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Vydūnas ir jo dramos: tapatybės, lūžiai ir iškreiptos figūros

Author(s): Gediminas Karoblis / Language(s): Lithuanian Issue: 6/2006

In this research paper the play Probočiu Šešëliai [The Shadows of Forefathers] written by famous Lithuanian philosopher Vidunas is analysed in details. Besides classical critical analysis of the text, deconstruction as the method is used as well, making the meanings intended by the author reversible. The innovation of the research is the third methodical part of it – the hermeneutic-phenomenological protocol. The results and the process of the research are described concerning the dynamics of time and problem solving. What is most often left undisclosed in a real research – its temporal duration, findings and disappointments, here is very strongly put on the surface of the consciousness. The researcher in this way is disclosed as the embodied and the embedded agent in the process of research. Analysis of the direct object of the research – the play Probočiu Šešëliai – along these methodical lines of structural deconstruction and hermeneutic-phenomenological protocol clarifies the figure of Visuomis as a non empathic philosopher. This predicate might be projected to the whole spiritualistic philosophy of Vidunas. Much discussed philosophy of the body developed by Vidunas is strongly questioned, analysing a few examples from the life of Vidunas himself: the early childhood and the turningpoint event of his falling from the ship. The whole body of Vidunas in this event was shocked, as he describes himself, and Vidunas understood in the new light the relevance of the body in the experience of the world. Does this event might be considered as the “Lithuanian version” of the collision of God of the Philosophers and God of Abraham, Jacob and Isaac?

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«Диалоги согласия»: конвергентная стратегия в пьесах Ивана Вырыпаева «Иллюзии», «Летние осы кусают нас даже в ноябре», «Пьяные», «Солнечная линия»

Author(s): Elena Kurant / Language(s): Russian Issue: 2/2018

The dramatist, film and theatre director Ivan Vyrypajev is one of the leading representatives of the contemporary literary process. Using postmodernist means, Ivan Vyrypayev, however, goes beyond the postmodern worldview. He creates a theatrical and paratheatrical project (pedagogical activity, meetings with the audience, production activities) based on his own philosophical and aesthetic system. Compared to the traditional theatre (and also contemporary new dramaturgy), it is an alternative project of a conceptual, performative text directed at the recipient and open to the recipient; a new project of social discourse theater that combines the elements of entertainment and the tricks typically found in the socalled “mass art” with the performative effectiveness of interaction and the presentation of specific philosophical views on the condition of the modern man. In Drunk, Summer Wasps Bite Us Even In November, A Sunny Line, the characters are placed in a limited space enclosed by a pattern of domestic dramas; they engage in small-talk, confide and quarrel with each other, but above all, they desperately seek connection – all they wish is to get closer to each other, but no matter what they say or do, they encounter endless obstacles in the form of the language itself. The language they operate is against all communication: it does not allow them to hear one another, it makes it impossible to establish “contact” – the most important thing and the way to “regain” the disintegrating identity in the process of experiencing the Other. A character, seen as a “formal construct,” unable to go beyond the language discourse, tries to find meaning that is not provided by traditional dialogue in language experiments. The deposition of separateness, foreignization and meta-theatrical tricks let the characters rise to a new level of “otherness,” which, paradoxically, allows them to transcend from extraneousness and a lack of understanding to oneness and harmony. The wearing of a mask in imitation of the psychodrama pattern (A Sunny Line) creates an atmosphere of acceptance, understanding and trust, necessary for real open communication. Crossing the barriers, searching for the most important values, disentangling the ultimate questions in everyday life, among trivial needs, reveal a desperate desire for love; seeing a desperate attempt to communicate with other people in routine conversations, the playwright looks to the man who found himself on the edge, to his relations with others people, with God and, ultimately, with himself.

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Posthumanistliku teatriteksti võimalikkusest

