A sziget

Author(s): Gellu Naum / Language(s): Hungarian / Issue: 1/2017

Poet and playwright Gellu Naum (1915-2001) is the most significant representative of late Romanian surrealist literature. Born in Bucharest, he also studied philosophy there and he came close to André Breton’s group of French surrealists during his Parisian studies. After the communist change he supported himself mainly from translations. After volumes of poetry, he published new significant volume, Athanor (1968), and the novel Zenobia (1985), which gain him international recognition. The well-deserved appreciation as a writer came only after 1990. In our spring issue we publish Imre József Balázs’s translation of his play, The Island (Insula) a playful-ironic rewriting of the Robinson Crusoe story about the loneliness of human existence. A deserted island full with people: this image could summarize Naum’s play, which can be read also as a family story with unexpected, yet typical turns of situation. Ada Milea created a theatrical concert in a remarkable performance based on Naum’s text at the Cluj-Napoca National Theatre in 2011.

Aated ja stiiliotsingud: ekspressionism 1920. aastate eesti teatris

Author(s): Luule Epner / Language(s): Estonian / Issue: 17/2015

In Estonian theatre, the experience of World War I found expression somewhat belatedly, in the early 1920s, when Expresssionist plays, mainly by contemporary German playwrights – Ernst Toller,Walter Hasenclever, Georg Kaiser et al – were staged in the Estonia Theatre, in the Drama Theatre and in the amateur Hommikteater (Morning Theatre, 1921–1924). The article examines the most significant Expressionist stage productions, focusing on the relations between their ideological, affective and stylistic dimensions. Critical and audience receptions of Expressionist plays are discussed as well.In the Estonia Theatre, a group of young actors and directors(Ants Lauter, Erna Villmer, et al) sought to innovate theatrical language by making use of new, Expressionist devices. In contrast, the amateur Hommikteater (led by August Bachmann and Nigol Andresen)placed emphasis on spreading the ideals of new humanity and social justice, which reflected the left-wing sympathies of the troupe , but their work was also distinguished by an inventive style and a strong emotional impact on audiences. The members of the literary group Tarapita (who promoted Expressionism themselves)enthusiastically supported Hommikteater. This little theatre became highly influential in the process of theatre innovation, despite its very small audiences.However, the key ideas and ideals of postwar Expressionism (including a strong anti-war pathos) had rather little effect on Estonian theatre in general. Expressionism mainly contributed to the widening of the stylistic palette of Estonian theatrical art. This can be partly explained by the social situation of the 1920s: victory in the War of Independence and the subsequent building of the independent Estonian state raised nationalist spirits and made people less sensitive to the destructive experiences of World War I as reflected in postwar German Expressionism.

ANCHORING THE VERBAL IMAGE IN NOH AND SHAKESPEAREAN THEATRE

Author(s): Anna A. Hlavácová / Language(s): English / Issue: Special/2014

This paper investigates how verbal images are anchored in acting. It focuses on the concretisation of the actor’s imagination and the possibilities of relating the declamation and gestures to the stage disposition and the theatre’s location in the city. Two models are used – Noh and Shakespearean theatre.

ANCIENT DRAMA TODAY. ORESTEIA AND ITS STAGE FORMS

Author(s): Martina Borodovcakova / Language(s): English / Issue: Special/2015

This study focuses on the most important stage productions of Aeschylus’ Oresteia of the 20th century. A special emphasis is given to the possibilities of reading the tragedy, in relation to politics and social climate. Based on selected productions the study also follows the evolution of various modern directing concepts and diverse approaches to staging ancient drama. Productions of Aeschylus’ Oresteia were often an integral part of significant changes in modern history and went beyond established ideas of how to read ancient drama.

Archetipinis Herojaus Įvaizdis Strindbergo Dramoje „Kelias Į Damaską“

Author(s): Deimante Dementaviciute / Language(s): Lithuanian / Issue: 68/2011

In the drama “To Damascus” August Strindberg opened archetypes of collective unconscious – the archetypes of mother and hero, accenting the first one. The article analyzes how the playwright creates this image using literary language. The analysis of the play is based on the theories of archetypes by Carl Gustav Jung, Mircea Eliade and Joseph Campbell: the archetype of the hero means the imprisonment of the human soul in the material reality – the kingdom of the Earth Mother, and the task of the hero is to get rid of her by a spiritual awakening. The article shows that the main actor in drama embodies an archetypal image of the hero and that the secondary characters are portrayed as a number of different aspects of the hero’s inner world. It shows how writer creates the process of a spiritual journey and liberation: in drama’s three parts the main character is tempted by the other players to forget his spiritual nature, to give up, is tested in aspects of the Earth Mother – time, space, recurrence, fate and frees himself from her through rebirth in a higher reality.

Arystofanes i Limeryki

Author(s): Rafal Rosól / Language(s): Polish / Issue: 71/2016

Aristophanes, the Athenian comic playwright, is often said to be the inventor of limericks. The author of the paper attempts to answer the question of the origin of that opinion. He also draws attention to the fact that there are some limericks or allusions to this genre in several English translations of Aristophanes’ comedies.

