Статус медија у савременом експерименталном писању

Author(s): Dubravka Đurić / Language(s): Serbian Issue: 3/2011

In this paper I am dealing with the experiments in poetry and postdrama theater. New British drama in the work of Sarah Kane and Martin Crimp are taken as exhamples of postdrama experiment, realized in the First world country. In my focus then is Ivana Sajko’s work, which is realized in the context of postcommunist Croatia. Experiment in poetry is investigated in the work of American language poets Bob Perelman and Charles Bernstein, and poets such as Jerome Sala and Elaine Equi. Then I am dealing with Jelena Savić and Ljiljana Jovanović’s work, which is realized in postsocialist Serbia. My interest is to investigate the relation of experimental writing, its cultural contexts and its relation to media culture.

The Use of Drama in Overcoming Anxiety in English as a Foreign Language Class: An Action Research

Author(s): Çelen Dimililer,Nurdan Atamtürk / Language(s): English Issue: 97-1/2019

One of the purposes of foreign language teaching is to help students to be communicatively competent so that they can use the language both in and outside the class. Traditional English as a foreign language (EFL) classes are limited in giving the opportunity to the students to use the language effectively in order to develop fluency. There are many graduated students who are unable to speak in public or engage in real communication as they lack confidence in using the language. They can understand the language that is spoken around them, but in practice they fail to use the language they have learned effectively. The impetus for this study raised when such shortcomings were detected in an undergraduate class called Literary Terminology. Eight junior students who were studying in English Language and Literature (ELL) Department of a private university in north Cyprus participated in the study. Drama activities were incorporated into the course as an intervention which lasted sixteen weeks. The data were collected through semi-structured interviews with all the participants to be analyzed qualitatively. The qualitative analysis revealed that a great majority of the participants benefited from the intervention in terms of speaking anxiety, personal development and socialization.

Ideology as Performance in The Power of the Powerless

Author(s): David S. Danaher / Language(s): English Issue: 02/2018

While ideology is a central concept in Václav Havel’s master essay, at no point does he operate with a standard definition of the term. Instead, Havel “defines” ideology in metaphorical and performative terms, reframing our understanding of its meaning and power in the modern world by focusing on its pre-political operation. This point has yet to be appreciated by scholars of Havel. To better understand the import of Havel’s approach, this essay details metaphorical contexts for ideology in The Power of the Powerless and draws connections to ideological performativity in Havel’s plays from the 1970s as well as in the cinema of the Czech New Wave.

Војцек из угла драмске функције и геометрије

Author(s): Jelena Đ. Gojić / Language(s): Serbian Issue: 21/2020

In this paper we analyse the drama Woyzeck written by Georg Büchner, which is a fragment drama characterised with an open form. Therefore, this drama is interesting for analysis. The fragment drama Woyzeck has undergone multiple analyses and to this day is a frequently mentioned topic of many literary debates. This is supported by the fact that we also decided to deal with this topic. For the subject of this work, we set up a structural analysis of the drama, where the drama is divided into several parts and we examine the existence of dramatical functions, clarifying the dramatical geometry within it. The aim of the paper is to show that such an analysis can be done on a drama with an open-form, which is also a fragment drama and therefore we have used the theory of Souriau and Ginestier. The research begins with the study of the mentioned individual structures, in order to be fully integrated in the whole, whereby in this case it is possible to determine the interconnection of these parts.

Znate li što je sit ili sita?

Author(s): Stjepan Babić / Language(s): Croatian Issue: 3/2004

Review: William Shakespeare, Coriolanus (Translated by Hugo Badalić, Koriolan). Reviewed by Stjepan Babić.

VINEGAR TOM: A PLAY ABOUT WITCHES WITH NO WITCHES IN IT

Author(s): Svjetlana Ognjenović / Language(s): English Issue: 33/2020

Although it focuses on the 17th century witch hunt, the play Vinegar Tom actually dramatises historical degradation of women and their ultimate demonization in the form of witches. Challenging the official version of the story of ‘witches’, Caryl Churchill reveals the truth about them as “old, poor, single, or sexually unconventional” women (Churchill, 1985). Following her lead, our intention was to reveal and elaborate on how female sexuality, transgressive imagination and healing skills became a threat to the Church and its dogma, and how this triple threat actually represents a set of three most common accusations against the witches. Furthermore, in the style of new historicist literary approach, we will try to relate this horrendous attack on women with the rise of capitalism and Protestantism, two repressive ideologies that not only legitimized this misogynist campaign but planned it and organized it on the state level. What makes this play significant even today is its contemporariness which is underlined, among other things, by the direct address to audience and the use of modern dresses on stage. Thus, our concluding point would be that every historical period has its own “witches” – be it entire races, groups or individual dissidents

A Psychoanalytic Reading of Selected Persian Children’s Plays

Author(s): Zeinab Karimi,Bahee Hadaegh / Language(s): English Issue: 02/2020

Once theatre aims at children, who are the citizens and decision makers of the future, it can influence the course of society through the values and worldviews that it promotes. The exceptional capacity of this medium in engaging the audience, along with children’s receptiveness, necessitates a meticulous study of the ideologies embedded in plays. This study unravels how these ideological factors can hamper the theatre’s main purpose which is to encourage the audience to form individual fantasies. Accordingly, Žižek’s theories are drawn upon for their hints on ideology, fantasy, reality, and subjectivity. Taking his psychoanalytic views into account, four Persian plays are examined to determine what ideologies underlie these plays’ motifs and instructions, as well as what may justify their presence in plays. On close inspection, it becomes evident that these plays are loaded with conscious manipulative ideologies which are intended to train homogeneous social members rather than present objective glimpses of real life.

