Maja Šorli | University of Ljubljana (original) (raw)

Papers by Maja Šorli

Nordic Theatre Studies, 2018

In the years 2009-2015, a comparison of theatre systems in seven smaller European cities was cond... more In the years 2009-2015, a comparison of theatre systems in seven smaller European cities was conducted and named the STEP City Study. The study also included reception research, conducted with an extensive questionnaire, and qualitative research comprised of focus groups and interviews with audience members. One of the surprising results showed that, generally, the spectators enjoyed the performances a lot, but at the same time, did not rate them as very personally or socially relevant. That is why we decided to explore the notion of relevance in this article, or in other words, to examine what we are measuring when we ask the audience if the performance was relevant for them. In this study, we combine reception research and performance analysis of the shows that were evaluated as the most personally or socially relevant. The shows had either exis-tential or contemporary political topics, were created in rather traditional ways, and did not stand out in any particularly innovative theatrical approach. We also conclude that relevance is a complex issue expressed in different dimensions of theatrical experience and cannot be straightforwardly measured.

Časopis za kritiko znanosti, 2015

Mesto žensk je mednarodni festival sodobnih umetnosti, ki si je v svojih dvajsetih izdajah prislu... more Mesto žensk je mednarodni festival sodobnih umetnosti, ki si je v svojih dvajsetih izdajah prislužil neverjetno veliko medijsko pozornost. Pričujoča analiza se osredinja na slovenske medije v zgodnjih letih festivala ter pri-kazuje glavne vsebine nasprotovanj festivalu. Glavna teza razprave je, da so osnovni odpori do festivala sorodni odporom do feminističnih gibanj pri nas. Odpori so se manifestirali v trditvah, da je umetnost le dobra in slaba, ne pa tudi moška ali ženska, v očitkih, da takega festivala pri nas ne potrebujemo ter da gre pri festivalu za ge-toizacijo. Mediji uvidijo pomembnost festivala ob razkritju, da ima tretji festival majhno državno finančno pod-poro, a nekaj paradoksnih očitkov festivalu v poznejših letih ostane. Avtorica navede tudi druge primere ocen, a poudarja, da pozitivni odzivi prevladujejo. V zadnjih festivalskih letih se vsebinski očitki ponavljajo v manjši meri, prevladujejo pa nevtralna poročila in napovedi dogodkov.

Amfiteater, 2017

What is lesbian theatre? Does this category even exist in Slovenia? How to conceptualise and perf... more What is lesbian theatre? Does this category even exist in Slovenia? How to conceptualise and perform it? This article investigates the reach of lesbian theatre in both the wider sociological view – as a phenomenon in the Slovenian society – as well as in the narrower theatre studies field. It reviews the conditions (the origin of the LGBTIQ rights movement) and continues with the spaces in which lesbian theatre hides. It presents the Monospolno gledališče (Monosexual Theatre) and other examples of theatre practices: comedy, institutional performances, international festivals and marginal cases of lesbian contents. It also proposes a model of how to research lesbianism in the Slovenian theatre and guidelines for the future of lesbian theatre.

Socilano delo, 2010

Esej o slovenski vidnosti homoseksualnih in lezbičnih družin na poti do pravnih sprememb.

Amfiteater, 2015

This article presents the Project on European Theatre Systems (STEP) and its most recent research... more This article presents the Project on European Theatre Systems (STEP) and its most recent research into the theatre lives of smaller European cities. It situates STEP's research in the tradition of sociological, philosophical and psychological inquiry into the arts' function within society and, in particular, into audience research. It explains, however, the particular benefits of STEP's approach and methodologies: that they enable international comparison and shift attention from the extraordinary performances favoured by theatre scholars to the ordinary ones that contribute to the bulk of spectators' experiences of theatre. The article explains the methods of the STEP City Study and surveys how its results will be presented in the rest of this special issue.

