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Železnobrodská pašijová hra z hlediska žánrového charakteru a vlivu dobových poetik. „Rodokmen“ hry

Author(s): Roman Schmidt / Language(s): Czech Issue: 1-2/2010

Theatrum passionale domini nostri Iesu Christi anebo Zrdcadlo umučení Pána našeho Ježíše Krista Spasitele, shortly Passion Play of Železný Brod, is a North Bohemian passion play from the second half of the 18th century. The article focuses on the genre-specific character of the play, including contemporary designations comedy and mirror. It pays attention to the religious context of the play, to the influence of Jesuit drama and contemporary poetics (Kolčava, Balbín) and evaluates the relations between passion plays from the regions of Giant Mountains and Lužické Mountains, whose still uncertain dating greatly problematizes this research.

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Hráliť pak s tím mumrajovým knížetem nejpřednější páni. Syžet o jednodenním králi v karnevalovém a morálním kontextu

Author(s): Tomáš Havelka / Language(s): Czech Issue: 1-2/2010

The article aims to show fundamental changes in one of hundreds of example published in Postila katolická (1691) by a Czech Jesuit Matěj Václav Štajer. The plot, worldwide known as the “awakened sleeper” (number 1531 in Aarne-Thompson-Uther system), appeared in literature in two basic forms: the older one was included into The Arabian Nights Entertainments, but all early modern versions are based on newer precedent of Philip the Good, Duke of Burgundy: he carried a drunken peasant into his own palace and celebrated him as a lord for one day. In the evening, all changes were put back and the sleeping peasant (again drunk) was returned into the street. Undoubtedly, this plot has a carnival character in Bachtin`s meaning, but all literary interpretations of early modern humanists (especially Ludovicus Vives) and religious writers (e. g. Ludowicus Hollonius, Christian Weise, Johannes Masenius, also Matěj Václav Štajer) put extraordinary moral and anagogic emphasis on parallel between one exceptional day and a whole life – dream; paradoxically, Philip the Good was mentioned as a typical example of a virtuous, pious and prudent aristocrat. Interpretations of this plot in lower social classes were free of all moral aspects: low urban and also rural texts put emphasis on the superordinate mockery of the drunken peasant, his immorality and incapability. In the early 17th century, a very clear example of this attitude is a Polish farce Peasant became a king: this comedy with a drunkard is organised by Polish soldiers. Drama Jeppe of the Hill (1723) by Ludwig Holberg is undoubtedly very important, because we can see a shift to a new matrimonial derision and morality: Jeppe (after a “dream day”) was sentenced to ludicrous death, but after he had been hanged at gallows, his life started in the same way again. Plots rather analougous to Holberg`s attitude appeared in Czech literature in the18th century in a farce Hašteřivá žena a zoufánlivý manžel (A Shrewish Wife and a Desperate Husband, 2nd half of the 18th century) from Kravaře in north Moravia and in the prosaic form in two jest books written by a teacher Antonín Borový from Zlatá Koruna in southern Bohemia (1792, 1796). Both versions are very similar and propably have a close relationship: a drunkard (Gibsa in Moravian text, Rylps in Borový`s version) was put in a dark room with various infernal signs at first, and later he awakes up in bright room with eternal look – so he thinks he was in the hell and heaven. This experience brings about a reconciliation with his wife and changes his all life, especially in the Moravian version. In my opinion, the changes in the plot of “awakened sleeper” mentioned above show a fundamental shift in early modern thinking. At first, it shows the difference between a late medieval spontaneous carnival and humanistic moral commentaries (with emphasis on the state order and the idea of an exemplary Christian ruler). It also discloses a shift of the social target of the mockery: it is a drunk peasant in older texts and a foolish hen-pecked husband in the late 18th century.

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Vypravujte – Poslouchám...

Author(s): Helena Slachová / Language(s): Czech Issue: 2/2015

The article is devoted to stories of attachment in fairy tales. The authoress sights the fairy tales by optical AAP (Adult Attachment Projective Picture System). The attention is payed to internalized attachment models, to Self defensive processes (adaptive and maladaptive). The stories of attachments are illustrated by two examples of them. The preoccupied attachment is illustrated by the fairy tale About Swan on motives B. Němcová and the unresolved attachment by Third Prince on motives K. J. Erben About Two Brothers. The individual studies are sighted by the structure of the drama.

