medij, ki po Gauthierju ostaja le alternativa tradicionalni odrski izkušnji. Nagovarjanje občinstva prek kamere zahteva drugačne uprizoritvene elemente, kjer oder nadomestijo urbano okolje, studio ali narava, kar vzpostavlja nove fenomenološke, konceptualne in teoretske temelje za transformacijo plesnega gledališča. Teoretske razlage, podkrepljene z analizo uprizoritvene prakse, kažejo na prisilno sprejemanje virtualnega gledališča kot začasne rešitve, hkrati pa virtualnost predstavlja izziv sodobnosti. Z uporabo Pavisove metode analize članek preučuje prostorsko estetiko Dying Swans Project v okviru hibridnih form, ki presegajo tradicionalni odrski prostor in v postpandemijskem obdobju vstopajo v novo družbeno paradigmo. Pavisova metoda je dopolnjena s Foucaultevim razumevanjem heterotopije kot drugega prostora, v katerem se sopostavljajo različni, zgodovinsko, medijsko in zaznavno neenotni prostorski redi.
This article explores the dialogue between Island Studies and Performance Studies through two theoretical perspectives emerging from different contexts. The essay first reconstructs some of the key genealogies through which Island Studies has developed as a field, highlighting the shift from insularity as a fixed geographical condition to islandness as a relational epistemological lens. The article then examines two conceptual contributions that bring Island Studies into conversation with Performance Studies. Rebecca Schneider’s notion of the shoal, developed from an Atlantic perspective, foregrounds littoral zones as epistemological thresholds where bodies, histories and environments meet in unstable and transformative relations. Diana Looser’s concept of transpasifika, emerging within Pacific Studies and transpacific scholarship, proposes a relational framework for analysing how performances circulate across islands, diasporic communities and global networks. Read together, these perspectives reveal how performance and islandness can be understood as relational processes shaped by movement, instability and ecological interdependence. The encounter between Island Studies and Performance Studies thus opens a productive analytical terrain for investigating how artistic practices participate in the reconfiguration of insular worlds and their broader epistemological configurations.
This article reflects on performance artistic research as a critical tool for investigating the contemporary Mediterranean from a situated perspective in Sardinia, understood both as a geographical territory and as an epistemic field in dialogue with the Global South. Through the lenses of necropolitics, neomaterialism, transcorporeality and performance epistemology, the article examines how artistic practices can activate relational, affective and critical forms of knowledge in territories marked by extractivism, ecological violence, militarisation, depopulation and erased histories. Following a genealogical trajectory that begins with Maria Lai’s Legarsi alla montagna, the article analyses CAMPOSUD and Andreco’s Parade for the River Tirso, Valentina Medda’s The Last Lamentation and Nicola Di Croce’s Attuning to / Resonating with (Sulcis). These case studies are read as practices that move beyond site-specificity toward forms of attunement, listening, participation and intra-action with territories, waters, ghosts and more-than-human agencies. The author argues that, in the haunted Mediterranean, performance does not simply represent necropolitical landscapes but produces conditions through which the dead, the silenced, the nonhuman and the contaminated may become perceptible, opening towards what she calls epistemic disarmament.
Članek obravnava vlogo nečloveških akterjev v slovenski dramatiki 20. in 21. stoletja ter raziskuje, kako se njihova funkcija spreminja od simbolnih figur do samostojnih nosilcev dramskega dogajanja. Avtor izhaja iz sodobnega »obrata k nečloveškemu«, ki v humanistiki preusmerja pozornost z izključno človeškega sveta na živali, naravne procese in materialne entitete. S primerjalno analizo treh dram – Otroka reke Daneta Zajca, Driada Gregorja Strniše in Jagnje Neže Lučke Peterlin – pokaže razvoj odnosa med človekom in naravo na odru. Pri Zajcu sta Dan in Reka alegoriji izgubljene prvobitne enosti in smisla v svetu, zaznamovanem z nihilizmom. Pri Strniši Driada ne deluje več kot ideal, temveč kot katalizator, ki razkriva konflikt med materialističnim svetom in presežno razsežnostjo domišljije. Najmlajša drama, Jagnje, pa presega antropocentrično perspektivo: živali in naravni procesi niso več simboli človeških stanj, temveč enakovredni akterji, katerih obstoj ni podrejen človeku. Članek pokaže, da slovenska drama postopno prehaja od narave kot metafore k naravi kot samostojni realnosti, s čimer odpira nove možnosti gledališke reprezentacije in ekološkega mišljenja.
