’Playing Handy-Dandy’: Early Hungarian Translations of King Lear

Author(s): Zsuzsanna Kiss / Language(s): English Issue: 3/2018

The paper offers a few insights into the textual and dramaturgical challenges of Hungarian King Lear playtexts, from the earliest ones till 1922. Since the last decade of the 18th century, when the first full adaptation with the so-called Viennese ending was penned, King Lear has constantly been an ‘object of desire’ in Hungarian theatre, literature and culture. Competing with Hamlet and The Taming of the Shrew in terms of popularity, King Lear quickly became a stock-piece. The task of appropriating King Lear attracted the attention of the best actors, authors and translators. Many Hungarian adaptations of King Lear promoted the professional development of Hungarian acting companies and theatres, of translation itself, and of national dramaturgy. Shakespeare’s darkest tragedy filled a vacuum not only on the stages, but also in Hungarian social life, proving to be the perfectly appropriated, updated, and, to some extent, even politically tolerated representation of crisis. From the first stage adaptations, King Lear’s numerous translations into Hungarian have conveyed a compelling sense of ‘double bound’ between page and stage, text and interpretation, translation and performance. This paper investigates how context and congruity validated certain texts and performances of Hungarian King Lears, and how some texts and performances, having illumined one another, expressed what both actors and audience felt, and thus genuinely filled the void between personal and public spheres.

“But Men May Construe Things After Their Fashion”: Julius Caesar and Fascism

Author(s): Elisa Fortunato / Language(s): English Issue: 3/2018

This paper studies censorship and self-censorship in translations during the fascist regime, and the fine boundary between the two (Bonsaver, Fabre, Rundle). It focuses, in particular, on the history, of Shakespeare’s Julius Caesar translations released during fascism in Italy. Shakespeare’s play was read as an appraisal of the Roman qualities, while the dangerous questions about power and conspiracy that the play contains were ignored. This superficial reading explains why, on the one hand, translations of Julius Caesar increased in the fascist years and, on the other hand, why it was performed only once (in 1935 by Tamberlani). The act of translating is by definition an act of manipulation, while on the stage theatrical properties (e.g., Julius Caesar’s corpse) are not concealable. Examining the translations issued during the regime, and in particular the translators’ notes, it is possible to identify a general translation trend that can be interpreted as an act of submission to the dominant thinking (Tymoczko).

“Cast Forth in the Common Air”? Piotr Kamiński’s Translation of Mowbray’s Speech in Richard II

Author(s): Aleksandra Kamińska / Language(s): English Issue: 3/2018

The article discusses the metadramatic aspect of William Shakespeare’s Richard II and the way it is rendered in the contemporary Polish translation by Piotr Kamiński, based on a theoretical reflection off ered by Patrice Pavis. As Richard II is famous as a “play about language”, one of its themes is being exiled from one’s native language. It seems that this metaphor perfectly lends itself to the discussion of drama translation. In fact, owing to Kamiński’s careful handling of this theme, his text might be read as both metadrama and metatranslation. Furthermore, the article looks into the possibility of translations’ influences on the source culture and assesses potential cultural benefits of drama translation.

“Hasanaginica” u Zadru

Author(s): Nikola Šimić Tonin / Language(s): Croatian Issue: 46/2017

Ususret kazališnoj sezoni, u HNK Zadar je u četvrtak, 6. listopada 2016, u 20 sati na programu bila predstava “Hasanaginica”, prema istoimenom djelu Milana Ogrizovića. Predstava je nastala u produkciji Otvorena Scena Obala iz Sarajeva, režirao ju je Admir Glamočak, a u njoj glume studenti Akademije scenskih umjetnosti Sarajevo: Nadine Mičić, Martina Mandek, Deni Mešić, Nedim Džinović, Zoran Dragićević, Fatima Kazazić, Tea Šimić i Maja Mirela Jurić.

