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Саамский театр из Каутокейно: тропами номад

100%
Sibińska M.
Przegląd Wschodnioeuropejski
|
2018
|
vol. 2
263-274
EN
Beaivváš Sámi Našunálateáhter from Kautokeino (Norway) is an institutional theatre with Sami (Lappish) as the main stage language. Sami institutional theatres in Scandinavia have a relatively brief history which reflects the tension between the Sami people’s sociopolitical aspirations and Sami theatre artists’ freedom of expression. The theatre from Kautokeino is based upon a robust tradition (e.g. such pre-theatrical modes as the yoik, the art of storytelling, the shamanistic séance), and at the same time it is open to impulses from other cultures and theatrical traditions (both European and non-European). The article takes its point of departure in a postmodern concept of nomadism (Deleuze, Guattari, Braidotti, Islam). It focuses on the nomadic as the impetus and the driving force behind the Beaivváš Sámi Našunálateáhter. The nomadic, however, is understood not only as a reference to the Sami cultural heritage, but as an artistic practice based upon the reaction against aesthetically, historically, politically and socially rigid intellectual patterns. The practice is manifested, inter alia, in transgressions of established genres and aesthetic categories, multilingualism and cultural interferences.
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Saamskie teatry: między lokalnością a obcością?

86%
Sibińska M.
Folia Scandinavica Posnaniensia
|
2016
|
vol. 19
233-249
EN
Institutional theatres in Sapmi have a relatively brief history but they are based upon traditional cultural heritage (the yoik, the art of storytelling, shamanistic seances). At the same time they are open to impulses from other cultures and theatrical traditions (European and non-European) that contribute to the distinct features of Samic theatrical performance when it comes to texts, the aesthetics of performance, and acting traditions. The article outlines the Samic theatre landscape in general and then proceeds to focus on the multicultural aspects of "Ridn'oaivi ja nieguid oaidni", a performance by the Beaivváš Sami Teáhter. The article also calls attention to the problematic nature of the concept "cultural dialogue" in a situation when the borderlines between individual cultures are no longer obvious, and when it is no longer easy to identify the partners in a dialogue unequivocally.
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