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Шекспірівські образи в гітарній творчості Ганса Вернера Генце: «Королівська зимова музика»

Author(s): Tymur Ivannikov / Language(s): Ukrainian Issue: 39/2017

Purpose of Article. The article reveals the specifics of the disclosure of theatrical characters of the Shakespearean dramas in the musical language of the guitar sonata by Hans Werner Henze «Royal Winter Music». Methodology is based on the use of phenomenological, comparative, structural-functional methods that allow expanding the horizon of cognitive search and extract key characteristics of studying phenomenon. Scientific Novelty of the study lies in the phenomenological approach to the analysis of the guitar work that is unstudied in term of the Ukrainian musicology. In the process of the analysis, the influence of the non-musical sources of the composer's design is noted that comes from the theatrical and poetic heritage – Shakespearean dramas, comedies, tragedies. Conclusions. Due to the prevailing musical and theatrical preferences, the declamatory nature of intonations prevails in the guitar music of Henze, connected with speech utterances, monologues, dialogues, and other attributes of the poetic and prosaic language of theatrical performances. This phenomenological property of the composer's music gives guitar compositions a specific vocabulary, especially within the modem language resources that the author resorts to. It comes not from well-known orthodox techniques of Austro-German expressionism, but through the «jewelry» work with micro-themes at the level of motives and their «polyphonic dialogues».

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The Anniversary by A. P. Chekhov – Practical Application of the Stanislavski System

Author(s): Cătălin PĂTRU / Language(s): English Issue: 7/2018

This paper aims to illustrate the genesis of one of the most challenging performances organized with the students of the Department of Performing Arts - Acting (Faculty of Letters and Arts, “Lucian Blaga” University of Sibiu) based on The Anniversary, written by A. P. Chekhov. Thus, the corpus of this analysis approaches details of the process of creating the 2015 student performance, following a series of essential techniques and exercises (mainly inspired by Stanislavski’s theories) that allowed me, as a directing assistant, to guide the actions of young actors towards the stage concretization of the Chekhovian universe.

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Luther 1806. Zacharias Werners Tragödie "Die Weihe der Kraft" und Theodor Fontanes Erzählung "Schach von Wuthenow"

Author(s): Stefan Lindinger / Language(s): German Issue: 18/2018

Den zeitlichen Hintergrund von Theodor Fontanes Erzählung "Schach von Wuthenow" (1883) stellen die turbulenten Monate vor der vernichtenden Niederlage Preußens gegen Napoleon in der Doppelschlacht von Jenaund Auerstedt am 14. Oktober 1806 dar. Als zentraler intertextueller Bezugspunktdient Fontane die Tragödie "Martin Luther oder die Weihe der Kraft" (1806/07), verfasst vom romantischen Dramatiker Zacharias Werner. Die Aufführung des Werkesführte in jenen Tagen zu einem – von Fontane aufgegriffenen – Theaterskandal,der sich nicht nur in diversen Zeitungsartikeln und Briefwechseln von Schriftstellern, sondern auch in einem parodistischen Maskenzug der Offiziere eines Berliner Regiments äußerte. Dazu hatte nicht zuletzt die unkonventionelle Darstellung der Hauptfigur Luther beigetragen, äußerst publikumswirksam gespieltvon der Schauspielkoryphäe August Wilhelm Iffland. Werners Lutherbild lief denErwartungen der preußischen Öffentlichkeit insofern entgegen, als es den Reformator nicht nur als die männlich entschlossene Verkörperung eines nationalenund apriorischen „Hier stehe ich, ich kann nicht anders“, sondern in manchen Szenen auch als zerrissenen und zweifelnden Privatmann mit Schwächen zeigte.Zudem wurden dem Stück von vielen mystische und katholische Tendenzen vorgeworfen. Ausgehend von den beiden genannten Texten soll – vor dem Hintergrund der Tatsache, dass im Grunde keine wirklich bedeutenden Werke mit Luther als Hauptperson zu verzeichnen sind – auch auf die Frage eingegangen werden, ob und inwieweit sich der Lutherstoff überhaupt zur Darstellung insbesondere in der dramatischen Literatur eignet.