Žiga Divjak je režiser, ki se v zadnjih letih intenzivno ukvarja z uprizoritvami, kjer je v ospredju ekološka tematika. Njegove uprizoritve so primer angažiranega dokumentarnega gledališča, ki prikazuje različne vidike podnebnih sprememb skozi simultanost različnih gledaliških strategij. Uprizoritve ne govorijo o rešitvah, temveč v večji meri seznanjajo in ozaveščajo gledalca o ekološki in humanitarni krizi ter razpirajo gledališče kot prostor javnega razmisleka, kjer smo soočeni s kontradiktornostmi sodobnega sveta. V prispevku bomo natančneje analizirali tri dela, to so Vročina (SMG, 2021), Krize (SMG, 2022) in Kako je padlo drevo (SNG Drama Ljubljana, 2022), ki jih povezujejo skupen motiv drevesa in najnovejša znanstvena spoznanja o skrivnem življenju dreves ter sodelovanju med bitji, ki so sestavni del vsakega ekosistema.
Pretežni del prve številke štirinajstega letnika Amfiteatra predstavljajo razprave, pripravljene na podlagi prispevkov na Amfiteatrovem mednarodnem simpoziju, ki je na temo »Ekologija in uprizoritvene umetnosti / Ecology and the Performing Arts« potekal jeseni 2025 v Slovenskem gledališkem inštitutu v Ljubljani. Namen Amfiteatrovega jesenskega simpozija je bil premisliti ekologijo in podnebne spremembe v povezavi z dramatiko, gledališčem, uprizoritvenimi in hibridnimi umetniškimi praksami (npr. performans, novomedijska in intermedijska umetnost). Vprašanja, kako se odzvati na bližajočo se katastrofo ter kaj in kako lahko umetnost pripomore k zelenemu prehodu, so vse pogosteje prisotna tudi v umetnosti. Simpozij je idejno zasnoval prof. dr. Janez Strehovec (1950–2025), filozof in teoretik novomedijske umetnosti ter njenih kontekstov, ki je v zadnjih letih objavil tudi nekaj poglobljenih člankov o ekoloških temah v sodobni umetnosti in družbi. Številka je posvečena njegovemu spominu. Tematski sklop prve številke letošnjega Amfiteatra prinaša trinajst člankov v slovenskem in angleškem jeziku. Avtorji razprav so: prof. dr. Lada Čale Feldman, dr. Gašper Troha, prof. dr. Mateja Pezdirc Bartol, dr. Petra Ježková, doc. dr. Giada Cipollone, asist. Bruna Bonanno, Maria Paola Zedda, mag. Anja Dimitrijević, prof. dr. Narvika Bovcon, prof. dr. Aleš Vaupotič, doc. dr. Kaja Kraner, mag. Tery Žeželj in mag. Jatun Risba. Zunaj tematskega bloka so objavljene tri razprave: o transformacijah tradicionalnih lutkovnih likov v srednjeevropskem kulturnem prostoru mag. Uroša Trefalta, o komediji z začetka dvajsetega stoletja dr. Eve Kraševec in o avtorskih baletnih koreografijah The Dying Swans Project v virtualnem prostoru izpod peresa Helene Valerije Krieger.
