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„Sám o sobě existuje jen dobrý osud“ Teorie dramatu Antona Müllera v kontextu středoevropské estetiky

Author(s): Tomáš Hlobil / Language(s): Czech Issue: 2/2014

The essay aims at situating the theory of drama formulated in a lecture series given in 1831 by Anton Müller (1792–1843), Professor of Aesthetics at Prague University, within the context of Central-European aesthetics of the day. Therefore, two contemporaneous discussions are outlined to provide a background for the comparison. They are respresented by drama interpetations laid down in aesthetics lectures of Müller’s predecessors in Prague and influential Austrian reflections on drama dating from the first three decades of the nineteenth century. The comparison with the ideas and theories of August Gottlieb Meißner (1753–1807) and Johann Heinrich Dambeck (1774–1820) demonstrates that Müller’s theory of drama was no longer in accordance with Enlightenment drama principles, while the comparison with the then renowned reflections of Joseph Schreyvogel (1768–1832), Heinrich Joseph von Collin (1771–1811), August Wilhelm Schlegel (1767–1845), Karl Wilhelm Ferdinand Solger (1780–1819), Wilhelm von Schütz (1776–1847), Matthäus von Collin (1779–1824), and Michael Leopold Enk von der Burg (1788–1843) exemplifies similarities between Müller’s theory and Austrian, religiously based and spiritually oriented, aesthetics of the time.

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Varia: From Letters to Texts and Images, from Texts and Images to Letters:Catching the Reader’s/ Spectator’s Gaze

Author(s): Liliane Louvel / Language(s): English Issue: 1/2018

The article demonstrates that letters can play a visual role close to that played by images. Calligraphy, typography, calligrams, palindromes and anagrams are as many ways of attracting the reader’s/spectator’s attention and bringing to the fore the material quality of a text. Linguistic games also offer vivid instances of hybrid effects. They all play a part similar to that of anamorphosis. Numerous novels, such as Sterne’s Tristram Shandy, play with the many visual possibilities of letters. Conversely, numerous pictures include letters in their own mode and apparatus not only as signatures but also as simulacrа of speech, sound and language. Contemporary art enjoys using letters as the very matter of their production. Ranging from Mantegna to street art, going through Magritte and the works of the Art & Language group, to quote a few, letters partake of visual systems of expression and production. The article interrogates the functions of images either when they figure in a text and font image (make up an image) or when they are part of a picture or an image. In our digital age, words and images, letters, lines and colours are part and parcel of our relationship to the multimodal world which we inhabit.

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Cienie Franciszka Alachnowicza jako przykład dramatu ealistyczno-symbolicznego

Author(s): Andriej Moskwin / Language(s): Polish Issue: 1/2019

The present article is devoted to the work of the Belarusian playwright Franciszek Alachnowicz. In his work “Shadows” traces of poetic devices can be found. First of all, the author of the article pays attention to the psychology of the figure, the inner life of the heroes, a conflict between consciousness and soul, as the author creates an atmosphere of tension and horror. These features of his artistic style allow him to be counted among the representatives of the „new drama” – an interesting artistic phenomenon in European drama at the turn of 19th and 20th centuries.

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Образы восприятия Kитая и китайцев в советской литературе и публицистике 1920–1940 гг

Author(s): Anna Anatol'yevna Zabiyako,Ekaterina Vladimirovna Senina / Language(s): Russian Issue: 1/2019

The article redefines the concept of an artistic image perception and explores the process of artistic perception of China and the Chinese in the Soviet literature of the 1920s–1940s. The authors reveal the typology of the political and poetic settings, which defined the approach to creating images of China and the Chinese. According to researchers, personal experience of communication with another culture and political non-involvement became the main criteria for the creation of a reliable literary image of the Chinese and China. Factual and dramatic genres became the main ones demanded by the Soviet literature of those years and embodied the perception of the image of China and the Chinese.

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Vázquez Touriño, Daniel (2020), Insignificantes en diálogo con el público. El teatro de la generación Fonca

Author(s): Martina Barinová / Language(s): Spanish Issue: 1/2021

The review of: Vázquez Touriño, Daniel (2020), Insignificantes en diálogo con el público. El teatro de la generación Fonca, Madrid: Editorial Verbum, 262 p.

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Nová studie o rozhlasové režii

Author(s): Eva Schulzová / Language(s): Czech Issue: 6/2021

This paper contains book review of: Bojda, Tomáš. Herec a režisér v rozhlase: kapitoly z tvorby Jiřího Horčičky a Josefa Melče. 1. vydání. Olomouc: Univerzita Palackého v Olomouci, 2020. 392 stran. Rádio a televize; svazek 3. ISBN 978-80-244-5698-0.

