Diplomsko delo poskuša preko teoretskih razprav o angažirani umetnosti analizirati in ovrednotiti delo sodobnega hrvaškega režiserja Oliverja Frljića. Slednji je odmevni gledališki ustvarjalec, ki je v preteklosti že mnogokrat izzval burne odzive publike in tudi širše javnosti. Preko soočenja Jean-Paula Sartra, Theodorja W. Adorna, Walterja Benjamina in Jacquesa Rancièrja, ki so vsak na svoj način opredelili pojem angažirane umetnosti, poskuša diplomsko delo Frljićev teater razumeti v kontekstu teh filozofskih pogledov. Preko analize treh Frljićevih predstav, uprizorjenih v Sloveniji, Preklet naj bo izdajalec svoje domovine!, 25.671 in Naše nasilje in vaše nasilje poskuša diplomsko delo s pomočjo definicije političnega gledališča Siegfrieda Melchingerja in preko specifik postdramskega gledališča, kot jih je definiral Hans-Thies Lehmann, opisati Frljićeve gledališke postopke in ugotoviti, kako ti postopki učinkujejo pri prenosu sporočilnosti predstav in na kakšen način izražajo družbeno kritiko ter kako učinkujejo na publiko. Preko Frljićeve avtopoetike in prej omenjenih teoretskih razprav tako poskuša ovrednotiti Frljićevo delo.This undergraduate thesis tries to analyze and evaluate work of contemporary Croatian director Oliver Frljić through theoretical discussions of engaged art. Frljić is a famous theatrical creator who has provoked turbulent reactions from the audience and the general public many times in the past. Through the confrontation of Jean-Paul Sartre, Theodor W. Adorno, Walter Benjamin and Jacques Rancière, who each defined the concept of engaged art in their own way, the thesis tries to understand Frljić\u27s theater in the context of these philosophical views. Through the analysis of three of Frljić\u27s dramatic performances staged in Slovenia, Damned Be the Traitor of His Homeland!, 25.671 and Our Violence and Your Violence, and with the help of Siegfried Melchinger\u27s definition of political theater and the specifics of post-dramatic theater as defined by Hans-Thies Lehmann it tries to describe Frljić\u27s theatrical procedures and to find out how these procedures affect the transmission of the message of performances and in what way they express social criticism and how they affect the audience. Through Frljić\u27s autopoetics and the previously mentioned theoretical discussions, the thesis thus tries to evaluate Frljić\u27s work
