Antwerpeni közjáték

Author(s): András Ferenc Kovács / Language(s): Hungarian / Issue: 3/2014

András Ferenc Kovács, the poet residing in Tg-Mureş is a well-known figure of contemporary Hungarian literature and a collaborator in creating several theatrical texts. Antwerp Runs, which appears in our drama supplement, is a sketch from his script entitled Debauched Armada of Comedians (Elizabethan English Fosteriades). The characters of the dramatic text in verse step out from Paul Foster’s drama Elisabeth I. They are mostly money lenders, as the theme of the text is the world of money and its way of functioning – offering us a peek into the witchcraft of power. Characteristically to András Ferenc Kovács’s poetry, in the Antwerp Runs layers of historical and current experience and language, the political-economic relations of the sixteenth century​ and the reality of the European economic and political union build on each other with ease.

Archetipinis Herojaus Įvaizdis Strindbergo Dramoje „Kelias Į Damaską“

Author(s): Deimantė Dementavičiūtė / Language(s): Lithuanian / Issue: 68/2011

In the drama “To Damascus” August Strindberg opened archetypes of collective unconscious – the archetypes of mother and hero, accenting the first one. The article analyzes how the playwright creates this image using literary language. The analysis of the play is based on the theories of archetypes by Carl Gustav Jung, Mircea Eliade and Joseph Campbell: the archetype of the hero means the imprisonment of the human soul in the material reality – the kingdom of the Earth Mother, and the task of the hero is to get rid of her by a spiritual awakening. The article shows that the main actor in drama embodies an archetypal image of the hero and that the secondary characters are portrayed as a number of different aspects of the hero’s inner world. It shows how writer creates the process of a spiritual journey and liberation: in drama’s three parts the main character is tempted by the other players to forget his spiritual nature, to give up, is tested in aspects of the Earth Mother – time, space, recurrence, fate and frees himself from her through rebirth in a higher reality.

Arystofanes i Limeryki

Author(s): Rafał Rosół / Language(s): Polish / Issue: 1/2016

Aristophanes, the Athenian comic playwright, is often said to be the inventor of limericks. The author of the paper attempts to answer the question of the origin of that opinion. He also draws attention to the fact that there are some limericks or allusions to this genre in several English translations of Aristophanes’ comedies.

Aspects totalitaires dans le discours dramatique d'Al. Mirodan et Aurel Baranga

Author(s): Matei Damian / Language(s): French / Issue: 3/2011

This paper aims at considering some instances of totalitarian literary prints in some of the greatest Romanian playwrights of the 6th and 7th decades of the 20th century. The times were hard, as fiction had to go on underground ways in order to be heard and perecived correctly. However, ”official” authors had their own ”surviving” techniques as far as fiction matters were concerned, as they were resisting censorship through creating characters who, by their own path throughout the plot, were criticizing the communist regime. On the other hand, playwrights like Al. Mirodan felt simply content with their well known literary value, not using any of their skills for bringing forth fiction-based resistance.

Atkārtojuma veidi, funkcijas un semantiskās īpatnības māras kimeles teātrī. A. Strindberga "Jūlijas Jaunkundze"

Author(s): Valda Čakare / Language(s): Latvian / Issue: 1/2006

Theatre is a cultural activity deeply involved with repetition. Repeated text recycling of specific material, and the practice of using the same spaces and bcj dies appear in a wide range of theatrical cultures. Māra Ķimele as a stage dire tor has always been interested in the original, the unique. Yet she is not free fro postmodern obsession with things that return. This can be clearly seen in two productions of "Miss Julie" by August Strindberg. Māra Ķimele gains enc mous power from repeated appearances of the same actors and scenic element.