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Contemporary Finnish Drama in Estonian Theatre in the 21st Century

Author(s): Luule Epner / Language(s): English Issue: 2/2019

After regaining independence in 1991 Estonia, like other Baltic states, went through a transition period which can be described as a return to the West, i.e. Europe. By now, Estonia has joined European community and is successfully integrated with Europe. However, in regard to the country’s cultural and political identity, the process of self-determination continues, particularly on the level of regional identity: whether the newly independent Baltic countries belong to Eastern or Northern Europe? Estonia tends to position itself among Nordic countries, primarily by reason of close historical ties and linguistic kinship with Finland. In the light of current identity processes the cultural interaction between Estonia and Finland deserves attention. This paper examines only one aspect: the reception of contemporary Finnish dramaturgy in the 21st century Estonian theatre. Finnish dramas had been staged in Estonian theatres since the end of the 19th century. However, it is noticeable that their number has significantly increased since the 2000s, and the repertoire of the major Estonian theatres contains far more new, contemporary Finnish plays than well-known classics. Plays by Leea Klemola, Sirkku Peltola, Juha Jokela, Mika Myllyaho, Pipsa Lonka and others enjoy great popularity among Estonian audiences. How do these plays represent Finnish society? How were they interpreted and received in Estonian theatre? How do stage productions of Finnish plays contribute to the construction of shared Nordic identity? The paper looks for answers to these questions.

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Anagnorisė Aristotelio Poetikoje: definicijos ir klasifikacijos problemos

Author(s): Jovita Dikmonienė / Language(s): Lithuanian Issue: 3/2019

The article analyses the problems of meaning and classification of the term anagnorisis (ἀναγνώρισις) as it is defined in Aristotle’s Poetics. It focuses on how the term anagnorisis is understood and interpreted by scholars – different translations and their interpretations of the same type of anagnorisis are compared. The article also searches for the answers to the following questions: does the term of anagnorisis discussed by Aristotle mean the recognition of persons or just any kind of truth in a drama; why do some translators differentiate five and others six types of anagnorisis; what did Aristotle bear in mind by distinguishing the type of anagnorisis called “the recognition made by a poet himself” (Arist. Poet. XVI; 1454b 30–31), whereas it is known that all recognitions were created by poets themselves; does “an anagnorisis by false reasoning (a false syllogism)” occur among tragedy characters or does the audience at first misjudge, but later recognises the characters correctly? The author of the article argues that the version of the Arabic manuscript of Aristotle’s Poetics is more logical, as it states that one of the characters (θατέρου) rather than a spectator (θεάτρου) mistakenly recognises another character (Arist. Poet. XVI, 1455a 12–17). First of all, Aristotle does not state specifically that this is the fifth (different from all the others) way of recognition, but while discussing the fourth way of “anagnorisis by reasoning”, he adds that there is also and “an anagnorisis by false reasoning (a false syllogism)” (Arist. Poet. XVI, 1455a 12–13). Secondly, the recognitions described by Aristotle in Part XVI of Poetics occur between two characters, when one has to recognise the other. Therefore, the author of the article does not agree with the opinion by Dana Munteanu (2002) – that in Menander’s comedy Epitrepontes, Smikrine’s false recognition should be referred to as an erroneous spectator’s recognition, whereas at the end of the play Menander depicts Smikrine as a misled spectator just observing the events uninvolved without understanding them properly. By such leaving the word “spectator” in Aristotle’s classification of the fifth type of anagnorisis and using it for a character observing the actions of the play uninvolved, an ambiguity occurs, as Aristotle himself in his Poetics speaks many times about an actual spectator of the tragedy, who while watching the action of the play experiences fear and pity. The author of the article thinks that the translation of chapter XVI of Aristotle’s Poetics by Marcelinas Ročka (1990) should be corrected in some places. At the fifth “recognition by false reasoning”, a note in square brackets stating that this is the last recognition should be omitted. In fact, it is the next-to-last recognition discussed by Aristotle. In translation “the recognitions invented by the poet himself”, some other word can be used, as Aristotle here has in mind that poets usually write poorly and use trite recognitions. A phrase “to contrive” (in Lithuanian “sukurpti”) could be used here instead, as it means “to make or put together roughly or hastily”. It is also true speaking of the translation that a character of the play rather than the audience recognises another character by false reasoning. Finally, the author of the article draws a conclusion that according to Aristotle an anagnorisis is the recognition of persons occurring among characters of the play. In Aristotle’s Poetics, six variants of anagnorisis are distinguished and their classification made based on the principle of artistry and the originality of its use in plays.

