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dc.contributor.authorBjørk, Hilde Elisabeth
dc.date.accessioned2016-10-28T12:57:16Z
dc.date.available2016-10-28T12:57:16Z
dc.date.issued2016-09-01
dc.date.submitted2016-09-01eng
dc.identifier.urihttps://hdl.handle.net/1956/13034
dc.description.abstractThis thesis aims to explore the concept of modern political theatre in light of the international political theatre project TERRORisms, involving the national theatre of Norway, Nationaltheatret, and Israel’s national theatre, Habima. The collaboration caused public debate in Norway, specifically surrounding the Nationaltheatret’s moral responsibility regarding its association with Habima. Under Israeli government, Habima is obligated to perform in the West Bank’s occupied territories. Protesters argued that the theater thereby acts as the regime’s collaborator. According to Habima’s artistic director, the theatre looses public funding if they oppose touring in these settlements. Nationaltheatret’a artistic director stated that the collaboration should continue, because of her belief in the political potential of theatre – in the value of dialogue, protest, and confrontation through art. But is it legitimate to argue the political possibilities of theatre and simultaneously ignore the political context surrounding it? This question forms the basis of the thesis, which is shaped as a critical analysis of political theatre that ultimately is limited to an aesthetical-political context. The intent is to challenge today’s widespread notion that the political aspect of theatre is to be obtained first and foremost in its aesthetics – in the way it creates a disruption of Jacques Rancière’s police (the prevailing order in society) through the ‘reconfiguration of the distribution of the sensible’. The question is whether this can lead to a further distance between the theater and the political reality surrounding it. Can this cause a loss in macro-perspective on the political, and instead of challenging the logic of domination of the police, actually end up reproducing it? The objective here is to find a concept of political theatre that can exist between the aestheticalpolitical context and the political reality it is being created in.en_US
dc.description.abstractDenne oppgaven er en kritisk analyse av politisk teater som er lukket i en estetisk-politisk kontekst. Dette eksemplifiseres gjennom Nationaltheatrets samarbeid med det israelske Habima-teatret i det politiske teaterprosjektet «TERRORisms» 2013-2015. Samarbeidet skapte debatter i Norge fordi Habima er pålagt av den israelske regjeringen å spille i de ulovlige bosettingene på Vestbredden. Nationaltheatrets teatersjef argumenterte for at samarbeidet burde fortsette på grunn av det politiske potensialet som lå i «dialog og konfrontasjon med kunstneriske virkemidler». Er det legitimt å argumentere for det politiske aspektet ved teatret og samtidig ignorere den politiske konteksten som prosjektet inngår i?en_US
dc.format.extent1385118 byteseng
dc.format.mimetypeapplication/pdfeng
dc.language.isonobeng
dc.publisherThe University of Bergeneng
dc.titleMellom det estetisk-politiske og det politiske. Kritisk analyse av Nationaltheatrets deltakelse i det politiske teaterprosjektet «TERRORisms» 2013-2015eng
dc.typeMaster thesis
dc.rights.holderCopyright the Author. All rights reservedeng
dc.description.degreeMaster i Teatervitenskap
dc.description.localcodeMAHF-TEAT
dc.description.localcodeTEAT350
dc.subject.humordpolitisk teaterno
dc.subject.humordvestbreddenno
dc.subject.humordkonfliktno
dc.subject.humordterrorismeno
dc.subject.humordteaterno
dc.subject.nus715209eng
dc.subject.nsiVDP::Humaniora: 000::Film- og teatervitenskap: 170::Teatervitenskap: 172
fs.subjectcodeTEAT350


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