СУБЈЕКАТ ИЛИ ПУСТОЛОВИНА СЕЋАЊА - Модернизам у Центрифугалном играчу Тодора Манојловића
A SUBJECT OR AN ADVENTURE OF MEMORY - The Centrifugal Dancer by Todor Manojlović

Summary/Abstract: The topic of this work is Todor Manojlović’s play The Centrifugal Dancer (1930), a paradigmatic play of Serbian Modernism, in which the discontinued, “decentered” consciousness of the protagonist faces the world in which the line between reality and illusion is in the process of disappearing. It is told through the neoromantic story of the encounter of Bill, a cabaret dancer and minister’s daughter Lilian. First, the analysis of the obsessive motif of “adventurous love” indicates the futile aspiration of the modernist dramatic subject to identify with the outside world. At the next level, studying the games of fake/illusory identities of the main characters reveals the proces, during which ambiguous selfknowledge replaces the knowledge of the outside world. Finally, by considering the relation between linear and cyclic (at the plot level), and the relation between flying and dancing (on a metaphorical level), brings the conclusion that The Centrifugal Dancer is a play in which the modernist procedures of “decentering” the subject and de-realization of the world are being questioned by memory strategy as a new and authentic dramatic principle.

• Details
• Contents