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The Actor’s World of Silence: Structural Significations and Artistic Impact of Silence in Theatre

Author(s): Pali Vecsei / Language(s): English Issue: 1/2021

The present paper’s aim is to analyse the artistic and symbolical impact of silence on the actor’s performance. We argue that in a world dominated by (often pointless) noise and dissonance, silence can and should be a welcome and inspiring counterpart. Especially in what the actor’s art and craft is concerned, the contrapuntal technique between speech and silence is one of the most powerful carriers of meaning. What this paper tries to prove is that more often than not, the actor’s silence can achieve depths of performative and interpretative meaning which can otherwise not be achieved by traditional dialogue/monologue. By analysing several established critical opinions on the importance of silence in theatre, we attempted to offer a theoretical framework for our own acting experiences with silence in performance.

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Емоционално за първите български театрални представления: възрожденската критика за театъра и драмата

Author(s): Nikoleta Patova / Language(s): Bulgarian Issue: 22/2022

The article studies the emotional responses elicited by D. Voynikov's theatrical experiments in Braila. From the specific occasion, the discussion expands to the topic of theatre and its place in Bulgarian Revivalist society. Revivalist press became a field for dispute, for clarification of moral and educational principles between the participants in the discussion of the advantages and disadvantages of theatre. Proponents and detractors of the art of theatre alike expounded and defended their positions more with fervour than with logical argument. The emotional approach to every novelty in the dynamically changing Revivalist society was fully manifested in the subject of theatre as well. Was it time for the people of Bulgaria after the second half of the nineteenth century to align themselves with European cultural models or was it better, safer, more comfortable to stay within the boundaries of traditional culture? Participants in the dispute are D. Voynikov, T. Ikonomov, D. Druemev, P. R. Slaveykov, L. Karavelov, etc.

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From Casket to Court via Mercy and the Ring: Commemorating Shakespeare’s Portia in "The Merchant of Venice"

Author(s): Mitashree Tripathy / Language(s): English Issue: 1/2022

Shakespeare’s comedies mark his artistic excellence in the portrayal of woman characters. Shakespearean women have invariably moved the audience and their understanding towards them from being sweet and mawkish to expressing their needs sternly for integrity, justice through wit and intelligence in his plays. Often strongly approved by the modern feminists, the qualities of intelligence and assertiveness are regarded as admirable qualities in Shakespearean comic heroines. As revolutionaries, Shakespearean female characters have always been projected as strong, sometimes stronger than the male counterparts; often going against the conventions of the society to symbolize what gender equality in the future may be like. Essential qualities like intelligence and wit always fulfilled and made Shakespearean heroines independent personalities. The female characters in Shakespeare’s plays always played an important role in the dramatic run in both tragedies and comedies. This article studies the portrayal of intelligence by Portia in The Merchant of Venice making her the hero of the play.

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Okultnost Krležine “logike ekstaze” naspram Strindbergove “logike sna”

Author(s): Almedina Čengić / Language(s): Bosnian Issue: 2/2019

At the beginning of the 20th century there would be great turnaround in the artistic creation of the European continent, as a result of the changes that were initiated by historical events. The passive attitude of society, in contrast to all the turbulent events in the real life of man of that time, will necessitate a very radical change in all aspects of art.All the features of the modern way of artistic adaptation are recognizable within the framework of European cultural events, that is, modern, which will dominate the principles of “contradictory” and the ideas of completely new “multiplicative tendencies”. Thematic determinants are directly related to man and endangering his existence, resulting in dissatisfaction and rebellion that culminates in the chaotic state of his subconscious. In the inability to influence the changes caused by the worldly “insane” insanity, it resounds with the cataclysm of mankind.The crash with tradition, to which it previously relied on art, initiates specific new forms in literary expression. This period in literature was marked by writers who want to create their own poetics, without falling short of a general poetics, therefore, there are no more universal norms and no rules that are strictly given. The individual experience of the world and the reality is revealed in the creations of new processes of artistic creativity, determined by the analytical procedure in the presentation of the human subconscious.