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Zűrzavaros éccaka

Author(s): Ion Luca Caragiale / Language(s): Hungarian Issue: 4/2013

It was at the turn of the 19th and 20th centuries that the Romanian author and playwright I.L. Caragiale coined new words and literary concepts. He was such a graph maniac, that he managed to write a whole newspaper on his own, so witty and insightful, that he confronted the viewers of his plays with social malfunctions in a comic form, through laughter. Anyone who translates Caragiale must also translate culture: the world of pettiness, corruption, hypocrisy comically protruding from beneath appearances has to be shown with amazing linguistic creativity and a lot of self-reflection. We publish here the translation of multiple award-winner young Transylvanian playwright Csaba Székely, with the title Zűrzavaros éccaka (A Night of Confusion). We consider that this is, at last, an authentic and enjoyable translation both from a cultural and a linguistic point of view.

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Tudod mit / utálok én

Author(s): Kristian Smeds / Language(s): Hungarian Issue: 4/2014

Kristian Smeds is one of the most famous of contemporary Finnish drama, known for his experimental mood and outspoken style. He is not just a playwright and/or director, but also a director-writer-dramaturge who creates complex theatrical worlds. His plays are energetic, polyphonic but also open drama-torsos offering multiple possibilities of interpretation and theatrical approach. Smeds’ poetic monologue, Do you know / what I hate (Tudod mit utálok én) had its world premiere at Schaubühne, Berlin, at the F.I.N.D. (Festival für Internationale Neue Dramatik) in March 2011. The text was part of the Confessions series of the festival together with six other short texts. They were presented in seven cars parked in front Schaubühne. Spectators could watch the performanceof the monologue from the back seats of the cars.

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Funkcja i znaczenie prologu w Protagorasie Platona (Prot. 309A– 316A)

Author(s): Anna Głodowska / Language(s): Polish Issue: 1/2019

Plato’s Protagoras belongs to the most read and analyzed works of the philosopher. Interest is aroused not only by the content of the work, but also by its form: diligent composition, elaborate descriptions of characters and dramatic nature of separate scenes, although the work belongs to the group of narrative dialogues. The aim of this article is to analyze the prologue of Protagoras, which consists of five scenes (309a–316a), to answer the question what function they have and how important role they play in this dialogue.

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Кривац без кривице, жртва без награде, Венеција без Венеције кнегиње Јелисавете

Author(s): Maja D. Stojković / Language(s): Serbian Issue: 11/2015

This paper determines the problems of private and public beings, that is, the aspects of individual and collective spheres, for the purpose of indirect genre determination, using the drama Jelisaveta, kneginja crnogorska written by Djura Jakšić (1832-1878) as an example. Furthermore, they are enlisted, and their interaction and synergy in the form of exerting pressure on the individual are presented. Thus, it is proven that, on the level of the presented mode of existence, there is a possibility of neglecting the collectiveness, its transition in the domain of the personal sphere, which further enables the development of tragedy that goes beyond the historical drama. In order to capture accurately the collective consciousness of a Montenegro mountain dweller, as a representative of the enslaved people, it is necessary to examine the structural elements of drama, and to explain the stereotyped notions of “the cursed foreign woman”, also “the cunning Latin woman”. All are tightly linked with the motif of betrayal, which appears here as the other side of the already mentioned notions.The outcome of the struggle for identity preservation is suffering. In this paper, mechanisms of the fall are also highlighted, in particular the ones that deepen the characterisation of the drama’s heroine. Space displacement gives rise to different types of violence and moral corruption of procedures that, at the moment of anagnorisis, draw the heroine into madness. The connection of the sacred and the profane – the combination of morality and tradition, on the one hand, and erotic, demonic and destructive on the other hand, achieves its fullness within the contact of two worlds, two cultures, where everyone in an uncertain battle for dominance, heads towards a total collapse and absolute destruction.

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Дом и бескућништво у драмама Тенесија Вилијамса

Author(s): Stefan Pajović / Language(s): Serbian Issue: 11/2015

This paper deals with the motif of home as well as the lack of it in the works of one of the gretatest 20th century American playwrights, Tennessee Williams. Having examined his life story and personal wanderings, most of which ended up in his plays, the focus shifts towards the plays themselves and their respective film versions. Five plays have been chosen to showcase the homelessness and home motifs: The Glass Menagerie, A Streetcar Named Desire, A Rose Tattoo, Cat on a Hot Tin Roof, and Orpheus Descending. During the respective analysis of the plays, a special accent is put on the role of home in the character-forming process and on the characters’ moral dilemmas and decisions, while characters who are vagrants are scrutinised, for they apparently have no home. In the conclusion, the role of home is placed into a time and spatial frame of America, and in the personal frame of the playwright’s own life. Finally, the concept of the institution of home is discussed, as well as the way it would be perceived in the future.