Author(s): Rina Oruaas / Language(s): Estonian Issue: 07/2019

In this article, I read a selection of 21st century Estonian plays through the lenses of posthumanism. I examine the matters of subjectivity, corporeality, consciousness and relation to technology of the characters based on Katherine N. Hayles’ pioneering How We Became Posthuman (1999) and Rosi Braidotti’s The Posthuman (2013); some relevant ideas of transhumanism exceeding the biological limits of the human organism (Nick Bostrom) are also considered. The first selected play is uus elysium. une luup (new elysium. dream loupe, 2001) by Andreas W and Jaak Tomberg. The play is a textual experiment of the technological theatre, the action takes place in virtual reality. go neo und romantix (2013) by Kadri Noormets is postdramatic and highly poetical. Otsuse anatoomia (Anatomy of Decision/Otsus, 2015) is a scenario of interactive theatre in Cabaret Rhizome, consisting of 64 possible plot developments. The audience are invited to influence the events in a family called Otsus (‘Decision’). Siret Campbell’s drama Beatrice (2017) is a science fiction romance depicting an attempt of prolonging the human life after the death of the physical body. This analysis is supported with two examples, Girl in the Machine (2017) by Scottish author Stef Smith, and The End (2010), a group work of Von Krahl Theatre performers. Although the form of drama appears to be productive representing the ethical conflicts of a possible transhumanist future, the posthuman ideas appear in a more intriguing way in experimental texts. The ideas of posthuman subjectivity appear in the ways the concepts of body and consciousness are entangled in each text. Posthuman subjects can be amalgams (Hayles), socially and digitally programmed (Edward Scheer), but they are always dynamic and exist in an in-between zone of different concepts of the human and poetics of dramaturgy. The relation to technology is dominantly conflicted or dystopic, but might also form a challenging continuum of the human, technology and nature.

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Alegorie a odkazy k apoštolu Petrovi v Shakespearově Romeovi a Julii

Author(s): Petr Osolsobě / Language(s): Czech Issue: 1/2018

The recusant culture in the time of the queen Elizabeth (1558–1603) developed a lot of rhetorical devices, figures, tropes and allegories to convey hidden religious and political meanings. Apostle Peter, whose authority had been lessened by reformers, epitomized the institution of papacy and the Roman Church for the Catholics as is clearly understandable from the poem Saint Peter’s Complaint by Robert Southwell or from the motet Tu es Petrus by William Byrd. In The Tragedy of Romeo and Juliet Shakespeare creatively adapted motifs taken from his sources (Brooke, Painter) but added to them a remarkable number of allusions, canonical terms, and references to St. Peter the apostle, to the Ecclesia Romana and to Rome as well as to the liturgy of Maundy Thursday and Good Friday, thereby underlining a sacrificial value of Juliet’s suffering in figura Christi for the sanctity of her marriage. This article supports the thesis that Shakespeare made use of the Bible and scholastic philosophy for his dramatic purpose, and deliberately imbued the secular subject-matter with a religious vocabulary and imagery.

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Její pastorkyňa jako venkovský román. Transformace pro populární četbu

Author(s): Jaroslava Janáčková / Language(s): Czech Issue: 1-2/2010

In 1930, being retold by the author as a novel, G. Preissová’s most successful drama Její pastorkyňa (1890) entered the sphere of popular reading. It was at the time when the rural literature enjoyed popularity again owing to the so-called Ruralists, after having been previously shifted out by avant-garde influence to the periphery of literary life. The opera Jenůfa by L. Janáček got on the world’s prestigious stages and the original drama was first adapted for the screen already in the silent era (director R. Měšťák, 1929). Now, in competition with the celebrated artistic transformation of the composer Janáček, authors of the film (and continuous productions of her play), the author of the adapted novel chose the easiest way of communication with a perceiver – that is a book. In this epic narrative mode she both extended and simplified the story of the original play and added the happy ending.

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K problému problémové dramatiky: Já, Jákob Vítězslava Gardavského

Author(s): David Kroča / Language(s): Czech Issue: 1-2/2010

The paper deals with the interpretation of the play Já, Jákob (prem. 1968) written by the philosopher Vítězslav Gardavský (1923–1978). This drama, well rooted in biblical motifs, presents the Old Testament myth of Jacob as a parable of a man`s eternal struggle for his own identity. The author of this paper is trying to answer the question to what extent this drama stands out from the context of the 1960s drama, whether it comprises the features of so-called problem drama and why the potential of its stage presentation is considerably limited.

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Lithuanian Literature and Shakespeare: Several Cases of Reception

Author(s): Eglė Keturakienė / Language(s): English Issue: 2/2019

The article is based on the reception theory by Hans Robert Jauss and analyses how Shakespeare’s works were read, evaluated and interpreted in Lithuanian literature in the 19th to 21th centuries. Some traces of Shakespeare’s works might be observed in letters by Povilas Višinskis and Zemaitė where Shakespearean drama is indicated as a canon of writing to be followed. It is interesting to note that Lithuanian exodus drama by Kostas Ostrauskas is based on the correspondence between Višinskis and Zemaitė. The characters of the play introduce the principles of the drama of the absurd. Gell’s concept of distributed personhood offered by S. Greenblatt is very suitable for analysing modern Lithuanian literature that seeks a creative relationship with Shakespeare’s works. The concept maintains that characters of particular dramas can break loose from the defined interpretative framework. Lithuanian exodus drama reinterprets Shakespeare’s works and characters. The plays by Ostrauskas and Algirdas Landsbergis explore the variety of human existence and language, the absurd character of the artist, meaningless human existence and the critique of totalitarianism. Modern Lithuanian poetry interprets Shakespeare‘s works so that they serve as a way to contemplate the theme of modern writing, meaningless human existence, the tragic destiny of an individual and Lithuania, miserable human nature, the playful nature of literature, the clownish mask of the poet, the existential silence of childhood, the topic of life as a theatrical performance, the everyday experience of modern women in theatre. The most frequently interpreted dramas are Hamlet, King Lear and Macbeth – Lithuanian literary imagination inscribed them into the field of existentialist and absurd literature.