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Treći čin (sarajevska čitanja Čehovljevog Višnjika)

Author(s): Adijata Ibrišimović-Šabić / Language(s): Bosnian Issue: 2/2019

Anton Pavlovich Chekhov, undoubtedly, announced the 20th century. However, both the 20th and the 21st centuries have, also undoubtedly, enriched the legacy of this Russian classics author with new interpretations. With this, they have broadened the understanding of his artistic opus, and have revealed varied potentials of his dramas. In this text, the author portrayed the reception of Chekhov’s Cherry Orchard on the theatres of Sarajevo. The primary task did not imply grading, nor rating, the concepts and resolutions brought about by the directors and actors. The goal of this text was, on one hand, to present the opinions and outlooks of Bosnian and Herzegovenian critics regarding this theatre play, in literary theory and literary criticism, as well as partly theatre criticism. These opinions and outlooks, dated back to the very first scene performance, which was in Sarajevo’s National theatre in the 1930s, were compared to the original. On the other hand, the goal was to illustrate the fact that some analysis, and some individual interpretations of the actors and directors reveal new meanings of Chekhov’s lines, which are potentially there.

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Rendering Contemporary Hungarian Drama into Romanian. A Case Study on Tibor Zalán’s Katonák [Soldiers]

Author(s): Judit Pál / Language(s): English Issue: 3/2022

The study focuses on the peculiar challenges raised by rendering one of Tibor Zalán’s plays into Romanian. We shall take into account the linguistic, aesthetic, and conceptual differences that might emerge in the Romanian translation as compared to its original. The theoretical part of the research is built upon the idea that translation implies “rewriting” (Lefevere 1992) under certain constraints. Being “refracted” texts, translations naturally include not only a change of the language but also a change of the socio-cultural context, a change of the ideology (i.e. the “world view”), and a change of the poetics of the original (Lefevere 1984: 192). Thus, the comparative analysis aims at the major changes operated by the Romanian translator while conveying certain culture-bound meanings.

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К вопросу о технике вербатим в русской драматургии первого двадцатилетия XXI века

Author(s): Paulina Sikora-Krizhevska / Language(s): Russian Issue: 15/2022

The start of the third decade of the 21st century marks twenty years of the existence of the verbatim technique in the Russian dramatic space. This article describes the history and specificity of the Russian verbatim theatre, as well as different ways of using and adapting this technique in the plays of the authors associated, permanently or occasionally, with the Moscow-based Teatr.doc. Using the example of texts such as Nord-Ost: Forty-First Day (2002) by journalist and theatre critic Grigory Zaslavsky, New Antigone (2017) by journalist Elena Kostyuchenko, and 67/871 (2017) by dramatist Elena Gremina, it can be concluded that the main differences between verbatim plays are primarily related to the degree of the author’s processing of documentary material. Nord-Ost: Forty-First Day is a transcript of the event that took place in the Teatr.doc, a literal recording of the statements of their participants; New Antigone – the montage of fragments of transcripts of the trials, conversations, life stories of the heroines, and quotes from Sophocles’ Antigone; 67/871 – a montage of fragments of the characters’ monologues united into thematic blocks, quotes from statements from Adolf Hitler and Heinrich Himmler, and letters from a German soldier. The variety of ways to create verbatim texts influences the expansion of the boundaries of the concept of “play” and indicates that the traditional sequence of the emergence of a dramatic text and its theatrical embodiment has lost its relevance. It is concluded that the specificity of verbatim plays fits into the modern trend of the democratisation of theatre and drama, since their rootedness in the world of reality and documentaries opens the way to dramaturgy for those authors who had not been engaged in this type of activity before.

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Memoria storica, memoria letteraria e critica del presente nel Doktor Hoechst di Robert Menasse

Author(s): Francesco Rossi / Language(s): Italian Issue: 44/2023

Doktor Hoechst by Robert Menasse (staged in 2009 and published in 2013) is a “Faust-Play” (subtitle) dense with references and allusions to Goethe’s Faust, whose purpose is not so much to provide a contemporary reinterpretation of the Faustian myth, but rather a Faustian interpretation of contemporaneity. This contribution will investigate the convergences that arise between this reinterpretation, charged with tensions with the present, and the theme of memory – a memory that, although it does not belong to the source text, is overwritten on it, reactivating some essential meanings.

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THE SORESCIAN DRAMA OR ASSUMING REBELLIOUSNESS AGAINST CANONIZED MODELS

Author(s): Mihaela Airinei / Language(s): Romanian Issue: 18/2019

Marin Sorescu's accomplishments as a playwright are spectacular, taking his contemporaries by surprise, once more. Of striking novelty, his plays have benefitted from an immediate success, being translated and played on numerous stages worldwide. Beyond assimilating expressionist principles and procedures, the author influences decisively the laws and conventions of naturalist drama by introducing several innovative elements, thus imposing a serious issue and treating it in a comic register. The plays express essential problems for the époque and human beings, in general. He is devoted to finding the truth about human being and about life. The confrontation between the hero and his existence stages an itinerary of challenges and suffering. Parables of existence, the sorescian texts denounce, among other aspects, restraints of any sort.

