about Walking Theory (TkH)


TkH: Walking Theory (in Serbo-Croatian TkH: Teorija koja hoda) is an independent theoretical-artistic platform, founded as a group for theoretical and artistic research at the end of 2000 in Belgrade.

The main objective of the TkH platform is to reinforce the critical and experimental practices in contemporary performing arts in the local context, as well as to affirm them in a wider, regional and international context.

TkH’s activities are a theoretical praxis in the field of contemporary performing arts, implemented through textual production, self-organization, critical education and cultural policy. They are realized through several programs: TkH Journal for performing arts theory, educational programs (PATS, s-o-s project, dramaturgical trainings, Knowledge Smuggling!, Deschooling Classroom), a regional online platform (tkh-generator.net), artistic (Pro Tools) and theoretical events (conferences, labs), inter-disciplinary performances and other artworks, as well as hosting presentations and lectures by artists and theoreticians outside of Serbia. In addition to its specific, more theoretical and artistic interests, TkH has been active in the field of cultural policy. It engages in collaboration with self-organized initiatives, organizations, and platforms from Belgrade (the Other Scene), the region of Western Balkans (Clubture), as well as with a few other platforms from Europe (a.o. PAF). The initiatives and projects of collaboration with the above-mentioned initiatives are motivated by the common goal: reinforcing the infra-structural and discursive potentials of independent cultural and artistic scenes.

From 2010 TkH has worked partly in Paris, in les Laboratoires d’Aubervilliers, where it has carried out long-term project How to do things by theory, within which we currently research on performance and the public.

Currently, the editorial collective of Walking Theory are: Ana Vujanović, Bojana Cvejić, Bojan Djordjev, Marta Popivoda, and Siniša Ilić.




Ana Vujanović (1975, Belgrade; based in Berlin / Belgrade / Paris) is a freelance worker – theorist, writer, lecturer, coordinator, dramaturge – in contemporary performing arts and culture. Ph.D. in Theatre Studies. Editor of TkH journal for performing arts theory, and a member of editorial collective of TkH platform. Engages in many artworks: performance, theatre, dance, video; and organizes and/or gives lectures and workshops at various conferences and festivals. Her particular commitment is empowering the independent scenes in Belgrade, ex-Yugoslavia, and also in Europe. Publishes regularly in journals and anthologies. Author of the theoretical books: Destroying Performance SignifiersAn Introduction to Performance Studies (with A. Jovićević), and DOXICID.

Marta Popivoda (Belgrade, 1982) is film and video maker, and also cultural worker. She is a member of editorial collective of TkH platform. In her solo projects she explores cinema as a medium and format of contemporary art and as a tool of knowledge production. Her most widely known work is illegal_cinema (2007-…), which has been presented in France, Turkey, Spain, Croatia, and Serbia. Her stance is of an Eastern European artist who prefers using already existing materials from the history of film and media in (post)producing her own work. Her work was presented in exhibitions of photography, installation art, and video. She also collaborates in theatre performances and contemporary opera as video artist. Occasionally publishes theoretical texts and essays. www.martapopivoda.info


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escenas discursivas_thinking laboratory: 16–21 April 2012 Matadero / El Ranchito, Madrid

escenas discursivas_thinking laboratory:
16–21 April 2012
Matadero / El Ranchito, Madrid


The final phase of the escenas discursivas research on critical discourses on the contemporary performing arts scene in Madrid is one-week thinking laboratory. It is edited by the working group involving: Ana Vujanovic, Marta Popivoda (TkH), Catarina Saraiva (El Ranchito), Isabel de Naveran and Victoria Perez Royo (Artea).

The laboratory is meant to open the research both in terms of including more collaborators and of making it public in the context of Madrid. Making the topics and voices that appear in the research public could help a collective critical self-reflection of the actual state of affairs and a projection of the future of the scene. At the same time, the editors don’t want to keep the laboratory local-specific, although it is deeply context-based, as they believe that we share the similar obstacles, problems and precariousness at the contemporary art scene in the neo-liberal capitalist societies. Therefore we could help each other in understanding our local specificities through a wider story which is not told univocally.

