CĂTĂLINA ILIESCU. TRADUCEREA TEXTULUI DRAMATIC
Review of: Cătălina Iliescu. “Traducerea textului dramatic” (‘Translating the Dramatic Text’). Iaşi: Institutul European, 2010, 174 p., ISBN: 978-973-611-641-4
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Review of: Cătălina Iliescu. “Traducerea textului dramatic” (‘Translating the Dramatic Text’). Iaşi: Institutul European, 2010, 174 p., ISBN: 978-973-611-641-4
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This review presents a recently published book authored by Cătălina Iliescu Gheorghiu, an academic actively involved in Romanian studies and a translator of Romanian literature. As the title suggests, it is a study that falls under the scope of Descriptive Translation Studies implying the polysystemic model posited by Lambert and Van Gorp for the comparative analysis of drama. The corpus under scrutiny is made up utterances extracted from the play A treia țeapă (The Third Stake) by Marin Sorescu and the corresponding utterances from two of its translations into English. The analytical part is backed up by a solid theoretical framework with its latter section lending the overall structure of the analysis. The categories subject to investigation are (i) preliminary data, (ii) the macro-level structures, (iii) the micro-level structures and (iv) the systemic context. The methodology experimented with drama translation and the findings deriving from it have proved their validity and are valuable input for other similar and possibly more comprising research that can use these findings as hypotheses to be tested further.
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The present article is devoted to the work of the Belarusian playwright Franciszek Alachnowicz. In his work “Shadows” traces of poetic devices can be found. First of all, the author of the article pays attention to the psychology of the figure, the inner life of the heroes, a conflict between consciousness and soul, as the author creates an atmosphere of tension and horror. These features of his artistic style allow him to be counted among the representatives of the „new drama” – an interesting artistic phenomenon in European drama at the turn of 19th and 20th centuries.
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Hesperides, or the Muses’ Garden is a 17th-century manuscript commonplace book compiled by John Evans, now collected mainly at the Folger Shakespeare Library in Washington D.C. The commonplace book has been known primarily for its Shakespearean connections. Borrowing Gunnar Sorelius’s useful term “spontaneous editing,” I discuss it as a way of reading. According to Robert Darnton, the early modern segmental reading contrasts with the modern sequential reading. I maintain that the commonplace book compilation process, as can be inferred from the extant manuscripts, offers an intimate peep into a particular type of early modern reading practice. Hopefully a detailed analysis of the reading activities of John Evans can add to our understanding of the nature of early modern reading, especially commonplace reading. I argue that the defining features of commonplace reading include the fluidity of the text, the subjectivity of the reader, and the multiplicity of the authorial intention.
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We may add that conscious Estonian culture as creativity in all branches of arts can be traced back only to the middle of the 19th century when the country’s predominantly peasant population was finally emancipated from the humiliating condition of serfdom, imposed by Baltic-German landlords since the late Middle Ages (and maintained since the start of the 18th century with the benediction of Tsarist Russia) In the following interview, we will ask some of the leading Estonian stage directors to share their experience and ideas about the past and contemporary state of Estonian theatre life and drama performances. [...]
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After regaining independence in 1991 Estonia, like other Baltic states, went through a transition period which can be described as a return to the West, i.e. Europe. By now, Estonia has joined European community and is successfully integrated with Europe. However, in regard to the country’s cultural and political identity, the process of self-determination continues, particularly on the level of regional identity: whether the newly independent Baltic countries belong to Eastern or Northern Europe? Estonia tends to position itself among Nordic countries, primarily by reason of close historical ties and linguistic kinship with Finland. In the light of current identity processes the cultural interaction between Estonia and Finland deserves attention. This paper examines only one aspect: the reception of contemporary Finnish dramaturgy in the 21st century Estonian theatre. Finnish dramas had been staged in Estonian theatres since the end of the 19th century. However, it is noticeable that their number has significantly increased since the 2000s, and the repertoire of the major Estonian theatres contains far more new, contemporary Finnish plays than well-known classics. Plays by Leea Klemola, Sirkku Peltola, Juha Jokela, Mika Myllyaho, Pipsa Lonka and others enjoy great popularity among Estonian audiences. How do these plays represent Finnish society? How were they interpreted and received in Estonian theatre? How do stage productions of Finnish plays contribute to the construction of shared Nordic identity? The paper looks for answers to these questions.
