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God and Earth in Elechi Amadi’s Science Fiction

Author(s): Obari Gomba / Language(s): English Issue: 1/2021

Elechi Amadi’s reputation, as one of Africa’s significant writers of Nigerian extraction, has been firmly established by his novels. The Concubine, The Great Ponds, The Slave, and Estrangement are well known. In about five decades of his artistic career, till his death in 2016, Amadi maintained an image of excellence. His fiction, non-fiction, plays, and poems indicate that he has produced works that have abiding resonance. In 2011, he published When God Came, his last and perhaps least known work. It is science fiction, comprising two parts. This essay examines the depiction of God, the earth, and speculative science in Amadi’s last work.

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Myths’ Shifting in the Works of Haxhiademi

Author(s): Saranda Buzhala / Language(s): English Issue: 1/2021

Etehem Haxhiademi is an Albanian author between the two world wars period. Based on his writings, we have seen him as the author of classical models of dramaturgy, and meanwhile his tragedies as subject taken from Albanian antiquity and the Middle Ages, from ancient mythology, as well as from the biblical one, who creates them by giving the spirit and the era in which he lives. This work is therefore focused mainly on these mythical models of Haxhiademi, which were observed with the help of the comparative method, sometimes also analytical. Even with the help of intertextual interpretations, very serious conclusions have been reached about the shifting and remodeling of the myths of Greek Antiquity, the biblical ones but also the Albanian myths by Haxhiademi. Through the confrontation of contrasts, Haxhiademi brings the classic model of tragedy in verse. We have seen that the myth is identified with the real historical events, that the author has mythologized the life and history and that at the same time replaces the mythical heroes in time and space. The fact that the tragedies of this author are extended beyond the Albanian borders, in the ideological and semantic aspect, shows that this work is of great interest to be considered as a comparative approach by literature-lovers.

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Romantyzm polityczny Jarosława Jakubowskiego albo przepisywanie Dziadów (na prawicy)

Author(s): Arkadiusz Bagłajewski / Language(s): Polish Issue: 40/2021

The article analyses two dramas by Jarosław Jakubowski: Dożynki and Nowy Legion (New legion), which their author designed as attempts at updating the political frame of Mickiewicz’s Dziady (Forefathers’ Eve), (especially ‘Warsaw salon’), read in the context of the ‘Smoleńsk romanticism.’ The right-wing approach to Mickiewicz’s archdrama offers a diagnosis of the social and political divide (‘two Poland’) in the aspect of the clash between two worldviews: left-wing and liberal versus right-wing. Mickiewicz’s authority is supposed to strengthen the right-wing diagnoses, hence it is easy to spot the numerous attempts at instrumental and anachronic reading of the romantic legacy. At the same time, the analysed dramas show the importance and the textual and ideological productivity of the romantic paradigm.

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Deconstruction of Interpretative Models of Lesya Ukrainka’s The Forest Song

Author(s): Mariia Vasylivna Moklytsya / Language(s): English Issue: 6/2019

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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«ВАЛЬПУРГИЕВА НОЧЬ, ИЛИ ШАГИ КОМАНДОРА» ВЕН. ЕРОФЕЕВА: ПАРАТЕКСТ ⇄ ТЕКСТ

Author(s): Natalia Grigor'yevna Chernyaeva / Language(s): Russian Issue: 5/2021

The article examines the structural elements of the paratext of Venedikt Erofeev’s play Walpurgis Night, or the Steps of the Commander (including the title, the author’s name and partly the dedication preface), as well as their interrelation with the text of the play. The double intertextual title of the tragedy is a sign of its intertextual game nature. The comparison of the key donor texts – Goethe’s Faust (including its Walpurgis Night scene) and Alexander Blok’s poem “The Steps of the Commander” – with the recipient text testifies to Erofeev’s selective approach not only towards these two texts, but also towards other probable pre-texts, in which the studied archetypal plots are actualized. Their transformation in the tragedy is carried out in a travesty mode. The analysis of the intertextems enables to test the initial hypotheses about the semantics and functions of the title. This task is facilitated by the dedication preface, which presents the name of the addressee of the tragedy, its “ideal” reader and critic, in encrypted form. Deciphering the name and clarifying the addressee’s identity gives an idea of the nature of communication and confirms the author’s orientation towards the game intertextual model. It is significant that the connection between the mentioned paratext elements and the text itself is also manifested in the fact that the title, the author’s name and the addressee’s name are included in the text in one form or another.

