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Drama oder Roman. Literatur im Brennpunkt intellektueller Existenz bei Georg Lukács

Author(s): Christa Karpenstein-Eßbach / Language(s): German Issue: 29/2020

The meaning and problematic of ›form‹ in Lukács, most of all in his early writings, unfolds in three ways. Essayism is understood as an intellectual action that responds to a modernity perceived as difficult (1). Literary modes of speech and representation are an expression of life that has become form and connected with their own interpretations of the world qua form, as they gain their contours in drama and the novel and are linked with respective signatures of the philosophy of history within the framework of an unfinished modernity (2). The ascent to form which Lukács carries out in three steps – drama, novel, essay – is finally related to and contrasted with the thought impulses of postmodernism (3).

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DramArt.Revistă de studii teatrale

Frequency: 1 issues / Country: Romania

DramArt Journal of Theatre Studies The Journal for Theatre Studies DramArt was founded at the beginning of the year 2012 as a yearly academic issue. DramArt offers a plattform with a wide discussion spectrum for academics, theatre scientists, theatre practicioners and theatre pedagogues. Romanian and foreign personalities concerned with media, theatre and film topics are invited to debate on theoretical and practical aspects. Profile of the journal: The journal comprises the following sections: 1.Studies and articles (studies on specific subjects, results of individual and collective research, essays based on the given topics of the issue) 2. Workshop, interviews, translations (new dramatic texts, translations, interviews with personalities from the domain of performing arts) 3. Theatrical Reviews, book reviews (theatrical reviews of recent productions, book reviews of recent publications on perfroming arts)

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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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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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DRAMATICKÝ FRAMGMET PAVLA ORSZÁGHA HVIEZDOSLAVA NA LUCIU

Author(s): Ján Gbúr / Language(s): Slovak Issue: 04/2021

The aim of the study is a comprehensive analysis of the little-known dramatic fragment Na Luciu, written by the classic of Slovak literature Pavol Országh Hviezdoslav. The complexity of the applied approach lies in the use of several research methods (heuristic, comparative, analytical-synthetic), which are used to assess relevant facts of theoretical (the form-genre area of drama, romantic-realistic creative principle) and the material character (the circumstances of the creation of the dramatic fragment, the thematic background of its creation, the structural characteristics of the text).

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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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Dramaturgia współtworzenia znaczeń wypowiedzi scenicznej. Na marginesie lektury Tekstów dla (Starego) Teatru Pawła Demirskiego

Author(s): Beata Popczyk-Szczęsna / Language(s): Polish Issue: 36/2021

The article deals with dramaturgy in the broad sense of the term – as a written creative work and the characteristic feature of human activities: artistic and social. The starting point for these discussions is the publication of an anthology of Paweł Demirski’s theatrical texts commissioned by the National Stary Theatre in Krakow. The book is an excellent testimony to stage creativity because it contains conversations with the author and actors about the stages of work in the performance. The article presents reflections on the dramaturgy of the process of creating a text and a theatrical performance, the characteristics of Paweł Demirski’s writing and the content arrangement in the anthology. Reading this book is a peculiar aesthetic experience and a challenge for the reader. The dramaturgy of the message leads to the dramaturgy of its reception: the reader updates and co-creates meanings of theatrical texts, according to individual knowledge and sensitivity. Aesthetic experience is shaped by combining different mental spaces: it is reading a text / seeing a performance.

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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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Dramska predstava: "Korak do Bosne"

Author(s): Nada Đurevska / Language(s): Croatian Issue: II/2020

Theatrical play by Nada Đurđevska (writer) and was directed by Anela Križanac.

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Dramski tekst u nastavi književnosti

Author(s): Edina Murtić / Language(s): Bosnian Issue: 16/2021

In this text, we analyze the presence of dramatic texts in the teaching of literature based on the previous experiences from the Curricula, as well as the current presence of dramatic texts in the Curriculum for the Sarajevo Canton. In the science and methodology of literature education, the issue of a lack and insufficiency of the dramatic genre in literature teaching has been recognized for a long time. Our objective is to present how dramatic texts may and have to be more present in teaching through more significant inter-subject correlation. Thereby the importance of scene education is emphasized, which is primarily acquired in the literature and language teaching, but it may be applied in the teaching of other subjects as well.

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Dynamic Waiting in Waiting for Godot

Author(s): Andra-Miruna Pantea-Radu / Language(s): English Issue: 10/2021

The present article takes the simple action of simply waiting for something or someone and deals with it as if it were an active action and not a passive one, where one might think that nothing is happening. It also deals with the characters regarding where they are, their location to be precise, and what happens to them as they are waiting for Godot and how they provoke the audience to reflect on who he might be.