A perspective on contemporary Croatian women’s playwriting awards for the play Marin Držić

Author(s): Iva Rosanda Žigo,Ivan Krznarić / Language(s): English Issue: 14-15/2019

The authors present one of the ways that dramatic creativity is encouraged and promoted in the Republic of Croatia, namely the competition for the Marin Držić Award, which was introduced by the Croatian Ministry of Culture in 1991. The authors are particularly interested in the manner and extent to which women, that is, authors and playwrights, are represented in the arena of contemporary trends in national theatrical and dramatic creativity.

Possibilities. On Lukács’ Theory of Genres

Author(s): Jiayang Qin / Language(s): English Issue: 29/2020

›Possibility‹ is the prerequisite for the existence of an object. The study of ›possibility‹ is a consideration of its historical-philosophical background, cultural context and subjective issues. In his studies (especially in his works prior to 1918), Lukács discussed the ›possibility‹ of aesthetics and different genres of art, concerning the relationship between people, society, artworks and the lost totality. This article starts from ›possibility‹ in the works of Lukács, concentrates on the context of the development of different genres, and primarily draws on the example of drama in order to interpret and explain the role genres played in offering the solution to the break-up of the totality.

“People Eat Their Dinner, Just Eat Their Dinner…”: Food Discourse in Anton Chekhov’s The Three Sisters and Beth Henley’s Crimes of the Heart

Author(s): Natalia Vysotska / Language(s): English Issue: 2/2020

The essay sets out to explore the functions of food discourse in the plays Three Sisters by Anton Chekhov and Crimes of the Heart by Beth Henley. Based on the critically established continuity between the two plays, the essay looks at the ways the dramatists capitalize on food imagery to achieve their artistic goals. It seemed logical to discuss the alimentary practices within the framework of everyday life studies (Edmund Husserl, Alfred Schütz, Fernand Braudel, Bernhard Waldenfels and others), moved to the forefront of literary scholarship by the anthropological turn in the humanities. Enhanced by a semiotic approach, this perspective enables one to understand food products and consumption manners as performing a variety of functions in each play. Most obviously, they are instrumental in creating the illusion of “everydayness” vital for new drama. Then, for Chekhov, food comes to epitomize the spiritless materiality of contemporary life, while in Henley’s play it is predominantly used, in accordance with the play’s feminist agenda, as a grotesque substitute for the lack of human affection. Relying upon the fundamental cultural distinction between everyday and noneveryday makes it possible to compare representations of festive occasions in the two plays seen through the gastronomical lens of “eating together.”

50 godina bh drame na pozorišnim/kazališnim igrama BiH u Jajcu: Mali istorijat bosanskohercegovačke drame kroz pregled učešća na festivalu Pozorišne/kazališne igre BiH u Jajcu

Author(s): Marko Misirača / Language(s): Bosnian,Serbian Issue: 16/2021

The text reviews the presence of Bosnian drama and prose literature on professional theater stages in BiH through performances that participated in the Theater Festival of BiH in Jajce in the last 50 years. Through an overview of the participation of performances at one of the most important state festivals, the presence of BiH plays in professional theaters in Bosnia is analyzed in the mentioned period - the treatment of BiH dramas by theaters as well as perceptions of them by the professional audience.

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.

O dynamice i opozycjach XIX-wiecznej kultury

Author(s): Tomasz Sobieraj / Language(s): Polish Issue: 40/2021

Review of: Tomasz Sobieraj - Sabina Brzozowska [2018] pt. W zwierciadle idei. Literatura Młodej Polski – konteksty

OGRIZOVIĆEV DIOKLECIJAN - REALNOST ILI FIKCIJA?