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Igrica sa Borom

Author(s): / Language(s): Bosnian Issue: 3-4/2021

Literary Text (drama) translated from Danish by Aleksandar Šajin: IGRICA SA BOROM.

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Astrid Saalbach și jocul visului

Author(s): Carmen Vioreanu / Language(s): Romanian Issue: 2/2015

The aim with this paper is to investigate the dream play structure and elements in the Danish playwright Astrid Saalbachs plays Morning and Evening and End of world. As a starting point for the dream play genre definition I use August Strindberg's own reflections on his plays such as To Damascus, Lucky Per's Journey or A Dream Play.

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Драматургия воскресения („Власть тьмы” Льва Толстого)

Author(s): Lyudmil Dimitrov / Language(s): Russian Issue: 3/2011

The play Power of Darkness, which count Leo Tolstoy writes in 1886, is his first significant work after his spiritual (religious) turn in 1880-s. It is strange expression of his new philosophy, because the great author is one of the most extreme skeptics and deniers of Shakespeare, but in spite of that he formalized the ideas of fall and resurrection of human nature in dramatic form. Article follows the features of title, character system and metaphorical story and formulate late Tolstoy`s dramatic technique as Poetics of Resurrection.

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„Kordian” Juliusza Słowackiego w świetle inscenizacji teatralnych

Author(s): Natalia Franke / Language(s): Romanian Issue: 2/2010

The author analyzes the various staging of the drama Kordian by J. Slowacki, showing the importance the Polish directors generally attach to the romantic drama (they compare versions of directors such as J. Kotarbiński, Leon Schiller, Erwin Axer, J. Grotowski, A. Hanuszkiewicz, their contribution to the interpretation of the text, the technical difficulties related to the staging, the inventiveness and upgrading of stage facilities). Once the censorship had disappeared they broke with the romantic drama, by means of which they conveyed their Polish audience numerous moral and political issues, keeping awake their critical spirit and resistance to the communist ideology.

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Stage Aurality

Author(s): Radu Teampău / Language(s): English Issue: 10/2021

The present paper puts into discussion the aspect of stage aurality from multiple perspectives. In this regard, stage aurality is treated in conjunction with the visual aspect of the performance. At the same time, the study focuses on the aural and semiological analysis of the dimension of stage speech. Considering the role of the director in creating the aural architecture of the performance, the study investigates also the narrative aspects of stage aurality. In conclusion, the analysis undertaken notices the way in which the aurality contributes to the unfolding of the scenic actions from the perspective of the spectator considered witness to the scenic events.

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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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The Frequency of Using Conditional Sentences in Drama, Based on The Analysis of Three Drama Texts: Flour in The Veins by Igor Štiks, Crocodile Lacoste by Zlatko Topčić and Romeo and Juliet by William Shakespeare

Author(s): Ivona Šetka Čilić,Tonina Ibrulj / Language(s): English Issue: 11-12/2022

This paper deals with the frequency of use of conditional sentences in contemporary dramas that were not originally written in English but were translated into it. The hypothesis that the paper tries to prove here, states that conditional sentences are not used so frequently in modern dramas, unlike classical plays, which is tried to be proved by analyzing three plays, one of which was written in Croatian (Flour in the veins by author Igor Štiks), and the other in Bosnian (Silvertown / Crocodile Lacoste, by author Zlatko Topčić), both translated into English. Finally, the third drama, Romeo and Juliet, is a classic drama by William Shakespeare. Since the two plays that served as a basis for this analysis, were not originally written in English, the first part of the paper provides a theoretical background on conditional sentences and types of conditional sentences in Croatian, then in English, listing potential translational equivalents of conditional sentences in both languages. The results of the analysis conducted on three dramas, clearly show that the hypothesis was successfully confirmed. However, although only three plays were analyzed, it is expected that the results would be similar in case there were more plays.

