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Jedno od nesumnjivo najznačajnih stvaralačkih imena njemačke, ali i svjetske, književno-pozorišne scene XX vijeka jeste Bertolt Breht. Liričar, dramski pisac, pripovjedač, dramaturg i režiser. Reformator i utemeljitelj jedne moderne forme teatra: epskog teatra.
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Beyond the History of a Literary Genre: The Encyclopedia of Romanian Memory Writing. The paper presents the theoretical frame of the research project The Encyclopedia of Romanian Memory Writing, currently being developed at the “A. Philippide” Institute for Romanian Philology. This encyclopedia joins other recent projects, such as literary dictionaries, in an effort to construct an alternative approach to the (national) literary history by subverting the (legitimizing) causal narration. It will include canonical texts, memoirists, various categories of title-articles, but also a set of operative concepts that allow for a definition of memoir-writing starting from the psychological, philosophical and anthropological implications of memory. By indexing literary phenomena in an encyclopedic manner, the textual corpora of Romanian literature may be described and analyzed in a transnational, comparative and interdisciplinary manner.
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Svetska premijera predstave drame „Bez srca” izvedena je u produkciji „Signature Theatre”, u Njujorku, 27. avgusta 2012. godine, na sceni Ajrin Dajmond (Irene Diamond Stage). – Džejms Hogton, osnivač i umetnički direktor; Erika Malin, izvršni direktor; Bet Vitaker, izvršni direktor saradnik. Režirao je Daniel Oukin; scenograf je bio Judžin Li; kostimograf Kei Vojs; dizajner svetla Tajler Mikolau; dizajn zvuka Erik Šimelonis; producent Donald Frajd.
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The present lack of a unique bibliography which can reflect the totality of published national drama, and the need for combined bibliography for educational purposes, led to the composition of the Bibliography of Albanian Drama.Research, for the first drama, lasted until 2017 and was conducted in Albania, Kosovo, Macedonia, Turkey, Italy, Greece, Croatia, in other Balkan countries, in Europe, in archives, in literary journals, etc, resulting in 1,461 works of drama.A series of historical-literary problems is noticed, but above all, what is seen is that the genre of drama appears in very few published works.Particularly the historical aspects, as well as the typological developments of this published genre, will be dealt in this paper.
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Having outlined the genesis and publication history of Stefania Zahorska’s play Dragon Street 13 (1944), Osiński interprets the text in the context of various historical events – the Grossaktion Warschau, the Warsaw Ghetto Uprising and the attitude of Polish exiled war veterans towards the Holocaust. Scholarship on the play is discussed in the light of recent finding and of reviews of Dragon Street 13 in the émigré press. Thus Osiński reveals the documentary value of Zahorska’s text as well as her original contribution to Polish émigré literature.
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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.
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The aim of this paper is to elevate the psycho geography of Venice, Cyprusand Barbery to discourse and mentality, to the characters’ use and reception of language: that of denotation (of law, order and logic), that of connotation (of enchantment, storytelling and wild passions). It attempts to explain how the lack of connotative awareness in some characters, like Desdemona, Othello, Roderigo,Emilia, Cassio, leads to their undoing. Birth, death and rebirth refer to the way in which some characters’ discourse (Iago’s, Othello’s) takes them to their destiny.Venice and the island of Cyprus are spaces in apparent opposition: an orderly one (Venice) and a wild one (Cyprus). Having reached its highly refined merchant society, architecture and Apollonian political organisation of Signoria by skilful,cunning politics, wars and commerce, riches looted or earned from the world, Venice has a hidden part of what Cyprus stands for in this play: bursting passion and violence and meandering discourse.The Venetian leaders’ rhetoric deals with denotation, law and order, the language of the literal word perceived as the only possible truth- unquestionable,undoubted in political decisions, matters of war, military strategies. Its argumentation contains logos and ethos: the masculine language of the power of the sword Othellois respected for and proud of. Il Doge, Iago, Roderigo, Cassio, senators know this language. That is why all men trust Iago’s words, without realising that in the city, at court, there is another type of battlefield with a different war weapon: the connotative discourse, full of pathos, flattery, double meanings, cheating and enchanting words.The Renaissance appreciated the power of rhetoric, more agile than the sword, able to tame and civilise, but with Iago, William Shakespeare warns about the dangerous side of rhetoric, its Cyprus violent manipulative damaging strategies of gaslighting, its Iagoism.
