Čehov u Sarajevu: djela Antona Pavloviča Čehova na sarajevskoj sceni u svjetlu bosanskohercegovačke književne i pozorišne kritike
Chekhov in Sarajevo: The Works of Anton Pavlovich Chekhov in Sarajevan Theatre in Light of Bosnian-Herzegovinian Literary and Theatre Critique

Author(s): Adijata Ibrišimović Šabić
Subject(s): Theatre, Dance, Performing Arts, Russian Literature, Theory of Literature
Published by: Slavistički komitet BiH
Keywords: Anton Pavlovich Chekhov; theatre; Bosnia and Herzegovina;
Summary/Abstract: The book under the title Chekhov in Sarajevo: The Works of Anton Pavlovich Chekhov in Sarajevan Theatre in Light of Bosnian-Herzegovinian Literary and Theatre Critique offers a systematization and analysis of BH critical thought concerning this classical Russian author, whose works were performed at professional Sarajevan theatres over the course of almost a century In that sense, the book in question represents, to a degree, a syn-thesis and analysis of the reception of Chekhov’s opus in predominantly Bosnian-Herzegovinian literary critique, and moderately within BH theatre critique, which together point to the quantity and quality of Chekhov’s presence on Sarajevan stagesThe book features a scale of development of BH critique, as well as changes in reception within the historical timeline of staging theatre plays;this is why a special emphasis is made on Chekhov’s main dramas, which enjoyed a broader, stronger, and longer critical reception Other than the most prominent names of BH literary and theatre thought (Nazif Kusturica, Josip Lešić, Zdenko Lešić, Luka Pavlović, Tvrtko Kulenović, DževadKarahasan, Čedo Kisić, Gradimir Gojer, Ljubica Ostojić, Almir Bašović,and others) and relevant texts dedicated to the researched subject, the book also references anonymous articles concerning the topic, which were avail-able at the time of writing. One of the chapters is dedicated to the dramatization of Chekhov’s short stories The Witch and Ward No. 6, which appeared only within the first artistic season at the Sarajevo National Theatre in 1921; this means that the potential which Chekhov’s short stories had for theatre (and which were described as “short dramatic scenes” by BH critic Nazif Kusturica)remained mostly unrealised This chapter covers the general issue of theatre adaptation process for classic Russian prose in light of contemporary cognition, which identifies how the strategy of reading, especially theatre reading, is in fact a creative process in and of itself, the logic of which de-pends on various components which accommodate “the event of meeting”between the text and the reader.

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