{"id":10151,"date":"2026-10-08T15:26:20","date_gmt":"2026-10-08T13:26:20","guid":{"rendered":"https:\/\/pranger.si\/?p=10151"},"modified":"2026-10-08T15:27:26","modified_gmt":"2026-10-08T13:27:26","slug":"urska-bracko-potem-pa-kaj-prihodnost","status":"publish","type":"post","link":"https:\/\/pranger.si\/en\/urska-bracko-potem-pa-kaj-prihodnost\/","title":{"rendered":"Ur\u0161ka Bra\u010dko: \u00bbpotem pa kaj     prihodnost?\u00ab"},"content":{"rendered":"<p><strong>Nina Dragi\u010devi\u0107: <em>To telo, pokon\u010dno<\/em>. Ljubljana: zalo\u017eba \u0160kuc, 2021<\/strong><\/p>\n<p>Prva asociacija ob branju knjige <em>To telo, pokon\u010dno<\/em> je, da je pisana za solo performans, v katerega se zlahka vklju\u010di gib, gibanje telesa. Ob pregledu preteklih dogodkov sem zlahka ugotovila, da je pesni\u0161ka zbirka \u017ee bila dele\u017ena odrskega nastopa \u2013 avtorica Nina Dragi\u010devi\u0107 je nastopila skupaj s Toma\u017eem Gromom, ki je njeni poeziji dal zvok in glasbo (tudi prva knjiga je bila podo\u017eiveta s performansom Anje Novak). Tudi avtorica je skladateljica, kar se odra\u017ea na zvo\u010dnosti njenih pesmi. Vsekakor je opaziti, da zbirka \u2013 bolj kot na konvencionalno pesni\u0161kih \u2013 \u00a0temelji na dramskih osnovah. Z uvodnim delom te ne izpusti do zadnje besede, na nekaterih mestih hitrej\u0161i, na drugih po\u010dasnej\u0161i ritem ustvarja vtis, da je vse napisano v zanosu dalj\u0161e pesnitve. Ravno za pesnitev velja, da je to \u010dlenjena pesem dalj\u0161ega obsega in ponavadi pripovednega zna\u010daja \u2013 v ta \u00bbokvir\u00ab zlahka uvrstimo celotno zbirko. Tako si lahko zlahka predstavljam tudi uprizoritev, branje pesni\u0161ke zbirke.<\/p>\n<p>\u017de naslov narekuje, da se velik del te pesnitve ukvarja s telesom, telo je sredi\u0161\u010de vsega, premiki v pesmih se brez postanka nadaljujejo eden v drugega; telo v tej pesnitvi <em>rine, se vzpenja, kotali, razpada, lebdi,<\/em> <em>be\u017ei<\/em> &#8230; Ravno uporaba mnogih glagolov se mo\u010dno povezuje z ob\u010dutkom ritmi\u010dnosti dogajanja v zbirki. Telo je sicer ogromen del pesni\u0161ke tematike, vendar tudi ni vse. Pesnica, ki v poezijo vna\u0161a tudi veliko vidikov svoje lezbi\u010dne identitete, v telo zamaskira teme, ki so v dana\u0161njem svetu aktualne in je o njih potrebno kriti\u010dno govoriti. Ena od njih je komercializacija \u017eenskih teles v kapitalizmu:<em> \u00bbni\u010d nisi\u00a0\u00a0 \u010de si razmetana\u00a0\u00a0 to je menda jasno \/ zato urejeno zlo\u017eeno in tudi \u010disto<\/em>\u00ab in \u00bb<em>telo se zna prodajat<\/em>\u00ab; druga nasilje drugih in nasilje nad lastnim telesom. Prisotni so tudi motivi dru\u017ebene \u00bbogro\u017eenosti\u00ab pred emancipacijo in karierizmom \u017eensk, izgorevanje, delo na sebi, samopodoba, ob\u010dutje gnusa zaradi vpliva dru\u017ebe in vrstnikov, vpra\u0161anje ustvarjanja dru\u017eine, starosti, samote \u2026 V tej poeziji telo postane lastna entiteta, poseben protagonist, skorajda lo\u010dena od \u010dloveka. A ne glede na vse udarce, ki jih telo prejme, ostane pokon\u010dno: \u00bb<em>bole\u010de telo kot dose\u017eek<\/em>\u00ab.