Amfiteater, 2015

V članku sta predstavljena STEP – Projekt za raziskovanje evropskih gledaliških sistemov (Project... more V članku sta predstavljena STEP – Projekt za raziskovanje evropskih gledaliških sistemov (Project on European Theatre Systems) in njegova najnovejša raziskava, ki preučuje gledališko življenje v manjših evropskih mestih. Raziskovanje v okviru projekta STEP se tako uvršča v tradicijo sociološkega, filozofskega in psihološkega preučevanja, katerega predmet so funkcije umetnosti v družbi, zlasti pa raziskovanje občinstva. V članku so pojasnjene tudi specifične prednosti pristopa in metodologij projekta STEP. STEP namreč omogoča primerjave na mednarodni ravni, namesto na izjemne predstave, ki navdušujejo gledališke strokovnjake, pa se osredotoča na tiste običajne, iz katerih izhaja večina izkušenj gledališkega občinstva. V članku je razložena metoda, ki je bila uporabljena pri Študiji mest v okviru projekta STEP (STEP City Study), vsebuje pa tudi predgovor k predstavitvi rezultatov študije v drugih delih te posebne številke.

Amfiteater, 2015

This article is meant as a starting point in the process of researching how theatre systems influ... more This article is meant as a starting point in the process of researching how theatre systems influence the functioning of theatre. The notion " theatre system " is understood as the set of organisational relationships within and between the domains of production, distribution and reception of theatre. Because the hypothesis of the Project on European Theatre Systems (STEP) is that the differences in these organisational patterns at least partly determine the types of theatre offered to city populations and their use of the supply, the present article attempts to make a start with a comparison between the theatre systems in Aarhus (Denmark), Bern (Switzerland), Debrecen (Hungary), Groningen (The Netherlands), Maribor (Slovenia), Tartu (Estonia) and Tyneside (United Kingdom). One of the findings of this comparison is that the structures of financial support for theatre by the various authorities do not differ very strongly among the countries on the European continent. However, the so-called city theatres in Central and Eastern Europe seem to have a more dominant position than in the Western European countries. For smaller, independent theatre organisations this is the other way round. In addition, the position of Bern is remarkable, because of the exceptional number of venues and theatre performances in this city. In Debrecen and Maribor, cultural centres appear to play quite an important role in the theatre life of these cities.

Amfiteater, 2015

This article investigates the similarities and differences on how spectators experience theatre p... more This article investigates the similarities and differences on how spectators experience theatre performances grouped along large, transnationally present types as Spoken Theatre, Dance Theatre, Musical Theatre and Kleinkunst. Our findings are based on the analysis of the extensive data collected by the Project on European Theatre Systems (STEP) through a quantitative and qualitative audience research between 2010–2014 in Groningen (NL), Tartu (EE), Debrecen (HU) and Tyneside (UK). The results portray a generally very satisfied audience with small but significant differences between the types and the cities. The analysis is carried out along two interconnected tracks: dimensions of theatrical experience, based on a revised version of Van Maanen's TEAM model, are compared to clusters of keywords, which emphasise certain aspects of spectators' experience. The research manages to highlight specific patterns of theatre reception that fuel an exciting discussion on how to interpret certain key components of theatre experiences: immersion, personal and social relevance, cognitive and emotional engagement, complexity.

Amfiteater, 2016

V razpravi obravnavava predstavo Kralj Ubu, uprizorjeno v sezoni 2015/2016 na velikem odru SNG Dr... more V razpravi obravnavava predstavo Kralj Ubu, uprizorjeno v sezoni 2015/2016 na velikem odru SNG Drama Ljubljana, in sicer v ožjem (predstava sama po sebi) in širšem (mesto in čas uprizoritve) kontekstu ter glede na medijske odzive, ki jih je uprizoritev sprožila. Začrtava pojem snovalnega gledališča (ang. devised theatre) in opiševa načine, na katere se razlikuje od dramskega gledališča, ki v Sloveniji prevladuje. Meniva, da je Kralj Ubu prav zaradi principov snovalnega gledališča in privzemanja žanra cool fun na odru SNG Drama povzročil številne medijske odzive in je hkrati pomemben presežek v slovenski uprizoritveni produkciji. Razprava opozori tudi na temeljno pomanjkljivost predstave (konservativnost spolnih vlog) in v prilogi predstavi poskus fabule snovalne uprizoritve.

