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Didaskaliniai epizodai Juozo Erlicko ir Herkaus Kunčiaus dramaturgijoje

Author(s): Neringa Klišienė / Language(s): Lithuanian Issue: 1/2017

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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Romėnų teatras ir senekos tragedijos Pamišęs Herkulis, Edipas

Author(s): Jovita Dikmonienė / Language(s): Lithuanian Issue: 3/2009

The article analyses the feelings of characters in Seneca’s tragedies prior and after recognising their guilt. Expression of the feelings of the characters in Seneca’s two tragedies Hercules Furens and Oedipus is compared, features characteristic of tragedies of recognition and the main feelings of their characters are revealed: disintegration and social fear, guilt and shame. The latest studies on Seneca’s dramas are reviewed, as well as historical knowledge about the Roman theatre in Seneca’s time, the impact of the pantomime on tragedies is presented. In the opinion of the present-day scholars (George W. M. Harrison, A. J. Boyle, Denis and Elisabeth Henry, Bernhard Zimmermann, Alessandra Zanobi) Seneca’s tragedies were devoted to being played in the theatre rather than to be recited. Pantomime that was popular in Rome in the first century exerted great influence on the structure of Seneca’s dramas. Descriptive scenes, stopping the time of the play, remarks made aside, long introductory monologues are seen today as the specificity of fabula saltata rather than a lack of Seneca’s theatre experience. The chorus or an actor in these tragedies relates of what the character is doing on the stage so that the spectators should understand what the only pantomime dancer performing all the roles without words is doing on the stage. The distinguishing feature of Seneca’s tragedies is representation of the characters’ feelings. The poet, when creating scenes of chaos, the horror of the world to come, the pending world catastrophe of the Earth in his tragedies, seeks to frighten the spectators. Seneca, with the help of adynata, a figure of speech, portrays the characters’ anger and their fear of disintegration. The idea, which was popular in the first century, that man’ sin would cause a world catastrophe is used in Seneca’s tragedies to strengthen the culmination moments and social fear of the characters. Having recognised their crime, Seneca’s characters feel shame. They express this feeling by the desire to hide from people, to kill themselves, to leave the town, to prick out their eyes. A feeling of shame causes anger in Seneca’s characters; however, later the shame makes them control their aggression. In his tragedies Seneca treats the crime as a mistake, shows lots of pangs that the characters suffer so that we should feel pity for them rather than feel horrified by the characters’ cruelty. Nonetheless, Seneca’s characters understand that fate might send a misfortune, however, guilt is born in man’s heart and it is an individual himself that chooses evil. Therefore main characters of tragedies feel guilt after recognising their crime. Oedipus and Hercules express their guilt through a sense of dirtiness, soiling themselves. It seems to them that they would never wash their hands; they feel indebted to their town and their own people. Having experienced a feeling of guilt Hercules chooses a greater suffering than death – to live in shame because he wants his father to be happy having his son alive. Atoning for his guilt Oedipus also chooses a greater suffering than death – tearing out his eyes and going into exile so that he should clear the town of plague by his suffering. Being consumed with guilt the characters behave in an altruistic way. Hercules does not lay blame on his stepmother Juno, and Oedipus blames neither Apollo nor his parents. Seneca expects from us – readers and spectators – the moral progress so that having learned a lesson from his characters’ misfortunes we should apprehend our haughtiness, anger, a desire to rule others and the world. We can guess that the moralist – philosopher and poet Seneca expects that spectators, having experienced bitter feelings of fear, guilt and shame that hard to overcome, together with the characters, will feel the desire to become honest because it is the feeling of shame and guilt that is the driving force of the moral progress.

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Tautinės tapatybės suvokimo raida misterijose

Author(s): Aušra Martišiūtė / Language(s): Lithuanian Issue: 5/2006

The article deals with the unique genre of Lithuanian dramaturgy – mystery plays, the performance of which under the open sky became a significant phenomenon in the cultural life of independent Lithuania. The article introduces the genesis of the genre of mystery plays and focuses on the problems of national identity in the works of the end of the 19th century as well as outstanding pieces of the genre of mystery plays, written in the 1st and 3rd decades of the 20th century (Vydunas Shadows of the Ancestors, 1900–1908; J. A. Herbaciauskas The Hymn of Lithuania’s Ruins, 1907; V. Kreve Along the Paths of Destiny, 1921–1929, V. Mykolaitis-Putinas Uncrowned Virgin of the Fire, 1927). The content of national identity in mystery plays is made up by giving a changing prominence to the aspects of the Lithuanian language, Lithuanian history, and national culture. The search for national identity at the junction of the centuries raises the problem of historical memory, as well as the significance of cultural memory and aesthetical and philosophical reflection is actualized in the 3rd decade.