<\/p>\n<p>Posebej me je pritegnil dramatur\u0161ki lok tega literarnega dela. Uvodni del nas v pesnitev uvede <em>in medias res<\/em>. Pesni\u0161ka govorka je na za\u010detku sama, pripoveduje o sebi, po\u010duti se zasledovana in v telesu \u010duti strah. Preide na to, kako je telo lahko kamen spotike, kako je zasmehovano, in to zdru\u017ei na ve\u010djo \u017eensko populacijo. Nadaljuje se v \u017eivljenje, dru\u017eenje, spoznavanje, se spra\u0161uje o staranju in propadanju telesa ter nato preide na intimni odnos z ljubav: \u00bb<em>potem pa ljubav pa vse to \u017ee do\u017eivela \/ a v stiku s tem telesom vse pozabi\u0161<\/em>\u00ab. \u017divljenje z ljubav je druga\u010dno, pojavi se strah, morda pred \u017eivljenjem, pred iztekom, skrb je tista, ki na telo vpliva, v pesnitvi pa se po\u010dasi pribli\u017eujemo vrhuncu. Dramati\u010dnost se vidi tudi v ritmu, v prostorski obliki pesmi, v izboru pisave, v razmaku vrstic. Dragi\u010devi\u0107 skozi celoto menjuje tempo, likovnost in zgo\u0161\u010denost (ali redkost \u2013 razporeditev enega verza ali celo besede na stran). Vse dokler ne prispemo do pesni\u0161kega vrhunca, ki se zgodi tik pred koncem, zaslutimo ga po ritmu in umanjkanju razmaka \u00bb<em>[silovit vdih] \/ kaj se dogaja\u00a0\u00a0 koliko \u010dasa \/ koliko \u017ee \u0161e koliko \/ nima veze \/ nelagodno \/ pobito; naglo \/\u2026\/<\/em>\u00ab. Malo pred tem in od tukaj naprej se \u00bb<em>siloviti vdihi\u00ab<\/em> mno\u017eijo, kar daje ob\u010dutek hitenja, anksioznosti, ob\u010dutek, da te besede morajo na plano, in dr\u017ei nas v napetosti skoraj do konca. Ta vrhunec je asociacija na iz\u010drpanost, skoraj \u017ee izgorelost, pojavi se te\u017eko dihanje in ritem se stopnjuje: \u00bb<em>da si je telo\u00a0\u00a0\u00a0 vse naredilo \/\u00a0\u00a0\u00a0 samo\u00a0\u00a0\u00a0 \/ samo sebe <\/em>preforsiralo<em> \/ se <\/em>utrudilo<em> \/ kar <\/em>po\u017eiv\u010danilo<em> \/ najpogosteje se <\/em>po\u0161kodovalo\u00ab. Vendar se pesnitev umiri, pre\u0161li smo v zadnji iztekajo\u010di del \u00bb<em>torej to telo torej spretno in uspe\u0161no\u00a0\u00a0\u00a0 nekako obvlada \/ zmore zmore mene zlomiti ne more\u0161<\/em>\u00ab.<\/p>\n<p>Pesnica \u017ee od prve strani gradi neizmeren mo\u010dan naboj, ki v njenem prvencu <em>Ljubav re\u010de greva<\/em> \u0161e ni bil tako zelo izrazit. Z vsemi prej na\u0161tetim zgradi zbirko, ki na trenutke deluje jezno (\u00bb<em>daj\u00a0\u00a0\u00a0 torej \/ torej izusti vsaj nek glas \/ vsaj kak beden predjezikovni signal \/ naredi to\u00a0\u00a0 oddelaj to \/ kaj pa delitev dela\u00a0\u00a0\u00a0 kaj pa produkcijski na\u010din<\/em>\u00ab), spet drugi\u010d ironi\u010dno (\u00bb<em>razvejano telo\u00a0\u00a0 ja\u00a0\u00a0 ko\u0161ato \/ bo\u017eansko mogo\u010dno \/ stra\u0161no gibko in izprijeno\u00a0\u00a0 kolikor pomnim \/ res bo\u017eansko<\/em>\u00ab). Ekstremen naboj, ki ga je \u010dutiti iz verzov, \u0161e dodatno prispeva k dramati\u010dnemu ob\u010dutku.<\/p>\n<p>Nina Dragi\u010devi\u0107 je v svoji drugi pesni\u0161ki zbirki naredila korak naprej in vi\u0161je. V prvem delu (avtorica je ob neki prilo\u017enosti povedala, da bo \u0161lo za trilogijo) se pesni\u0161ki subjekt posve\u010da ljubavi, ki predstavlja bli\u017enjo osebo, ljubezen, hkrati pa v sebi skriva tudi ve\u010d \u2013 upor proti individualizaciji, prekarizacji, ksenofobiji &#8230; Opisuje ravno tisto, s \u010dimer se mnogi sre\u010dujemo, tesnobo, ob\u010dutke, mo\u010dna \u010dustva in \u017eelje, z eno preprosto besedo \u010dlove\u0161kost. Tudi \u00bbpripoved\u00ab v prvem delu je bolj linearna, vidi se \u017ee perfomativnost v pisanju, vendar \u0161e ne tako izrazito, kot je opaziti v drugi knjigi. Kaj nam torej \u0161e lahko prinese prihodnost? Dragi\u010devi\u0107 v zbirki zapi\u0161e \u00bb<em>pri telesu \/ kje se vse za\u010dne \/ se vse kon\u010da\u00ab. <\/em>Vendar ne verjamem, da je to resni\u010dni konec, saj je sama pesnica napovedala, da bo \u00bbsestavila\u00ab trilogijo. Ve\u010dje vpra\u0161anje je, ali je lahko stopnjevanje njene performativnosti, nadgradnja druge zbirke, v tretjem delu prese\u017eena. Zdi se, da dlje od obravnavane ne more stopiti, vendar se pustimo presenetiti. Najbolj\u0161a je prihodnost, o kateri ni\u010d ne vemo.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Pesnica \u017ee od prve strani gradi neizmeren mo\u010dan naboj, ki v njenem prvencu Ljubav re\u010de greva \u0161e ni bil tako zelo izrazit. Z vsemi prej na\u0161tetim zgradi zbirko, ki na trenutke deluje jezno (\u00bbdaj\u00a0\u00a0\u00a0 torej \/ torej izusti vsaj nek glas \/ vsaj kak beden predjezikovni signal \/ naredi to\u00a0\u00a0 oddelaj to \/ kaj pa delitev dela\u00a0\u00a0\u00a0 kaj pa produkcijski na\u010din\u00ab), spet drugi\u010d ironi\u010dno (\u00bbrazvejano telo\u00a0\u00a0 ja\u00a0\u00a0 ko\u0161ato \/ bo\u017eansko mogo\u010dno \/ stra\u0161no gibko in izprijeno\u00a0\u00a0 kolikor pomnim \/ res bo\u017eansko\u00ab). [&#8230;]<\/p>\n<p><a class=\"btn btn-secondary understrap-read-more-link\" href=\"https:\/\/pranger.si\/en\/urska-bracko-potem-pa-kaj-prihodnost\/\">Read More&#8230;<\/a><\/p>\n","protected":false},"author":9,"featured_media":10152,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"_exactmetrics_skip_tracking":false,"footnotes":""},"categories":[184,180],"tags":[],"class_list":["post-10151","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-184","category-kritika"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.8 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Ur\u0161ka Bra\u010dko: \u00bbpotem pa kaj   prihodnost?\u00ab - Festival Pranger<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/pranger.si\/urska-bracko-potem-pa-kaj-prihodnost\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Ur\u0161ka Bra\u010dko: \u00bbpotem pa kaj   prihodnost?\u00ab - Festival Pranger\" \/>\n<meta property=\"og:description\" content=\"Pesnica \u017ee od prve strani gradi neizmeren mo\u010dan naboj, ki v njenem prvencu Ljubav re\u010de greva \u0161e ni bil tako zelo izrazit. Z vsemi prej na\u0161tetim zgradi zbirko, ki na trenutke deluje jezno (\u00bbdaj\u00a0\u00a0\u00a0 torej \/ torej izusti vsaj nek glas \/ vsaj kak beden predjezikovni signal \/ naredi to\u00a0\u00a0 oddelaj to \/ kaj pa delitev dela\u00a0\u00a0\u00a0 kaj pa produkcijski na\u010din\u00ab), spet drugi\u010d ironi\u010dno (\u00bbrazvejano telo\u00a0\u00a0 ja\u00a0\u00a0 ko\u0161ato \/ bo\u017eansko mogo\u010dno \/ stra\u0161no gibko in izprijeno\u00a0\u00a0 kolikor pomnim \/ res bo\u017eansko\u00ab). 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Z vsemi prej na\u0161tetim zgradi zbirko, ki na trenutke deluje jezno (\u00bbdaj\u00a0\u00a0\u00a0 torej \/ torej izusti vsaj nek glas \/ vsaj kak beden predjezikovni signal \/ naredi to\u00a0\u00a0 oddelaj to \/ kaj pa delitev dela\u00a0\u00a0\u00a0 kaj pa produkcijski na\u010din\u00ab), spet drugi\u010d ironi\u010dno (\u00bbrazvejano telo\u00a0\u00a0 ja\u00a0\u00a0 ko\u0161ato \/ bo\u017eansko mogo\u010dno \/ stra\u0161no gibko in izprijeno\u00a0\u00a0 kolikor pomnim \/ res bo\u017eansko\u00ab). 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