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Lurking Shadows: Mental, Emotional and Physical Violence in Caryl Churchill’s Far Away

Author(s): Miruna Ciocoi-Pop / Language(s): English Issue: 1/2021

Far Away is contemporary British playwright Caryl Churchill’s most widely acclaimed play. It masterfully thematizes subjects such as the ever-present threat of totalitarian regimes, innate human violence, and modern dehumanization. Presenting an apocalyptic world caught up in a universal war, where people, animals, and even elements of nature fight each other to death, Churchill points at the imminent destruction of the Earth at the hands of unbridled violence and a general human tendency to look away and ignore the most pressing issues. In the present paper we attempt to analyse how Caryl Churchill thematizes mental, emotional and physical violence in Far Away, and whether she relates to them to an innate human tendency towards evil, or to a historic process of ignoring violence until it escapes human control.

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The Theatre of Sarah Kane. An Accursed Classic

Author(s): Esteve Soler / Language(s): English Issue: 2/2014

The article is focusing on an emblematic personality for the theatrical postmodernism, famous for the violence expressed in her dramas, Sarah Kane synthesizes the tradition and absorbs the classical canon. Her suicide accelerates her celebrity. Even if her plays were severely criticised at her debut, she was sustained by personalities as Harold Pinter, Edward Bond or Stephen Daldry (Royal Court Theatre). Her drama includes various influences, from biblical texts to Shakespearean nuances. The messages maintain a depressive tone, masochistic spirals which express the impossibility of fulfilment of a target.

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Le motif de la déroute dans La Hache de Larry Tremblay

Author(s): Marcella Trifu / Language(s): French Issue: 2/2014

The rowdy character is very common for the contemporary theatre in Quebec. In La Hache, written by the contemporary dramatist from Quebec Larry Tremblay, some very are exposed the diverse characteristics are exposed (obsessions, extravagance, excessive talkativeness, excess, lucidity, grotesque, grotesque, disillusionment). The paper will prove that readers and audiences are about to see how this character - enriched with contemporary theatrical aesthetics - is jostling with the styles of acting.

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Ocolind dogmele: Lars von Trier. Dancer in the Dark

Author(s): Raluca Blaga / Language(s): Romanian Issue: 2/2014

A controversial film director, with a creative style placed at the border between geniality and imposture, Lars von Trier is a “destoyer” of norms, imposes his own manner which combines inside ecuations, elements like tragedy and melodrama. As an avangardist, always with one step ahead the art cinema, he creates codes of images through manoeuvres of tones and colours which compose the theatrical consistency of the movie (image, music and events). One of his outstanding pieces is Dancer in the dark oriented toward a “tragic music hall” style (Gavin Smith), a demonstration of what the tragic contemporary character means for Lars von Trier.

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Pojam scene. Scena uličnog pozorišta kao theatron i skênê Putujuće pozorište Šopalović Ljubomira Simovića

Author(s): Aida Čopra / Language(s): Bosnian Issue: 19/2021

In this paper, we want to present how the street theater, especially that of the second half of the twentieth century, responds to the artistic, cultural, and political demands of contemporary society, making the spectator participate in the stage action. The examples of some of the most important artistic manifestations in the context of public theater, festivals, collective theatre, and carnival will be used to demonstrate that the relationship between the actor and the spectator unfolds through different interactions which exist beyond any “fourth wall”. In this respect, the concept of stage also assumes a new meaning. We will focus on two concepts of stage: the first is defined by Philippe Chaudoir (the stage as the theatron and skênê), and the second is derived from the theory of re-présentation (re-presentation) by Jacques Baillon, who treats the stage as the “double void”. We would like to apply those concepts to a play by Ljubomir Simović titled The Travelling Troupe Šopalović, as well as to certain elements of his stage play directed by Dejan Mijač, in order to establish how Simović’s concept of metatheatre could be interpreted through the street theater in general and through the concept of stage which goes beyond the traditional and limiting scope of the conventional.

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Struggles with Dramatic Form in 16th-Century English Biblical Plays

Author(s): Joanna Matyjaszczyk / Language(s): English Issue: 1/2022

The aim of the article is to pinpoint how 16th-century biblical drama tried to appropriate its genre and medium to carry the reformist message and in what sense the project turned out to be a self-defeating one. The analysis of selected plays from reformed biblical cycles (The Chester Mystery Cycle, play iv; and “The Norwich Grocers’ Play”) and newly composed drama (John Bale’s plays, Lewis Wager’s Life and Repentaunce of Marie Magdalene, the anonymous “History of Jacob and Esau”), supported with an over- view of the criticism on the matter, reveals some common tensions in the dramatic texts which may have had their roots in the reformist need to eliminate any room for doubt that a theatrical performance could leave. The conclusion is that, in its attempts at striking the right balance between dramatizing and overt sermonizing, engaging and distancing, as well as providing an immersive experience and discouraging it, post-Reformation Scripture-based drama oscillated between being more effective as a performance or as a carrier of the doctrinal message, with the resulting tendency to subvert either the former or the latter.

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