ABSTRACT
Miško Šuvaković describes different modes of “tactical networking” between institutional and neo-avant-gardistic areas of Yugoslavian performance art, undermining the strict division between the first and second public spheres. He discusses three case studies: an example of Yugoslav socialist modernist cultural politics (the Belgrade International Theatre Festival), the complete refusal of experimental theatre located on the margins (the staging of Waiting for Godot in the private studio of the painter Miće Popovića), and the desire to introduce an alternative micro-social space for free interdisciplinary creativity (the case of OHO and Pupilija Ferkeverk).