“Walking on the Wall”: Postmemory and Hiberno-English in Hugo Hamilton’s The Speckled People

Author(s): Helen Penet / Language(s): English Issue: 1/2021

This article explores how Hugo Hamilton’s childhood memoir The Speckled People works through the postmemory of the narrator’s paternal grandfather’s enlistment in the Royal Navy. The narrator’s father has concealed the photograph of the “sailor in the wardrobe” from his children, and in parallel has built a linguistic wall around his family, denying them access to the English language. In his memoir, Hamilton manages to “walk on the wall” by poetically merging the two languages, and writing in Hiberno-English, which circumvents his father’s binary view of the Irish and English languages.

“СЕКРЕТ ЕЕ УСПЕХА” : РАЗМЫШЛЕНИЯ РОМАНЕ ГУЗЕЛЬ ЯХИНОЙ “ЗУЛЕЙХА ОТКРЫВАЕТ ГЛАЗА”

Author(s): Irina L. Savkina,A. Rozenholm / Language(s): Russian Issue: 3-4/2016

Автор романа «Зулейха открывает глаза» Гузель Яхина, наверное, могла бы по праву претен- довать на звание «Мисс/миссис литературный успех 2015», если бы таковое существовало. Молодая, малоизвестная писательница пишет роман о судьбе женщины, попавшей в тяжелые исторические обстоятельства, «просыпается знаменитой»: получает сразу множество престижных литератур- ных премий. После выхода своего дебютного произведения в 2015 году Гузель Яхина стала лауреа- том премии «Книга года», премии «Ясная поляна» и премии «Большая книга», призовой фонд кото- рой составляет 6 миллионов рублей [3]. Кроме того, её роман вошел в число финалистов «Русского Букера» и в лонг-лист премии «НОС (Новая словесность)».

“Симеон и Магнаурската школа” (Непубликувана пиеса на Рачо Стоянов)

Author(s): / Language(s): Bulgarian Issue: 17/2017

“Фауст” И. В. Гёте И А. Г. Радзивилла: Поэтика И Проблематика Музыкальной Адаптации

Author(s): Tatsiana Suprankova / Language(s): Russian Issue: 97/2018

The pinnacle of the Faust literary processing became the great Goethe’s embodiment. He created three versions of the plot. They are “Urfaust”, a well-known literature “Faust” and opera libretto of the same name. It was coauthored by the Belarusian composer A. H. Radziwill and became popular in the 19th century. Its staging in the National Academic Grand Opera and Ballet Theatre of the Republic of Belarus in 1999 was dedicated to the 250 anniversary of Goethe’s birthday. The version by A. H. Radziwill was the first according the time of writing musical work, the result of long years of the composer‟s and the writer‟s talents‟ joined effort, the product of mutual contacts of the cultures. Therefore, the libretto of “Faust” represents the interest as a work of the romanticism drama, as the great philosophic and esthetic embodiment of Goethe’s genius. The direction of transformation of certain characters by the author, of changing the accents on them in view of the peculiarity of the libretto genre represents considerable interest. The work is also of great interest, because it sums up the interaction of two cultures (the German and the Belarusian ones) and two epochs (the Enlightenment and the romanticism).The article analyzes influence of the opera-libretto upon the development of J. W. Goethe‟s views about Faust-concept in the process of writing his work. Attention is given especially to aspects such as philosophical content of artistic images and the adaptation of the metrics.

„Ez is egy érzésköteg, amiről vagy tudunk mondani valamit, vagy nem”

Interjú Terék Anna költővel, drámaíróval

Author(s): Dóra Mărcuțiu-Rácz / Language(s): Hungarian Issue: 801/2020

„Niebo trzecie” księdza Piotra. Szkic komparatystyczny

Author(s): Jerzy Fiećko / Language(s): Polish Issue: 33/2020

The author analyses the function of the “Third Heaven” motif, which appears at the end of the fifth scene in Mickiewicz’s drama, Forefathers’ Eve Part III - this is where the Angels decide to take the soul of the sleeping priest Peter, one of the main characters in this work, for a short time. The author questions the inspiration that the poet might have drawn from St. Paul’s 2nd Letter to the Corinthians and from the writings of theosophers such as Jakob Boehme (especially Aurora or Rising at Dawn) and Emanuel Swedenborg (his treatise on Heaven and Hell), in which the theme of a “Third Heaven” played an important role. Research has already drawn attention to these relationships. Making a conditional, historically probable assumption that the influence of these works has had a significant impact on the formation of the supernatural world in Mickiewicz’s drama, the author considers the semantic-ideological consequences that would result from placing a monk’s soul in the “Third Heaven” in St. Paul’s, Boehme’s and Swedenborg’s versions, respectively. In conclusion, the author formulates the thesis that greatest number of arguments can be advanced in favour of a connection with Swedenborg’s concept, although this does not settle the matter definitively.

