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PRÍRODNÉ KRÁSNO U TH. W. ADORNA: V ZÁVISLOSTI A OPOZÍCII VOČI SVETU PANSTVA

100%

Brezňan P.

ESPES

2020

tom 9

nr 1

5 - 15

Th. W. Adorno’s aesthetics represents a comprehensive reflection on a number of important topics in aesthetic research. Among them is the issue of the aesthetic experience generated by the beauty of nature. In the perspective of Adorno’s theory, the experience of natural beauty is described as a quality that forms in an immanent relation to the historical and social reality of humans. In the first place, one can observe the fundamental dependence of natural beauty on the degree of social domination of nature. By failing to reflect on this social mediation, the experience of natural beauty appears to be immediate and creates the deceptive fantasy of the primordial form of nature. However, at the same time, Adorno uncovers a positive potential in the experience of natural beauty – it lies in the ability to transcend a power-based subjectivity that reduces reality to the substrate of the domination. By means of the transcendence of subjectivity, the experience of natural beauty opens up the possibility to perceive and approach reality in the unreduced fullness of its qualities while also anticipating a reconciliation of man with nature in an allegorical way. The aim of my study is to describe the sketched aspects of the experience of natural beauty.

NEGATIVITA SPOLOČENSKEJ REALITY U SARAH KANE – MOC A NÁSILIE AKO FAKTORY DEŠTRUKTÍVNOSTI V DRÁME SPUSTOŠENÍ

100%

Brezňan P.

Slovenské divadlo (Slovak Theatre)

2020

tom 68

nr 1

76 - 90

The core of the presented study is built around the structure and effects of the phenomena of power and violence, as portrayed and contemplated by Sarah Kane in her play Blasted (1995). The author of the presented study anchored his theoretical point of departure in examining power and violence, the latter being a tool for the enforcement of the former, in an analysis by Theodor W. Adorno and Max Horkheimer, who believe that power is the overriding principle of man’s relationship with his/ her outer reality. The first part of the study contemplates the structure of the phenomena of power and violence, as seen through the relationship between Ian and Cate, the play’s lead characters. Subsequently, the author focuses on their manifestation against the backdrop of a war catastrophe, which Sarah Kane allows to “barge in” the storyline. The conclusive part of the study attempts to highlight the appallingly devastating effects of power and violence, reaching their apex at a time of war.

OD ESTETIKY DIELA K ESTETIKE PERFORMATIVITY

63%

Hučko Pašteková M. , Brezňan P.

Slovenské divadlo (Slovak Theatre)

2023

tom 71

nr 1

26 – 41

The performative turn brings about the concept of a work of art as a unique, ephemeral event, which is created during its course by all the participants (artists and spectators) together. This disrupts the overall understanding of a work of art as a finished, fixed artefact intended for aesthetic contemplation. The performative turn thus simultaneously implies serious changes to the nature of artistic practice and has even influenced it significantly in the last few decades. In an attempt to respond to these developments in art, the German theatrologist Erika Fischer-Lichte points out the need to formulate the aesthetics of performativity that, unlike the aesthetics of works of art, would adequately reflect the constitutive elements of performative art. Drawing on the outlined issues, our paper draws attention to the crucial differences between the aesthetics of works of art and the aesthetics of performativity, which enable us to trace the extent of the changes brought about by the shift from the aesthetics of works of art to the aesthetics of performativity. At the same time, it tries to show that the aesthetics of performativity, constituted as a primarily interdisciplinary theory, allows us to extend the field of action of aesthetics even towards everyday social practice, precisely because of the importance of its performative aspects. We have demonstrated these claims on a concrete example – an on-site durational performance by the GUIDES Art Collective.