Topics of the day:

16 April: Shaking the state of affairs – critique, resistance, alternative, invention
(how to approach actual state of things at the scene, in the city, in society, when it does not satisfy us? between problematization and affirmation of the new)

17 April: Performing arts in the cultural-artistic topology of the city
(cultural policy and investment in the performing arts, relations between and meeting points of performing and visual arts, the visibility of the performing arts in the city)

18 April: Creating the context
(contextual approach, overcoming the prevalent neoliberal individualism, belonging and commitment, collectivity and collaboration, ethics of work)

19 April: Go international or, else, stay local
(how much is the global international? how much is the local authentic? opening the scene towards international context, rediscovering the local. questions of politics, aesthetics and embodiment)

20 April: Lack of…
(space, time, funds, resources, infrastructures… in the age of austerity. critical and alternative practices in ways of work and production, focus on common pool resources).

21 April: Continuity, a ‘mission impossible’
(why are we continual mostly in being discontinuous? short-termism and ‘ad-hocism’, exhaustion, fatigue and abandon. plus: how to continue with escenas discursivas?)

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interview || Óscar Cornago

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interview || Monica Valenciano

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interview || Javier Garcia Yagüe

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interview || Elena Córdoba

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interview || Amalia Fernández

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interview || Victoria Pérez Royo

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interview || Carlos Marquerie

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interview || Jaime Conde-Salazar

Actors / agencies of the scene addressed by the interview:

Jaime Conde-Salazar
-       Fields of study/research: art history, dance history, performance studies, dramaturgy

-       www.continuumlivearts.com
-       Colección “Documentos de Danza” (Universidad de Alcalá)
-       Cairon. Revista de Estudios de Danza
-       Aula de Danza Estrella Casero de la Universidad de Alcalá

concepts / themes > lenses:

-       critical practices related to the reflection
(creating the space and conditions for theoretical and artistic reflections on practice – Continuum; role of (clear) theoretical concepts vs. doxa, jargon, truisms, ‘common sense’; role of dramaturgy):

Continuum is a project developed together with Marta Muñoz, Celia Díez and Francisco Villar. Continuum has been conceived as a space for research in the fields of writing and live arts. Nowadays, our “public face” is www.continuumlivearts.com. Our “versus” now is not “market/production”. We are much more focused on challenging artistic and academic disciplines and conventional thought based on “theory/practice” dichotomy.

Regarding the (clear) theoretical concepts. During the nineties some historians studied that period in Barcelona and produced seminal works that offer a complete overview of the scene in that city, and that help having a more or less complete idea of what is going on there nowadays. But, as far as I know, nobody has ever made a comprehensive historical approach to the contemporary scene in Madrid. And I think I am not too wrong if I say that “clear theoretical concepts” that could help us thinking about the context we live in, don’t exist, haven’t been produced or discussed yet. Probably, you are the first ones seriously trying to do that job!!! Maybe that’s why I am so enthusiastic and interested about your project.

I prefer using “dramaturgist” rather than “dramaturg” to name my work participating in creation processes. My case is unusual in the Spanish context because I actually was trained in the field of dramaturgy during my MA studies at NY University. It was in that time that I learned for the first time about the role of the “dramaturgist”.  But nowadays, I don’t believe that those “courses on dramaturgy” made me more “dramaturgist” than, for example, my studies in Art History. The figure of the dramaturgist is, somehow, special. I don’t think it would make much sense to define a specific curriculum in dramaturgy. Somehow, education in this peculiar field depends more on each one’s interests, desires, experiences, etc. and it is something that each individual has to trace along his/her career. There are many artists willing to incorporate dramaturgists in their creation process. At least I am regularly invited to collaborate in different projects and that makes me think that artists are aware of this possibility. Besides “dramaturgy” is something that can be applied to creation projects but also to other fields like visual arts, programming, cultural management etc. The field of work of dramaturgy is quite wide.

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interview || Juan Domínguez

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