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Matéi Visniec et Wajdi Mouawad : un « trou du ciel » sur le théâtre francophone contemporain

Author(s): Mamadou Lamine Baldé / Language(s): French Issue: 2/2022

According to old physics theories, our universe might be the result of a black hole which generated the big-bang: the genesis of space, time and substance. The figurations of the theatre play Mais, Maman, ils nous racontent au deuxième acte ce qui s’est passé au premier / Look, mom, in the second part they tell us what happened in the first (2003) by Matéi Visniec (which presents a hole) and Ciels/ Skies (2009) by Wajdi Mouawad (very sympathetic of this hole) are against this law of universal gravity. That’s good. But, metonymically speaking, they are not without connection with the postmodern chaos that exists in the contemporary francophone theatre: birth of a hole which swallows everything and melts in a total ambiguity. They propose a manner of thinking this creation as being somewhere up at the top of an art whose rules can be reversed by the playwrights. These two plays bring a new light on the evolution of francophone theatre, which started with Aristotle rules, going forward to the new theatre and “theatre of the absurd” written by Eugen Ionescu, as well as the situational theatre of Jean-Paul Sartre, and, of course, Beckett. All this originates in the famous “bonnet rouge” of Hugo’s preface of the play Cromwell. Both the French-Romanian writer and the Lebanese-Canadian one appeal to the stage director, to character/ actors, to readers/spectators under the influence of a space situated at the intersection of arts and disciplines such as: mathematics, computer science, cryptanalysis and many others.

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SHORT THEATRICAL PORTRAITS

Author(s): Veronica-Alina Constănceanu / Language(s): Romanian Issue: 34/2023

Drama is almost a Cinderella of literature, ignored by the common reader, it is brought to the fore only by the theatrical performance. Some critics believe that a text should be staged first and only then published. When we observe the epoch 1945-2000, we notice that the theatrical environment always changed depending on the social/political reality. For a long time, the theatrical performance was primarily a propaganda space, a place of indoctrination. In this study we present three authors who represent three directions a. the ideology that defeats the aesthetic (Maria Banuș) b. the escape/refuge in cosmopolitanism (Iulia Petrescu) c. post-December 89 freedom (Andreea Vălean).

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CAMINO REAL BETWEEN EXPRESSIONISM AND MAGIC REALISM

Author(s): Miruna Ciocoi-Pop / Language(s): English Issue: 34/2023

Having Tennesse Williams’ Camino Real as a focal point, the present paper tries to underline the influence of both Expressionism and Magic Realism on the play. The presence of expressionist elements in Camino Real has been made clear by many critics. The present paper reiterates them, trying to add a new dimension to the analysis by focusing on the similarities of certain aspects of the play with Magic Realism.

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THE MALE CHARACTER IN CAMIL PETRESCU'S THEATRE

Author(s): Roxana Kaitar / Language(s): Romanian Issue: 34/2023

The male identity in the camilpetresian dramaturgy is found as a close mirror reflection of the author. From the biographical data, but especially from the principles demonstrated in the philosophical work Doctrine of substance, a unique vision emerges, an alter identity of the creator himself. The male characters in Camil Petrescu's theater have a common thread with those in the epic works, at the same time hiding the deep and painful emotion of the lyrical one. Lucid hero, imbued with a sense of justice, passionate in search of unique, absolute love or a dandy who masks his erotic urges, willing to make the ultimate sacrifice for his principles, here he is under the name of masculine identities.