Ključne besede: Kralj Ubu, snovalno gledališče, SNG Drama Ljubljana, avtorski projekt, Jernej Lorenci, kratkočasno gledališče, seksizem, medijski odzivi

Amfiteater, 2016

Keywords: Ubu the King, devised theatre, SNT Drama Ljubljana, Jernej Lorenci, reception, entertai... more Keywords: Ubu the King, devised theatre, SNT Drama Ljubljana, Jernej Lorenci, reception, entertainment theatre, sexism

What values do theatre and dance hold for audience members? And how do these values differ betwee... more What values do theatre and dance hold for audience members? And how do these values differ between subsidised, amateur, and commercial performance? This paper addresses these questions through a survey of over 1800 spectators for theatre and dance in Tyneside in northeastern England, as well as a parallel set of focus groups, in the spring of 2014. These methods, which are designed for comprehensiveness and comparability, are being used across Europe by the Project on European Theatre Systems, a working group of theatre sociologists. Our research showed two sets of values which performances achieved; one was a common measure of performance quality, while the other described the values particular to subsidised work. This allows us to articulate both the general value of the arts and the particular values which subsidy (attempts to) facilitate. This has implications for both understandings of cultural value and for cultural policy, as the distinction between the two groups was not clean. We also found that amateur theatre participated in the same value system, but with an increased emphasis on loyalty and community cohesion. The paper concludes a methodological reflection on the use of quantitative methods in theatre studies.

Other by Maja Šorli

A special issue of the journal Amfitheater on the work of the STEP city project, offering a full ... more A special issue of the journal Amfitheater on the work of the STEP city project, offering a full statistical portrait and analysis of the theatrical life of six smaller cities around Europe. This represents one of the largest data sets on theatrical audience experience (over 10,000 respondents) currently available. Full text of all articles (in English and Slovenian) is available at the link.

Nordic Theatre Studies, 2018

In the years 2009-2015, a comparison of theatre systems in seven smaller European cities was cond... more In the years 2009-2015, a comparison of theatre systems in seven smaller European cities was conducted and named the STEP City Study. The study also included reception research, conducted with an extensive questionnaire, and qualitative research comprised of focus groups and interviews with audience members. One of the surprising results showed that, generally, the spectators enjoyed the performances a lot, but at the same time, did not rate them as very personally or socially relevant. That is why we decided to explore the notion of relevance in this article, or in other words, to examine what we are measuring when we ask the audience if the performance was relevant for them. In this study, we combine reception research and performance analysis of the shows that were evaluated as the most personally or socially relevant. The shows had either exis-tential or contemporary political topics, were created in rather traditional ways, and did not stand out in any particularly innovative theatrical approach. We also conclude that relevance is a complex issue expressed in different dimensions of theatrical experience and cannot be straightforwardly measured.

Časopis za kritiko znanosti, 2015

Mesto žensk je mednarodni festival sodobnih umetnosti, ki si je v svojih dvajsetih izdajah prislu... more Mesto žensk je mednarodni festival sodobnih umetnosti, ki si je v svojih dvajsetih izdajah prislužil neverjetno veliko medijsko pozornost. Pričujoča analiza se osredinja na slovenske medije v zgodnjih letih festivala ter pri-kazuje glavne vsebine nasprotovanj festivalu. Glavna teza razprave je, da so osnovni odpori do festivala sorodni odporom do feminističnih gibanj pri nas. Odpori so se manifestirali v trditvah, da je umetnost le dobra in slaba, ne pa tudi moška ali ženska, v očitkih, da takega festivala pri nas ne potrebujemo ter da gre pri festivalu za ge-toizacijo. Mediji uvidijo pomembnost festivala ob razkritju, da ima tretji festival majhno državno finančno pod-poro, a nekaj paradoksnih očitkov festivalu v poznejših letih ostane. Avtorica navede tudi druge primere ocen, a poudarja, da pozitivni odzivi prevladujejo. V zadnjih festivalskih letih se vsebinski očitki ponavljajo v manjši meri, prevladujejo pa nevtralna poročila in napovedi dogodkov.

