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Cvejić, Bojana
Bojana Cvejić (born 1975 in Belgrade) practices critical theory in writing, teaching and dramaturgy and performance in theatre, choreography and contemporary music. Her work fluctuates between the genres of lecture, biography, theory, and performance. From 1995 to 2000 she staged various music theatre performances in Belgrade (Mozart, Gluck, de Falla, Stravinsky), and since 1999, together with Jan Ritsema, she has been developing a theatre performance practice which explores textuality in the theatre and performance dispositifs beyond traditional dramatic models. In “Pipelines, a construction” (2004) Cvejić and Ritsema examine how the underground pipeline structure indicates geopolitical and economic relations and power struggles in Central Asia; in “knowH2Ow” (2005) they take the future of hydrogen energy as a means of discussing the notion of independence within a society of borders and thresholds, promises and cynical self-reflections. Bojana Cvejić has been active in teaching in a number of European educational programmes (P.A.R.T.S. in Brussels, among others), as well as in organizing independent platforms for theory and practice in performance: TkH Centar (Walking Theory Centre) in Belgrade and PAF (PerformingArtsForum) in St. Erme, France. She publishes essays in performing arts magazines such as “Etcetera”, “Teorija koja Hoda”, “Maska”, “Frakcija”, etc., and has also written several books, such as her most recent “Open Work in Music” (Belgrade 2004). Her main interest lies in exploring theory’s changing role in ‘potentialising’ the field of performance.
beteiligt an › Mobile Academy in Warsaw: “Ghosts, Spectres, Phantoms, and the Places Where They Live”
Bojana Cvejić (born 1975 in Belgrade) practices critical theory in writing, teaching and dramaturgy and performance in theatre, choreography and contemporary music. Her work fluctuates between the genres of lecture, biography, theory, and performance. From 1995 to 2000 she staged various music theatre performances in Belgrade (Mozart, Gluck, de Falla, Stravinsky), and since 1999, together with Jan Ritsema, she has been developing a theatre performance practice which explores textuality in the theatre and performance dispositifs beyond traditional dramatic models. In “Pipelines, a construction” (2004) Cvejić and Ritsema examine how the underground pipeline structure indicates geopolitical and economic relations and power struggles in Central Asia; in “knowH2Ow” (2005) they take the future of hydrogen energy as a means of discussing the notion of independence within a society of borders and thresholds, promises and cynical self-reflections. Bojana Cvejić has been active in teaching in a number of European educational programmes (P.A.R.T.S. in Brussels, among others), as well as in organizing independent platforms for theory and practice in performance: TkH Centar (Walking Theory Centre) in Belgrade and PAF (PerformingArtsForum) in St. Erme, France. She publishes essays in performing arts magazines such as “Etcetera”, “Teorija koja Hoda”, “Maska”, “Frakcija”, etc., and has also written several books, such as her most recent “Open Work in Music” (Belgrade 2004). Her main interest lies in exploring theory’s changing role in ‘potentialising’ the field of performance.
beteiligt an › Mobile Academy in Warsaw: “Ghosts, Spectres, Phantoms, and the Places Where They Live”