„БАЛКАНСКАТА КОМЕДИЯ“ НА БОРЮ ЗЕВЗЕКА – ИЗМЕРЕНИЯ НА СМЕШНОТО

Author(s): Roman Hadzhikosev / Language(s): Bulgarian Issue: 3/2021

The article presents a little-known Bulgarian literary work, the play "Balkan Comedy" by Boris Rumenov (Boryu Zevzeka). It was written during the Balkan Wars (1912-1918) and presents the relations between the Balkan states at that time in an allegorical way. The play is the most popular work of Boris Rumenov, who, before and after the wars, was the editor-in-chief of one of the most successful humorous newspapers in Bulgaria called "Drum". He and Stoyan Shakle, one of Rumenov’s closest friends, who wrote for the newspaper, founded a touring theater. They performed all over the country for years and the most popular play was "Balkan Comedy". During the First World War, the play was performed on all fronts of the Bulgarian army, usually by amateur actors, and it generated incredible enthusiasm and patriotic inspiration, thus enjoying a huge success. "Balkan Comedy" was an essential part of the theatrical performances, which also included songs, sketches, recitations and other popular forms of entertainment. As it reflected the actual historical events, the play was presented in its first three acts until 1918, and after the end of the war, the author added a fourth act, which, however, had a different emphasis from the end of the third one.

ЂЕ СИ БИО КРЊО?

Author(s): Petar Milatović Ostroški / Language(s): Serbian Issue: 1/2018

A fragment from monodrama by Petar Milatović Ostroški

Љубав према ближњима

Author(s): Leonid Nikolaievich Andreyev / Language(s): Serbian Issue: 1/2019

Дивљи крај у брдима. На стени која је скоро савим окомита, на малој, једва приметној избочини, налази се некакав човек у очајничкој пози. Како се тамо створио, тешко је објаснити, али се до њега не може доћи ни одозго, ни одоздо. Кратке лествице, конопци и мотке показују да је покушавано да се непознати спасе, али без успеха. [...]

Црнила како национална драма

Author(s): Jelena Lužina / Language(s): Macedonian Issue: 57/2007

Познатата драма на Коле Чашуле – организирана во прилично нестандардна квадрифониска/„четиричлена“ форма (во четири дела, а не, како што би вило вообичаено, во четири чина), насловена со прилично стигматична и соодветно конотативна синтагма „Црнила“ – несомнено е една од клучните македонски драми, едновремено и драма што лаконски („по автоматизам“) се атрибуира како „национална класика“, што и да значи оваа прилично неодредена/неодредива формулација. Текстот што следи има намера да ги истражи потенцијалните значења на таа формулацијата, обидувајќи се истите да ги аргументира или да ги проблематизира со помош на егзактни и апсолутно проверливи факти.

Црнохуморна представа деградираног друштва у комедији апсурда Душана Ковачевића

Author(s): Đorđe N. Kebara / Language(s): Serbian Issue: 20/2019

The intention of this paper is the semantic disfiguration of the cultural subtext of black-humorous elements in Dušan Kovačevićʼs comediography, and a method of research is to synthetically discover the meaning on a symbolic plane of the text. The comic elements of Kovačević‘s plays are presented based on the plays: The Marathon Family, Radovan III, Balkan Spy, Claustrophobic Comedy, The Professional, Roaring Tragedy, also, based on film adaptations of plays Balkan Spy and The Professional. The subject of this paper is to determine the genre charcteristics of Dušan Kovačevićʼs comedies, as well as a comparative analysis of parodic in the context of Serbian literature history. An analysis of comic elements is performed based on the theory of drama, comedy and absurdity. This paper discusses the concept of parody and grotesque. The second part of the paper refers to extratextual characterictics that are scenic type of nature and contribute to the atmosphere of black-humorous social regression. The goal of this paper is to relate the characterisation of Dušan Kovačevićʼs dramatic prosèdē as tragicomic. His comedies demonstrate internal aspects and characteristics of tragedy, but the actions of the characters from plays are comic in nature.