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SCENSKI GOVOR U PREDSTAVI UGURSUZ U KAMERNOM TEATRU 55

Author(s): Mirsada Suljić / Language(s): Bosnian Issue: 1-2/2023

From the theatrical aspect, the paper examines analytically and critically the stage speech of the main character, actor Admir Glamočak – Muzafer, in the play Ugursuz by Nedžad Ibrišimović, performed on the Bosnian professional theater scene in 1997 on the occasion of marking the 35th anniversary of the artistic work of the writer Nedžad Ibrišimović, directed by Gradimir Gojer. It was the second staging of Ibrišimović’s play Ugursuz, and the first Yugoslav theatrical premiere of the play took place on the Zenica stage in 1970, directed by Ljubiša Georgijevski. No similar articles were found on the subject in the title, nor texts in which the stage speech in the play Ugursuz is observed and investigated within the framework of theatrology. By applying the methods of theater aesthetics, we tried to answer the question, integrating into this research the historical and theatrical methods, without which the analysis of the stage speech in the play Ugursuz would be incomplete. General scientific methods were used in the work: the method of analysis and synthesis, the inductive-deductive method, the method of collection, classification and the interview method. The direct theatrical sources used in the work are the play Ugursuz in the manuscript of the author Nedžad Ibrišimović, posters and programs, while the indirect sources are scene photos, theater reviews, theories of the history and sociology of theater, as well as theories that speak indirectly about the topic in the title of the work. The stage speech of Admir Glamočak - Muzafer in the play Ugursuz is specific and special because it is an inarticulate speech on stage. Muzafer, a mute freak, who closely follows all stage events in dramatic situations, absorbs everything and thinks about everything like a famous world philosopher, speaks at the very end of the dramatic action. Muzafer - Admir Glamočak, speaks on the stage with acting means: facial expressions, body movements, gestures, but also with a mental-intellectual structure, incorporating into the stage character his personality, nature and his acting skills for which he was, in his acting career (theater and film), awarded several times.

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Утраченная пьеса Достоевского «Мария Стюарт» (материалы к реконструкции замысла)

Author(s): Vladimir Aleksandrovich Viktorovich / Language(s): Russian Issue: 4/2023

The reconstruction of Dostoevsky’s first literary experience — the lost drama “Mary Stuart” — involves the identification and analysis of the sources of the idea. As a result of the conducted research, a hypothetical chain of events was built. In 1838 (1835, according to other sources), Dostoevsky was impressed by “Mary Stuart” at the Alexandrinsky Theater with A. M. Karatygina in the title role: the image of the suffering queen created by the actress was superimposed on the reading of both Schiller’s tragedy “Mary Stuart” and Walter Scott’s novel “The Abbot.” Russian collection of her biographical documents, published in 1809 and the 1839 French-Russian edition of letters of Mary Stuart, her will and the report on the execution discovered by A. Ya. Lobanov-Rostovsky in the archives, came into the view of the novice writer when he was studying the “historical data” about the “life and execution” of Mary Stuart. In 1839–1840, a fictionalized biography of the “criminal” queen, compiled by Alexandre Dumas, was published. In his version, the image of Mary Stuart is twofold: along with the heroic beginning of the character, the theme of sinful passion emerged. The bifurcation of the image was reinforced in the 1841 essay by Filaret Shal, who also emphasized the religious motives of the unfolding historical drama. Comprehending all these turns of European and Russian historiography in 1839–1842, Dostoevsky could use as the basis of his play the dialogue of the nurse and Mary in the fourth scene of the first act of his tragedy about the correlation between guilt and responsibility, which Schiller did not continue. For Schiller, Mary Stuart is the title character, but not the only main one, moreover, the theme of Elizabeth in many ways attracted dramatic interest. Dostoevsky most likely focused on the internal collisions of the “gigantic character,” whom he placed in a line of Racine’s heroines (first of all, the “Shakespearean essay” by Phaedra): Maria integrated the firmness of spirit in the face of suffering and death itself with the omnipotence of passion, accompanied by torments of conscience. The “historical data” that Riesenkampf hinted at, mastered by the Russian author, allowed to continue Schiller’s creative work. The article identifies and analyzes a range of these data thatrevealed the deep collisions of European history embodied in one of its iconic characters to Dostoevsky.

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Медійність голосу у драматичному тексті Лесі Українки

Author(s): Sofia Varetska,Svitlana Macenka,Diana Melnyk,Yaryna Tarasyuk / Language(s): Ukrainian Issue: 11/2023

Based on the theory of mediative nature of writing the article analyzes the dramatization of voices in Lesya Ukrainka’s dramatic poem Cassandra (1907). The analysis of the text revealed that the author uses voices to create unique characters’ portraits, she skillfully introduces voice gestures, plays with voice masks. Different types of voices have been outlined in Lesya Ukrainka’s text and characterized in the article: the author’s voice, voice of the text, voice of silence, prophetic voice, cry voice, singing voice. Considering the ideas expressed by the researchers in the field of the theory of writing and voice mediality, it has been pointed out that Lesya Ukrainka uses voices not just as a medium but also, she focuses on their physicality, emotionality, gesture nature, and performativity that plays a significant role for representing a tragic cognition in the poem. Moreover, it is stated that the author managed to implement her own voice intonations in Cassandra’s voice.