Author(s): Nenad Cambi / Language(s): Croatian Issue: 1/2021

Milan Ogrizović was born on 11th February 1877 in Senj. He lived in Zagreb and was the director of the Croatian National Theatre there for a certain period. He was also an eminent Croatian writer. Before the First World War he set on stage the drama about Roman emperor Diocletian who was firstly an ordinary soldier, then a military commander and finally the emperor (Augustus in the dominate period). During his imperial career, he concentrated his skills on the reforms among which he, to the implementation of the tetrarchic system of rule, hoped to stop the crisis in the Roman Empire, in particular the violent changes on the imperial throne by military forces. Diocletian also introduced many other reforms trying to improve social and religious life. Some of them were successful some unsuccessful. One of his badly conceived measures was the persecution of Christians, which resulted in contradictory opinions about his historical role. Despite this, the contradictory attitudes of many outstanding historians and philosophers cherished positive attitudes about his personality and his historical role until modern times. So Edward Gibbon praised his rule: "Like August, we may evaluate him as the founder of a new empire." Diocletian as well as adopted son of Caesar excelled himself more as a statesman, than for his military skill. Theodor Mommsen praised him as the unsurpassed politician. In the focus of the Ogrizović’s drama is Diocletian’s stubborn persistence on the extermination of Christianity. Diocletian would with others also sacrifice his wife and daughter because of their affiliation to Christianity. But, it is far from being true. The ex-emperor allegedly put aside the relations in his family since he hated Christianity. However, such historical inaccuracy is Ogrizović’s artistic freedom. Milan Ogrizović was the first who performed Diocletian on the stage that was the Peristyle of his Palace in Split. His Peristyle was the place of various real historical events, audiences, protocol and cult festivities where Diocletian appeared and was hailed as imperator senior Augustus. It is the most attractive site for ambient theatre since it was the authentic stage of our days. Since Ogrizović was a theatre man, this fact must have been the inspiration for him. The complete drama was not performed but only the addition "The Death of Diocletian" in 1913, on occasion of the celebration of the 1,600th anniversary of the Edict of Milan staged by the great Croatian and Slovenian actor and director Hinko Nučić. Such an occasion was probably the reason why Ogrizović stressed Diocletian’s great hostility towards Christianity that Constantine admitted existed in 313.

Méprisé, mais pas méprisable – échec de la rhétorique de dissuasion dans Demain matin, Montréal m’attend de Michel Tremblay

Author(s): Sebastian Zacharow / Language(s): French Issue: 4/2020

In Demain matin, Montréal m’attend, a comedy by Michel Tremblay written in the era of a Quiet Revolution, contempt takes on an argumentative value. Lola Lee, a singer and artist in La Main – an artistic neighborhood in Montreal. Lola’s younger sister – Louise – is jealous of the popularity gained by her older sibling. Lola Lee, in the attempt to discourage Louise from the idea of following in her footsteps travels with her through the most infamous artistic venues. During this trip Louise meets artists with questionable morals. The aim of the article is firstly to show how this journey, instead of generating contempt, becomes the core of searching for your own artistic identity. Secondly, the article explains how Tremblay’s art, using metaphors in the style of Almodóvar, represent the national dramaturgy of Quebec, in which the hero, which is an allegory of the whole society, undergoes an evolution that allows him to appreciate his own identity instead of despising it.

Lessing und die Architektur

Author(s): Erich Unglaub / Language(s): German Issue: 18/2021

Lessing's interest in the fine arts is well known, and the boundaries between poetry and painting have been discussed by him in detail. Lessing's comments on the architecture of his time have hardly come into focus. It seems as if the poet were hardly interested in buildings and did not take note of the aspirations of the 18th century. Lessing dealt with architecture on different occasions. The stage directions in his dramas show that Lessing was familiar with and referred to the building conventions of the time and the realities of the theatrical stage. In matters of aesthetics, he received inspiration from the writings of Moses Mendelssohn on architecture and its position in the system of the arts. His view of the buildings he perceived on his Italian journey is influenced by this. In contrast, his assessment of the rediscovered architecture of the Middle Ages is critical. A reflex of his preoccupation with architecture is Lessing's parable about the 'palace', which arrives at astonishing architectural claims.

Медея от съседния вход

Author(s): Stefka Piskuliyska,Doroteya Tabakova / Language(s): Bulgarian Issue: 54/2021

JERTFA PENTRU CREAȚIE: MITUL ESTETIC LA LUCIAN BLAGA ȘI HENRIK IBSEN (STUDIU DE CAZ: DRAMATURGIA ROMÂNEASCĂ VS. DRAMATURGIA SCANDINAVĂ)

Author(s): Ioana Hodârnău / Language(s): Romanian Issue: 1-2/2021

This paper tackles the myth of creation through sacrifice as depicted in Lucian Blaga’s theatrical piece “The master builder Manole” („Meșterul Manole”, 1927) and Henrik Ibsen’s “The Master Builder” („Constructorul Solness”, 1892). The purpose of this paper is, therefore, to explore the ways in which this myth passes through different european cultures. The symbols which gravitates around these literary works become premises for a paradigmatic, psychoanalytic and anthropological analysis.

Поиски счастья в повседневном в творчестве Евгения Гришковца

Author(s): Joanna Baum / Language(s): Russian Issue: 170/2020

The article concentrates on the images of daily and happiness, which are widely used in the novels and monodramas by Evgeny Grishkovets. This problem has not yet been sufficiently considered, however it appeared in literature previously. The paper considers Grishkovets’s works such as The Rivers, Asphalt, At the same time and How I Ate a Dog.

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.