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Original scientific paper

The Politics of Performing

Sibila Petlevski ; Academy of Dramatic Art, University of Zagreb

Fulltext: croatian, pdf (174 KB) pages 302-320 downloads: 655* cite
APA 6th Edition
Petlevski, S. (2009). Politika izvedbe, izvedba politike. Dani Hvarskoga kazališta, 35 (1), 302-320. Retrieved from
MLA 8th Edition
Petlevski, Sibila. "Politika izvedbe, izvedba politike." Dani Hvarskoga kazališta, vol. 35, no. 1, 2009, pp. 302-320. Accessed 30 Nov. 2021.
Chicago 17th Edition
Petlevski, Sibila. "Politika izvedbe, izvedba politike." Dani Hvarskoga kazališta 35, no. 1 (2009): 302-320.
Petlevski, S. (2009). 'Politika izvedbe, izvedba politike', Dani Hvarskoga kazališta, 35(1), pp. 302-320. Available at: (Accessed 30 November 2021)
Petlevski S. Politika izvedbe, izvedba politike. Dani Hvarskoga kazališta [Internet]. 2009 [cited 2021 November 30];35(1):302-320. Available from:
S. Petlevski, "Politika izvedbe, izvedba politike", Dani Hvarskoga kazališta, vol.35, no. 1, pp. 302-320, 2009. [Online]. Available: [Accessed: 30 November 2021]

This paper opens up the possibility of cultural, »political« reading of »Dugi Nos Prologue« from the position of the dramaturgy of performance. We introduce spectacle as an alternative term to theatre performance, approaching the process of event making in the context of the city of Dubrovnik as Urbs Republica, both as a dramatological, and a sociological process. Furthermore, we suggest, in accordance with the chosen example, introducing the term meta-theatrical along with the term meta-textual, and replacing of the term utopia with the Foucault’s term heterotopia. In the introductory part of the text we analyze different interpretational historical-political and actual political models in approaching Držić’s typology of people »for real« (ljudi nazbilj) and people »in adverse« (ljudi nahvao). We approach the problem of intellectual engagement at the cross-road between two intellectual traditions suggested by Michel Foucault: the first, »universal« intellectual tradition operates in the supra-historical field of justice, mercy and law viewed as timeless categories, while the second, »specific« tradition keeps on contesting power in everyday life, concretely and materially. The last part of this paper is consecrated to certain parallelisms between Agamben and Debord. The principal thesis is that intellectual responsibility in the reading (the staging) of Dundo Maroje comes from the recipient’s position inbuilt in the prologue dramaturgy, and that this extra-textual value is produced from the text itself, by heterotopic mirroring of »that over there« and »this over here«.

Hrčak ID: 72840



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