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Tragedy According to Jacobus Pontanus and the Tradition of Antiquity

Author(s): Iwona Słomak / Language(s): English Issue: 3 (56)/2020

The aim of this study is to present the findings of a comparative analysis that covers— on the one hand—the theory of tragedy presented in Poeticarum institutionum libri III by Jakob Pontanus (Spanmüller), the classical and Renaissance poetics and commentaries on which he based his work, as well as the ancient tragedies that belonged to the literary canon in Jesuit colleges, and—on the other hand—Pontanus’s theoretical approach mentioned above and his tragedy Elezarus Machabaeus. The works of Pontanus have previously been discussed by Joseph Bielmann. However, Bielmann did not present them against the background of the Greek and Roman tragedies or the statements of the ancient theorists on drama, the Renaissance theoretical reflection on tragedies, or the playwriting practice resulting from this reflection. Consequently, his characterisation of the Elezarus Machabaeus is untenable, and his comments on Pontanus’s theory of drama need reviewing. Determining whether Pontanus respected the rules of ancient tragedy or whether he openly violated them is important because he was one of the most outstanding Jesuit humanists and a person of authority in his community. If we take into account the fact that Elezarus Machabaeus was the first tragedy printed by the Jesuits, the Poeticarum institutionum libri tres was one of the first printed Jesuit textbooks of this kind, and Pontanus himself was also the author of other books recommended for reading in Jesuit colleges and participated in the work of the committee for the evaluation and approval of the Jesuit school act, his views on the imitation of ancient models should be considered influential at least to a moderate degree and at least in some literary circles of his time. This matter is addressed in the introductory part of this paper. It also contains a short presentation of Pontanus’s textbook against the background of other Jesuit poetics, as well as of his main sources in the field of drama theory. Subsequently, the author presents Pontanus’s concept of drama and then discusses his piece taking into account the context of ancient and contemporary drama theory and practice of writing. In the light of this comparative reading, Eleazarus Machabaeus seems to be generally based on ancient models despite certain peculiarities, such as the composition and absence of choruses, which may be surprising at first. Both Pontanus’s tragedy and his theoretical approach should be regarded as classical in nature.

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Experimentul în Dramaturgia Din Secolul Al XX-Lea

Author(s): Emilia Taraburca / Language(s): Romanian Issue: 1-2/2020

From Antiquity to the end of nineteenth century, the art of scenic representation, theoretically motivated still by Aristotle in Poetics, has not registered major changes. In twentieth century there is a revolution that seems to try to recover everything that has not been achieved in over two thousand years. The most obvious are the experiments of modernists, whose innovations refer not only to the modification of the content structure and to the characters reconfiguration, but also to the entire directorial conception.The article researches: - the innovative character of the Dadaist shows recepted by the contemporaries as true public scandals with the aim of discrediting by means of parody traditional dramatic representations, - the scenic experiments of surrealism, the theater of cruelty, which through the ritual of violence and cruelty has pursued to renounce any moral obligations and arguments in order to awaken man from emotional hibernation and to discover mystical and metaphysical surreality, - the Theater of Absurd that brought the techniques of artistic experiments to the maximum degree of deconstruction, in the tragic farces simulating an anti-world populated with antiheroes. The experiment in the dramaturgy of twentieth century has also targeted the traditional one. In this context, epic theater is researched, which, announcing itself as non-aristotelian and experimental and aiming to create a synthesis art that will determine the spectator to think and take attitude, inclusively by means of the "effect of detachment", has been also included into the tendency of drama reform.

