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JEZUITSKÉ DIVADLO V SPIŠSKEJ KAPITULE DIVADELNÉ DRÁMY Z POLOVICE 17. STOROČIA

Author(s): Miroslav Varšo / Language(s): Slovak Issue: 02/2014

At a time when the elements of theatre were introduced into the everyday life of European royal courts, whether it was a strict Spanish court ceremony in Madrid Royal Court in Vienna, or the French court ceremony, such tendencies influenced also the ways of staging religious events. Magnificent processions during major Christian holidays, announcements of the saints, carrying of relics became an impressive self representation. It was the religious influence of the period which brought new impulses into drama. Horizontal of human world, which inspires commedia dell‘arte and Elizabethan theatre, is completed by the vertical: Baroque Drama extends „from heaven through the world to hell.“ As such, it represents the restoration of the medieval cosmos transcendent. The basis of Baroque theater represents tension between immanence and transcendence and every event on stage is part of the history of salvation. The focus of our research is on the Jesuit College in Spišská Kapitula, representing a participation of northeastern part of the Austro-Hungarian monarchy on the rich cultural life of Baroque Europe. General tendncy towards dramatisation of life is represented, inter alia, by tireless creative activity of the Jesuits, supported by a few individual members from among the nobility and clergy. The author examines the preserved documentation for the productions Sapientia Salomonis Quesita et Possessa (1649) and Magnes Amoris Divini (1650).

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RECEPCIA ARCHETYPU ANTIGONA V ŽENSKOM ZOSKUPENÍ LES ANTIGONES

Author(s): Jana Hlodakova / Language(s): Slovak Issue: 02/2014

All new receptions of ancient theme, whether in the arts or social action, provide a new perspective of understanding of relation between an ancient Greek and a man of today. The paper examines the interpretation of the character of Antigone from Sophocles‘s tragedy by contemporary French female troupe Les Antigones, which uses her as a a symbol of their activities and thus gives her new – current meaning. The paper is based on the assumption that tradition and reality are the main factors influencing dramatic interpretation of the text and interpretation itself – the aspects of time have impact directly on content as well as formal analysis. As a result, the paper brings more transparency into the traditions of interpretation that directly or indirectly determine the reception of Antigone’s character. It also focuses on the nonartistic context, which determined the formation of the troupe Les Antigones.

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LET᾽ S LAUGH WITH CARAGIALE. SCIENTIFIC STUDY

Author(s): Dorina Nela Trifu / Language(s): Romanian Issue: 30/2022

The paper „Let`s laugh with Caragiale” represents a stylistic analysis of I.L. Caragiale`s speech from the act III scene I, from the comedy entitled „One lost letter” written by the author. In this study we intend to analyze the fragment from a stylistic point of view, considering also the phonetical, morphological, lexical, syntactical and stylistical levels. This analysis aims to present particularities of language and style which are making the flavor to the work of the great dramatist. Farfuridi`s speech is totally incoherent. Given that the play was written in another literary era, it is normal that the language used to be somehow different from the norms of current Romanian language. In the typology of Pompiliu Constantinescu, Farfuridi represents the type of politician and demagogue. The spelling used in the text is the one used by the writers from the XIX century. His lexicon has expressive, unique words. Language individualizes the character and betrays his inculture. Frafuridi's communication with the public fails due to the lack of connection between words. If we consider the grammar and semantics of the text, Caragiale's work no longer communicates anything directly, but only indirectly the absurdity of the character and of the ridiculous situation that he himself creates can be detached. The text is a sample of the style of the writer, who is not afraid to discredit, using subtle, indirect procedures, capturing the ridiculousness of the character in the middle of public and political life. Farfuridi turns out to be the stupid bastard and the type of uneducated politician. Caragiale's style is characterized by freshness and variety. The language of Caragiale's comedies is unique with each character who appears on stage.

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Литературните произведения в учебните програми за VIII - XII клас в контекста на възпитанието и превантивната педагогика

Author(s): Daniel Polihronov / Language(s): Bulgarian Issue: 4/2023

The article interprets the problem of the educational and preventive functions of literature. A systematisation and interpretation of the literary works included in the curricula in the first and second high school stages of secondary education is proposed, in the context of the components determining the structure of personality upbringing.