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Conveniently titled after a cartoon character, George Bernard Shaw’s play John Bull’s Other Island sneers at the legacy of colonialism, intolerance, and paternalism. This paper analyzes Mr. Shaw’s attempt to ‘reconcile’ England and Ireland in order to achieve synthesis between the colonizer and the colonized. It also answers whether it is possible to overcome the hostility caused by colonialism, and whether humanity can avoid and disregard the most important feature of colonial discourse Homi Bhabha wrote about: namely, “its dependence on the concept of ‘fixity’ in the ideological construction of otherness”. Finally, the reading of John Bull’s Other Island as the sovereign critique of colonialism exposes G. B. Shaw’s practical artistic solutions to stifling the symbolic and cultural violence, which continues long after the colonizers have granted the colony the right to Home Rule.
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This article focuses on three English plays, The Renegado, or the Gentleman of Venice (1624) by Philip Massinger, The Tragedy of Mustapha, Son of Solyman the Magnificent (1665) by Roger Boyle, Earl of Orrery, and The Siege of Constantinople (1675) by Henry Neville Payne, which were written at a time when the illdefined entity generally known as “the West” today was not in the ascendant and apprehensions of the expansionist Ottoman Empire and its dependencies in North Africa played an important role in European social and political life. The plays are approached from a historicist perspective as attention focuses on anxieties aroused by the early modern European perception of Islam as an alien religion that nevertheless attracted Christians and incited them to convert. Representations of religious conversion are also analysed in terms of gender differences. In addition, each of the plays is read as a response to a particular set of social and political problems, which troubled early modern England and were re-imagined through dramatized stories of encounters between Muslims and Christians.
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<p>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.</p>
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This article examines the efforts of postcolonial creative writers, particularly dramatists, who attempt to rethink the seeming erosion of African culture in the face of western cultural expansion. The present research adopts the methods of descriptive and content analysis, as it dwells on books, journal articles, and internet materials to examine its subject. Of immediate interest are two Nigerian plays, Ata Igala the Great by Emmy Idegu and Emotan: A Benin Heroine by Irene Salami-Agunloye, which are read as paradigmatic texts for interpreting problematic postcolonial relationships. The article contributes to discussions related to colonialism and the hidden agenda of neo-colonialism, which are often interpreted in terms of western economic interests underlying cultural expansion. The article demonstrates how Af¬rican postcolonial writers have striven to reverse this trend by promoting Africa’s cultural aesthetics as they represent indigenous ways of life and their problematic interaction with western cultural patterns. The discussed works focus on cultural canons related to African life, such as consultation with oracles, ancestor worship, and festivals; and they demonstrate the aesthetic specifics of African dance, music, songs, and their semiotic significance. The article concludes that even though the two plays “speak back” to power, their strength lies in the articulation of certain aesthetic patterns that contribute to African self-location. Thus, the plays not only attempt to assert African culture, but they also strive to rethink the meanings of western cultural imperialism.
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Three plays, three styles, three testimonies about the artist and the space of art of performance, from the '80s until today, three decentralizing visions, but also tangents. Vărul Shakespeare (Cousin Shakespeare) is one of Marin Sorescu's lesser-known and hardly-edited texts. Beyond the inter- and metatextual juggling, beyond the playful discourse and the theatrical effects, the Romanian writer emphasizes the encounter between the language of Elizabethan poetry and the local comic. Richard III visits director Vsevolod Meyerhold in Richard al III-lea se interzice (Richard III is forbidden) by Matei Vişniec. Like a self-portrait, perhaps, of the author slipped into Meyerhold's character, the play returns - through paradoxes, theatricality, intersections between times, cultures and authorial voices - to a message as clear as possible about the artist's freedom, a message that (proof being the current global situation) the aforementioned aspects are of a continuous topicality.
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Ferdinand von Saar's novella Der „Exzellenzherr“ is a very compact text, depicting thecomplexity of the culture and history of the Austrian-Hungarian monarchy during the 19thcentury. This text hints to ancient myths and uses onomastic symbols from the Bible to showhow the idealistic visions of the protagonist, his „golden dream“ and his „paradise garden“ breakdown under the historical reality. Indirectly the novella also depicts the final period of theAustrian-Hungarian Empire. Although apparently it deals with love and marriage, the realintention of the novella is to depict the ethical and cultural history of the Austrian-Hungarianmonarchy.