Amfiteater, 2017

What is lesbian theatre? Does this category even exist in Slovenia? How to conceptualise and perf... more What is lesbian theatre? Does this category even exist in Slovenia? How to conceptualise and perform it? This article investigates the reach of lesbian theatre in both the wider sociological view – as a phenomenon in the Slovenian society – as well as in the narrower theatre studies field. It reviews the conditions (the origin of the LGBTIQ rights movement) and continues with the spaces in which lesbian theatre hides. It presents the Monospolno gledališče (Monosexual Theatre) and other examples of theatre practices: comedy, institutional performances, international festivals and marginal cases of lesbian contents. It also proposes a model of how to research lesbianism in the Slovenian theatre and guidelines for the future of lesbian theatre.

Socilano delo, 2010

Esej o slovenski vidnosti homoseksualnih in lezbičnih družin na poti do pravnih sprememb.

Amfiteater, 2015

This article presents the Project on European Theatre Systems (STEP) and its most recent research... more This article presents the Project on European Theatre Systems (STEP) and its most recent research into the theatre lives of smaller European cities. It situates STEP's research in the tradition of sociological, philosophical and psychological inquiry into the arts' function within society and, in particular, into audience research. It explains, however, the particular benefits of STEP's approach and methodologies: that they enable international comparison and shift attention from the extraordinary performances favoured by theatre scholars to the ordinary ones that contribute to the bulk of spectators' experiences of theatre. The article explains the methods of the STEP City Study and surveys how its results will be presented in the rest of this special issue.

Amfiteater, 2015

V članku sta predstavljena STEP – Projekt za raziskovanje evropskih gledaliških sistemov (Project... more V članku sta predstavljena STEP – Projekt za raziskovanje evropskih gledaliških sistemov (Project on European Theatre Systems) in njegova najnovejša raziskava, ki preučuje gledališko življenje v manjših evropskih mestih. Raziskovanje v okviru projekta STEP se tako uvršča v tradicijo sociološkega, filozofskega in psihološkega preučevanja, katerega predmet so funkcije umetnosti v družbi, zlasti pa raziskovanje občinstva. V članku so pojasnjene tudi specifične prednosti pristopa in metodologij projekta STEP. STEP namreč omogoča primerjave na mednarodni ravni, namesto na izjemne predstave, ki navdušujejo gledališke strokovnjake, pa se osredotoča na tiste običajne, iz katerih izhaja večina izkušenj gledališkega občinstva. V članku je razložena metoda, ki je bila uporabljena pri Študiji mest v okviru projekta STEP (STEP City Study), vsebuje pa tudi predgovor k predstavitvi rezultatov študije v drugih delih te posebne številke.

Amfiteater, 2015

This article is meant as a starting point in the process of researching how theatre systems influ... more This article is meant as a starting point in the process of researching how theatre systems influence the functioning of theatre. The notion " theatre system " is understood as the set of organisational relationships within and between the domains of production, distribution and reception of theatre. Because the hypothesis of the Project on European Theatre Systems (STEP) is that the differences in these organisational patterns at least partly determine the types of theatre offered to city populations and their use of the supply, the present article attempts to make a start with a comparison between the theatre systems in Aarhus (Denmark), Bern (Switzerland), Debrecen (Hungary), Groningen (The Netherlands), Maribor (Slovenia), Tartu (Estonia) and Tyneside (United Kingdom). One of the findings of this comparison is that the structures of financial support for theatre by the various authorities do not differ very strongly among the countries on the European continent. However, the so-called city theatres in Central and Eastern Europe seem to have a more dominant position than in the Western European countries. For smaller, independent theatre organisations this is the other way round. In addition, the position of Bern is remarkable, because of the exceptional number of venues and theatre performances in this city. In Debrecen and Maribor, cultural centres appear to play quite an important role in the theatre life of these cities.