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P(j)eščanik

Author(s): Neva Lukić,Viktor Radonjić / Language(s): Croatian,Serbian Issue: 2/2021

Drama written by Neva Lukić i Viktor Radonjić: P(j)eščanik. [...] P(j)eščanik je drama nastala izmjenama dvaju autorskih glasova — na hrvatskom (autorica) i srpskom jeziku (autor). Tekst se bavi postratnim periodom / stanjem u Hrvatskoj i Srbiji — s jedne strane kroz individualnu percepciju likova i njihova odnosa, a s druge, kroz opću i širu sliku (zajedničkoga) jezika. Poigravanje sličnostima i različitostima hrvatskog i srpskog jezika ostvaruje se na dvjema razinama [...]

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ПРОБЛЕМАТИКА ТЕАТРАЛЬНИХ ПОСТАНОВОК ДРАМАТИЧНИХ ТВОРІВ ЛЕСІ УКРАЇНКИ НА СУЧАСНІЙ УКРАЇНСЬКІЙ СЦЕНІ

Author(s): Larysa Ivanivna Khorolets / Language(s): Ukrainian Issue: 1/2021

The purpose of the article is diagnostics of Lesya Ukrainka‘s dramatic works realization prospects in conditions of performing arts visualization as a consistent trend of the national stage development. The study involves analyzing the adequacy of modern means of expressiveness to the peculiarities of the poetess‘ dramaturgy. The research methodology is determined by observational, analytical as well as historical, and logical analysis of the realization prospects of Lesya Ukrainka‘s dramatic poems on the Ukrainian stage in the context of the exceptional specific weight of a word for understanding the poetic and philosophical content of the poetess‘ works. The indicated methodological approach allows analyzing the reasons why some performances already realized are of enormous artistic value (notably, by ―Stone Master‖ (―Kaminny Hospodar‖) as well as outlining the prospects of some contemporary theatrical models in this sense. The novelty of the research lies in expanding the conceptions about the relevance of correlation of cardinally ―re-equipped‖ arsenal of the XXIcentury scenic space multimedia technologies and the system of means of expressiveness of Lesya Ukrainka‘s dramas in the context of conveying the content of these works to the audience, as well as in raising the issue of a more careful approach of modern direction to the ways of conveying and revealing the word of the creator relative to the dramatic works of Lesya Ukrainka as an exceptional phenomenon in the world dramaturgy. Conclusion. Lesya Ukrainka‘s dramaturgy is in tune with the present time and corresponds to the aesthetic and civil tasks facing our art today. The Ukrainian theater is in urgent need of this dramaturgy. The poetess‘s dramaturgy requires a modern but specific philosophic and poetic theater. To make it sound appropriate, it is necessary to be inspired by the Ukrainian art showing piety towards Lesya‘s word and having a desire not just to act but to act namely Lesya Ukrainka, and to find the truth about life in her writing. For her plays it is very important to avoid pomposity which is typical of stage directors fascinated by visualization: there should not be any divertissements, any ball scenes except for those which are required by the unraveling of the plot.

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Teatr jako medium doświadczania śmierci na przykładzie wybranych dramatów Hanocha Levina

Author(s): Barbara Świąder-Puchowska / Language(s): Polish Issue: 7/2019

The article presents the topics of death and dying in the works of the Israeli playwright Hanoch Levin, which are focused on them more or less. The text presents sources of the author’s obsessive focus on this subject (including the death of his father and personal experience of war), as well as selected examples of its implementation, with particular emphasis on the drama Requiem.