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The article is dedicated to the problems of historical drama, one of the ways of interpreting the past. The study is placed in the context of the sociology of culture and the historical memory of society, with a focus on the transposition and the symbolical representation of the history of Byzantium and the Second Bulgarian Kingdom (1181–1396) in literature. The subject of the analysis are the works of the Bulgarian poet and playwright Radko Radkov (1940–2009), above all his play Theophano, written in the convention of classical drama in verse and the so-called ritual drama, according to the title of the author, a synthesis of text borrowed from Old Bulgarian Literature, and Byzantine hymnography, inspired visually by the images of the Middle Age Miniatures included in Manassij’s Chronicle (Codex Vaticanus Slav II) – Praise of Turnovgrad and In Praise of the Word. The historical theme in the work of Radko Radkov is substantially different from the interpretation of the Bulgarian history of other Bulgarian writers of the second half of the 20th Century, by which the author is opposing the ideological constructs of the official authorities during this period. Within the discourse of the relations between creator and authorities, attention is paid to some events surrounding the 1300 anniversary of the creation of the Bulgarian state (celebrated in 1981), when, thanks to the benevolence of Lyudmila Zhivkova and the open culture policy that she, as Chairperson of the Committee of Arts and Culture, had introduced, the plays of Radko Radkov were allowed to be staged in the theatres. The playwright has found semiotic and stylistic devices that recreate the classical past of the people, the orthodox Christianity and culture in the universal perspective of the Byzantine Commonwealth, and artistically voice his historiosophic views concerning Bulgarian national history and the Byzantine-Bulgarian cultural community. The paper analyses the tribulations of the performance of Theophano, staged in Bulgaria by the French Director Pierre Della Torre, who sees in the poetic world of Radko Radkov “the monumental force of the masters of French theatre, Racine and Corneille”.
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In this study we aim to analyze how a story is built in today media space. Besides the linguistics norms concerning the meaning issues, the media story is a source of catharsis which can consume psychosocial energies. The public event becomes a media event and so it becomes an aesthetic event. The contemporary soul burns the pain and the anger watching TV, doing symbolic gestures, looking for uniformity. For our case study we chose to analyze the stories around the disaster from a Romanian nightclub; during a concert, a fire started and over 60 people died. We aim to describe the lexical ritual that we identified in the media discourse. We describe the patterns that generate meaning. We show how the subjectivity and the ideology bring closer the media discourse and the fictional one, and so we see that the report on such a tragedy means more empathy and less information, more emotional release and less storage of meanings. We can speak about the haste of a collective self to impose the ritual anger as a unique direction in front of a disaster.
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The text is an excerpt from a political drama, signed by a group of Romanian dramatists who also performed in the play.
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Audio play: "Cervantes-Platz oder Platz der Sklaven" (Cervantes Square or Square of Slaves) written by Predrag Lucić
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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.
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Drama “Cijeli život” napisana je 2007. godine i bila izvođena u koprodukciji KUD Intergali, Gledališča Glej i Mestnega gledališča Ljubljana.
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In the last 20 years, during berlusconismo period, a new form of politics and new reality of the “MoVimento 5 Stelle”, created by Beppe Grillo and Gianroberto Casaleggio (1954-2016), have risen in Italy, reaching an essential role after the 2013 election. Aim of this paper is to show how, with Grillo’s activities, the teatro della politica has become a teatro della crisi in the use of a theatrical language and contemporary dramatic expression. From a theatrical perspective, Nobel laureate Dario Fo (1926-2016) has become a noble father of the movement. Following Fo’s sample, Grillo, entertainer and activist, has theatralized the crisis with one-man shows and theatre happenings, where the performance was essential. The dialectic between Fo and the two founders of the movement is developed in the book Il Grillo canta sempre al tramonto, constructed as a theatrical play where the chapters are similar to acts, the subchapters to scenes.
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Often dubbed “Saracen” in the medieval Christian West and typically reviled and abjected as idolatrous and prone to abominations, the religious and ethnic other of Middle English drama and of Matthew Paris’s Chronica majora will endure, in different guises, in early modern imagological cartographies, if oftentimes displaced into the New World. In the process of self constitution, otherness becomes a projection of everything unacceptable to the self. Accordingly, Herod, the typical tyrant of Middle English biblical plays, is portrayed as a self-aggrandising sadistic butcher, whose bloodthirsty propensity as shown in the NTown and Towneley plays, however, is not substantially different from that of the cannibals populating early modern maps and cosmographies such as Sebastian Münster’s and Diego Gutiérrez’s. Nonetheless, the dramatic, historiographic and cartographic practices of the later Middle Ages and early modernity in England and on the Continent suggest that the dissonant other is but “another of the [hegemonic] same” (Irigaray) whose monsterisation works all the more effectively as it conceals its consonance with the supremacist self that has repudiated it. This paper seeks, therefore, to unravel the disavowed consonances, within late medieval and early modern discursive practices, between the other figure and the hegemony responsible for such othering.
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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.
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