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.

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.

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.

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.

Das Wartezimmer

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

Drama by Marina Vujčić

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.

Deșteptarea primăverii – caiet de regie

Deșteptarea primăverii – caiet de regie

Author(s): Bogdan Ulmu / Language(s): Romanian / Issue: 2/2013

It’s spring. Nature jubilees. Wedekind tries to find a concordance not only through the title, but also through a collateral allegory, that of a flower bud, full of vigour, ready to explode. The young adolescents bustle with excited nostrils, breathing the warm and staggering air of the neurotic season. The play Spring’s Awakening fascinates through innocence, calm redeeming in opposition with dullness and conformism of the mature people. The excitement of the adolescents, their gnostic ascent and the naivety in front of the essential mystery impress both the reader and the spectator.

DEVOJKA ODSEČENE KOSE

Author(s): . Menandar / Language(s): Serbian / Issue: 442/2006

Comedy by Menandar

Diabeł i seryjni mordercy. Rzecz o niebanalności zła

Author(s): Pawel Rzewuski / Language(s): Polish / Issue: 2/2015

The article presents an analysis of the ways in which serial killers were depicted by popular literature authors. The image of serial killers which emerges from the interpretation of various criminal novels was confronted with criminological literature. As it seems, the comparision between fictional serial killers and their real counterparts allows us to notice some tendencies in popular literature. Serial killers, as presented in criminal novels, have more in common with the devil himself rather than with the actual serial killers. They tend to fill in some way the gap which has arisen in the consciousness of people living in the secularized societies.

Diva

Author(s): Ante Maric / Language(s): Croatian / Issue: 87-88/2016

Opera in four acts

Dizisinde Çizilen Japonya’nin ‘Yeni’ Erkek İmaji

Author(s): Ceren Aksoy Sugiyama / Language(s): Turkish / Issue: 80/2014

It can be argued that for the last two decades Japan has gone through a radical transformation making the country a stage for various masculine performances filling it with a multitude of representations of masculine identities. The footprints of these transformation can also be observed through media representations. Within this context the aim of the article is to elaborate the masculine identity constructed through Sakamoto Ryōma in the historical drama Ryōmaden broadcasted in the year 2010 by the Japanese national channel. By giving several examples from the scenes focusing on the character traits of the protogonist, the type of masculinity which is thought to be idealised by means of an updated version of Sakamoto Ryōma will try to be highlighted. Within the popular history, Sakamoto Ryōma is known to be one of the architects of the Meiji Restoration. Although he could not live to see the Reformation itself his contributions did not go unnoticed. The latest version of these character who have already inspired several novel, anime and manga overlaps with the historically glorified masculin identity. On the other hand it can be noticed that the image itself differentiates from the iconic images of the previous decades. By putting into circulation a sympathic samurai who reverse the Japanese autocratic masculine image; the series not only refresh the social memory but also put into circulation a new masculine image.

Drama

Author(s): Rene Kristan / Language(s): Serbian / Issue: 501/2016

Rene Kristan: HAPPY BUS ILI FILOZOFI LETE U NEBO

DVA PRÍSTUPY K MONODRÁME: CASTELLUCCI A KLIM

Author(s): Anna A. Hlavácová / Language(s): Slovak / Issue: 04/2014

Jednou z odpovedí na režisérizmus je herecká monodramatická tvorba. Lenže žáner monodrámy je ťažký, jeho riziko je v tom, že sa v ňom niet za čo skryť, čím si pomôcť. Obnažená forma divadelnej práce je nástrojom intimizácie kontaktu s publikom. Nevyhnutne so sebou nesie návrat k hercovi ako základu divadelného diela, a spravidla aj akcent na verbálnu zložku. Potenciál sólovej kreácie je v možnosti nastoliť otázku o tom, čo je nevyhnutné pre divadelnú komunikáciu. Vracia nás tak k antickým počiatkom divadla, kde sa postavy z chóru vynárali po jednej, ako i k problematike javiskovej reči. Na rozdiel od aischylovského herca je v súčasnej monodráme herec spravidla zbavený aj opory v chóre.

Dwu(wielo)języczny teatr w zglobelizowanym kontekście brytyjskim, czyli o różnych stylach dramatu migracyjno-transkulturowego

Author(s): Elwira Grossman / Language(s): Polish / Issue: 3/2016

Focusing on selected bi(multi)lingual plays recently performed in the UK, the essay deals with the broader theme of intercultural communication and Polish migrants’ contribution to the local target culture. Grossman examines the possibility of creating a new transcultural form of theatre as an artistic means of facilitating mutual understanding and intercultural experiences. She suggests replacing the question of artistic merit by the shows’ function in reinforcing intercultural dialogue. The performances discussed are shown not only to strengthen the migrants’ integration but also to secure their feeling of emotional and cosmopolitan belonging to a globalized world without undermining their sense of human dignity and their belief in social equality.

Dźwiękochłonne dramaty Janusza Krasińskiego

Author(s): Agnieszka Kramkowska-Dabrowska / Language(s): Polish / Issue: 5/2015

This article describes the world of sound in Janusz Krasiński’s plays Wkrótce nadejdą bracia [Soon the Brothers will Arrive], Czapa, czyli Śmierć na raty [The Hat, or Death by Instalments] as well as Śniadanie u Desdemony [Breakfast at Desdemona’s]. The rich soundscape, rooted in these plays’ origin as radio drama, represents more than a mere acoustic background – it contributes to the creation of meaning. Carefully planned sound signals create an absorbing acoustic space, influencing the plot and becoming a point of reference in the dialogue. Thus the sounds gain a dramaturgy of their own, affecting the audience’s emotions and understanding. This sound construction suggests that the author created his drama in a way that in some ways echoes the technique of avant-garde composers.