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• W896376449 abstract "In this article, two phenomena are investigated more thoroughly: writing and theatricality. Writing belongs to the domain of every-day practices but in certain circumstances might become playing and under rather extreme circumstances such as the Literary Saturdays described below, even theatrical performing. Thus this article is looking for answers to the following questions: how may an everyday phenomenon become playing and/or even theatrical playing; but also, what does this particular conception of writing as performing tell about playing and human beings in general?Literary Sundays - Literature or Performance?I would like to start by introducing an interesting empirical instance wherein literature explicitly became performing: a series of events staged under the name 'Literary Saturdays'. The name hints at Soviet actions for 'voluntary' weekend work called subbotniks (derived from the Russian word subbota - Saturday). Since the events discussed in this chapter have indeed usually taken place on Saturdays and are reminiscent of communal voluntary weekend work, the pointed allusion to communist subbotniks is, to a degree, justifiable. These events were initiated by the Estonian Literary Society in 2003 and took place in the library of the University of Tartu. The author of this article has participated in the events both as a critic-performer and as a spectator. The premise of Literary Saturdays was that three writers have three hours to write a text, the topic and genre of which is announced at the start of the event; and the audience can observe the creative process from screens. In order to consider the Literary Saturdays as performance, the creation of each author will be regarded as a complete and separate performance in itself. There was also a critic or two who commented, partly jokingly, on the texts; they interpreted them and indicated the means by which the authors were choosing to proceed, in order to hold the interest of the audience. The critic acted as antagonist for the writers because the former's constant verbal noise was distracting. At the same time the critics acted as mediators between the literary/fictional worlds and the spectators. Viewed from a broader perspective, the critic was also an actor within the framework of a literary performance, or at least on a meta-level at the edge of it, because s/he framed and sometimes also led and influenced the writing and the spectating. Such an environment definitely did not favour creative work and the results are not among the best works of the respective authors1, but the experiment primarily aimed to emphasize the process of writing. Thus the spectators could observe the process by which fiction was created, to compare the differences between working methods and individual approaches, as well as follow the critical reflections of the mediator(s). A separate and intriguing topic was formed by the mistakes or neologisms of the writers that displayed the hidden potential of language to generate new meanings, but also allowed the spectators to entertain themselves with a psychoanalytic study of the authors. In three hours the writers had to finish their work and the texts went straight to print. Afterwards people from the audience could ask questions from the 'literary workers', until the collection of short stories went on sale.The Literary Saturdays were events that explicated the process whereby literature turns into a performance and an event in its most direct sense. It was an interesting experiment in its own right, but one would hardly wish for all literary practice to turn into a performance of this sort. A public writing event, during which the audience can follow and influence the process and outcome of writing, moves the literary work from an art-work-centered literary domain to the field of cultural performance that brings different aspects of artistic practice together. In this way literaturee becomes a direct communication process during which artistic experience is created and the remains of the event - the text(s) - are not the foremost priority, which is more generally the case. …" @default.
• W896376449 created "2016-06-24" @default.
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• W896376449 date "2014-01-01" @default.
• W896376449 modified "2023-09-25" @default.
• W896376449 title "WRITING: EXPLORING THE MARGINS OF PLAYING AND THEATRICALITY" @default.
• W896376449 doi "https://doi.org/10.1163/9789401210393_007" @default.
• W896376449 hasPublicationYear "2014" @default.
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