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Shakespeare in the Box: Gregory Doran’s Hamlet (2009)

Author(s): Ana-Maria Iftimie / Language(s): English Issue: 11/2021

A constant in the history of film since its inception, William Shakespeare’s Hamlet, Prince of Denmark has been delivered to filmgoers throughout the twentieth and the twenty-first centuries in various adaptation schemata of the three versions of the text available for free interpretation and reprocessing. While Laurence Olivier’s, Franco Zeffirelli’s and Kenneth Branagh’s acclaimed ‘multimodal rewritings’ seem to have acquired critical consensus, tens of other Hamlet films are launched regularly, placing the young Dane’s tragedy in the most unexpected settings or periods of time. A telling example is Gregory Doran’s 2009 filmed theatrical performance, which places Elsinore in a modern-day British society under constant surveillance, probably with a view to transposing the old Elizabethan habits of espionage and control of the population in a manner both accessible and relatable to the contemporary viewer. This paper contends that, by using surveillance devices, such as CCTV or hand-held cameras, and by redesigning King Hamlet’s ghost as the ultimate embodiment of the watchful eye of the (divine?) authority, the film brings to the fore the timelessness of the Shakespearean themes.

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Socio-cultural interpretation of the phenomenon of old age in Shakespeare‘s tragedy King Lear

Author(s): Ana M. Andrejević / Language(s): English,Serbian Issue: 4/2021

The focus of the research in this paper is socio-cultural interpretation of the phenomenon of old age and intergenerational conflict with the literary projection in King Lear. The study of the socio-historical context in which the play was written is focused on the renaissance interpretation of old age and equation of the representatives of this age group with the remainder of the feudal system at the moment of the awakening of individualism and the beginning of capitalism. The interdisciplinary approach has been applied in the research, while the basic theoretical framework of the paper is composed of the theses of the sociology of literature and theatre, literary methods of new historicism, as well as gerontology, the psychology of getting older, and sociology of the family. The main hypothesis considered in the paper is that this Shakespeare‘s tragedy reflects the social reality of the late renaissance era, including the marginalized position of old age. The obtained results show intolerance of the social environment towards old persons and the subversive character of younger generations that often express gerontophobia, which is in favour the classification of King Lear as a geriatric tragedy.

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PRIMJENA ODGOJNE DRAME U RADU SA DJECOM U RIZIKU

Author(s): Meliha Suljagić,Emina Dedić Bukvić / Language(s): Bosnian Issue: 2/2018

The paper presents the experiences of educators who apply drama educational methods in educational work with children at risk. Dramatic educational methods imply ways of practical treatment and acting in drama educational work, which are drama games, exercises and techniques that carry out organized, deliberate and guided activities of the educational process. The term children at risk describes children and young people who are in adverse living conditions that threaten their positive development and successful adaptation to the society in which they live. The aim of the paper is to present the values and strength of the dramatic upbringing as an effective approach in achieving educational outcomes. The paper explains the concepts: drama pedagogy, drama education and methods of drama upbringing. In addition to theoretical presentation, the paper presents the results of an interview with educators who apply dramatic educational methods in educational work with children at risk. The conducted research aims to show the values and the power of applying educational drama in educational work with a group of children and young people who manifest behaviors that diverge from the legal and moral norms of the society in which it is and surrounds it. The obtained results of the research show that the methods of drama upbringing can be successfully implemented in educational work in processes related to learning of communication skills, developing creativity in the field of social relations, and experiencing their own success, which can often be hidden.