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Jelentés vs. hatás; az illusztráció csapdája

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Jelentés vs. hatás; az illusztráció csapdája

Author(s): Marcel Bélai / Language(s): Hungarian Issue: 3/2023

The August/September thematic issue of the literary journal Látó featured five recent contemporary Hungarian plays. Marcel Bélai reflects on the impressions the texts made on him as a director, as well as on the possibilities and problems raised by Csaba Székely’s Az igazság gyertyái (The Candles of Truth), Sarolta Döbrentei’s Semmelweisre várva (Waiting for Semmelweis), János Háy’s Elem (Battery), Zoltán Egressy’s Szarvas a ködben (Deer in the Mist) and Leonidasz Purosz’s Honvágy (Homesickness).

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Un homme léger (Guignol loufoque)

Author(s): Béla Balázs / Language(s): French Issue: 02/1991

A play by Bêla Balazs

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Иван Грозев в българската литературна история и критика през последните 30 години (1990–2020)

Author(s): Elena Azmanova-Rudarska / Language(s): Bulgarian Issue: 5/2023

The article examines the literary criticism of the work of Ivan Grozev in the period 1990–2020. There is a hesitant attitude towards the writer – on one hand of perception and affirmation as a major figure in Bulgarian modernism of the first half of the twentieth century, and on the other hand – neglected, omitted and underestimated. The studied critical materials are oriented in three directions. The first is research that tries to present Grozev’s place in literary history and the literary process, literary analyzes of specific works. Other works ignore or make little mention of the writer’s place, but offer a rich analytical mechanism for understanding his works. A third group describes collections and reference editions that offer Grozev’s work to the reader. Studies of Sv. Igov, Iv. Teofilov, T. Ichevska, V. Ruseva, Tsv. Georgieva, Y. Eftimov, Ev. Dzhevietska, St. Stoycheva, V. Doneva, M. Kirova and others are examined. The main conclusion is that the reasons for neglecting Ivan Grozev are more non-literary – these are the long period of silence of Grozev’s work (almost 30 years), the time of reception of the texts, as well as the ingrained notion that Bulgarians prefer patriotic rather than religious -mystical. Thus the critique of Grozev becomes a critique of the place of the mystical in Bulgarian literature.

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Езикът на лудостта във и след комедиите на Аристофан. Наблюдения върху „осите“ и върху съвременната психиатрична лексика

Author(s): Boryana Chomakovska / Language(s): English,Bulgarian Issue: 1/2023

In the Old Attic comedy many states, values and human reactions are reversed. Мadness is rarely associated with great misfortunes or serious illness. Going crazy more often causes laughter, and can even be helpful in solving a private or public problem. Aristophanes’ drama “Wasps”, however, displays a malicious form of madness: the plot is based on a conflict between the generations – the son tries to reason with his father, who has a strong passion, even addiction, to participate in litigation. Starting from this testimony, in the second part of the text we discuss the heritage of ancient languages in modern psychiatric vocabulary. From the point of view of psychiatry, the types of psychiatric diseases containing the term element -philia are considered.

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KAKO SE TOP-DJEVOJKE PRETVARAJU U HITLERINE? FEMINISTIČKO-SOCIJALISTIČKA ANALIZA DRAME KERIL ČERČIL TOP DJEVOJKE (1982)

Author(s): Svjetlana Ognjenović / Language(s): Serbian Issue: 28/2023

The play Top Girls (1982) is certainly one of the most significant, most performed and most studied plays of modern British theatre. Generally, the interpretations of this piece are based on feminist theory and refer to such issues as the conflict between radical and liberal feminism, which is also mentioned and commented on in this paper. However, our focus lies on the interrelations between patriarchy and capitalism, as well as limited options for women within these two oppressive systems. In order to achieve our goal and present the ways in which, in the words of Zillah Eisenstein, the capitalist patriarchy work, apart from her study, we will refer to the works of Linda Gordon, Nancy Chodorow, Heidi Hartmann and Eva Figes. Our purpose is to show that women’s social status and their life standard cannot and should not be identified with the relatively rare success of individual women - such as Marlen who is the protagonist of the play or Margaret Thatcher who is presented as her role model – who had to embrace traditional male and capitalist values of competitiveness and selfishness in order to achieve their suspicious success. In this paper, we wanted to point out that unless women in power show understanding and empathy to other, less privileged, women, their leading positions and their top girls status do not imply female empowerment and cannot be taken as a feminist victory.