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This paper aims to document the process of an accomplished project work dealing with the topic of the European taboos realized by a group of students with the mention that it is written out of the perspective of the student. The theatre play was chosen as a suitable way to pack and deliver the information about the topic of the taboos. The recipients were in this case fellow students. The author of this paper fulfilled the role of the group leader and is also the author of the script of the theatre play. The paper presents all the stages of the working process, the interpretation of the theatre play and provides an insight into the encountered difficulties and the ways to overcome them, with which the group came up.
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The article explores a need to provide a permanent revision of the ways of reading classical texts. The fairy drama The Forest Song was written by Lesya Ukrainka, who is acclaimed as an outstanding dramatist of Ukrainian literature. This play has a vast bibliography and serves as a target of a variety of critical approaches. The point is, however, that the predominant position among them still belongs to the interpretative models generated by Lesya Ukrainka’s contemporaries. This refers, first of all, to those who have hitherto interpreted The Forest Song within the following two frameworks: neoromantic, grounded in Polissyan folklore and the author’s mythology, and neoclassical, launched by neoclassicists of the 1920s and based on the ties of Lesya Ukrainka’s play with classical drama. The scholars overlook, though, a conflict between the two interpretations. Each model, employed with no regard for the other one, operates on certain elements of the text. The scholars neglect the need to correlate their work with the other, totally inverse, model (neoromanticism and neoclassicism are, at a fundamental level, as aesthetically opposed to each other as are romanticism and classicism). The article offers a new model for reading the text of Lesya Ukrainka through the lens of symbolism. This model allows us to account for the congruence of classical normativity and romantic liberty within a single text.
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The purpose of this article is to analyze Juozas Erlickas and Herkus Kunčius' dramatic texts, written at different periods, on the whole of the interaction and relationship between the didascalic episodes and the verbal action of the characters that are the dialogues. The didascalic episodes represent a particular case of the dramatic writing, peculiar to the two authors. Contrary mental scenic remarks, they deviate from the trajectory traced by the dialogues of the characters and begin to function autonomously as narrative "tables", interposing themselves in the dramatic action or by breaking it. The introduction of the didascalic episodes based on the playful union between theatricality and narrativity in a dramatic work makes it possible to distinguish the essential aspects of the analysis of this interaction: the enunciative aspect highlighting the trace of the author, who takes or the form of the soliloquy, and the narratological aspect in which the attention is concentrated on the textual fabric of the functions of the author and the reader / spectator as well as on that of their relation to the subject of the drama. We come to the conclusion that the appearance of a didascalic episode on the stage (real or imagined) is a mode of action that allows the theater to show its signs, especially those that are not intended to be seen. Transformed into discourse, the didascalic text appears as the dramatic material that breaks the links with fiction based on the principles of realism.
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This article is an attempt to investigate contemporary film theory highlighting the inseparable connection between cinema and the human body and seeing, in which sense this theory complements academic recognition about neomodernism. The author expands on the philosophical concept of experience, showing problems posed by its conceptualization, and also points to the connection of this term with the body and sensuality. In the next part, the main distinguishing features characterizing the dramaturgy of cinematic neomodernism are given. The author argues that the dramaturgy of this movement creates a different kind of cinema experience in general. The final part presents an analysis of two films which are examples of the theory of cinema as senses, as well as exemplifying the dramaturgy characteristic for neomodernism, and thus creating a specific type of experience in the viewer.
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Horror-rock
A fragment of a play written by Szűts István, Bella István, Seregi Zoltán, Zalán Tibor - "Drakula-Fantázia".
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Kordian is a drama with a complex structure, a multilevel text, open to multiple interpretations, depending on the angle of assessment. Beyond ideas deeply rooted in the Polish history and mythology, the text drew the attention of literary critics and historians thanks to its literary value, lexical and imaginative richness, and various poetic and prosodic resources. This article deals with the drama’s structure and meanings, focusing on the causes that contributed to the tragedy and the failure of the main character.
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The paper deals with an analysis of the traditional dramatic paradigm from Aristotle and classical Greek drama to the present day, based on, in a simplified form, on the conflict between father and son or the struggle for power. In such a pattern female characters in drama have had a subordinate role corresponding to the role of women in society throughout history. The basis of this paper is Barbara Johnson’s deconstruction of the dramatic genre illustrated by Moliere’s comedy The School for Wives. The paper also deals with the female rebels in drama who, like Antigone and Ophelia, voluntarily went to death or madness in order to escape the bloody drama of history embodied on the stage. In recent time, starting with Ibsen’s Nora and Chekov’s Nina Zarechna, heroines leave the middle class drama to forge their own drama of self-awareness.
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