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Thomas Bernhard, Kant und der Papagei

Author(s): Cornelia Eșianu / Language(s): German Issue: 22/2022

In Thomas Bernhards Komödie Immanuel Kant will Kant, der Protagonist, eine Vorlesung halten, die allerdings nicht zustande kommen kann. Der bernhardsche Kant leidet wegen seines vorangeschrittenen Alters an Glaukom, dem grünen Star, und befindet sich mit seiner – man höre und staune – Frau und anderen Charakteren wie Ernst Ludwig und seinem im Käfig und meist unter einer Decke sich befindenden Papageien Friedrich, dem „Meistgehaßte[n]“ – denn der „psittacus erithacus“ war der „Philosoph an sich“, in „sich selbst“ –, aber auch der Millionärin, einem „Kind des Kapitalismus“, wie sie sich selbst beschreibt, oder der „Millionärrin“, wie diese von Kant genannt wird, dem Kardinal, dem Admiral, usw. an Bord eines Luxusschiffes auf dem Weg nach Amerika. Hierhin will Kant die Vernunft bringen und sein eigenes Augenlicht wiedererlangen. Vorliegender Text widmet sich einer näheren Untersuchung des Papageien Friedrich in Bernhards Theaterstück. In einem ersten Schritt werden die sogenannten Sprachspiele des Papageien beleuchtet, während in einem zweiten Schritt hermeneutisch vorgegangen und konkreter nach Rolle und Bedeutung von Friedrich gefragt wird.

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Literatura română în contextul cultural slovac

Author(s): Jana Páleníková / Language(s): Romanian Issue: 4/2011

Romanian literature in the Slovak context. In her paper, the author focuses on the reception of the Romanian literature after 1989, i.e. after the social and political changes occurred both in Romania and Slovakia which were of significant impact upon it, as the editorial policy, which had seen to regularity in translating from the so called “small” or ‘friendly’ literatures, ceased to exist, thus making translating ideologically independent and giving other literature than that of official or canon character its chance as well. In the first part the author introduced several factors which help create the reception environment and influence the ways of receiving a foreign author. The second part is devoted to commented introductions of particular book and magazine translations according to individual literary types and genres, and in chronological order.

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„Nedivina comedie” de Zygmunt Krasiński între istorie şi metafizică

Author(s): Constantin Geambaşu / Language(s): Romanian Issue: 4/2010

The author of the research focuses particularly on the structure of the drama The Undivine Comedy, trying to define more clearly the boundaries between the two settings of the plot, i. e. historical and metaphysical. Z. Krasinski goes beyond historical and social framework in order to penetrate even deeper into the metaphysical realm (the role of Providence both in history and in human life) by analyzing the issue of revolution in a broader context (historical-philosophical and religious). He is interested especially in people‘s ―undivine" attitude and its consequences. The research pinpoints the fundamental idea of the Polish author: revolutions are not part of the divine plan for the world, and a world deprived of God is doomed to chaos and extinction. Man's moral transformation may be achieved only through faith in God, and salvation - through solidarity and harmony. Yet, beyond Krasinski's constructive effort, a careful analysis of the text allows to catch a glimpse of the utopian character of such a vision.

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Drama „Kordian” de Juliusz Słowacki (structură şi semnificaţie)

Author(s): Constantin Geambaşu / Language(s): Romanian Issue: 2/2010

Kordian is a drama with a complex structure, a multilevel text, open to multiple interpretations, depending on the angle of assessment. Beyond ideas deeply rooted in the Polish history and mythology, the text drew the attention of literary critics and historians thanks to its literary value, lexical and imaginative richness, and various poetic and prosodic resources. This article deals with the drama’s structure and meanings, focusing on the causes that contributed to the tragedy and the failure of the main character.

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Žanrovski hibridizam u drama Borislava Mihajlovića Mihiza

Author(s): Milena S. Stojanović / Language(s): Serbian Issue: 2/2010

Borislav Mihajlović Mihiz wrote four original plays, two of which are about the greatest Serbian folk-epic heroes, and two concerning recent Serbian history. Depicting individuals who, in the midst of crucial historical events, face their own moral and psychological dilemmas, being a writer inclined to paradox, Mihiz mainly deflects from familiar and/or expected interpretations of chosen motifs. The genre hybridisation is evident in both main and adjunctive drama text, and accomplished with particular language tools, the choice of folk epic or historically documented motifs, but also with stylistic characteristics of the drama discourse. The elements of narrative, epic, essayistic, administrative, diary-like and scientific styles re-semantize the drama text, the formal play with drama’s structure also results with greater complexity of its meaning. Mihiz does not hesitate when, for instance, introducing footnotes to his drama text. Description of characters and didascalie are more a way to characterize and psychologically deepen the characters and a motivational element of drama action, not just practical stage directions. Mihiz disrupts the stage illusion in his adjunctive text, using, amongst other things, the techniques of Brechtian theatre and (auto)poetic comments. The main text remains unimpaired. All four Mihiz`s dramas consist of different drama forms: in “Banovic Strahinja” and “Marko Kraljevic”, author combines the elements of historical, sociological and psychological drama (with addition of melodrama and tragicomedy). Although successfully performed on stage, Mihiz’s dramas, because of the epic elements functioning more as literary text then theatre play, can be defined as a sort of read-only dramas.