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Tragédie sur scène : la traduction, l’adaptation et le corps dans la pratique dramatique contemporaine

Author(s): Nicolò Zaggia / Language(s): French Issue: 1 (40)/2021

Tragedy has always been an important literary genre. Topics dealt with these plays have so deeply penetrated the imaginary worldwide, in a way that in every century one can find rewritings of those scenarios. The aim of this paper is to stimulate a reflection on the reception of Greek tragedies in the contemporary age. More specifically, we will look at the fortune of the “Oresteia”. This issue will be the starting point for a discussion concerning the ways in which the Classics enter the contemporary theatrical repertoire. With the aid of some examples, we will delve into some approaches in this practice. At first, we will examine the difference between the translation of a Greek tragedy and an adaptation of such type of play. The comparison will lead us to some relevant considerations on the function of the actor’s body in these mises en scène.

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Le sous-psychodrame de Jean-Luc Lagarce : une toute nouvelle forme dramatique et discursive du théâtre contemporain

Author(s): Alina Kornienko / Language(s): French Issue: 1 (40)/2021

It is exactly by a neologism of a « sub-psychodrama » that the playwright and French director Jean-Luc Lagarce (1957-1995) defined one of his plays. The similarities between psychodramatic practices and Lagarce's dramatic works are obvious. As in the context of psychodramatic practice, Lagarce's characters take on roles and identify with them from a carnal as well as linguistic point of view. The situation in which Lagarce's characters meet is very close to that which is, among others, treated by psychodramatists: the dialogue is not initialized, the individuals are stuck in their reproaches and focus only on their own points of view. Lagarce's characters use the theatricalization, the putting in the voice of a dramatic text of one of them in order to launch the speech that awaited this moment of expression. The sub-psychodrama, while being a poetic and dramatic concept of Lagarce, reveals the dialogical malaise in the contemporary society that the sub-psychodrama quotes while highlighting the complex mechanisms of the intersubjective perception as well as the mechanisms of our individual and collective memory. Both reflective self-perception, which goes from oneself to oneself, and transitive perception, which goes from oneself to the other or from the other to oneself - in the context of a speech act. The sub-psychodrama presents itself, therefore, as a dialogical and perceptive field of battle where the spoken word is in search of its answer. The sub-psychodrama invented and developed by Lagarce puts the concept of paper beings - linguistic puppets - at the same level, while promoting the coalition of puppet theater and word drama.

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Das Theaterstück als didaktisches Unterrichtsmittel der Tabus– Ein Experiment

Author(s): Claudia Tulcan / Language(s): German Issue: 17/2020

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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Dramat, dramaturgia, dramatologia – retroperspektywy

Author(s): Dariusz Kosiński / Language(s): Polish Issue: 36/2021

The article is an attempt to reconsider, reinterpret and, at the same time, summarize the concepts of dramaturgy and dramatology as they were developed by the author mainly in his research realized within the framework of the Chair of Drama and then the Chair of Performance Studies at the Jagiellonian University. Despite the fact that efforts to establish a broad understanding of drama and dramaturgy that is not restricted to art but is used to analyse and interpret performative aspects of social life were not fully successful, the main goal of the article is to support this idea by claiming the need for a ‘return to dramatology’

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Dramatyzacja tradycji. Dramaturgiczne konfrontacje z kanonem literackim

Author(s): Piotr Dobrowolski / Language(s): Polish Issue: 36/2021

The article opens with a statement that dramaturgical creativity, long marginalized by literary studies, has returned to the area of its interest together with its researchers’ use of the achievements of performative and cultural turns. Taking these into account allows us to treat drama as a distinctive literary practice in which the reception of a text is exemplary. As the author claims, with the New Humanities, integrating scattered reading perspectives known to the history of literary studies into the horizons of New Positivity, dramatic studies enrich this standpoint and maintain a critical view making creative use of the antagonism of perspectives, confrontation of attitudes, conflict of qualities or different visions and ideas. The potential tensions revealed in the practice of active reading of a literary text in accordance with the dramatic matrix guarantee the positive effects of each act of engaged reading. The dramatization of tradition is a specific field of critical dialogue between the reader and the existing literary tradition. Three dramatic works by Jan Czapliński are indicated as examples of mediators for this dialogue. The work of this playwright presents and suggests a critical reading of the characters and works of Gabriela Zapolska, Henryk Sienkiewicz and Adam Mickiewicz, leading to the emancipation of their works that is situated beyond the framework of the discursively created, existing canon of contemporary Polish literature and culture. A critical view enriches and updates the canon. Dramatization, which allows the revaluation of existing values, appears as the basic category of contemporary art – revealing existing, usually ineffable conflicts and using them to build new, positive values.