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FROM FAUST TO DR. FAUSTUS. FAUST’S MYTH IN UNIVERSAL LITERATURE

Author(s): Iulian Băicuș / Language(s): Romanian Issue: 36/2024

In this critical essay I have beeen trying to underline and deconstruct one of the most important myth of the Universal culture, the myth of Faustus, and also its appearances in Romanian and European philosopher s and essayist works, like Goethe and Kit Marlowe and Thomas Mann, Lucian Blaga or Constantin Noica to Panait Cerna.

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PROPAGANDA, FREEDOM, AND LITERATURE

Author(s): Veronica-Alina Constănceanu / Language(s): Romanian Issue: 36/2024

The dramatic text has a life of its own, in fact it only really exists when it is performed on stage. Thus, the text gets even closer to the audience, the direct address makes the viewer feels like being an integral part of the story. The advantages and disadvantages of dramatic literature can be outlined from this mixture made of text &performance. In recent years, important studies have been written about dramaturgy, about the social and political context that influenced dramatic literature (and not only). And when it came to post-war dramaturgy, there was a lot of discussion about the connection between propaganda and literature, some authors were more attracted to propaganda (wanting to see their texts coming to life on a stage), others made efforts to stay in the aesthetic sphere. In this article we will focus on the works of three very different (women) authors.

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VALENCES OF THE CHRONOTOPE IN THEATRICAL DISCOURSE

Author(s): Ana Ghilaş / Language(s): Romanian Issue: 36/2024

In the present article, the theatrical discourse is approached from the perspective of the chronotope in the Bakhtinian sense, as interference, interaction of space and time, and their mutual complementation in the process of dramatic action. Based on the analysis of the dramaturgical text and of the theatrical discourse from this perspective, the contextuality of the writing, staging and reception of the drama “Doina” by Ion Druță in performances, staged in different periods by theaters in the country and abroad, are highlighted. The way of structuring and the valences of space-time at the level of image and creation of the atmosphere, of the manifestation of the artistic vision of the creative personality (playwright, director, actor, scenographer) are revealed, as well as the spiritual, identity, general-human meanings of this aspect of theatricality.

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Aut viam inveniam aut faciam. Эскиз о пространстве в драмах ивана вырыпаева

Author(s): Natalia Góra / Language(s): Russian Issue: 14/2014

Playwriting can be divided into two schools in Modern Russian: Moscow (Teatr.doc and Praktika) and Ural (Kolyada-Theater in Yekaterinburg). The most prominent representative of the second one is Nikolai Kolyada – the master of presenting the cruelty and everyday harassment of a lower social class. Ivan Vyrypayev is one of his brightest "students" who described the hell of the "mauled Russian soul" in a similar manner. "The theater is a temple for him. And he is a faithful architect and God in one person for this temple." In the work of Vyrypayev we can find the same type of character – crippled by the world and/or by himself, surviving modernized Weltschmerz, a protagonist who is seeking for the answer. Characters of his playwriting which became symbols of a new Russian drama are: drug addicted (Dreams), schizophrenic (Genesis 2), the murderer (Oxygen), man-eater (July), haunted girl (Delhi Dance), alcoholic (Valentine's Day), visionary (The City Where I Am). Vyrypayev, who is a likeable man with the delicate beauty of a sick boy, wants to deepen his knowledge of metaphysics. He does it with grace by its complete denial. Gruesome stories, vulgar language, pop culture forms, trivialization of life, human frailty - all his dramas seem to be woven out of the compilation of these expressions. He tries to get away from the classic genre and limits of the role of psychology. He adheres to the idea of the text as to the highest instance.

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Popular and Populist Shakespearean Transcreations in Central and Eastern Europe

Author(s): Nicoleta Cinpoes,Kornélia Deres,Jacek Fabiszak,Kinga Földváry,Veronika Schandl / Language(s): English Issue: 1/2023

The article discusses the variety of ways in which the terms “popular” or “populist” could be associated with postwar Shakespearean transcreations in the Central and Eastern European region, pointing out how performers and adaptors challenged the canonical, highbrow status of Shakespeare and used his oeuvre as raw material in experimental forms and genres. Following a discussion on the variety of socio-historical contexts which inspired noteworthy popular and/or populist reworkings in several Central and Eastern European countries, the article takes a more in-depth look at a few specific comic genres, particularly the burlesque and the cabaret in a theoretical framework, and concludes by examining post-1989 experimental theatre practices.

