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Drama by Sanja Nikčević ("Susjedi ili suvremena krimi-komedija o stambenim problemima")
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The truly harsh, yet highly impressive, coincidental identity of the carefree play with the tender childhood is an attractive springboard for fertile thoughts. With admirable engrossment prominent scholars diachronically deal with the nuanced access of that complicated experiential process. Tirelessly they aim at the thorough tracing of its identity. Adopting traditional practices or groundbreaking consideration they tend to convincingly interpret the fundamental parameters concerning the polyhedral function of “play”. Deterministically they are led to crucial drawing of undeniable findings that substantially differ from the primary aspect. In particular, they emphasize the catalytic presence of play in psychosomatic activities and spiritual manifestations, without exception of all living beings, not only of the rational creatures (underage or adults). They also highlight the pure theatrical shade and the unparalleled ritualistic character of the cultural phenomenon; they underline the explosive externalization of the authentic pleasure through which each individual consciously or imperceptibly channel his mimetic dynamics while clearly defining the inviolable framework of his dominance by pointing to his personal value. At the same time, they focus on the essential components of the play: the complete exemption from compulsive rigidities is consistent with the creative freedom of the teammates and their unchangeable availability for self-promotion despite the spatial and temporal limitations of its commission; the ideal interaction between the unwavering attachment to the realistically binding, the consciously accepted rules and the temporary, autonomous transition to conceivable dimensions; its noble harmony based on the supreme secular order and the absolute mystic beauty as well. Starting from the famous saying of “dark” philosopher Heraclitus that “eternity is a child playing draughts, the kingly power is a child’s” (fragment B 52) Eugen Fink bypasses metaphysical speculations, mythological rituals, but also religious doctrines. Through the perfect combination of his transparent argumentation with the ancient Greek anthropological palimpsest, he makes a detailed examination of the philosophical essence of the play. He reasonably gives it existential importance, as he perceives it as a top result of excellent aesthetic education.
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„Wydaje mi się, że nie jest tu zbyt jasno” – tymi słowami Maurice Maeterlinck rozpoczyna swój jednoaktowy dramat Intruz. Ciemność i mrok, światło i jasność – dokładne widzenie racjonalnej rzeczywistości wobec niepokojącej ślepoty, w której, paradoksalnie, można dostrzec znacznie więcej. Sztuka belgijskiego noblisty jest opleciona siecią takich przeciwieństw i sprzeczności, a sam proces lektury przypomina drobiazgowe odkrywanie sensu i docieranie do prawdy, przed którą chciałoby się uciec – okazuje się bowiem ostateczna, dramatyczna i nieodwracalna.
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The objective of this study is to theoretically define and distinguish between a radio play and radio production. Hence the first part of the paper characterizes the individual components of a radio production (speech, music, sound and silence), its performativity and its basic building block - the acoustic situation arising out of the interaction between the acting and the sound production. In the next section the radio production is considered as a sound composition (by theoretical passages on montage and time and space phenomena) and finally the historical roots of this radio work are also referred to. The second half of the study focuses on the radio play, which it endeavours to analyse primarily on the basis of its relationship to the theatre play. The study then goes on to examine both the structural elements and the types of radio plays and the secondary processes involved in the creation of this literary work: adaptation and dramatization.
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The international reception of drama text is, as Hans Robert Jauss showed, not a passive assimilation of the foreign cultural fact but an active and selective response to what is perceived as exterior. The literary creation enjoys but of a relative autonomy which is to be analysed into a dialectic relationship with society, with its production and consumption habits over a given period of time. The degree of closeness to translated creation varies based on audience, and therefore work on a history of translation becomes not only a titanic effort but also proves to be absolutely necessary for a better fixation of certain literary currents and ideologies. As for drama text, the approach of aspects such as the part of editorial translation/retranslation, the part of texts meant for stage or the special profile of the translator of drama may bring a contribution to a more objective understanding of the Romanian theatrical movement.
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One of the predominant discourses with which Macedonian culture is in constant dialogue is the discourse of Europe and European culture. This dialogue is conducted within the framework of the broader discourse of the relation between Europe and the Balkans, where Europe always has a dominant role within a relation that can best be described as one between a colonizer and colonized. Considering the fact that the representations of the Balkans conceived by Europe have been well known and studied, this work is focused more on the second part of the equation, i.e. the attitude of Macedonia and Macedonian culture towards Europe as the Other. The primary focus shall be on the contemporary Macedonian drama and the issue of representation of Europe in the plays of Goran Stefanovski, Jordan Plvnesh, Venko Andonovski and Dejan Dukovski whose plays are all watersheds of Macedonian literature and culture. The continuity of preoccupation and the complementary treatment of the character of Europe is a common theme of all the analyzed plays, which shall be considered from the point of view of the issue of victimization, a concept taken from Cvetan Todorov. At the same time, the analysis of this issue shall be also based on certain concepts used in postcolonial criticism. It will be concentrated on the representation and definition of the relationship between Europe and Macedonia, within which Macedonia reserves the position of the victim with all its related powerful symbolic and semantic values and benefits, but also the advantage of assuming a higher moral, psychological and qualitative position through the construction of the self as a subject that possesses valuable ethical, cultural, spiritual and civilizing values which the Other not only desires, but also fears. Consequently, we want to point to the fact that the space of Macedonian drama, along with the broader Macedonian society, is occupied , even preoccupied by the fixation of Europe as a colonizer trying not only to conquer us and impose its values, though decadent and morally degraded deep in its core. This is an indicator of the flux which Macedonian culture and society find themselves as they search for their identity and its verification, which is accompanied by a sense of threat resulting in the use of stereotypes. The presence and frequency of these stereotypes is indicative of the existence of a subconscious and repressed fear and insecurity, whereas the inability to overcome them leads to the acceptance of the role of the victim as an easier and readily available solution, but which also serves as a veritable mechanism for the construction of identity.