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Eastward Ho! Aspects of Eastern European Writing Translated into Irish

Author(s): Alan Titley / Language(s): English Issue: 1/2021

The article focuses on translations into Irish of literary texts by writers from several central and eastern European countries. The author adopts a historical approach by first drawing attention to the Irish language as a means of literary expression and a vehicle for the translation of classical texts in the Middle Ages. Irish came under sustained attack because of English rule from the seventeenth century onwards and was only spoken by the poor and the marginalized in the middle of the nineteenth century. However, towards the end of the nineteenth century the language experienced a revival. The latter process was intensified following the establishment of the Irish Free State in 1922. In 1926, a project for literacy and provision of reading material in the Irish language was implemented, and a government publishing company known as An Gúm started producing books for the new Irish-reading public. Since the start of the project, the general tendency has been for books by western European writers to be translated into Irish. However, a significant number of texts by eastern and central European authors, ranging from classics by Tolstoy and Chekhov to novels and short stories by contemporary Russian and Slovenian authors, have also been published over the years.

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Editorial Foreword

Author(s): Silviu-Marian Miloiu / Language(s): English,Romanian Issue: 2/2020

The second issue of volume 12 of The Romanian Journal for Baltic and Nordic Studies continues to reflect the academic discussions occasioned by the Eleventh Conference on Baltic and Nordic Studies of May 2020. Prof. Radu Carp was one of the keynote speakers of the conference and his address on Combining soft power with the geopolitical approach - how difficult is it for the EU to change its attitude? elicited a great interest among the presenters and attenders of the scientific event. As in any such scholarly event, especially an international gathering with a critical focus on the construction/reconstruction of Europe in vital moments of its past and recent past aspirations, the viewpoints of the participants, including the analysis of Prof. Carp on the current challenges of the EU are passed on to the wider community of fellow researchers, the public and decision-makers. The call for stepping up to a new level of integration and geopolitical power projection is dissected both in its soft and hard power dimension without eschewing the focus on democracy, climate change mitigation measures or cybersecurity.

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Education as a Cause of Failure in Strindberg’s Play Miss Julie

Author(s): Maria Leca / Language(s): English Issue: 10/2021

The essay aims at interpreting the behaviour of Miss Julie – August Strindberg’s character from the well-known homonymous play – from the point of view of her educational background.

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Eine erste wissenschaftliche Darstellung des Internationalen Theaterfestivals aus Hermannstadt

Author(s): Christine Dancso / Language(s): German Issue: 9/2020

The review describes the publication of Alina Mazilu concerning the role of the International Theatre Festival from Sibiu in promoting the contemporary dramaturgy.

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Ekranizirani Shakespeare u svjetlu novog historicizma

Author(s): Alen Avdić / Language(s): Bosnian Issue: 30/2019

Broj filmova baziranih na Shakespeareovim dramama se uveliko povećao u proteklih nekoliko godina, u rasponu od vjernih adaptacija do adaptiranja materijala koje se tek labavo, lajtmotivski drže njegovih djela. Iako možda na prvi pogled ne izgleda privlačnim materijalom za adaptacije, detaljniji pregled koji slijedi će nam pružiti cjelovitiji uvid zbog čega Shakespeare i dalje zauzima značajno mjesto u panteonu filmografijie XX i XXI vijeka. O ovome svjedoče neki relativno novi filmovi, poput Michael Radfordovog, Mletačkog trgovca (2004.), Kenneth Branaghovog Sve je istina (2018.), Oluje Julie Taymor iz 2010., Ralph Fiennesovog Koriolana (2011.) ili Roland Emmerichovog Anonimusa (2011.), između ostalih. Ove adaptacije s početka dvadeset i prvog vijeka uveliko svjedoče popularizaciji velikog dramatičara koja ne jenjava još od slavnog zlatnog doba Hollywooda 1960-ih. Dokaz tome je da njegove adaptacije nastavljaju da korespondiraju sa savremenom publikom.

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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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Endgame: A Series of Endings

Author(s): Sara Setayesh / Language(s): English Issue: 1/2013

Samuel Beckett's popular play Endgame, depicts a prison-like room with two windows that show a dead universe and a "corpsed world". Throughout his play, Beckett uses ideas, symbols, objects, and actions that reflect an ending. In Endgame the characters cannot choose; it seems that everything is coming to an end and they can do nothing about it; they have to accept it. The play's world is devoid of meaning, warmth, humor and all beautiful things. In most of his works Beckett shows that human faculties are deteriorating and Endgame is no exception. Hamm and Clov are not mobile; Hamm cannot stand and Clov just moves in a limited way. Nagg and Nell are confined in a dustbin totally without action and mobility. Hamm's chronicle is an unfinished one and one can generalize it to all Beckett's works as they avoid closure. In fact the play starts from the point where it's "nearly finished" and it ends the same.

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End-Life Crisis in Edward Albee’s
The Sandbox and The American Dream

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End-Life Crisis in Edward Albee’s The Sandbox and The American Dream

Author(s): Réka M. Cristian / Language(s): English Issue: 26/2021

The essay focuses on the end-life crisis in two plays by Edward Albee, The Sandbox (1960) and The American Dream (1961) and investigates the contexts of this crisis through the figure of Grandma and her means of encountering age and death. I will use age studies and the close reading of the two dramas in order to see the ways in which Albee’s senior citizens challenge mainstream constructions of aging by reconnecting with their pasts in various ways on their deathbeds. They build up an idiosyncratic “age autobiography” (to use Margaret Morgenroth Gullette’s term) in an inventory of events and feelings by assessing a complete(d) life. By doing so they achieve an “agewise” (Gulette) identity that comes full circle in the very moment of grace.

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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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