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Popular Culture in John Osborne’s Play “Look Back in Anger”

Author(s): Jelena Lj. Pršić / Language(s): English Issue: 11/2015

This paper analyses Look Back in Anger (1956) – a play written in the style of social realism by English dramatist John Osborne – from the point of view of popular culture. Popular culture is seen here as a number of material and non-material aspects of everyday life in the first half of the twentieth century. The notion of popular culture is largely taken from John Fiske (2001), who maintains that the instruments of everyday life are crucial for the development of popular culture. The analysis is divided into three sections: the first one deals with anger as a popular feeling of the 1950s, which is also the dominant mood in the play; the second one is concerned with popular industrial products, such as newspapers, the iron, toys for children, etc., which serve emotional rather than industrial, practical ends; the third one is devoted to the usage of certain popular elements as a means of communication with art, mostly with the aim of escaping from harsh reality or fighting against it. The final aim of the paper is to prove that popular culture plays one of the leading roles in the realism of this drama.

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Motivul mioritic în dramaturgia românească

Author(s): Gabriela Panțel / Language(s): Romanian Issue: 22/2008

The present study highlights the Mioritic symbol in the dramatic works of several authors who inspired from the “Miorita” motif. The Romanian folk poem "Miorita" (Little Ewe-Lamb) exists in over 1500 variants. The song, originating from Transylvania, is based on an initiation rite, being sung in winter as a carol. In southeastern Romania it has been turned into a ballad, which is looked upon as an ultimate poetic achievement, owing to its structure and stylistic merits. The "Miorita"-motif has inspired the works of an impressive host of renowned writers, composers, painters, and sculptors, which has also greatly contributed to its establishment as a national cultural brand.

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Приватно и јавно у драмама Никше Градија

Author(s): Biljana Č. Ćirić / Language(s): Serbian Issue: 7/2013

Starting from the relation between the public and the private in two dramas by Nikša Gradi ― Kosovka djevojka and Djevojka sprаvljеnica or Sve na staru, the paper examines the extent to which these works contribute to a better understanding of the conditions in Dubrovnik of Gradi’s time and the extent to which they bring novelty in literary creation. It is shown that Nikša Gradi, in these works, represents conservative ideas of preserving the traditions and customs of the old nobility of Dubrovnik, relying heavily on the motives and the ideas of Ivan Gundulić represented in his own works.

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Три драмска писца: идејне и поетичке сродности и разлике (Владимир Велмар-Јанковић, Душан Николајевић и Боривоје Јевтић)

Author(s): Andreja Ž. Marić / Language(s): Serbian Issue: 6/2012

This paper contains analysis of eleven plays by Vladimir Velmar-Janković, Dušan Nikolajević and Borivoje Jevtić, which belong to the corpus of those pieces from the interwar period characterized by harsh criticism of the social and political reality and moral deviations of civil society. The analysis showed that the main characteristic of the socio-critical dramas written between the two wars is their social relevance and a strong ideological message that warns of disintegration of civil society and culture. Ideological-critical line in these plays dominates over dramatic plot, and social criticism is always combined with family and romantic intrigues, typical for the classic psychological drama.

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Umetnost laganja: dendizam kao provokacija i komunikacioni medijum u Vajldovim komedijama društva

Author(s): Aleksandar Radovanović / Language(s): Serbian Issue: 4/2011

This text strives to find answers to the matter of the truth behind Wilde’s glorification of lying as an instigating principle of art and the life that imitates it. Wilde’s aestheticized communication through lying proves to be closely related to the Irish tradition, as well as to the philosophy of dandyism which the playwright mounts on the stage. The figure of the dandy, along with the influence he exerts over the audience, is Wilde’s means of coded communication with the Victorian public. The basis of that communication is provocation, which Wilde uses to subvert the socially acceptable stances on the issues of class, gender, and culture, which is why the text examines the origin of provocation as an art method and its merging with dandyism as a decades-old phenomenon which Wilde brings back to the spotlight.