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Monodrama for the ensemble ("Ubio sam Almu") by Monika Herceg.
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The theatrical works by Teki Dervishi, The Hill of Sorrow, and by Goce Smilevski, Conversation with Spinoza (a circus act in five parts), are bound by a common (almost identical) dramatic unfolding that maps out the circle of infinite oneness of the uroboric body: the great snake that swallows its own tail. It is the kind of dramatic interplay which maps out the circle of the unbreakable bond between the mother’s womb and the bearings of her son’s sensuality (as in: body, source of sinning). The lining of the circle marks the infinity of the sensuality’s incarnations, its eroticism, its sex; it underlines their collectivity, a oneness with the all-encompassing and all-bearing body of the mother, which in turn, appears as an apotropaioi (in its magic, protective function) character positioned at the gates of the dramatic world: at its entrance and at its exit. Namely, at the entrance/exit of being itself: in the interim process between life and death. What these two plays bear in common, as a result of their intertextual and intercultural dialoguing when dealing with the question of gender and archetypes, is the conjoined reinforcement of the archetypal meaning of man’s mother born out of corporeality and sensuality. In Smilevski’s play, what takes center stage is the theme of sexuality, that is the dialogue carried out betwixt the world of sexuality and Spinoza’s philosophy, which is resolved at the level of archetypal imagery. In Dervishi’s play, on the other hand, sexuality is always twice-removed from the archetypal character of the Mother, and her many mythic incarnations. What is nonetheless key for the platform of comparing these two pieces based on the commonality of gender and archetypes could be found in ‘the familial scenario’ of sexuality that the two respectively voice.
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Есејот се занимава со естетичките аспекти на процесот на пишување и отворање на уметничкиот текст кон политичкиот и културолошкиот контекст, во субверзивната автобиографска новела "Размислување за Криста Т." од германската авторка Криста Волф. Во овој текст расправам за врските помеѓу процесот на нарација (наратологијата како наука за раскажувачкиот текст) и политичката теорија која се занимава со политичката одлука: што е она што вистински се случило (фактот) и што е она што е фикција. Низ подвоеноста во идентитетот на Криста Волф (авторката) и Криста Т. (мртвата фикционална жена, карактерот) ги отворам прашањата: што е стварност, фикција, мемориски практики, идеологија и пишување, дијалектички отпор кон идеолошка матрица и унифицираното пишување, реконструкција на стварноста и фактографијата наспроти фикционални тропи. Овој есеј има за цел да го покаже процесот на естетичка продукција и конфигурација на уметнички текст низ теорија на рецепција и контекст на интерпретација. Наратолошката автобиографска трансформација на авторката, од раскажување во прво лице еднина до раскажување во трето лице женски род (таа) – ја покажува еманципацијата на мислата и процесот на ослободување на фикцијата од самодоволноста на наратолошкиот контекст и отворање на пишувањето кон културолошко-политичката стварност (во 1945 г.). Укажувам на хипотезата дека ако естетичкиот акт во уметничкиот текст е идеолошки, истовремено тој акт не смее да се затвори во сопствената (марксистичка) идеологија, туку единствено може да постои во пукнатинките на идеолошкиот отпор, во политичката одлука како чин на отпор низ уметност, како основа за создавање нови политичко-идеолошки почетоци низ уметнички парадигми на пишување. Покажувам дека критичкиот пристап на дистанцирање на авторката (уметничката) од самата себе емпириската личност) е единствено можен прогресивен естетичко-политички акт на творење, епистемологија и толкување помеѓу минатото, сегашноста и иднината.
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Drama by Nikolai Gogol: "ОДЛАЗАК ИЗ ПОЗОРИШТА НАКОН ПРЕДСТАВЕ НОВЕ КОМЕДИЈЕ“ (Leaving the Theatre after the Presentation of a New Comedy)
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A fragment of a play written by Szűts István, Bella István, Seregi Zoltán, Zalán Tibor - "Drakula-Fantázia".
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Blindspot is a series of 30 dialogues set in Eastern Europe at the turn of the millennium. A minority in her country of birth and an immigrant in the country she arrives in, we follow the story of a young woman pursuing her studies and career. Conversations with family, friends, and authority figures are balanced between tragic and comic. An eternal quest of her position in power-ridden structures. The story was written in 2010 and is pure fiction. All rights reserved.
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