Augusts Saulietis un viņa "Kēninš Zauls" - traģiskais un pretrunīgais

Author(s): Zane Šiliņa / Language(s): Latvian / Issue: 1/1998

Ak, brīži - Kad lielāks, nekā dzīvot, prieks ir mirt!.. ’ Šādu epigrāfu savai apjomīgākajai lugai - traģēdijai “Ķēniņš Zauls” - izvēlējies Augusts Saulietis (1863.-1933.). Kā liecina nosaukums, lugas fabula aizgūta no Bībeles, Pirmās Samuēla grāmatas, kas iezīmē soģu laikmeta beigas un ķēniņu valdīšanas sākumu, tātad būtisku pavērsiena punktu, kad sakrālo, t.i., priestera, varu nomaina laicīgs valdnieks - karavadonis. A.Saulieša traģēdijas galvenais varonis Izraēla pirmais ķēniņš Zauls pieder šīm abām pasaulēm — viņš ir Dieva izraudzīts valdnieks, bet tai pašā laikā šo izraudzīšanu pieprasījusi tauta. (Zīmīgi, ka A.Saulieša lugā par ķēniņu kļūst tautā jau iecienīts, slavas oreola apvīts varonis, lai gan no Bībeles teksta noprotams, ka karavadoņa slavu Zauls gūst tikai, būdams ķēniņš.) Šī ap Zaulu savijusies pretruna izraisa arī viņa iekšējo traģēdiju, jo, kā lugas pēcvārdā raksta tās autors, “kaut ar vienu savu pusi Zauls tiecas uz jaunu dzīvi, it kā ārā no Zamueļa reliģiski-fanatiskās pasaules, ar otru pusi tas paliek pilnīgi viņas varā un tad arī zem viņam uzkrautā Jachvē's lāsta, un viņam jākaro pret to, kas stiprāks nekā cilvēki” [...]

Autor i kulisy – przypadek Pawła Demirskiego

Author(s): Paweł Stangret / Language(s): Polish / Issue: 4/2017

Stangret examines the dramatic work of Paweł Demirski by juxtaposing his strictly literary output with the work he did on the project Szybki Teatr Miejski [The Fast City Theatre]. The main problem is the creation of the authorial subject within specifically artistic communication. Treated hypertextually, the literary work, which is linked to autocommentary and the uncovering of the author’s perspective, causes the author himself to become the text in which the above-mentioned elements come together. Stangret sheds light on the communication strategies of this particular kind of text. The main means of communicating “oneself as a text” is the intimation of transgressing the speaking element for the sake of immediate expression. The artist creates himself as an author writing a text whose meaning is largely based on action beyond the work. Another element is the strategy of provocation whose main factor is the speed of transmission. Stangret shows the ways in which the poetics of Demirski’s plays can be inscribed in modern media communication.

Az eset

Author(s): Tímea-Aletta Szíjártó / Language(s): Hungarian / Issue: 1/2015

The drama supplement of this issue contains The Case, a text written by young playwright, Tímea-Aletta Szíjártó. The play won the Debut Prize of dráMÁzat II., a playwriting competition organized in cooperation by Szigligeti Theatre from Oradea, the Hungarian Faculty of Arts of the University of Arts in Tg-Mures and Tomcsa Sándor Theatre from Odorheiu Secuiesc. The story of The Case is set in a decrepit Transylvanian village here human relations are inseparably tinted by emotional and material poverty. The interesting novelty of Szíjártó’s text is not in its theme, but rather in the dramatic beauty of the dialogues written in the decaying dialect of the region.

Badzika

Author(s): Zsuzsa Lőrincz / Language(s): Hungarian / Issue: 2/2016

Zsuzsa Lőrincz is primarily an actress. Badzika, published in our current issue, is her debut drama publication, a text that she has also directed at the Griff Puppet Theatre in Zalaegerszeg. Badzika, a children’s play grasps with sophisticated sensibility the moment of transformation in a family: the transposed situational and role-plays on​ the one hand show us a child’s imagination in action, on the other hand these scenes are full with the intuition of an invisible, unknown, yet detectable change related to the arrival of a new baby. At the end of the fictional adventures, the family order is restored, or rather a new order is created, in which the known and unknown elements all find their places. The father arrives home from his business trip and the whole family celebrates together. The songs composed for the play are signed by Géza Bereményi.

