Bojana Cvejić practices critical theory in writing, teaching, dramaturgy and performance in dance, theater and contemporary music. She has published essays in performing arts magazines Etcetera, Teorija koja Hoda, Maska, Frakcija, etc., and books, forthcoming Beyond Musical Work: Performative Practice of Music. With Jan Ritsema she has developped a theater performance practice in a number of performances since 1999. Cvejić has been active in teaching in a number of European educational programmes (e.g., P.A.R.T.S. in Brussels), as well as organizing independent platforms for theory and practice in performance: TkH Centar (= Walking Theory Center in Belgrade) and PAF (PerformingArtsForum in St. Erme, France). She is currently exploring the condition of performance beyond the speech-act paradigm in her PhD, “No longer a speech act: when performance qualifies for event”, in Centre for Research in Modern European Philosophy in Middlesex University, London.
author and performer, in collaboration with Jan Ritsema, produced by Kaaitheater, Brussels
· Verwantschappen (2000)
· TODAYulysses (2001-2002)
· Pipelines, a construction (2003-2004) (co-produced by Wiener Festwochen)
· knowH20w (2005-2006)
Directed in Belgrade:
· Orfeo ed Eurydice opera by C. W. Gluck (2005) BEMUS
· L’Histoire du soldat, music theater by I. Stravinsky (2000) Cinema Rex
· Il Retablo de Maese Pedro music theater by Manuel de Falla (1998) Cinema Rex, BEMUS
· Bastien&Bastienne, opera by W. A. Mozart (1996) Cinema Rex
· “Mouvements für Lachenmann”, performance by Xavier Le Roy (Wien Modern-Taschenoper-Tanzquartier, 2005)
· Trike performance by Christine Gaigg (Theater am Neumarkt, Zurich, Tanzquartier)
· “Open Work: Does it deserve a theory today?”, in Maska Performing Arts Journal, Volume 20, no. 5-6 (94-95), 2005, 5-23 (in collaboration with Ana Vujanović).
· Otvoreno delo u muzici, Beograd: SKC, 2004.
· “Collectivity? You Mean Collaboration”, Ballet-Tanz, Europe’s Leading Dance Magazine, Vol. 7, July 2004, 34-37.
· “The Passion of Proceduralism”, Performance Research 9(1), March 2004, London: Taylor & Francis Group, 107-111.
· “OIL, MONEY, BODY... Intervals, interstices between theatre, theory and politics”, in: Pipelines, a construction, Bojana Cvejić (ed.), Kaaitheater Publication, Brussels, 2004.
· “Gute Objekte im Tausch gegen montröse Events. Von der Unbeständigkeit des Tanzes” / “Good Objects Exchanged for Monstrous Events. Speaking of the vicissitudes of dance medium”, Open the Curtain. Kunst und Tanz im Wechselspiel/ Interplay between Art and Dance, Dirk Luckow, Susanne Traub (Hrsg./eds.), Kunsthalle zu Keil der Christian-Albrechts-Universität, LB Kiel, 2003, 12 April – 4 May 2003.
· “The Accursed Share: Accounting for the Open, Once Again”, Frakcija: Vague-Volatile-Incomprehensible, Performing Arts Magazine, No. 28/29, Summer-Autumn, 2003, 30-40.
· “Can one dance the logical scaffolding of dance? Some Q&A on Jonathan Burrows/Jan Ritsema’s Weak Dance Strong Questions”, Frakcija Performing Arts Magazine, No.24/25, Autumn, 2002, 28-30.
· “THEORY, POLICE, AND DISAGREEMENT”, in Mårten Spångberg, Ulrike Melzwig, MODE05, Berlin: Bbooks, forthcoming.
· “The Alliance Is Over! Conceptual Dance and Performative Theory – East and West”, in Marina Gržinić: Mind the Map: History is not Given! Berlin: Projekt Relations, forthcoming.