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“Jelisaveta – kneginja crnogorska” u kontekstu komparativne dijahronijske analize sa filmskom i dramskom umjetnošću

Author(s): Sergej Pavlović / Language(s): Montenegrine Issue: 19/2021

This paper deals with the comparative analysis of the phenomena of female beauty as a significant trait of tragic circumstances in the history of literature and film, with a special focus on the central subject ‒ Jelisaveta, a Venetian noblewoman who married Đurađ Crnojević, the Montenegrin ruler. Reviewed through a diachronic perspective is the motif of the cursed foreigner, which in this drama is a compositional leitmotif that serves as evolutionary cause of physical and moral suffering, as well as the spiritual darkening. Prominent place within this work has the placement of the play “Jelisaveta, Princess of Montenegro” by Đura Jakšić in the context of Romanticism, which highlights black-and-white psychological characterizations. In a related manner, the issue of imagological aspects is raised‒the attitude towards the Other, the ties to historical revisionism, and the place of Crnojević dynasty in both historical and literary texts.

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„Amadeusz”. Miloš Forman i Peter Shaffer

Author(s): Małgorzata Choczaj / Language(s): Polish Issue: 18/2012

The study is devoted to Miloš Forman’s film, a story about Mozart’s life, taken from Peter Shaffer’s drama. The author proposes a detailed analysis of Forman’s film as an autonomous work in the production of which the film was a medium. The film was an effect of collaboration between the author of the play and the director. The effect of the work is a film which is an example of a close connection of the form and the content – harmony between picture and music, which becomes almost one of the main characters. Individual compositions of Mozart form a network of motives closely connected with the visual aspect and make its sense deeper according to several rules of showing music as a part of the film medium, such as musical motives, explaining the music by the composer or music which uses media. Connecting the music and the aesthetics of the film make Amadeus a harmonious audio-visual performance.

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„Meblowanie przestrzeni” w najnowszym dramacie rosyjskim

Author(s): Lidia Mięsowska / Language(s): Polish Issue: 149/2015

The article is an attempt to present the techniques of modeling dramatic space of the latest Russian drama works. The examples derived from Alexandr Shipenko, Nikolay Kolada or Oleg Bogayev’s oeuvre exemplify that writers, who resort to postmodern games with cultural codes and literary tradition, build the space of dramas on the terms of confronting contrasts and fulfilling them with the theatrical items in order to picture the changes that Russian society experienced after the period of transformation.

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„Prochem jesteś...”

Author(s): Monika Błaszczak / Language(s): Polish Issue: 18/2012

Dust, powder, ash – the categories of description of everything associated with passing and evanescence, forgetfulness, finitude, of elimination of time, new, contemporary, but also a reference to a rebirth, purification, reminders. Although dust is the most important, powder dominates. Rebirth is usually only an attempt, ending in failure. Playwrights, poets, writers are trying to put into words the eternal correctness and inalienable truth that says, from dust you are and to dust you shall return. Destruction, decay and old age, destruction and plunge into nothingness is best described as a man as a “miserable dust.” The heroes try to fight the burning of which begins at birth, but the course of this river cannot be reversed.

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„Sám o sobě existuje jen dobrý osud“ Teorie dramatu Antona Müllera v kontextu středoevropské estetiky

Author(s): Tomáš Hlobil / Language(s): Czech Issue: 2/2014

The essay aims at situating the theory of drama formulated in a lecture series given in 1831 by Anton Müller (1792–1843), Professor of Aesthetics at Prague University, within the context of Central-European aesthetics of the day. Therefore, two contemporaneous discussions are outlined to provide a background for the comparison. They are respresented by drama interpetations laid down in aesthetics lectures of Müller’s predecessors in Prague and influential Austrian reflections on drama dating from the first three decades of the nineteenth century. The comparison with the ideas and theories of August Gottlieb Meißner (1753–1807) and Johann Heinrich Dambeck (1774–1820) demonstrates that Müller’s theory of drama was no longer in accordance with Enlightenment drama principles, while the comparison with the then renowned reflections of Joseph Schreyvogel (1768–1832), Heinrich Joseph von Collin (1771–1811), August Wilhelm Schlegel (1767–1845), Karl Wilhelm Ferdinand Solger (1780–1819), Wilhelm von Schütz (1776–1847), Matthäus von Collin (1779–1824), and Michael Leopold Enk von der Burg (1788–1843) exemplifies similarities between Müller’s theory and Austrian, religiously based and spiritually oriented, aesthetics of the time.