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Пасторално у мелодрамама Џона Палмотића

Author(s): Mirjana Arežina / Language(s): Serbian Issue: 3/2011

Melodrama in Dubrovnik experiences its full blossom between the early forties and mid fifties of the 17th century, during which time Džono Palmotić is the most prominent Dubrovnik writer of melodrama. Palmotić marked the Baroque literature of Dubrovnik with his melodrama by editing and adapting mythological, pseudo-historical and romantic material. He searched for sources amongst the Renaissance authors, Italian epic poems, antic mythological and literary works as well as domestic legends. He also introduced pastoral elements in his melodrama, descriptions of which are often scarce and underdeveloped. Following them chronologically, one can come to a conclusion that the pastoral in his melodrama visibly declined after the first, which serves as a confirmation of Palmotić’s initial insecurity with pastoral. Being himself a novice, he looked for support and was writing under the influence of both former and contemporary writers. Therefore, his pastoral represents a combination of elements of the Renaissance pastoral, contemporary influence and his own originality reflected in certain parts of his descriptions.

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Qui est donc l’eunuque? Ruse d’amour et art parasitique dans "L’Eunuque" de Terence.

Author(s): Élisabeth Gavoille / Language(s): French Issue: 2/2010

The title of Terence’s most successful work is ambiguous. The flamboyant costume characterizing an oriental eunuch will be worn by a young man striving to indulge the calls of the flesh, while the genuine eunuch in the play is but a ruined old man with the face of a weasel (an animal symbolizing female aspects and parasitism), that is to say without a truly sexual or human identity. Taking as a starting point that basic indeterminacy, the character of eunuch obsesses all the adult male characters in the play: Chaerea, who degrades himself by taking the role of a eunuch, but also wistful Phaedria, a ‘pre-elegiac’ lover of Thais, a prostitute, weakling Chremes and, especially, Thraso, a soldier, who is characterized by cowardice and stupidity. The mastermind is actually Gnatho, a parasite, who perfectly wields the skill of ingratiating himself and who manages to reconcile everybody’s desires and interests. It is, at the same time, the character whose reminiscences we meet in Ovid’s The Art of Love.

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Human Remains in “Hamlet”, “King Lear” and “Othello”

Author(s): Andy Mousley / Language(s): English Issue: 1/2010

The dominance of various forms of historicism in literary studies means that the study of literature has largely become the study of history. The essay counters this tendency by attempting to retrieve a sense of the human/humanist value of literature. However, rather than advocating a simple return to the kind of humanist criticism that was influential in the nineteenth and twentieth-century Anglo-American critical tradition, it engages via Shakespeare with sceptical perspectives in order to show how Shakespeare himself ‘de-natures’ the human but not to the point where it is emptied entirely of meaning.

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Cătălina Iliescu-Gheorghiu: a polysystemic model for the comparative analysis of drama from the perspective of descriptive translation studies

Author(s): Mona Arhire / Language(s): English Issue: 1/2020

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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ОДЛИКЕ ЕНЦИКЛОПЕДИЈСКОГ КЊИЖЕВНОГ МОДУСА У ДЕЛУ ДАНИЛА КИША

Author(s): Milomir M. Gavrilović / Language(s): Serbian Issue: 3/2019

Полазећи од теоријских ставова Нортропа Фраја, Итала Калвина и Стефана Ерколина, у раду су изложене и анализиране особености енциклопедијског модуса на примеру романа Башта, пепео и Пешчаник и приповетке Енциклопедија Мртвих Данила Киша. Тумаче се енциклопедијске тенденције поменутих дела оспољене кроз приповедни поступак, жанровску експерименталну форму или пажљиво изабрани мотив – који могу да представљају синегдоху за означавање тоталитета изабраног опсега искуства. Најзначајнија одлика енциклопедијских књижевних дела јесте потреба да се одређени искуствени и семантички контекст очува, са намером да се досегне (привидни) тоталитет његовог испољавања што директно кореспондира са поетичким и тематским усмерењима Кишове прозе, у којој су искуство и сам човек коме оно припада у сталној опасности пред потирућим механизмима историје и заборава.

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Shakespeare on screen

Author(s): Alen Avdić / Language(s): English Issue: 8-9/2020

As a way of analyzing cultural, theoretical, and performance trends this paper draws on the historic cinematic approaches to Shakespearean adaptation and the way in which they reflect the cultural milieu of contemporary Shakespeare performance. This overview ranges from the adaptations from the golden age of Hollywood to film entries in our contemporary pop culture. By constructing a new historicist approach to the Shakespearian adaptations on the silver screen the paper undertakes a contextual analysis of the historic adaptations in order to understand how contemporary directors and actors converse with Shakespeare as well as how they invite audiences to engage with modern retellings of his plays.

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Muka po Klaudiji Prokuli

Author(s): Hrvoje Barbir Barba / Language(s): Croatian Issue: 101-102/2020

Drama play by Hrvoje Barbir Barba ("Muka po Klaudiji Prokuli")

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