Bábszínház

Author(s): Áron Köto / Language(s): Hungarian / Issue: 11/2015

Benjamin u Moskvi

Author(s): Branko Vucicevic / Language(s): Serbian / Issue: 86.32/2016

BEZ NASLOVA

Author(s): Ingmar Vilkvist / Language(s): Serbian / Issue: 433/2005

JERG (uzdah): Mama? MAJKA: Šta je bilo, Jerg, šta? JERG: Ja... Ja više ništa ne vidim... MAJKA (snažno): Nije istina. Nije istina. To je samo krv iz nosa. To je samo ta krv. To će odmah proći...

Bir Siberdrama Biçimi Olarak Dijital Oyun: ‘Alice Harikalar Diyarında’ Örneği

Author(s): Özge Baydas Sayilgan / Language(s): Turkish / Issue: 72/2012

As a product of cultural industry, digital games taking place more and more in daily life activities and with its dramatic potential, being subject to theoretical discussions shaped by the researches from different scientific disciplines during 90’s, are accepted as the new storytellers of ‘new media’ which come forward with its interactive quality. Looking at digital games from a ‘narrative’ perspective, J. Murray(1997)’s ‘cyberdrama’ and M. Mateas’ (2004) ‘interactive drama poetics’ concepts, evokes ‘interactive drama’ definition shaped by technological possibilities of cyberspace. Within the scope of this research, it’s aimed to follow the formal transformation to cyberdrama of a selected story presented in reading, watching and playing activities both in historical process and today. As the sample determined within this research, the novel ‘Alice in Wonderland’ (Carroll, 1865), and its cinema and digital game adaptations’ (Burton, 2010; McGee, 2011) narrative structures are analysed. The study’s main problematic is to question the transformation of ‘narrative’ (epic) structure to the ‘representative’ (dramatic) structure on film screen and to cyberdramatical structure on game screen with its interactive images and story. To question if the digital game text, calling continuously the user activity, is bringing or not a contextual changing in the basic story’s coming to prominence for this research. In this context, archetypal character and plot structures and dramatic structure components are used as notions referenced for narrative analysis and comparison of the adapted texts.

Budallai

Author(s): Luigi Pirandello / Language(s): Albanian / Issue: 12/2017

Në skenë duket modeste tavolina e shkrimit të Leopoldo Paronit, drejtor i gazetës “Vedetta Repubblicana” të Kostanovas. Selia e gazetës është në të njëjtin vend ku banon Paroni, kreu i Partisë Republikane; dhe meqë Paroni i përbuz të gjitha komoditetet dhe (siç duket) edhe pastërtinë, rrëmujë dhe pisllëk kanë të gjitha mobiliet e vjetra dhe të lëna pas dore, gjithashtu edhe në tokë. Shihet tavolina e mbushur me letra të bëra pirg; karriget andej këndej, gjithashtu pirgje me libra dhe shkresa; gazeta kudo; rafti i librave, me librat të hedhura nëpër kuti lesh e li; një divan i vogël prej lëkure, me një jastëk krevati, i pistë, krejt i shqyer dhe me puplat që i dalin jashtë. Holli ndodhet në të majtë të aktorit.

Challenges and Rewards of Surtitling as an Audiovisual Translation Mode: A Case Study of the Contemporary Opera Have a Good Day!

Author(s): Lina Abraitiene,Indre Koveriene,Jurate Urboniene / Language(s): English / Issue: 26/2015

The goal of surtitling as a mode of audiovisual translation (AVT) is to help the opera-goers to overcome language barriers faced in opera production. Modern technologies have made opera production more audience-friendly introducing new languages and works in opera houses worldwide. However, this relatively new field of research has not been investigated in Lithuania. Hence, this study aims at the analysis of surtitling as a new field of research highlighting technical and translation issues as well as complexity and obstacles that are encountered when producing this kind of translation. Even though subtitling and surtitling hold a number of similarities as two modes of language transfer when translating different types of audiovisual media, there are differences in their production process likewise technical difficulties to be dealt with. As illustration of multiple nature of opera surtitling, a contemporary opera performance Have a Good Day! is chosen. The modern opera, revealing inner lives, secret thoughts and wishes of cashiers in a shopping centre, includes a number of culture-specific items that are grouped according to Davies’s classification of translation strategies. Not only culture-specific items are studied, but also particular means like entries for different parts of chorus and vocal lines that interlace at the same time preserving syllabic number and rhyme pattern in libretto translation are thoroughly considered in the research.

Chan and Chou: Buddhist Clowns in Waiting for Godot

Author(s): Wei Feng / Language(s): English / Issue: 5/2016

Contemporary Legend Theatre’s 2005 jingju adaptation of Waiting for Godot displaces Beckett’s metaphysical background with Chan Buddhism. Referring to Chan Buddhist philosophy, history of chou in China, and comic theory, this article evaluates CLT’s adaptation strategies and see how they reshaped our understanding of the role type chou and the meaning of the original play.