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Roztańczone słowa. Potencjał teatralny sceny balu w dramacie Romeo i Julia Williama Szekspira. Część 1

Author(s): Agnieszka Romanowska / Language(s): Polish Issue: 3/2021

The function of dance in Shakespeare’s plays, as in all Renaissance culture, has its roots in antiquity, in which dance symbolized concord and harmony that reflected the cosmic movements of celestial bodies. In this context the significance of dance in the ball scene at the beginning of Romeo and Juliet presents itself as a fascinating material to be studied from the perspective of the theatrical potential of the dramatic text. In this scene, music and dance play a symbolical role the aim of which is to highlight the dramatic irony realized by the fusion of rhetorical language and choreography, with the rich formalized poetic language and the ball situation as the key elements of the plot. This fusion opens a range of possible theatrical interpretations, each decision having a major influence on the meaning of this episode. In the article the ball scene is analyzed from the literary, dramatic and historical perspective. The realization of its theatrical potential is illustrated with chosen stage interpretations which prove this scene’s crucial role in suggesting possible interpretations of the whole tragedy.

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МИЛЕНА ПАВЛОВИЋ БАРИЛИ

Author(s): Miroslav Belović / Language(s): Serbian Issue: 2/2021

Literary Text (monodrama) written by Miroslav Belović: МИЛЕНА ПАВЛОВИЋ БАРИЛИ

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EKSKOMUNIKACIJA

Author(s): Slađana Jovičić / Language(s): Bosnian Issue: 2/2021

Literary Text (monodrama) written by Slađana Jovičić: EKSKOMUNIKACIJA

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ĐAURKO MOJA

Author(s): Selma Dizdar / Language(s): Bosnian Issue: 2/2021

Poetic drama based on motifs from the biography of the poet Osman Đikić written by Selma Dizdar: ĐAURKO MOJA

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Скандалът и въобразеното изгнаничество на Пенчо Славейков в Италия. Гледната точка на Мара Белчева

Author(s): Evdokiya Borisova / Language(s): Bulgarian Issue: 11/2021

The topic of the literary personalism of the famous quartet from "Misal" is extensively commented in the Bulgarian literary science. The present text offers a hypothesis that dialogues with those already formulated about the unreal exile of Pencho Slaveykov in Italy in 1912, when, on Lake Como, in Brunate, he ended his earthly journey. The metaphorical experience of the mountain Brunate as a "tomb with windows", a famous poetic metaphor from "Psalm of the Poet", to which Pencho aspires is a plot in which Mara Belcheva is actively involved - the main pillar in his life and work. The text reflects on the female point of view in this dramatic story, the occasion of which is a public scandal loudly provoked by the poet.

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Rajmund Kupareo ili tri zanimljive, napete i potresne drame o Kristu

Author(s): Sanja Nikčević / Language(s): Croatian Issue: 107-108/2021

Review of: Rajmund Kupareo: "Prebivao je među nama. Tri suvremena prikazanja o jednom davnom događaju", Citadela libri, Zagreb, 2019.

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Nyuszilány

Author(s): Saara Turunen / Language(s): Hungarian Issue: 4/2021

The Finnish playwright Saara Turunen´s debut play, The Bunny Girl (Puputyttö) premiered at the Theatre Academy of Helsinki in 2007. The play written directly for the stage presents a dynamic whirl of scenes about a woman´s loss and search for identity. The central figure dives into dreams and fantasies that become more and more surreal and nightmarish, while at the same time, speak about the pressures that women, single women, strange and original women face, in the form of a genuinely theatrical stream-of-consciousness.