This contribution explores how artistic research can foster environmental awareness through engagement with aquatic geographies, focusing on the Venetian Lagoon. It argues that embodied and performative practices enable a situated mode of ecological understanding, in which bodily experience, site-specificity and sensory perception function as tools for interpreting environmental change. The text emerges from the research project Repeating Eutrophia (2019–ongoing), developed in collaboration with artist Laura Santini within the collective Confluenze. The project draws on the ecological concepts of eutrophia, understood as balanced nutrient conditions in aquatic ecosystems, and eutrophication, referring to nutrient over-enrichment leading to algal blooms, hypoxia and potential ecosystem collapse. “Repeating” indicates both the iterative structure of the artistic process and the cyclical dynamics of ecological transformation under investigation. Through performative experimentation, participatory actions and site-responsive practices, the project translates ecological processes into sensory experiences. Within this framework, performance operates as a methodological tool for sensing and articulating environmental change, complementing scientific modes of ecological observation. The project has developed through seven iterative episodes, each addressing the tension between ecological balance and excess through different artistic formats. While rooted in the Venetian Lagoon, Repeating Eutrophia operates as an open research structure that can be extended to other environmental contexts.
Trees and their felling appear in classical drama across cultures as a frequent and universally understandable metaphor for vulnerability, the fragility of order, and a threat to balance. In this context, Anton Pavlovich Chekhov’s play The Cherry Orchard comes to mind, but trees are also often symbolically felled in Czech classical drama. However, the metaphor is clearly still relevant in today’s postdramatic theatre; it has been adopted by the performing arts, and trees are once again being felled not only on Czech stages but also on Nordic ones. The study interprets the spread, age, and communicability of this theatrical metaphor as evidence of the essential connection between humans and ecological issues. This connection suggests that ecological concerns in theatre are not merely a recent trend, even though ecological themes have understandably become increasingly prominent in recent decades. The study therefore provides a brief overview of ecology in Czech theatre in recent decades from both perspectives. It also examines the range and resonance of the scenic metaphor of trees and the interesting coincidence that it became the main theme of two theatre productions, one Czech and one Norwegian. Finally, it presents historical examples illustrating the strong tradition and potential of this metaphor in selected Czech and European drama.
The article proposes a way of ecologising the analytical lens for environmental site-specific artworks by responding more closely to the conditions of their sites. It emerges from the observation that environmental art is often evaluated primarily through the lens of impact, particularly in cultural policy and everyday criticism, thereby reinforcing quantitative evaluative frameworks. The article first critically examines this tendency by mapping two evaluative oppositions, aestheticist and solutionist. The former responds to the idea of art’s intrinsic value, while the latter emphasises its instrumental value. Both, however, tend to separate the artwork from its site. In response, the article proposes an arboreal analysis, inspired by Manuela Infante’s plant-based dramaturgy and developed through an analysis of Neja Tomšič’s storytelling walk, Untangling a Garden III, part of a long-term research on Rafutski Park. Through three analytical categories, rooting, branching and entangling, the approach understands the artwork as deeply conditioned by and intertwined with its site, thereby challenging the dualistic division between artwork and environment as well as drawing on Donna Haraway’s concept of natureculture. The arboreal analysis raises the question of the mobility or transportability of site-specific works through the lens of commodification, highlighting it as a key category for understanding the complex ecological and production conditions in which the artworks operate today.
The contribution focuses on the play Kyoto by Joe Murphy and Joe Robertson, which premièred in 2024 at the Swan Theatre, Stratford-upon-Avon, in a co-production by Good Chance and the Royal Shakespeare Company and transferred to the West End in 2025. In contrast to its environmentally conscious predecessors in contemporary British drama, in which the subject of climate change is predominantly treated from a bottom-up perspective, the play Kyoto dramatises the ten-year negotiation process of the so-called Kyoto Protocol of 1997, which took place at the highest global decision-making level: the United Nations Climate Change Conferences. Although Murphy and Robertson’s exposure of the conflicting interests of global players in environmental politics could be attributed to the entire recent “turn” in British political drama that “lays emphasis on argumentation and reflection rather than quick action” (Redling), immediate critical responses to Kyoto propelled the play into a genuine “thriller”. The interest of this paper is to examine the play’s “strategies of representation” – particularly its attitude to language – and to discuss the links it establishes between drama, debate and public opinion. These links are, namely, characteristic of a perennial dramaturgical matrix that has found in Kyoto one of its most darkly humorous specimens, attuned to the “deliberative ecology” that is both the singular promise for saving the planet and the crucial obstacle to doing so.
