ПЕРЕВОСПИТАНИЕ ДОЧЕРИ, ЖЕНЫ И МАТЕРИ В ТРАГЕДИИ ЕВРИПИДА «МЕДЕЯ»

Author(s): Victoria Pichugina / Language(s): Russian Issue: 2/2016

By comparison of separate dialogues in the Medea we isolate passages where Euripides inform us about contemporary educational reality. In his Medea, Euripides presents the hierarchy of virtues, which has to be accepted by any ‘educated’ person. Having changed the mythological plot and highlighted these changes by a number of innovative artistic touches, Euripides shows process and result of re-education of Medea-daughter, Medea-wife and Medea- mother who seeks to make understand others and bring herself to reason, being placed in the circumstances which force her to divide between the «one’s own» and the «others».

Cад/парк как «театр памяти» в драматургии Павла Пряжко (Сад Афродиты Дубовик, Урожай, Парки и сады)

Author(s): Olga Bagdasarian / Language(s): Russian Issue: 149/2015

This article displays various interpretations of the image of an orchard in dramaturgy by Pavel Pryazhko. Orchard is used there as “a territory of memory” (personal, cultural and historical). The existence of characters on such territory is rather provocative one because it establishes the distance between the idea of an orchard (as a symbol of the “highest values”) and its modern «variant», which becomes the metaphor of contemporary life.

Šiuolaikinė Drama: Bandymas Įvertinti Sovietmetį

Author(s): Aurelija Mykolaitytė / Language(s): Lithuanian Issue: 88/2016

This article aims at revealing the perspective of possible post-colonial research by analyzing the experience common to the countries of the post-soviet bloc. The reality of the Soviet period has been poorly reflected or included in the sphere of modern post-colonial reflections. The most recent dramaturgy helps to restore the memory of the Soviet period that has been consciously or subconsciously expelled as a traumatic experience. The plays by modern authors of East and Central Europe, Vytautas V. Landsbergis and Villiam Klimáček, disclose how the ideological pressure of the Soviets worked and what traumas it exerted on the people. The most obvious sign referring to the cataclysmic experience of Soviet colonialism is hybridity, double identity which denotes split of consciousness and schizophrenic existence. It has been skillfully described in The Captive Mind (Zniewolony umysł) (1953) by Czesław Miłosz. Modern playwrights have the unique possibility of looking at the period of Soviet colonialism from the perspective of the 21st century. They can reflect on past events and give a warning against the unwanted future. The provocative process of reflection about the past, present and future started with the plays by contemporary authors and continueson the stages of modern theatres.

The Multiple Transmedia Narrative in China: Literary Text, Drama, Games, Films and Television

Author(s): Wei Li / Language(s): English Issue: 5/2016

This article is an attempt to examine the multiple transmedia narrative ranging from literary text, drama, games, to films and TV plays in China. It tries to sketch out the characterization of relevant phenomena. A transmedia production should provide a new narrative experience, which will develop the advantages of various works of art under the restrictions of their attributes, and constitute a dynamic narrative system. The audience becomes more interactive in the spread of transmedia narrative, which forms the participatory culture in various ways. Different levels of the texts create the interactivity and mobility of textual meaning, which form a rich aesthetic feeling in the convergence.

The Censorship of Sir Thomas More and the Performability of History

Author(s): Tianhu Hao / Language(s): English Issue: 5/2016

The manuscript of the history play Sir Thomas More is famous for its inclusion of Shakespeare’s hand. The present essay discusses Edmund Tilney’s censorship of the play. The author investigates the role of the censor in Elizabethan England and the subtle relationship between dramatic censorship and state ideology from the perspective of the performability of history through a comparative study between the historical text and the dramatic text. The censorship of Sir Thomas More indicates that the Master of the Revels was a convenient tool of the theatre as well as a necessary instrument of the state.

Natalia Malutina, Poetyka wypowiedzi w sztukach dramaturgów odesskich Anny Jabłońskiej i Aleksandra Mardania, Wydawnictwo Uniwersytetu Rzeszowskiego, Rzeszów 2016, ss. 180.