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„Niebo trzecie” księdza Piotra. Szkic komparatystyczny

Author(s): Jerzy Fiećko / Language(s): Polish Issue: 33/2020

The author analyses the function of the “Third Heaven” motif, which appears at the end of the fifth scene in Mickiewicz’s drama, Forefathers’ Eve Part III - this is where the Angels decide to take the soul of the sleeping priest Peter, one of the main characters in this work, for a short time. The author questions the inspiration that the poet might have drawn from St. Paul’s 2nd Letter to the Corinthians and from the writings of theosophers such as Jakob Boehme (especially Aurora or Rising at Dawn) and Emanuel Swedenborg (his treatise on Heaven and Hell), in which the theme of a “Third Heaven” played an important role. Research has already drawn attention to these relationships. Making a conditional, historically probable assumption that the influence of these works has had a significant impact on the formation of the supernatural world in Mickiewicz’s drama, the author considers the semantic-ideological consequences that would result from placing a monk’s soul in the “Third Heaven” in St. Paul’s, Boehme’s and Swedenborg’s versions, respectively. In conclusion, the author formulates the thesis that greatest number of arguments can be advanced in favour of a connection with Swedenborg’s concept, although this does not settle the matter definitively.

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Univerzális dolgozó

Author(s): David Schwartz / Language(s): Hungarian Issue: 3/2021

The drama and the performance of David Schwartz entitled Universal Worker, was performed in the pandemic year of 2020 in the frame of the Season of Political Theatre in Bucharest. In our current issue we present the text of the performance translated by Ferenc André. Schwartz is one of the strongest representatives of contemporary Romanian political theatre, and he is deeply concerned by the social problems of the post socialist Romania; in his performance he presents such phenomena that have many actors: the workers’ rights of a multinational company. The dramatic happenings of four workers employed by a fictional shopping mall chain present their struggles, dilemmas and follows how they submerge in the (self)exploitation of their accelerated work. This process is stopped by the workers’ syndicate, that is not supported (and is even cancelled) by the multinational company. Schwartz presents through human conflicts and relations the structural problem of the difficulties of the workers’ right preservation – accompanied by wry sense of humor and Brechtian songs.

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CUM VĂ (MAI) PLACE SHAKESPEARE? DRAMATURGI ROMÂNI SUB SEMNUL BARDULUI: MARIN SORESCU, MATEI VIȘNIEC, OLIVIA NEGREAN

Author(s): Ioana Petcu / Language(s): Romanian Issue: 1-2/2021

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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Dramaturgia muzyczna

Author(s): Ewa Wąchocka / Language(s): Polish Issue: 36/2021

In her paper, Ewa Wąchocka examines the phenomenon of recent dramatic works becoming increasingly more ‘musical’ and the terminological shift it brought about, i.e. the inclusion of the term ‘musical dramaturgy’ in writing for the stage. The author argues that far from being limited to the sounds of speech and language in general, musicality also encompasses a variety of non-musical sounds, the unravelling of the play’s narrative and the psychological makeup of its characters; it also penetrates deeply into the structure of the text. In the analysis of plays by W. Murek, A. Grzegorzewska, and S. Bogacz, the author demonstrates how essential the inspirations sourced from musical culture are for recent dramatic works: the 20th-century experiments with music, the discovery of how potent sound expression can be, or the most technologically advanced methods of sound reproduction. By presenting the many and varied dramatic strategies, the author shows that contemporary playwrights not only use musicality to represent the sound landscape of the world but, first and foremost, to create the ontology of an internally conflicted world.

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Ku teatrowi agonistycznemu. Pippa Delbona Waleczność rycerska w Teatrze San Carlo

Author(s): Katarzyna Woźniak / Language(s): Polish Issue: 36/2021

The author aims to outline the dramatic work of the Italian director Pippo Delbon as establishing a theater of agon. From the state of research, she analyzes the staging of Pietro Mascagni’s Cavalleria rusticana and formulates the theory of Delbonos’s theater of agon based on M. de Certeau’s and W. Świątkowska’s papers and the theories of dramaturgy of Anna Krajewska and Dariusz Kosiński.

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