engleski

Violation of Performing Rights

The aim of the paper is to research and compare the specific cases of instant annulment or phasing out of performing rights (in other words, the various censorship methods and executions) of counter-performances that were opposing ideologically and politically acceptable, sometimes even obsequious, and aesthetically normative theatrical practice in three different historical contexts: in time of the first Yugoslavia, constituted as a monarchy after the World War One, then second, Socialist Federative Republic of Yugoslavia, fastened by the Communist-Party regime, and finally postcommunist transitional Croatia in the last decade of the 20th century, shackled by the ultraconservative and nationalistic &laquo ; ; ; dictatorship with democratic legitimacy&raquo ; ; ; (Pusić). These cases of performing rights violation were analyzed: first, the ban of the politically radical performance Galicija [Galicia], directed by Branko Gavella in Zagreb in 1920, provoked by the strike of workers that broke out as a reaction to the outlawing of the Yugoslav Communist Party ; second, gradual suffocation of the subversive Youth Theatre Festival in Dubrovnik at the begining of the 1980's, after the huge success of the environmental performance Ljetno popodne [Summer Afternoon] which brought together the most important groups of the alternative neo-avant-garde theatre (performers were proclaimed &laquo ; ; ; amateurs&raquo ; ; ; and nakedness of the leading actress was vulgarly ridiculed) ; and third, formation of the special censorship committee for the Zagreb new theatre festival Eurokaz after the radical 1997 programme which included the performances of Ron Athey, Franko B and Annie Sprinkle.

performing rights; violation; Croatian theatre

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