Author(s): Wanda Supa / Language(s): Polish Issue: 17/2017

МІЛІТАРИЗМ ЯК СПЕЦИФІЧНА ХУДОЖНЯ КООРДИНАТА П’ЄСИ «РОЗГРОМ» І. БАГРЯНОГО

Author(s): Alina Zhelnovach / Language(s): Ukrainian Issue: 4/2017

The research is devoted to the play “Rozghrom” by I. Bahrianyi, which is describing the period of Ukrainian-German conflicts during the Second World War. The purpose of the study is to consider militarism not only as a postulate state ideology, but also to describe this term as a specific metaphorical projection of the Second World War as well as to trace the interpretation of collective militaristic consciousness in the author’s representation in the nativity-scene “Rozghrom”. An insufficient study of both this author’s play and his drama works in general due to the forced inaccessibility of the writer’s artistic texts for a Ukrainian reader during long time is determined. The research uses such methods as biographical (the influence of I. Bahrianyi’s biographical factors on his creative manner as well as on the representation of Ukrainian authentic culture among world community); historical-cultural and sociological methods (allowed to enter the analyzed play in the scope of the contradictory socio-political process of the Second World War); mythopoetic method (conceptual effects of myth-creation on the formation of Soviet ideological practice); structural-semantic and structural-semiotic methods (understanding of the text as a special sign system in the cultural context of its time). Scientific novelty. For the first time the article analyzes militarism as a specific artistic concept which is considered in the author’s play in three versions: anti-colonial, adventurous and intellectual. The anti-colonial direction of the play consists of de-ideologization of the so-called liberating militaristic myth, built on the pathetic heroization of the victories of Soviet Red Army. The adventurous version of the militarism in the proposed writer’s play is marked by tragedy due to ambiguous feat of brigade commander Maxim. The intellectual discourse of the war in the drama metaphorically appears on the chess field, which corresponds to the reality in a symbolic way. Conclusions. The conclusion is made that the fascist attempt to militarize Ukrainian culture, to lower its spiritual potential is collapsed in the author’s dramaturgical version.

Prostor cenzure

Author(s): Sarah Kofman / Language(s): Croatian Issue: 23/2018

Odlazeći u teatar, upućujemo se na mjesto njemu posvećeno, u zgradu gdje se prikazuju »predstave«, u dvoranu namijenjenu priredbama: uglavnom nikakva iznenađenja za gledatelja koji uvijek ima posla s istim dispozitivom, dispozitivom klasične pozornice. Idemo dakle na predstavu i kao gledatelji pokoravamo se određenu broju konvencija: odjeveni katkad u »večernje odijelo«, u ovoj ili onoj dvorani obavezno, podređujemo se tako istinskom ritualu. Taj ritual, koji se čini zastarjelim i bez značenja, čini se, ipak nužnim da bi djelovala katharsis po koju smo došli u teatar, pa makar ona bila u tome da za vrijeme predstave »zaboravimo« na svakidašnje brige. [...]

Elementi retorike u Nušićevoj komediji Narodni poslanik

Author(s): Svetlana Gradinac / Language(s): Serbian Issue: 3-4/2014

Nušić je svoju komediju Narodni poslanik nazvao „šalom u tri čina“, a napisao ju je u svojoj 19. godini. U jesen 1883. pročitao je delo svojoj književnoj braći, Vojislavu i Dragutinu Iliću, Vladimiru Jovanoviću i Kosti Arsenijeviću, u bašti Ilićevih u senci starog oraha. Delo je čekalo punih 40 godina da ugleda svetlost pozornice i da bude objavljeno. O tome Nušić piše u predgovoru ovom delu „Pre 40 godina“, gde obrazlaže na kakve je sve prepreke nailazilo ovo delo od trenutka kada je kao rukopis predato tadašnjem upravniku Narodnog pozorišta, Miloradu Šapčaninu. Iako je imalo pozitivnu kritiku dvojice recenzenata, Milovana Glišića i Laze Lazarevića, rukopis je čamio po fiokama Narodnog pozorišta i policijske uprave sve dok ga od zaborava nije spasao policajac i pisac, Tasa Milenković, koji ga je vratio Narodnom pozorištu. Razlog za ovako dugo odlaganje i zabranu prikazivanja Narodnog poslanika je glavni motiv komedije – ismevanje političke borbe, predizborne kampanje i nedostojnost vladinog kandidata za narodnog poslanika. [...]

Bibliografia e harruar e dramës shqiptare

Author(s): Erenestina Halili / Language(s): Albanian Issue: 37.2/2018

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.

Protagonisti u komadima hrvatske drame produciranim u HNK Mostar

Author(s): Maja Lasić,Srđan Vukadinović,Boris Balta / Language(s): Croatian Issue: 1/2019