Članek se posveča komediji z začetka dvajsetega stoletja in ugotavlja, da gre za obdobje, v katerem beležimo bližino in preplet komedije s kompleksnostjo družbenih sprememb in časa, ki mu zlasti ob izkustvu svetovnih vojn z grozo in travmo ni bilo prizaneseno. Opažamo množičen pojav dramskih oblik, v katerih se prepletajo tako komične kot tragične prvine, in uporabo številnih slogovnih sredstev klasične komedije v delih avantgardnih avtorjev. Na podlagi primerov avantgardnih dramskih besedil Alfreda Jarryja, Guillauma Apollinaira in Aleksandra Vvedenskega analiziramo nove slogovne tendence ter premike v dojemanju komedije kot literarne zvrsti. Alain Badiou dvajseto stoletje označi kot stoletje »strasti do realnega«, ki na prvi pogled nima komične razsežnosti. Kako gre torej »strast do realnega« skupaj s komedijo in fenomeni komičnega, ki se – v nasprotju z realnim – nahajajo prav na področju videza, iluzije in podvojitev ter so s svojo umeščenostjo v območje dozdevkov daleč od realnega? Oziroma drugače, ali ima strast do realnega komične razsežnosti? Izbrani primeri izpričujejo, da komedija strasti do realnega kljubuje z ironijo, grotesko, absurdizmom in potujevanjem, kot ga teoretsko in praktično utemeljuje Bertolt Brecht, a da ob tem izgublja celovitost strukture in stopa z literarnega piedestala. Namesto tega se posamezni komedijski elementi vrivajo v vse žanre ter zlasti v performativno dogodkovnost, ki jo razumemo na osnovi študije Estetike performativnega Erike Fischer-Lichte in postmodernistične poetike, kot jo v dramskem smislu definira Hans-Thies Lehmann v Postdramskem gledališču, s katerimi je komedija neločljivo povezana celotno dvajseto stoletje vse do danes.
This paper examines Jatun Risba and Franco G. Livera’s four-act art film series A Tree Doesn’t Fall Far From the Mountain (2022–2023) and its associated transdisciplinary Live Art screening events, Poetics of Relation, to explore how performance-based methodologies can reshape the aesthetics, formats and materiality of film production and representation. As the project’s author, co-director and performer, Risba investigates how immersive, unpredictable and tactile encounters with more-than-human entanglements during the filmmaking process – undertaken without scripts, production crews or budgets – can generate instinctive, ad hoc configurations of subjectivity that re-enchant both the creative work and the world it engages. This approach offers a potent, transformative remedy to the limited foresight characteristic of the current Anthropocene (Capitalocene) era. Filmed across different seasons within the same natural reserve, the films capture the biosphere’s circular rhythms and transformations. This approach underscores the significance of embodied, place-based knowledge and highlights the interdependence between human and nonhuman agents as they navigate the ever-changing tapestry of life. By integrating Édouard Glissant’s concept of Relation, the project fosters emergent, rhizomatic communities that embrace multiplicity and opacity, challenging dominant narratives and enabling novel modes of cocreation and coexistence. Contributing to discourses on new materialism, eco-aesthetics and relational art, the author argues that performative, collaborative approaches can cultivate ecological awareness and foster more inclusive, participatory and decentralised forms of art production, community engagement and collective world-making.