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Renesansna drama „Robinja” kao izvor za modernistički roman „Giga Barićeva”

Author(s): Ivana Olujić / Language(s): Croatian Issue: 1/2009

The comparison of two works of Croatian literature – Renaissance play Robinja by Hanibal Lucić and Milan Begović's Modern novel Giga Barićeva, which are both concerned with the faith of a woman, display many similarities. Both of them indeed belong in their own time, but the themes, characters and the structure point to Lucić's play as a source for Begović's novel.

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„Nunta” de S. Wyspiański – exemplu de artă sincretică

Author(s): Jadwiga Mihai / Language(s): Romanian Issue: 1/2008

Drama Nunta a lui S. Wyspiański este un text pluristratificat nu doar din punct de vedere literar; structura lui transpare în câteva planuri care se întrepătrund, fiind un excelent exemplu de artă sincretică prin îmbinarea de elemente ale dramei poetice, muzicalităţii, plasticităţii, credinţelor populare şi istoriei. După părerea teoreticianului literar Andrzej Hejmer, muzicalitatea, în accepţiune generală, sugerează îndeaproape „legătura genetică dintre literatură şi muzică, dintre estetica literară şi cea muzicală, dintre anumite aspecte ale operei literare şi aspecte ale compoziţiei muzicale”.

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Intertextual Translation: Shakespearean Flavour in Tang Xianzu’s Peony Pavilion

Author(s): Bikang Huan / Language(s): English Issue: 10/2021

This article presents a new mode of translating Tang Xianzu’s Peony Pavilion, the renown Chinese theatrical masterpiece, by referring to Shakespeare’s poetic style. The author of this article compares the two playwrights in terms of their life-views, moral concerns and the view of the other worldliness by identifying some textual affinities. To further explain Tang Xianzu’s humanistic view of life, his transcendental appraisal of intuitive feeling and heterogeneous love, some themes and textual features of The Peony Pavilion are elaborated which are evocative of those of Shakespeare. Based on some close reading of the text, the author is able to demonstrate how an “intertextual grafting” in translation can prove a better means to achieve better acceptability of Tang Xianzu’s play by the English reader/audience.

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Beam me up, Scotty!

Author(s): Ljiljana Filipović / Language(s): Croatian Issue: 1-2/2022

Ma da, možeš si mislit. Staneš nasred sobe, ili ostaneš samo sjediti, i kad ti je svega dosta Scotty te prenese tamo negdje gdje misliš da bi ti bilo bolje. Na vodno su Kinezi već uspjeli teleportirati foton prema – ha ha ha – vjerodostojno prenesenoj vijesti 2017. u jednom od domaćih provincijalnih listova.

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Misterul unui spectacol de mister

Author(s): Anca Berlogea / Language(s): Romanian Issue: 1/2019

August Strindberg’s last drama The great highway (1909), as well as Hugo von Hoffmansthal’s Jedermann (1911), were written almost at the same time, and were both inspired by the tradition of medieval mystery and morality plays. While Hoffmansthal work, first performed in 1911 under the direction of Max Reinhardt, knew an unprecedented success, opening each year, since 1920, the Salzburg Theatre Festival, Strindbergs play remains unknown. It’s rare stagings have been received by criticism and seemed doomed to failure. The paper proposes to point out the way both drama writers have creatively used the structure of the medieval play as their source and to identify what might have been the reason for their success or failure, looking at how both plays were staged, promoted and perceived.

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