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Doświadczanie kina a dramaturgia neomodernizmu filmowego

Author(s): Jan Biedny / Language(s): Polish Issue: 36/2021

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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Epifania twarzy czy iluzja maski? O zmaganiu się człowieka w ujęciu filozofii dramatu Józefa Tischnera

Author(s): Inga Mizdrak / Language(s): Polish Issue: 36/2021

The aim of the article is to present human issues in the context of the face and the mask as its negative. This is to bring us closer to a better diagnosis of the human condition today and the changes that can be articulated on its basis. Both the face and the mask are multi-context, and any attempt to define them encounters a number of difficulties. In Józef Tischner’s philosophy of drama, the face is a condition for the essence of the meeting. On the other hand, the mask, as an appearance and falsification of the truth of the face, is placed in the ambiguous perspective of hiding, concealing, mystifying or obscuring or obscuring the image of the face. Thanks to the face, man is somehow “at home”, and in the bonds of the mask he is somewhat “out of place”, he is lying. The face is relational and the mask is reactionary. Inquiries about whether the face brings closer and reveals the naked being of a human intensified questions about the nature of the face itself and whether it is possible to reach the pure phenomenon of the face as such. Both the face and the mask reveal important moments in the characteristics of a human being as a dramatic being, in which questions about meaning, identity, freedom and responsibility, as well as what is “between” I and You, gain in intensity and imply new attempts to reveal who is a human.

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Dramat. Twórczość. Transgresja. Przestrzenie intersubiektywnych doświadczeń w mistrzowskim dyskursie

Author(s): Halina Monika Wróblewska / Language(s): Polish Issue: 36/2021

The article is a response to the proposal to create a space for discourse on the dramatic dimensions of contemporary humanities. Dramaturgy, creativity and transgression are notions in the master discourse of three women Nobel Prize winners. The basis for the text is the issues contained in the speeches given by these Nobel Prize-winning authors. The intersubjective discourse around humanistic concerns about the changes in the present regards the limits of creation, the process of creative transgressions in designing the world and the potential in the space of sense-creating experiences. It shows a vision of a human who “thinks through creativity, sees the world differently”. Transgressive activity allows us to transform reality, and going beyond the boundaries is like successive acts of creating, or at least the creation of the world.

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Fals tratat despre avangardă. Note despre anti-teatrul european

Author(s): Inocentiu Duşa / Language(s): Romanian Issue: 9/2010

The aesthetic manifestations of European dramaturgy often provides opportunity for questioning and reflection, with the stake to find the „ideal formula” for stage implementing the cotemporary world. The emergence of absurd drama can be understood only in the general context of the era in which philosophers, dramatists, artists were left in the game of collisions of dramatic forms and aesthetic positions. Defining the avant-garde has proven to be a challenge for many critics and theorists who have come to accept that it does not announce a style, but is itself a style, or more accurately said, an antistyle. Neither did Eugene Ionescu stay away from the temptation of the definition, which he expounded in some of some of his speeches. The playwright gives a panoramic view of the avant-garde, but remains concerned primarily with the metamorphoses of dramatic writing has passes through

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Wokół genezy Zawiszy Czarnego Juliusza Słowackiego w świetle korespondencji poety oraz jego bliskich

Author(s): Jakub Rawski / Language(s): Polish Issue: 3/2021

Juliusz Słowacki’s drama Zawisza Czarny [Zawisza the Black] is one of the poet’s least described and analysed works. This drama is one of the last literary texts of the poet (next to Samuel Zborowski from 1845), written in 1844–1845. The researchers included it in the socalled “Mystical period” of the work of the poet. It seems that it is still worth asking about the genesis of a literary work, as it is, after all, an immanent part of the history of literature. The article outlines the hypothetical provenance of drama Zawisza Czarny, with particular attention to the biographical context. As the basis for conclusions and assumptions the selected correspondence of the poet to his mother, Salomea Bécu and his friend Joanna Bobrowa. Letters of Zygmunt Krasiński in which he mentioned Słowacki at the time when he was probably working on Zawisza Czarny and later, when writing was completed. The research problems discussed in the text concern: the possible causes of the work, the conditions in which the drama was created, the potential inspiration of the bard and the reconstruction of the biographical context. Considering the work in question in terms of biography is only an interpretative proposal, a set of conjectures and possible references.

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Ultimul Godot al secolului XX

Author(s): Inocentiu Duşa / Language(s): Romanian Issue: 6/2007

The study is revealing the chronicle of a drama, its main stages, difficulties and messages it communicates. The show, called Looking for Beckett, is based on Beckett’ s drama, A Piece of Monologue, in an original translation made by the director and the actor involved, and it was dedicated to Beckett, at the centenary of his death. The initial performance of the show took place at Palatul Culturii from Târgu-Mureş, on 27 of December 2006, and soon after, it was presented in other locations, such as Aiud, Sighişoara, Reghin, Bucureşti. Based on a triptych form - according to Gauguin picture “Where do we come from? Who are we? Where are we going to?” - the show is, in fact, Beckett’ s story, his thoughts and intranquilities. There are some of Beckett’ s typical aspects that are highlighted in the show, such as melodiousness of the sounds, word and silence, the dualism of ME and I, the fight between self and inner self and, however, their simultaneous existence.