Cultural Intertexts

Frequency: 1 issues / Country: Romania

Culture generates an infinity of signs, whose meanings are shaped in and communicated via texts which, in turn, carry traces of other texts. These dialogic palimpsests which encode representations and allow for a multitude of possible readings ask for interpretative efforts, a part of which are included in Cultural Intertexts.

Cад/парк как «театр памяти» в драматургии Павла Пряжко (Сад Афродиты Дубовик, Урожай, Парки и сады)

Author(s): Olga Bagdasarian / Language(s): Russian / Issue: 149/2015

This article displays various interpretations of the image of an orchard in dramaturgy by Pavel Pryazhko. Orchard is used there as “a territory of memory” (personal, cultural and historical). The existence of characters on such territory is rather provocative one because it establishes the distance between the idea of an orchard (as a symbol of the “highest values”) and its modern «variant», which becomes the metaphor of contemporary life.

Dahlhaus – Kunze: dwugłos o dramacie muzycznym Richarda Wagnera

Author(s): Krzysztof Kozlowski / Language(s): Polish / Issue: 13/2010

This article supports the thesis that Carl Dalhaus’s interpretation of the Wagnerian musical drama (drama is here understood as a “dramatic-musical form” existing in the score, which fully comes into being only on stage as a concrete artistic creation) is not totally in opposition to Stefan Kunze’s interpretation, according to whom the Wagnerian drama, as the whole musical theatre of Wagner, is in fact the “imaginative theatre”. It is possible to defend this thesis thanks to my conviction that “imaginativeness” of the theatre and its reality (staging) are not mutually exclusive although they create a particular tension. This article consists of two parts. The first one presents Carl Dalhaus’s interpretation according to which the staging belongs to the history of a particular work of drama, forming its unique character every time again. The other part of the text discusses Stefan Kunze’s interpretation that the imaginary theatre is a part of the dramatic-musical form. There is a punch line, or a specific coda, at the end of the second part of the article, which explains the meaning of both, Dalhaus’s and Kunze’s points of view, seen also from the perspective of Wagner’s musical drama itself. My interpretation presented in this article is – referring to the current state of research and in spite of a large number of literature on this subject – new and original although the meaning of both theories is of great importance for the Wagnerian studies. My interpretation may serve to better understand both – the paradox of Wagnerian studies and the artistic work to which these theories refer.

Das Wartezimmer

Author(s): Marina Vujcic / Language(s): German / Issue: 1-2/2016

Drama by Marina Vujčić

Dashuria e Don Perlimplinit me Belisën në kopshtin e tij

Author(s): Federico García Lorca / Language(s): Albanian / Issue: 4/2015

Shtëpia e Don Perlimplínit. Mure jeshile me karrige dhe mobilie të ngjyrosura me të zezë. Në fund, një ballkon nga i cili duket ballkoni iBelisës. Perlimplíni me pallto jeshile dhe paruke të bardhë, plot me kaçurrelëza. Marcolfa, shërbyesja, me kostumin klasik me vija.

Daugybingumo formos šiuolaikiniame Lietuvos teatre: postmoderni reprezentacija ar modernios tradicijos tęsinys?

Author(s): Jurgita Staniškyte / Language(s): Lithuanian / Issue: 2/2011

The article examines new forms of representation in the contemporary Lithuanian theatre as well as their correlation with the modern representation. One of the themes of analysis is different character of the relations with the past in a modern and postmodern artistic framework. Quite often the creators of the post-soviet Lithuanian theatre use pre-existing cultural templates – myths, narratives, frames of traditional historiography, together with different texts and forms from the history of the theatre, and thus produce the effect of continuation rather than a radical break with the tradition.The article focuses on the theatrical strategies that open up to the postmodern notion of plurality: intertextual representation, intersemiosis, citation, pastiche, rewriting, deconstruction. With the help of three different case studies the article demonstrates, what kind of aesthetic forms the principle of plurality acquires in Lithuanian theatre; how the past (tradition, canon, history)reappears in these performances and how their perception differs from the modern tradition.

Deformacja, rzeczywistość i „Szewcy”

Author(s): Jerzy Ziomek / Language(s): Polish / Issue: 14/2010

W III akcie Szewców pojawia się tablica z napisem: „Nuda”, a potem: „Nuda coraz gorsza”. Nudne jest w tym momencie przemówienie Sajetana, ale nuda nie ustępuje, kiedy majster milknie. Nuda trwa do ostatniej sceny, w której bełkocącą o matriarchacie Księżnę Towarzysz X i Towarzysz Abramowski postanawiają zabrać ze sobą, aby po posiedzeniu mieć jakąś detantę – odprężenie. Przepracowali się ostatnio na glanc. Nuda jest bohaterem sztuki, a nie wrażeniem widza. Nuda panuje nie dlatego, że się nic nie dzieje. Przeciwnie: w Szewcach sytuacje zmieniają się z aktu na akt i ze sceny na scenę i na dobrą sprawę można by sobie wyobrazić akt IV i ciąg dalszy nieustannych przewrotów.