Različiti protagonisti tvore kazališni čin koji kao takav čini specifično institucionalno biće. Autorski, redateljski, glumački, scenografski, kostimografski i mnogi drugi strukturni segmenti jedne kazališne ćelije, kao osnove institucionalne kazališne kuće, predstavljaju obilježje i komada, i grupacija istih. Hrvatska drama na sceni mostarskog HNK je u predstavama rađenim po njoj iznjedrila u dosta teškim okolnostima značajan broj protagonista. Bez obzira da li su oni bili stalni članovi ansambla ili su gostovali u jednoj ili više predstava ostavili su traga kroz dvoipodecenijsko trajanje mostarskog HNK. Među autorima hrvatske drame koji su najviše puta igrani na ovoj sceni su djela Mire Gavrana. Redateljski rukopisi po kojima se prepoznaju komadi hrvatske drame izvedeni na ovoj pozornici su oni koje potpisuju Joško Juvančić, Želimir Orešković i Robert Raponja. Glumačke stranice ovog dramatskog žanra na HNK-ovskoj mostarskoj pozornici su kreacije Tatjane Feher, Sande Krgo, Ante Vicana, Tonija Pehara i Joze Lepetića. Svi spomenuti protagonisti ispisuju četvrt stoljeća Kazališta koje baštineći hrvatsku dramu postaje značajan konstituent ove dramske strukture u Regionu.

KOMEDIJA DELL’ARTE JOŠ UVIJEK ŽIVI: FENOMEN KOMEDIJE DELL’ARTE U SAVREMENOM POZORIŠTU

Author(s): Aida Čopra / Language(s): Bosnian Issue: 1/2019

The restoration of the phenomenon commedia dell’arte emerges in the contemporary theatre in the beginning of the 20th century. Some of the noteworthy actors-authors and directors of the 20th century introduce their own work based on the system and methods of the dell’arte comedians. This system regards to body techniques (in all its aspects), improvisation, masks, epitomised characters and their development and evolution in the contemporary age. They revitalise a theatre where the actor is the “master” of everything. Speaking of its successors, we want to point out that certain aspects of commedia dell’arte are still present in the contemporary theatre through different forms: commedia dell’arteas a theatre of the actors (the need for a strong technical and cultural preparation of the actor who is the only genuine artist on the stage and who is aware of what he or she can accomplish with his/her artistry through words, movements or mime), commedia dell’arte as a harmony of a language expression (sound, rhythm, grammelot), commedia dell’arte as a theatre convention (a theatre as a system of signs that are articulated owing to technical and linguistic use of a mask). On the other hand, analysing theatre creativity by Carlo Boso, we want to emphasise that commedia dell’arte does not only have an effect, but also its tradition is reborn by adjusting itself to the new sensibility and new vision of the world created by the contemporary man. “Commedia dell’arte still lives”.

Haunting Trauma: an Analysis of Beside Herself by Sarah Daniels

Author(s): Bernadetta Jankowska / Language(s): English Issue: 24/2019

The aim of this paper is to examine how the concepts of trauma and hauntology intertwine each other in the play Beside Herself (1990) by Sarah Daniels – a British contemporary woman playwright. Sarah Daniels’s dramatic plays present the critique of patriarchy as well as the stereotypes and prejudices in contemporary societies (Godiwala 2003: 121). The subject matter of Daniels’s plays is also the problem of violence and abuse towards women (Griffin 2000: 194-211).The main reference for the analysis will be the portrayal of Eve – the inner self of the protagonist Eveline. Incorporating the theory of trauma, the newly developed concept of “trauma culture” (Wald 1995: 95), as well as the concepts of hauntology theory (Jacques Derrida’s deconstructive spectre and Nicolas Abraham and Maria Torok’s phantom) the analysis will concentrate on such factors as: trauma/haunting resulted from child sexual abuse, the figure of the ghost as a part of double personality, the ghost as the personification of traumatic experience not only for the individual but also for the whole mankind and the way in which haunting trauma can involve the further life of the protagonist.

A Thematic Comparison between The Caretaker and Endgame

Author(s): Saeid Rahimipour / Language(s): English Issue: 24/2019

The cross comparison of the works of art has always been fascinating and has led to the discovery of many interesting ideas. Although much has been written on Harold Pinter and Samuel Beckett’s works, this paper introduces a comparative outlook of two of their works. Basing its approach on content analysis, the paper compares the theme of menace in The Caretaker by Harold Pinter and Endgame by Samuel Beckett. We try to show how protagonists in both plays are afflicted by some sort of threat which is best justified by the manifestations of Pinter’s Comedy of Menace which in the end results in Beckett’s Theatre of the Absurd. One character is threatened by the nationally oriented fears of the system and the other harbingers an international atmosphere of menace hovering over the mind and soul of the protagonists at a micro level viewpoint and reflecting that of the postmodern man at a macro level one.

Liu Danli: Visualising the Chinese Dream

Author(s): Yue Wang / Language(s): English Issue: 7/2018

This essay examines how the performance art of Chinese national soprano Liu Danli narrates successfully the Chinese Dream and thus arouses new hopes and a rising sense of confidence in Chinese people’s minds. Her masterpieces Si Qing Ji, Hong Hu Chi Wei Dui, and You Ai Cai You Jia have been building our own culture from different angles. Her unique style, with elegant and poetic interpretation, is formed due to her tough training and abundant stage experience gained in early years at the theatre group. She has been integrating the scientific methods of opera singing in occidental bel canto to her later arias, combining Chinese Xiqu techniques in phrasing, singing and body movement into vivid characterization, thus making daring reforms in script adaptation, voice appropriateness, ballet footwork, action design, melody design and singing style to canonic plays and recreating new canons.

