Politika i teatar: „Zoran Đinđić” Olivera Frljića i „Oni žive” Milana Markovića i Maje Pelević

In this paper, I am dealing with the political theater and performance. Both performances question the borders between artistic and non-artistic fields, and work with concept of documentary drama. Frljić’s play is realized within the post-drama paradigm, for which the idea of politics of theatrical form is important since it deals with the signifiers. Using the post-drama paradigm, Frljić in his play works with political discourses active in Serbian society in last 20 years. He touches the hidden collective traumas, and by this causes political reactions of the audience and media, which I discuss. Marković and Pelević take the political parties to be the space for their performance. Their performance has three levels of performing. The first level is their membership in different parties, the second one refers to performing the text as a drama play, published in Scena magazine; and the third level concerns their performance’s public reading by the audience.In this paper, I am dealing with the political theater and performance. Both performances question the borders between artistic and non-artistic fields, and work with concept of documentary drama. Frljić’s play is realized within the post-drama paradigm, for which the idea of politics of theatrical form is important since it deals with the signifiers. Using the post-drama paradigm, Frljić in his play works with political discourses active in Serbian society in last 20 years. He touches the hidden collective traumas, and by this causes political reactions of the audience and media, which I discuss. Marković and Pelević take the political parties to be the space for their performance. Their performance has three levels of performing. The first level is their membership in different parties, the second one refers to performing the text as a drama play, published in Scena magazine; and the third level concerns their performance’s public reading by the audience