History Never Repeats Itself – An interview

An interview with Ana Vujanović by Olia Sosnovskaya
Berlin, November 2020

pARTisankA, A magazine for contemporary Belarusian culture, No. 35 ‘Your past — our future?’, 2021

In the midst of the ongoing political crisis and uprising in Belarus, which brings many hopes and desires, there is an urge to think about the complex temporalities and geographies of political struggles. Olia Sosnovskaya talks to Ana Vujanović, a cultural worker in the fields of contemporary performing arts and culture: researcher, dramaturge, writer and lecturer, based in Berlin and Belgrade. The interview turns to the not so distant turbulent history of Yugoslavia and Serbia, the political change and its aftermaths. Given the differences in the Soviet and Yugoslav systems, moving across geographies and histories might be crucial for understanding the present moment and for articulation of the demands and political imaginaries of the common futures. It addresses the relation between cultural and political practices and the power of performance art and theory in approaching the complex, multiple and fluid forms of civil resistance.

 

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A Live Gathering: Performance and politics in contemporary Europe

A Live Gathering: Performance and politics in contemporary Europe
edited by Ana Vujanovic, with Livia Piazza,
Berlin: b_books, 2019


 

 

 

 

 

 

 

 

ABOUT THE BOOK:

The main question we raise with this book is how performance can be political in present day European representative democracy, a system which no longer draws on the live gathering of people.
Several leading European (mostly female) thinkers analyse artistic practices that have emerged alongside new social movements – such as Solidarity in Greece or Municipalism in Spain – investigating how theatre, dance and performance respond to the new political insights and experiments. It is a context wherein the previously well-known tactics and tools, such as participation, identity politics or spontaneous usage of public space don’t suffice. Thus we must build and learn a new vocabulary of politicality of performance that includes opaque words such as ‘innervation’, ‘preenactment’, ‘prefiguration’ or ‘recreation’.

ISBN 978-3-942214-29-2

For more information Look inside!