The study focuses on the transformation of traditional puppet characters within the cultural space of Central Europe, with particular attention to the Slovenian context. It analyses the ideological, aesthetic and social implications of these changes. Challenging the linear narrative of cultural evolution, the author instead highlights the loss of the carnivalesque principle – marked by grotesqueness, ambivalence and subversion – as a critical cultural shift. Through a comparative lens on the Czech Kašpárek and Slovenian figures such as Gašperček, Jurček and Pavliha, the study reveals how ideological pressures and the absence of historical continuity led to the infantilisation and neutralisation of these characters’ critical potential. The text emphasises that these figures are not merely forms of entertainment but function as cultural archetypes that mediate memory, identity and resistance. Ultimately, the study argues that tradition cannot be replaced by formal construction and that aesthetic domestication is symptomatic of a deeper societal transformation.
The article begins by laying the groundwork for discussing selected performative works by the contemporary Slovenian artist Neja Tomšič in relation to how the concept of ecology has been defined in contemporary art over the past few decades. In line with Tomšič’s interdisciplinary artistic approach, which lies at the intersection of performative and visual arts, the article briefly explores the relationship between narrative and space or spatial categories. Building on this, it provides a basic contextualisation of Tomšič’s work, analysing her specific performative pieces in the process. The article attempts to demonstrate that Tomšič’s projects can be analysed from an ecological perspective, understood as a methodology for examining the relationship between the environment and its interacting actors. The ecological aspects of her work are therefore evident not only in her focus on space and landscape but also in the significant role that space, place or landscape plays in the narrative.
Eden izmed okvirov za razumevanje in reševanje okoljske krize je vzpostavljanje ravnovesja med človeškimi, naravnimi, kolektivnimi in umetnimi agenti, ki ga lahko gradimo na konceptih iz okoljske etike in etike informacijskega okolja. Umetniška dela so obravnavana kot funkcionalni modeli za sobivanje človeških in nečloveških entitet. Posebna pozornost je posvečena razumevanju tehnologije, saj nastopa v vlogi problema in rešitve za nastali problem. Poraja nove fenomene, tako na ravni družbenih odnosov kot na ravni spreminjanja okolja. Besedilo predstavi tri pristope na področju sodobne tehnološke umetnosti, ki modelirajo okolja in okoljsko problematiko tako, da konstruirajo mogoče modelne rešitve. Ars Electronica v Linzu integrira umetnost, tehnologijo in družbo skozi povezane platforme in iniciative, od umetniško-raziskovalnih, znanstvenotehnoloških, izobraževalnih in diskurzivnih do družbeno-političnih. Pri pregledu delovanja ekosistema Ars Electronice pokažemo raznolike metode, s katerimi umetnice razvijajo svoje projekte, pri tem posebno pozornost posvetimo slovenskim nastopom na teh festivalih. Kot zgodnji primer ekološke medijske umetnosti obravnavamo delo Paula Ryana, njegovo metodo za beleženje stanja Zemlje in doseganje konsenza s trojčenjem ter ob uporabi tehnologije videa. Tretji način modeliranja ekosistemov so umetniška dela Pierra Huygha, ki človeškega agenta ne predpostavljajo nujno, ampak dosežejo določeno stopnjo neodvisnosti in odprtosti v samouravnavanju.
Based on the framework that both piracy and dramaturgy have shaped and reshaped the collective imaginary, this contribution proposes the notion of “pirate dramaturgy” as an entangled mode of thinking-through-practising radical ecologies (and alternative worldmaking). Exploring the Exterritory Project (2009–ongoing) by artists Maayan Amir and Ruti Sela as both a material and immaterial site for rethinking the threads between ecology and performance while sailing through international waters of the Mediterranean Sea and the juridical voids they constitute, the article questions the urgency of reconceptualising modes of worlding beyond terrestrial-based frameworks. Drawing on blue humanities and anarchist studies, the article brings these fields together around the concept of extraterritoriality and proposes the concept of pirate dramaturgy as both an epistemic category and an operational tool – an engaged mode of looking at performances that navigate the margins of the legaljuridical as well as the edges of forms of representation. Through close analysis of Amir and Sela’s interventions in extraterritorial waters, the contribution examines how maritime zones of legal ambiguity become dramaturgical sites for alternative modes of thinking and performing ecological–political practices, while foregrounding the radical potential of extraterritoriality to engage with the oceanic turn in performance studies.