Bakelit Taxi

Author(s): Alina Nelega / Language(s): Hungarian / Issue: 4/2017

Alina Nelega’s Vinyl Taxi premiered in 2008 at the Ariel Theatre in Târgu Mureș. The play, translated for this issue by Éva Patkó, is inspired from Arthur Schnitzler’s La Ronde. Different characters meet here and become involved with each other in ten scenes, however, as opposed to the Austrian author’s play, Nelega’s theatrical round dance has at its heart the story of a suicide, directly or indirectly involving all characters.The dynamic vortex of scenes displays the figures of consumer society, whose mentality and madness pervades all human relations, including the relationship to the body and sexuality. Everything and everyone is for sale, and thus everything and everyone is corrupted. The dark fissure torn by the suicide at the centre of the dramatic events lasts only for a moment, as the waves it stirs up seem soon to be smoothed over again by the implacable​ laws of this world.

Benjamin u Moskvi

Author(s): Branko Vučićević / Language(s): Serbian / Issue: 86.32/2016

BERTOLT BREHT I EPSKI TEATAR

Author(s): Barbara Novaković / Language(s): Bosnian,Croatian / Issue: 4/2018

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.

Bestia et Amor: Equine Erotology in Shakespeare’s “Venus and Adonis”

Author(s): Jonathan W. Thurston / Language(s): English / Issue: 12/2015

In his narrative poem Venus and Adonis (1593), Shakespeare advances two horses, a “jennet” and a “courser,” as a means of commenting on human sexuality. The poem’s equine terminology also gestures to commonplaces of sixteenth-century horsemanship. Shakespeare appropriates the literary symbol of the horse as representative of human sexuality in order to comment on contemporary political/national relations. Gender and animality in Venus and Adonis prove entirely congruent with the poem’s classical republicanism. Examining Venus’s almost-Spanish imperialism reveals that, more than just being aware of hippological discourse in the classical tradition, Shakespeare was incisively cognisant of the equestrian rule that the best manège was not at all about dominance. This paper traces the etymology of Shakespeare’s equine terminology within the context of English-Spanish relations in the late sixteenthcentury.

Beszélgetések űrhajósokkal

Author(s): Zeller Felicia / Language(s): Hungarian / Issue: 3/2015

Contemporary German playwright and media-artist Felicia Zeller’s Conversations with Astronauts, translated by Beáta Adorjáni, was nominated in 2011 for best new German play at the Mülheimer Theatertage. The location of Zeller’s text-event with nonlinear dramaturgy is Ditchland, the characters are Au-pairs who work there and the families who have taken them in. Playing with geographical identification, the language makes real references ambiguous, sketching the experience of foreignness, as well as the small, humiliating, ordinary situations of sub- and super-ordination. The tension of Zeller’s drama is constructed on the linguistic situation of the infantilized status of a foreign language-learner that is related to several other – cultural and economic – gestures of power. The ironic linguistic perspective, much like Elfriede Jelinek’s similar texts, also raises the problem of (self)-expression: struggling and developing, random speech opens the space for the minor characters of social discourse.

BEYOND THE HISTORY OF A LITERARY GENRE: THE ENCYCLOPEDIA OF ROMANAIN MEMORY WRITING

Author(s): Doris Mironescu / Language(s): English / Issue: 2/2019

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.

BEZ NASLOVA

Author(s): Ingmar Vilkvist / Language(s): Serbian / Issue: 433/2005

JERG (uzdah): Mama? MAJKA: Šta je bilo, Jerg, šta? JERG: Ja... Ja više ništa ne vidim... MAJKA (snažno): Nije istina. Nije istina. To je samo krv iz nosa. To je samo ta krv. To će odmah proći...

BEZ SRCA

Author(s): Sam Shepard / Language(s): Serbian / Issue: 4/2018

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.

Bibliografia e harruar e dramës shqiptare

Author(s): ERENESTINA HALILI / Language(s): Albanian / Issue: 37/2018

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.

Biedni emigranci patrzą na getto. O Smoczej 13 Stefanii Zahorskiej

Author(s): Jakub Osiński / Language(s): Polish / Issue: 3/2018

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.

Bir Siberdrama Biçimi Olarak Dijital Oyun: ‘Alice Harikalar Diyarında’ Örneği

Author(s): Özge Baydaş Sayılgan / Language(s): Turkish / Issue: 72/2012

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.