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„Ślub” w manierze performatywnej

Author(s): Anna Krajewska / Language(s): Polish Issue: 20/2013

By approaching Ślub (The Marriage) as an epistemological dilemma of a human being who has been caught in a trap of the stage, the author proposes to reread and interpret a new W. Gombrowicz’s drama from a performative perspective. While relating to the title of Tadeusz Kantor’s cricotage Ślub w manierze konstruktywistycznej i surrealistycznej (A Wedding in the Constructivist and Surrealistic Style), the author aims to demonstrate the multi-faceted performative impact of Gombrowicz’s drama within the context of the dissolution of the principles and referential forms of metatheater.

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„Stargana za trzewia publiczność opadła jak jeden flak”. Witkacego spektakle potencjalne

Author(s): Jan Gondowicz / Language(s): Polish Issue: 14/2010

Witkacy’s well-known Pure Form in Theatre Theory constitutes, from the logical point of view, a sequence of paradoxical definitions and surrealistic examples. It is, undoubtedly, a premeditated tactics of the Author. Witkacy deliberately aspired to make a mess in the reader's (or, in fact, implied spectator’s) brain, and discreetly intervowen in principal specimen’s content own anthropological experience, collected in an Australian expedition. Finally, in the visionary novel Insatiability, Witkacy smashed up his concept of metaphysical theatre, impossible in the future stupefied society.

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„Сърцето на мрака“ – идеи и решения на първата българска постановка

Author(s): Margreta Grigorova,Petya Tsoneva / Language(s): Bulgarian Issue: 1/2019

Heart of Darkness is a multilayered but coherent work whose universally acclaimed appeal draws on its thematic preoccupation with the problems of initiation and cognition. The rich variety of interpretations and creative reworks of the novella vary from discussions of its importance as a sample of anticolonial fiction to the acknowledgement of its role as a precursor to contemporary fantastic literature. The first Bulgarian dramatisationof Heart of Darkness, screen-written and directed by Valeria Valcheva, is an insightful and successful attempt to do justice to both its contents and the suggestive power of its poetics translated into the language of drama.The performance combines the stylistic features of farce, cabaret, ritual and classical theatre, inserting fragments of Edgar Allan Poe, Vachel Lindsay, Tom Waits, Thomas Eliot and even Pushkin’s poems. Valcheva is particularlyconcerned with reading Conrad’s work as a “European” collective narrative where the African Other is rendered through the poetic features of mask-wearing and the symbolic “curtain” of the jungle. The performance is likewise accompanied by music that includes the “talking drums” of Congo, and its stage design was apparently borrowed from Orson Welles’s cinematic adaptations. One of the outstanding contributions of the Bulgarian performance to the earlier attempts at dramatising Conrad’s work is the use of a marionette to represent Kurtz’s self-glorified condition. The play likewise foregrounds the biographical aspect of Conrad’s work related to Conrad and Marguerite Poradowska’s correspondence.

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Эллины в Эксцентрополисе: древнегреческая культура как базис театральных теорий русского авангарда (Н. Евреинов, Г. Крыжицкий)

Author(s): A. A. Pronin / Language(s): Russian Issue: 2/2022

The article analyzes the dynamic aspects of the manifestation of the "mythologeme of antiquity" in the theatrical theory of the outstanding figure of the Russian avant-garde Nikolai Evreinov, reveals the degree of influence of his most important postulate about the Dionysian nature of drama on the philosophical and artistic concept of the "theater of spirit and flesh" Georgy Kryzhitsky as a theorist of the early FEKS (Factory of the eccentric actor), compares their key landmarks in the history of antiquity as avantgardists. The previously unexplored material of the theoretical works of G. is introduced into scientific circulation. Kryzhitsky of the beginning of 1921-1922, on the basis of which the hypothesis is put forward that the author, almost forgotten today, sought to realize the retrotopia of "theatrical Hellenism" in post-revolutionary Petrograd (Eccentropolis).

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