DialogiEurozineDialogi2013-06-10Summary of Dialogi 1-2/2013A new Slovene translation of Marx's Capital has come out, at a time of mass protests on the streets of Slovenia. Editor Matic Majcen, in his editorial entitled Capital and intellectual conformism, comments on the public appearances of civic and academic leftists on this occasion, and criticizes them for their uncritical faith in this big red book. These days Marxism, more than any other theoretical movement, is associated with a strong intellectual conformism. Although eclipsed by the media pomp, a certain segment of writers does, however, try to extract the essence of Marx's teachings and adapt it to the needs of the 21st century. If anywhere -- writes Majcen -- then it is precisely here that a basis for truly resolving the antagonisms of contemporary times is to be found, one that will lead Marx's ideas into the realm of common sense and awaken them across the whole of the political spectrum. The 1980s and 1990s saw the emergence of non-institutional dance and theatre activity in Slovenia. Damir Zlatar Frey, a Croatian choreographer working in Slovenia during this period, played a prominent role in bringing that about. He moved from dance towards drama and created his own theatre poetics, called choreodrama. In this issue editor Primoz Jesenko interviews him about this period and about theatre today in Slovenia and in Croatia. The theme of this issue revolves around dramaturgy and dramaturgs. Characteristic of dramaturgy as a discipline and interdisciplinary practice is one of the most complex professional definitions among specialized fields in the performing arts. Theoretical and practical dramaturgy can thus not be generalized into a concise definition that would indicate to the theatre layperson who a dramaturg is and what a dramaturg does. Moreover, the meaning of the words 'dramaturgy' and 'dramaturge' has changed over history. However, the participating authors who met at a symposium of the Maribor Theatre Festival and the Slovenian Centre of ITI agreed that the lack of clarity and the "impurity" of the content of the dramaturg's work can also be its strong point. The following people contributed their views: Diana Koloini, dramaturg and artistic coordinator of the Slovene Permanent Theatre in Trieste, Italy; Synne K. Behrndt, dramaturge and lecturer at the University of Winchester, Great Britain; Magnus Florin, head of the Department of Dramaturgy at the Royal Dramatic Theatre in Stockholm; Tatjana Azman, dramaturg for the Opera and Ballet at the Slovene National Theatre in Ljubljana; Shelley Orr, free-lance dramaturg and visiting assistant professor at San Diego State University, USA; Ursula Werdenberg, free-lance dramaturg for theatre, opera, and dance in Switzerland; Regine Elzenheimer, dramaturg, theatrologist and lecturer, Germany; and Tomaz Toporisic, theatre theorist and dramaturg at the Slovenian Youth Theatre in Ljubljana. In Reading, Tomaz Salamun, classic author of Slovenian modernist poetry, publishes his new poems. Following are a translation of the short story Wounded Boy by Irish writer Alan McMonagle, poems by David Bedrac and a short story by Peter Rezman titled At the edge of the city. In Cultural diagnosis, art critic Tanja Tolar reviews two London exhibitions: Becoming Picasso: Paris 1901, which is devoted to that critical year in the career of Pablo Picasso, and Supreme Beauty, a retrospective exhibition of works by the Japanese artist Kenji Yoshida (1924-2009). Editor Natasa Kovsca reviews the exhibition by Slovenian artist Uros Weinberger Displaced world, deplasiran svet, which is currently circulating among several galleries and which is a forceful response to social reality. Tisa Vrecko reviews Thomas Vinterberg's film The Hunt, and Tereza Tomazic reviews the film The Master directed by Paul Thomas Anderson. Matic Majcen reviews two books: a survey of theories of nation and nationalism under the title On the Borders of a Nation (Na mejah nacije), written by Slovenian sociologist Damjan Mandelc, and a survey of film production in countries from the former Yugoslavia, titled Post-Yugoslav film: Style and ideology, by the Croatian film critic Jurica Pavicic.The full table of contents ofDialogi 1-2/2013