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THE PSYCHOLOGICAL IDENTITY IN 20TH CENTURY DRAMA WORKS. THE CASE OF EUGEN IONESCU VS SAMUEL BECKETT

Author(s): Paul-Cristian Albu / Language(s): Romanian Issue: 35/2023

The purpose of my paper is to offer a panoramic view of the loss of psychological identity in the works of Eugene Ionesco and Samuel Beckett, by making constant reference to the main characteristics of the Theatre of the Absurd. I am interested in discussing the way in which psychological identity can be misplaced in the contemporary world, as well as the way in which this aforementioned experience is imagined in the dramatic space. I am equally interested in observing and analyzing the manner in which these writers manage to express the idea of the loss of the human condition, while at the same time giving a full description of states such as anxiety, depression, desolation and frustration, inherent to the human being. Moreover, I shall take into account personality disorders as symbol of the dismantling of the human psyché. In order to offer a consistent critical view of the aforementioned concepts, I shall employ the technique of close reading, focusing on the way in which language is used to convey the main dramatic ideas. The creative use of language and the exploitation of absurd and contradictory situations, in general, will be regarded as multiple means to making visible a new and revolutionary way of aesthetics, thus paving the way for a fresh approach to theatrical representation, as it came to be understood by both Beckett and Ionesco.

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L’entre-jeu agôn-aléa et la place du hasard dans la construction du tragique racinien

Author(s): Chandniée C. Tushar Iyengar / Language(s): French Issue: 13/2023

According to Roger Caillois’s social epistemology, agôn and alea are the first two principles of games which unfold between the arbitrary polarity of the play tendencies of paidia and ludus. The traditional view on tragedies strongly supported by Aristotelian authors is that, in its particular tragic universe, the stakes are determined by an implacable fatality directed by the probable and the necessary. However, in most of Racine’s plays, the course of events seems to revolve around fortune which ends up creating a sort of middle field of tragic action between agôn and alea. The article maintains that chance takes center stage in Racine’s theater, of which the tragic plot must be explored from a stochastic perspective. It uses the notion of “mid-field” borrowed from ball games meaning the mid-fielder position, a position which maximizes the potential for chance in these games.

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Le jeu déréglé du burlesque : du Roman comique (1651) à Molloy (1951)

Author(s): Joël Loehr / Language(s): French Issue: 13/2023

There is no fiction in narrative prose that testifies to a playful intentionality more manifest than a “comic story”: this article illustrates it by first analyzing the strategies of Scarron, master of the game, in the burlesque incipit of The Comic Novel. Spanning the three centuries that separate the publication of Scarron’s novel (1651) from that of Molloy (1951), not without underlining the impact that silent cinema has had on the means and effects of burlesque in a fiction in narrative prose, we then question Beckett’s strategies, more complex or more equivocal, not only because the author seems to hide his game, sheltered from a narrating voice, but also because fiction, understood as “shared playful pretense”, then opens up to the registral interference of pathos.

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Jeux et enjeux dans Le Cocu magnifique de Crommelynck

Author(s): Françoise Bombard / Language(s): French Issue: 13/2023

Without any reason or clue, the main character, Bruno, is convinced that he is cuckolded to the point where he actually wants it to be true, to remove any doubts. This delusion results in words and deeds which come to involve his reason and his relationship to others. But in Le Cocu magnifique, the status of the game is multivocal. It is present in diegesis, but it also related to dramaturgy. We will see how Crommelynck plays with mimesis, with regard to the very notion of the character, through games of masks and double-dealing. Moreover, at the aesthetic level, language games meet with the research into modern poetry. Intertextual games with poetic and theatrical references subvert them through pastiche, and the playwright, playing with registers, upsets aesthetic categories.

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Модерността на пастурелата – Адам дьо ла Ал и проектите за обновяване на руския театър

Author(s): Diyana Nikolova / Language(s): English,Bulgarian Issue: 2/2023

The text discusses the dramatisation of Adam de la Halle’s 13th century pastourelle Le Jeu de Robin et Marion as a modern genre. This work was connected to the projects for modernising Russian theatre during the first decade of the 20th century. The essays offer an analysis of Evreinov’s Игра о Робене и Марион performed at the Old Theatre in 1907 within the context of theatralisation, theatricality and art synthesis.

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Intercultural Mediation and Sundry Obstacles in African Theatre: Sunnie Ododo’s 𝐻𝑎𝑟𝑑 𝐶ℎ𝑜𝑖𝑐𝑒 as a Paradigm

Author(s): Michael Olanrewaju Agboola / Language(s): English Issue: 1/2023

This paper contributes to the debate on the significant roles that intercultural mediation can play in mitigating the incessant conflicts often ignited by cultural differences. From the perspective of theatrical narratives, the present article examines the problematic aspects of intercultural mediation in African theatre, using Sunnie Ododo’s 𝐻𝑎𝑟𝑑 𝐶ℎ𝑜𝑖𝑐𝑒 as a paradigm. The paper adopts descriptive and content analysis methodologies to analyse a selection of published books, journal articles, and internet materials. This critical endeavour aims to prove that while intercultural conflicts occur in many regions of the world, they are particularly intensive in countries that have experienced colonial subjugation. Several factors have been found to account for conflicts in multicultural societies, particularly in Africa. These include the inability to manage cultural differences, undercover activities of individuals and groups, particularly the political elite, to satisfy selfish interests, and the egocentric inclination of some cultures to attempt to subsume others. The article concludes that although African theatre has achieved great success in the advancement of diverse ethnic cultures, not much has been done in the area of intercultural mediation and the peaceful negotiation of cultural conflicts. It is suggested that African playwrights need to do more by creating works that advocate peaceful cohabitation of cultures, emphasize circumspection of African leaders in handling sensitive socio-political and cultural issues, and stress the need for selfless national and regional leaders.

