Education in the Performing Arts in Serbia Between Academic and Self-Education Practices
Keywords:
art education,
self-education,
contemporary dance,
performing arts,
epistemology of art,
the Faculty of Dramatic Arts
Abstract
This paper seeks to situate the question of education in the field of the performing arts within the broader context of the epistemology of art. It looks not only at educational practices and institutions in Serbia today, but also at the dominant theories in this field in a local context. The aim is to present not only the fundamental tendencies and contradictions regarding education in the performing arts, but also the dominant and representative theoretical self-awareness of different actors on the scene. Educational practices in the fields of drama, theatre and other performing arts in Serbia today range from elite academic institutions offering undergraduate, master and doctoral degree studies, to more recent private initiatives, academies and institutes, to unstable collaborative self-education practices on the independent scene. One of the basic starting points of the study is that systems of education, production and presentation in a certain art field are interrelated, and that changes in one of the segments affect other elements in the chain.
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References
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Kunst, Bojana. 2012. „Art and Labour: On Consumption, laziness and less work“. Performance Research, а Journal of the Performing Arts 17 (6): 116-125. https://doi.org/10.1080/13528165.2013.775774
Milohnić, Aldo. 2013. „Radical Amateurism“. In Parallel Slalom. A Lexicon of Non-aligned Poetics, edited by Bojana Cvejić and Goran Sergej Pristaš, 104-113. Belgrade: Walking Theory TkH and Zagreb: CDU Centre for Drama Art.
Rapajić, Svetozar. 2003. „Od glumačke škole do fakulteta“. Zbornik radova fakulteta dramskih umetnosti 6 (7): 411-468. Beograd: Fakultet dramskih umetnosti.
Šuvaković, Miško. 2008. Epistemology of Art: critical design for procedures and platforms of contemporary art education. Belgrade: TkH – Centre for performing arts theory and practice.
Terminally Unschooled. 2013. „Unlearned, Terminally “. In Parallel Slalom. A Lexicon of Non-aligned Poetics, edited by Bojana Cvejić and Goran Sergej Pristaš, 114-119. Belgrade: Walking Theory TkH and Zagreb: CDU Centre for Drama Art.
Univerzitet umetnosti. 2013. Univerzitet umetnosti u Beogradu/University of the Arts in Belgrade. Beograd: Univerzitet umetnosti u Beogradu.
Vujanović, Ana. 2004. Razarajući označitelji/e performansa: prilog zasnivanju pozno poststrukturalističke materijalističke teorije izvođačkih umetnosti. Beograd: Studentski kulturni centar.
Vujanović, Ana. 2007. DOKSICID s-TIU/4: fundamentalističko mapiranje savremenih teorija izvođačkih umetnosti. Sremski Karlovci; Novi Sad: Izdavačka knjižarnica Zorana Stojanovića.
Vujanović, Ana. 2010. „Alternativni teatar i izvođačke umetnosti devedesetih godina“. U Istorija umetnosti u Srbiji XX vek. Tom 1. radikalne umetničke prakse, uredio Miško Šuvaković, 759-70. Beograd: Orion Art i Katedra za muzikologiju Fakulteta muzičke umetnosti.
Vujanović, Ana. 2010. „Scena savremenog plesa“. U Istorija umetnosti u Srbiji XX vek. Tom 1. Radikalne umetničke prakse, uredio Miško Šuvaković, 895-906. Beograd: Orion art i Katedra za muzikologiju Fakulteta muzičke umetnosti.
Vujanović, Ana. 2012. Priručnik raškolovanog znanja. Beograd: Teorija koja hoda.
Vujanović, Ana. 2013. „Second-hand Knowledge“. In Parallel Slalom. A Lexicon of Non-aligned Poetics, edited by Bojana Cvejić and Goran Sergej Pristaš, 120-129. Belgrade: Walking Theory TkH and Zagreb: CDU Centre for Drama Art.
Published
2020-07-04
How to Cite
Ivić, Milica. 2020. “Education in the Performing Arts in Serbia Between Academic and Self-Education Practices”. Issues in Ethnology and Anthropology 15 (2), 581–600. https://doi.org/https://doi.org/10.21301/eap.v15i2.11.
Section
Other Humanities and Social Sciences
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