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ПРОВЕРКА НА ИДЕНТИТЕТСКАТА МЕМОРИЈА ОБИД ЗА РЕСЕМАНТИЗАЦИЈА НА ТРАДИЦИЈАТА ВО ДЕЛАТА НА Г. СТЕФАНОВСКИ, С. НАСЕВ И Д. ДУКОВСКИ

Author(s): Nada Petkovska / Language(s): Macedonian Issue: 58/2011

The questions of retention and identity confirm their actuality in a somewhat longer period of constituting of the Macedonian dramatic literature. Nowadays, it comes down to a certain ’explosion of a memory‘ that infers a challenge of creative reconstruction, reevaluation of the cultural past, as its revision and reinterpretation, that is, re-semanticizing of the works from the past. The goal of this approach is each generation to be able to offer its own understanding of the past. Now, instead of namby-pamby, an open mockery, grotesque overdimensioning of the past characters and events are being offered, so one gets the impression that such ’play‘ with the values of the past, makes a check on the preserved retention and identity.

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Venera u krznu

Author(s): Dejvid Ajvs / Language(s): Serbian Issue: 3-4/2021

Literary Text (drama) written by Dejvid Ajvs: VENERA U KRZNU.

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Žudnja za suncem

Author(s): Ivo Mijo Andrić / Language(s): Bosnian Issue: 3-4/2021

Literary Text (TV drama) written by Ivo Mijo Andrić: ŽUDNJA ZA SUNCEM.

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Ukradena lunbrela

Author(s): Alojz Pavlović / Language(s): Bosnian Issue: 3-4/2021

Literary Text (drama) written by Alojz Pavlović: UKRADENA LUNBRELA.

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Modre sjene oko nas

Author(s): Slađana Jovičić / Language(s): Bosnian Issue: 3-4/2021

Literary Text (drama) written by Slađana Jovičić: MODRE SJENE OKO NAS.

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ДРАМСКИОТ ДИПТИХ НА ГЕОРГИ СТАЛЕВ

Author(s): Nataša Avramovska / Language(s): Macedonian Issue: 55/2010

The analysis of the dramatic diptych by Georgi Stalev, Bolen Dojchin and Angelina [personal names, in translation as: The Sick Dojchin and Angelina], examines the chain of tragic guilt which binds all of the involved participants: the sister, the brother, his brethren, through an unbreakable bond, of their seeming umbilical connectivity, while seen through the prism of the always, once again, present shadow of the character of Crna Arapina [The Black Arab] – already staged in the offense. In the represented world of these plays his Blackness/The Black Arab becomes the meaning of the darkness of the psychic unconscious, which is actualized in the process of the individuation of the titular heroes: Dojchin and Angelina (otherwise known throughout the Balkans’ folklore as Bolen Dojchin and Lepa Angelina [The Sick Dojchin and The Beautiful Angelina]). The various mythic and historic actualizations of the universal matrix of the Black, while being confronted with the White, afford the plurality of the knowledge-based contextualizations which are found in some occurrences of this triadic figure. Following the spirit of the Jungian tradition, to delineate the concrete archetypal representations (images and ideas) against the archetype-as-it-is, whose symbolism eludes any attempt of pigeonholing, therefore, this reading of the dramatic contextualization of the triadic figure of The Black Arab, The Sick Dojchin and The Beautiful Angelina contains a degree of ambiguity. On the one hand, it allows for an interpretation of the character of The Black Arab as a personified archetype, The Shadow, particularly in relationship to the given titular hero, Bolen Dojchin. At this level of interpretation The Black Arab is the pitch-black mirror of the personal unconscious of the brother Dojchin. In the first of the two plays, he, when faced with the threat of the impeding darkness, faces up to The Black Arab as if facing up to one’s self. On the other hand, concurrently, the magic of the repetition of the paralytic triadic encounter in the confrontation, originally in the first play, then also in the second one, once again, as in the past, as in the future, allows for a dramatic confrontation which is immanent to the triadic figure, through its repetition, to be interpreted also as a typical situation which points to an archetype of transformation with universal symbolism. The dramatic world created by Stalev in this diptych allows for the two interpretations. The former, at the level of each play viewed separately, the latter, at the level of the common knowledge-based denominator of the diptych’s potential, which includes, that is to say, accentuates the repetition, a typical situation of crisis which ushers in the transformation.

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