Zamknięcie w języku. Oblężenie Jewgienija Griszkowca

Author(s): Weronika Biegluk-Leś / Language(s): Polish Issue: 13/2018

The author of this article analyzes the play The Siege by Evgeny Grishkovets, a renowned contemporary Russian writer. She places it against a background of the rest of his works, exposing essential features that characterize his entire dramaturgy, such as the presence of metatheatrical devices, recognition of the importance of contact with the audience, and emphasis on stage performance. The analysis also draws attention to such elements of the play as non-homogeneous spatio-temoral framework, hybrid composition of characters, and parallel development of plot threads. Special attention is paid to the “imprisoning” of characters in discourses and the ambivalent nature of cultural symbols. As the author points out, the Siege stands out in the Grishkovets’s oeuvre, both by departing from the dominant monodrama form and by juxtaposing key themes recurring in his works: the human experience of war, the reflection on the nature of time, the collapse of language referential abilities, and the impossibility of authentic communication

Обележја књижевне поетике Кормака Макартија у филмској адаптацији драме „The Sunset Limited“

Author(s): Miloš Arsić / Language(s): Serbian Issue: 13/2016

This paper examines those segments of the film adaptation of The Sunset Limited which represent key features of Cormac McCarthy’s literary idiom: treatment of time and space, allegory, violence, nihilism and an ambiguous ending. The most prominent and important elements, which constitute the poetics of this author, are to be recognised in the approaches opted for by the film’s director Tommy Lee Jones. Success of this adaptation lies in the right choice of motifs from the original novel and in a convincing way of placing them in the foreground.

Aktovka „dekret“, drama iz savremenog muslimanskog života derviša imamovića – začetak autorovog socijalnog angažiranja

Author(s): Ikbal Smajlović / Language(s): Bosnian Issue: XVII/2019

Drama "Dekret" (Decree) was at the same time the first of his literary works, which also brought him victory at „Gajret's“ literary competition in 1932. This and the drama "Žrtve tradicije" (Victims of tradition) deal with various and temporary social issues. It considers family and describes it, deals with relations between a man and a woman and also deals with „issue of woman“, trying to examine and trying to find her place in tradition and in new modern society. But this drama also deals with relations of the country and government towards the ordinary man, relations between the rich and the poor, the educated and the uneducated. The drama is built around the conflict between Đulaga and Fadil, whose characters are modeled into figures whose relations represent binary oppositions: old / young, modern / backward, advanced / retrograde, modernization / tradition, schooling / physical work etc.

Сусрети Луиђија Пирандела са војвођанским гледаоцима и критичарима између два светска рата

Author(s): Marijana Savatović / Language(s): Serbian Issue: 10/2014

Luigi Pirandello in the Eyes of the Audience and the Critics of Vojvodina Between the Two World WarsFrom the foundation of the Serbian National Theater in 1861 to the final applose in 1941, Italian writers were present on the Vojvodinian scene. Their encounters with the audience were at times very successful, and at time less successful, but they left a significant mark on the theatrical life of Vojvodina. Among them were the great writers like Goldoni and Pirandello as well as those less renowned in Italy. The purpose of this paper is to reveal the impressions on the spectators and the theatre critics after the encounter with the pirandelle theatre, but also to try to shed light on reasons why this writer could not remain on the scene.

La description du corps furieux dans les tragédies de Sénèque

Author(s): Sophie Roesch / Language(s): French Issue: 6/2012

In Seneca’s tragedies there are numerous descriptions of characters overwhelmed with fury. These descriptions, which imply both static and dynamic features, are rooted into what was known in ancient times as ekphrasis – it is a rhetorical procedure which encompasses the accentuation of expressive details during a thorough description of a certain situation or scene. In Seneca’s works, in such descriptions there are traces of stoic theories where there are displays of inconstantia, which is typical for a person exposed to passion or which represents a connection between man and the universe, where furor represents furious elements. On the other hand, ekphraseis too are conditioned by physiognomic and medical theories of Seneca’s era, according to which the body is but a reflection of soul. The frequent use of these descriptions points out to their specific dramaturgic function – embedded in key moments of action, they enrich the discourse with additional elements by exerting affective influence on the audience. Finally, the descriptions make an intertextual fabric which puts characters from different tragedies into immediate vicinity, thus amplifying their dissuasive effects through such resonance.