Naslov
The Stratified Actor: Eichmann in Jerusalem in the Zagreb Youth Theatre

Autori
Čale Feldman, Lada

Vrsta, podvrsta i kategorija rada
Poglavlja u knjigama, znanstveni

Knjiga
Creating for the Stage and Other Spaces. Questioning Practices and Theories.

Urednik/ci
Guccini, Gerardo ; Longhi Claudio i Vianello, Daniele

Izdavač
Dipartimento delle arti

Grad
Bolonja

Godina
2021

Raspon stranica
395-403

ISBN
9788854970717

Ključne riječi
acting ; acting theory ; trauma ; Hannah Arendt ; Eichmann in Jerusalem
(gluma ; teorija glume ; Hannah Arendt , Eichmann u Jeruzalemu)

Sažetak
The paper addresses the role of the actor in both contemporary stage writing practices and theory. It discusses the production of Eichmann in Jerusalem by the Slovenian director Jernej Lorenci that premiered in April 2019 in the Zagreb Youth Theatre. The production specifically focuses on the role of the actor in confronting, carrying, revealing, if not resolving, the enigma of the Holocaust and the attendant trials (Felman, 2002) by making actors appear first as traumatized consumers of political- analytic, literary, and cinematic material on the Holocaust, Fascism, and the Ustashi regime, then as dramaturgs and directors of the chosen narrative fragments and salient cinematic scenes, and finally as performers not only recounting their own life stories, but also mimicking "consumed" personalities as they appear in the roles of victims, perpetrators, judges, profiteers, and "disinterested bystanders". Even if the spectrum of the skills demanded of the Croatian actors in this production may not seem ground-breaking in the current European theatre landscape (for Italy, Valentini, 2015), Eichmann in Jerusalem introduced into the Croatian context an unprecedented, intellectually, and emotionally invigorating version of «the medially stratified» actor (Petruziello, 2014) that explores the limits of the actor's performance in transmitting the unthinkable, the unimaginable, and the unsayable. I propose a reading of the effects of this production on the local coming to terms with violence and trauma in the somewhat ironic light of Tzachi Zamir's philosophy of acting as a potentially morally questionable art that nevertheless provides «existential amplification» (Zamir, 2014) to both performers and audience alike.

Izvorni jezik
Engleski

Znanstvena područja
Kazališna umjetnost (scenske i medijske umjetnosti)

POVEZANOST RADA