ЧЕЛОВЕК И СУДЬБА В ДРАМАТУРГИИ Ю. О’НИЛА

Author(s): Sergei Mikhailovich Pinaev / Language(s): Russian Issue: 2/2014

The article considers the idea of the conflict between man and fate, and describes the nature of the tragic as the most important aesthetic category in O’Neill’s main dramas. The work is focused on the problem of fate and the evolution of this concept. In O’Neill’s early plays, it transforms from inscrutable behind-life forces to an internal entity associated with subconsciousness, family connections and genes. In his late plays, fate is represented by society hostile to man. However, O’Neill believes that fate can never defeat human spirit.

Човекът - изваден наново

Author(s): Enyo Stoyanov / Language(s): Bulgarian Issue: 12/2022

The text offers a review of Prof. Miglena Nikolchina's monumental study "God with Machine: Subtracting the Human", dedicated to fundamental theoretical conceptualizations around anthropological issues. The review dwells in particular on the central conceptual paradox outlined in Prof. Nikolchina's book, namely the double determination of man as "a being who wants to be human" and “being who does not want to be human”

Џојсово промишљање о љубави без слободе и слободи без љубави у драми „Изгнаници“

Author(s): Biljana R. Vlašković Ilić / Language(s): Serbian Issue: 12/2015

Joyce’s play Exiles (1918) is considered his least successful work, especially in comparison to the complexity of symbolism and the stream-of-consciousness technique skilfully employed by Joyce in his later novels – A Portrait of the Artist as a Young Man, Ulysses, and Finnegans Wake. Exiles, however, documents two significant things: the autobiographical elements incorporated into its plot provide insight into Joyce’s complicated relationship with Nora Barnacle, whereas the play as a whole reveals the influence that Henrik Ibsen exerted over Joyce’s art. Drawing on these two aspects of the play, the paper examines the way in which James Joyce analysed the problematic relation between freedom and marriage, freedom and exile, freedom and dignity, freedom and the beauty of living. The paper favours the thesis that despite the inconsistencies of Exiles and Joyce’s inability to resolve the plot of the play, this early dramatic experiment should be regarded as the artistic work that paved the way not only towards the stream-of-consciousness technique which Joyce perfected in his subsequent works, but also towards the specific, primarily artistic perception of freedom, which is the basis for the understanding of Joyce’s celebrated novels.

Шаманът Теляк

Author(s): Octavian von August,Guy de July / Language(s): Bulgarian Issue: 1 (9)/2019

Шекспірівські образи в гітарній творчості Ганса Вернера Генце: «Королівська зимова музика»

Author(s): Tymur Ivannikov / Language(s): Ukrainian Issue: 39/2017

Purpose of Article. The article reveals the specifics of the disclosure of theatrical characters of the Shakespearean dramas in the musical language of the guitar sonata by Hans Werner Henze «Royal Winter Music». Methodology is based on the use of phenomenological, comparative, structural-functional methods that allow expanding the horizon of cognitive search and extract key characteristics of studying phenomenon. Scientific Novelty of the study lies in the phenomenological approach to the analysis of the guitar work that is unstudied in term of the Ukrainian musicology. In the process of the analysis, the influence of the non-musical sources of the composer's design is noted that comes from the theatrical and poetic heritage – Shakespearean dramas, comedies, tragedies. Conclusions. Due to the prevailing musical and theatrical preferences, the declamatory nature of intonations prevails in the guitar music of Henze, connected with speech utterances, monologues, dialogues, and other attributes of the poetic and prosaic language of theatrical performances. This phenomenological property of the composer's music gives guitar compositions a specific vocabulary, especially within the modem language resources that the author resorts to. It comes not from well-known orthodox techniques of Austro-German expressionism, but through the «jewelry» work with micro-themes at the level of motives and their «polyphonic dialogues».