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Monsters and Marvels: Shakespeare Across Opera, Ballet, Dance, Puppetry, and Music in Central and Eastern Europe—and Beyond

Author(s): Anna Cetera-Włodarczyk,Šárka Havlíčková Kysová,Anna Kowalcze-Pawlik,Ivona Misterova,Gabriella Reuss / Language(s): English Issue: 1/2023

This collectively authored position paper discusses “hybrid” Shakespeares in Central and Eastern Europe, focusing on productions that offer formal experimentation and transnational perspectives. While their contexts remain regional, they provide an insight into how Shakspeare has been mobilised regionally. The paper consists of four distinct parts, each considering Shakespeare in a hybrid form: in opera, dance and musical theatre as well as puppetry in the transnational, regional context. The general discussions of Shakespeare’s presence/appropriation in these art forms are followed by case studies that illustrate the significance of hybridity that characterises Shakespeare in the Central and Eastern European transnational context. Our brief analyses and selected case studies suggest a need for a detailed study of Shakespeare and performative arts in Central and Eastern Europe that would concentrate on the transgressive impulse these theatrical blends realised through formal experiment and artistic innovation.

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“This is one Lucianus, nephew to the king!:” Political Dynamics of Four Hungarian Translations of "Hamlet"

Author(s): Zsolt Almási / Language(s): English Issue: 1/2023

In this paper I endeavour to retell a partial history of the Hungarian translation of Hamlet’s commentary: “This is one Lucianus, nephew to the King!” (3:2:239) on the “Murder of Gonzago,” aiming to elucidate the intricate interplay between translation, cultural discourse, and socio-political dynamics. Hamlet’s commentary, seemingly straightforward yet laden with complexity, poses implications capable of reshaping the trajectory and purpose of his theatrical experiment, crafted to probe and establish Claudius’ guilt. The partial history of translations encompasses the epochs of Ferenc Kazinczy (18th century) and János Arany (19th century) up to the modern renderings of István Eörsi and Ádám Nádasdy (20th-21st centuries). Within this framework, I claim that exploring these translations of Hamlet’s commentary offers a gauge of Hamlet’s position in Hungarian cultural discourse. The evolving connotations of words, reflective of linguistic shifts, imbue layered meanings not only onto the statement itself but also onto the theatrical experiment it encapsulates. This exploration of translation, interpretation, and linguistic evolution sheds light on Shakespeare’s and Hamlet’s socio-cultural-political role in Hungary, as translations serve not merely as transparent channels of meaning but also as reflections on the political and cultural commitments of translators and their audiences.

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Other "Hamlet" in Puppet Theatre: A Contribution to Central European Theatre Diversity of the 1980s-1990s

Author(s): Uroš Trefalt / Language(s): English Issue: 1/2023

This study aims to address the stigmatization and reductionism of Central European culture by many scholars and to decentralize it. At the Crossing Borders with Shakespeare Since 1945 conference, the roundtable discussion raised questions about naming and defining “Central Europe” and revealed several discrepancies. However, the discussion lacked cultural, political, and historical context. To address this, the author examines a lesser-known artistic genre, puppet theatre, for answers and comparisons. Zlatko Bourek, a Croatian artist and director, offers a unique perspective on the theatre of the 1980s and serves as an example of the diversity and heterogeneity of Central European cultural expression. Bourek’s work draws from the tradition of Central European puppetry and explores connections between the Iron Curtain and Yugoslavia. His artistic style is exemplified in his adaptation of Tom Stoppard’s play Fifteen-Minute Hamlet, which masterfully condenses the entire plot of William Shakespeare’s Hamlet into a fifteen-minute performance. Bourek’s concept of combining Shakespearean tragedy with farce, presented through Japanese traditional Bunraku theatre, represents an important experiment of the 1980s. The use of syncretism and the aesthetics of ugliness are notable features of this experiment. It is a breakthrough in the perceived history of puppet theatre for adults and an aesthetic experiment in the era of Central European totalitarianism.

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