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Dramaturgy, Expression and Colour in Tudor Jarda's Songs to Lyrics by Lucian Blaga

Author(s): Cristina-Nicoleta Șoitu / Language(s): English Issue: 1/2018

Tudor Jarda, an emblematic composer of the second half of the twentieth century, whose interests focused particularly on vocal music, wrote a significant number of songs (almost 50), most of which are set to poems by Lucian Blaga. The characteristic features of Blaga's poetry (based on free verse) justify its choice as an element associated with the modern musical language. The balance between text and music (especially the relationship between the poetic idea and the musical structure) and between vocal line and accompaniment, along with the specific intonational, rhythmic, dynamic and timbral aspects, turn dramaturgy, expression and colour into the most important features of these works. In this study we identify the language elements that outline these three vectors of the musical meaning. In paradigmatic terms, the study dwells on some of Jarda’s most performed songs, such as Colindă [Christmas Carol], Izvorul nopții [The Spring of Night], Lacrimile [Tears], Din părul tău [From Your Hair], Eu nu strivesc [I Do Not Crush] or Frumoase mâini [Beautiful Hands]. The characteristic features of the musical language prove the accessibility of these works, as well as the richness of the imagined symbolism, both through the construction of the vocal line (which involves specific intervallic relationships), and through the adaptation of the piano accompaniment to the poetic meaning and to the modal intonational ethos of the vocal line.

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THE PERIPHERY AS A SCAFFOLD FOR HUMANITY IN THE DRAMATIC WORKS OF G. M. ZAMFIRESCU

Author(s): Alin Ștefănuț / Language(s): English Issue: 21/2020

The periphery, a closed, confining universe, has a long tradition in European dramatic literature, being often perceived as a final stage of human degradation. G. M. Zamfirescu, through Domnișoara Nastasia (Miss Nastasia), chooses to join a niche roster when it comes to the localization of the setting in this play to this deliquescent environment. However, in his case, the characters inhabiting this universe appear as individuals who are capable of uplifting feelings, powerful passions, with a psychology that is much more complex than what the suburbia where their every aspiration falls apart allows. Escaping the moral periphery in which these characters live seems within reach, but it cannot be achieved if not through death or madness, as proven by the heroes of the tragicomedy Domnișoara Nastasia.

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THE THEATRICAL CHARACTER IN AUREL BARANGA’S COMEDIES

Author(s): Adrian Oros / Language(s): Romanian Issue: 21/2020

Known mostly for his comedies, which were widely popular in the 70s and 80s, Aurel Baranga created not only memorable lines, but also memorable characters that stuck in the mind of the audience long after leaving the theatre halls. Characters such as the marginals and outcasts who suddenly become the main elements in the play or the directors and subordinates who find themselves panicked when faced with their incompetence – they all have a carefully assigned role in Baranga’s comedies.

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WAITING FOR DEATH IN MATEI VIȘNIEC’ S DRAMATURGY

Author(s): Andreea-Diana Albu / Language(s): Romanian Issue: 21/2020

The present article aims to reveal the relation between reality (death) and fiction (hope, dream) in plays written by Matei Visniec. These two are never completely split, they intertwine and they empower one another. A lot of characters are waiting în different places, for something. At the beginning they don’t have any idea about the purpose of their waiting, but they don’stop doing that. The characters can’t explain their presence in a closed space, they want to leave, but they are not able to do that. They live in constant fear. What are they waiting for? The end of their lives.

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Richard Bean’in In the Club Adlı Oyununda Türk İmgesi

Author(s): Ahmet Gökhan Biçer / Language(s): Turkish Issue: 01/2023

Throughout the long history of British theatre, the image of Turk has frequently emerged in the works of famous playwrights. Since the beginning of the Crusades, Western perceptions of Turks have centred upon stereotypical images. These negative stereotypes generated by English literature are still present. However, with the acclaimed playwright Richard Bean, a new and positive Turkish image has emerged in British theatre since the turn of the twenty-first century. In his 2007 play, In the Club, Richard Bean explores the relationship between Turkey and the European Union and draws attention to the great power of Turkish culture. The play discusses Turkey’s accession process to the European Club, stressing its benefits while addressing stereotypes and biases against Turks. In this context, In the Club emphasizes that Turkey will strengthen the European Union as a model state with its culture and traditions, with its geographical location and secular structure, and by reminding members that Turks are people who work hard to improve their country. This study aims to examine the new Turkish image in Richard Bean's In the Club.

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