Formati in potenciali lokalne »male umetnosti

• Published in: Amfiteater Vol. 10; no. 2; pp. 121 - 139
• Main Author: Dobovšek, Zala
• Format: Journal Article
• Language: Slovenian; English
• Published: University of Ljubljana Press (Založba Univerze v Ljubljani) & Slovenian Theatre Institute (Slovenski gledališki inštitut) 31.05.2024
• Subjects: alternativno gledališče; kleinkunst; kvir; LGBTQI; male umetnosti
• ISSN: 1855-4539; 1855-850X
• DOI: 10.51937/Amfiteater-2022-2/121-139

Članek se osredotoča na pojave, razvoje in potenciale male umetnosti (kleinkunsta) v slovenskem prostoru. Mala umetnost kot forma umetniškega odziva, ki prek raznolikih uprizoritvenih žanrov – kot so kabaret, nova burleska, improvizacijsko gledališče, stand up, intervencije v javni prostor, sodobni cirkus ter dragovski, kvirovski in LGBTQI+ scenski dogodki – podaja družbeni komentar obstoječe tradicionalistične, heteronormativne, patriarhalne in kapitalistične družbe. Članek okvirno razdela termin male umetnosti, njene umetniške in družbene prvine ter jo poskuša tudi konkretno prepoznati v lokalnem prostoru. Ta široki krovni pojem namreč zaznamuje heterogenost tematik in estetik, v Sloveniji pa ima še toliko bolj specifičen podton in položaj, saj maloštevilna populacija ovira razvoj in vpliv male umetnosti. Pri izboru ustvarjalk in ustvarjalcev male umetnosti sem se osredotočila predvsem na tiste, ki delujejo v sferi nevladnega sektorja, ustvarjajo kontinuirano, so umetniško kredibilni in niso tržno naravnani. The article focuses on the phenomena, developments and potentials of small arts (Kleinkunst) in the Slovenian space. Small arts are a form of artistic response that, through diverse performance genres – such as cabaret, new burlesque, improvisational theatre, stand-up, interventions in public space, contemporary circus, drag, queer and LGBTQI+ stage events – provides a social commentary on the existing traditionalist, heteronormative, patriarchal and capitalist society. The article elaborates the term small arts and its artistic and social elements and tries to identify it concretely in the local space. This broad umbrella term is characterised by the heterogeneity of its themes and aesthetics. In Slovenia, it has an even more specific undertone and position, as its development and influence are hampered by a small population. When selecting the creators of small arts, the author focused mainly on those working in the sphere of the non-governmental sector, who create continuously, have artistic credibility and are not market-oriented.