Amfiteater, 2015

This article investigates the similarities and differences on how spectators experience theatre p... more This article investigates the similarities and differences on how spectators experience theatre performances grouped along large, transnationally present types as Spoken Theatre, Dance Theatre, Musical Theatre and Kleinkunst. Our findings are based on the analysis of the extensive data collected by the Project on European Theatre Systems (STEP) through a quantitative and qualitative audience research between 2010–2014 in Groningen (NL), Tartu (EE), Debrecen (HU) and Tyneside (UK). The results portray a generally very satisfied audience with small but significant differences between the types and the cities. The analysis is carried out along two interconnected tracks: dimensions of theatrical experience, based on a revised version of Van Maanen's TEAM model, are compared to clusters of keywords, which emphasise certain aspects of spectators' experience. The research manages to highlight specific patterns of theatre reception that fuel an exciting discussion on how to interpret certain key components of theatre experiences: immersion, personal and social relevance, cognitive and emotional engagement, complexity.

Amfiteater, 2016

V razpravi obravnavava predstavo Kralj Ubu, uprizorjeno v sezoni 2015/2016 na velikem odru SNG Dr... more V razpravi obravnavava predstavo Kralj Ubu, uprizorjeno v sezoni 2015/2016 na velikem odru SNG Drama Ljubljana, in sicer v ožjem (predstava sama po sebi) in širšem (mesto in čas uprizoritve) kontekstu ter glede na medijske odzive, ki jih je uprizoritev sprožila. Začrtava pojem snovalnega gledališča (ang. devised theatre) in opiševa načine, na katere se razlikuje od dramskega gledališča, ki v Sloveniji prevladuje. Meniva, da je Kralj Ubu prav zaradi principov snovalnega gledališča in privzemanja žanra cool fun na odru SNG Drama povzročil številne medijske odzive in je hkrati pomemben presežek v slovenski uprizoritveni produkciji. Razprava opozori tudi na temeljno pomanjkljivost predstave (konservativnost spolnih vlog) in v prilogi predstavi poskus fabule snovalne uprizoritve.

Ključne besede: Kralj Ubu, snovalno gledališče, SNG Drama Ljubljana, avtorski projekt, Jernej Lorenci, kratkočasno gledališče, seksizem, medijski odzivi

Amfiteater, 2016

Keywords: Ubu the King, devised theatre, SNT Drama Ljubljana, Jernej Lorenci, reception, entertai... more Keywords: Ubu the King, devised theatre, SNT Drama Ljubljana, Jernej Lorenci, reception, entertainment theatre, sexism

What values do theatre and dance hold for audience members? And how do these values differ betwee... more What values do theatre and dance hold for audience members? And how do these values differ between subsidised, amateur, and commercial performance? This paper addresses these questions through a survey of over 1800 spectators for theatre and dance in Tyneside in northeastern England, as well as a parallel set of focus groups, in the spring of 2014. These methods, which are designed for comprehensiveness and comparability, are being used across Europe by the Project on European Theatre Systems, a working group of theatre sociologists. Our research showed two sets of values which performances achieved; one was a common measure of performance quality, while the other described the values particular to subsidised work. This allows us to articulate both the general value of the arts and the particular values which subsidy (attempts to) facilitate. This has implications for both understandings of cultural value and for cultural policy, as the distinction between the two groups was not clean. We also found that amateur theatre participated in the same value system, but with an increased emphasis on loyalty and community cohesion. The paper concludes a methodological reflection on the use of quantitative methods in theatre studies.

A special issue of the journal Amfitheater on the work of the STEP city project, offering a full ... more A special issue of the journal Amfitheater on the work of the STEP city project, offering a full statistical portrait and analysis of the theatrical life of six smaller cities around Europe. This represents one of the largest data sets on theatrical audience experience (over 10,000 respondents) currently available. Full text of all articles (in English and Slovenian) is available at the link.