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Lithuanian Drama in the Brezhnev Era: The Two Cases of the Theater of the Absurd

Author(s): Aušra Martišiūtė / Language(s): English Issue: 52/2023

This article focuses on the context and time when the first two plays of the Theater of the Absurd were staged in Lithuania. The aim of the article is to answer the following questions: what dramatic experiences existed in the Soviet era, in what ways playwrights were trying to communicate with the reader/viewer, what message was formulated and conveyed in the plays, and how the expression of drama has changed since the Soviet era. By focusing on two cases of the Theater of the Absurd – Kazys Saja’s Mamutų medžioklė (The Mammoth Hunt) and Arvydas Ambrasas and Regimantas Midvikis’s Duobė (The Pit) –, this article examines the period in question and the collective consciousness of the playwrights’ contemporaries as seen and revealed in the plays and performances.

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Магика и алхимия в драматическите видения на Боян Дановски „Сърцето на шута“ и „Сърце от ален порцелан“ в контекста на модернистичните експерименти в драмата през 20-те години на ХХ век

Author(s): Marieta Ivanova-Girginova / Language(s): Bulgarian Issue: 4s/2024

The text analyzes magical and alchemical rituals of different origins, which became conceptual cores in two of Bojan Danovski‘s dramatic visions: “Heart of the Jester” (the creation of the artificial human Humunculus) and “Heart of Scarlet Porcelain” (the revival of the toys – The porcelain doll and sculpture of Pierrot). Both visions appeared in the magazine “Hyperion” in the second half of the 20s of the last century. They are part of a larger corpus of eight visions the author sent from Italy to the magazine in 1922 – 1928. Нe published six of them in a separate book in 1929. Danovski‘s dramatic visions are a specific phenomenon in Bulgarian drama. They represent an expression of artistic synthesis in avant-garde art and offer interesting construction and ideas characteristic of the European avant-garde. The aim here is to show, through an analysis of the two visions mentioned: how B. Danovski creates his theater of marionettes and how he works with the rich cultural intertext embedded in the plays. The dramatic vision in three pictures and one pantomime The Heart of the Jester (1926) examines the transformation of medieval mysticism with its spiritualistic séances and dark magic. A desacralization of the magical through the techniques of avant-garde art stands out. The dramatic vision in three paintings Heart of Scarlet Porcelain (1923) traces the transformation in Maeterlinck‘s symbolist theater with the appearance of the porcelain toy dolls and symbolic marionette figures of the square commedia dell‘arte. Magical processes and rituals bind the two visions, in which the heart is a unifying image and a meaningful object. It emerges from the high poetic symbolism of Romanticism and Symbolism to become a literal thing – a magical/bloody ingredient for the action of the alchemical retort in The Jester‘s Heart and afine porcelain object in the text Heart of Scarlet Porcelain. The process of reification, literalization of symbols signals their vituperation and becomes part of the desacralization of occult rituals. The disenchantment of fairytale magic is a specific feature of Danovsky‘s poetics.

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Derbe Sprache, abstoßende Geschichten? Die Unmittelbarkeit des gesprochenen Wortes als Rezeptionshürde für deutsche Dramatiker auf französischen Bühnen. Das Beispiel Gerhart Hauptmann

Author(s): Nicole Colin / Language(s): German Issue: 5/2023

Words can hurt: Not only in everyday life, but also in literature. Injuries that characters inflict on each other verbally can also be transferred to the recipient. This can be observed more strongly in theatre literature than in novels or poems: Spoken speech on stage trigger often more violent reactions in the audience than the same text in written form. In addition, there are various ideas about what is considered linguistically appropriate and what is not. These differences can become a problem in the context of the international circulation of literature, insofar as a basic consensus of language and behavioural standards seems to be necessary here. The deliberate use of provocative or even offensive forms of discourse as stylistic devices, which form an essential part of the artwork, represents sometimes an insurmountable obstacle to cultural transfer. An example of this phenomenon is provided by the reception of Gerhart Hauptmann’s naturalistic plays in France, which the contribution examines in the following. The analysis is based on the hypothesis that the different assessment of politeness as a universalist code of conduct in the two countries is a major reason for the rejection of Hauptmann’s work on French stages.

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THE PROSE AND DRAMATURGY OF JEAN-PAUL SARTRE

Author(s): Iulian Băicuș / Language(s): Romanian Issue: 38/2024

In this critical essay I have been studying both the fictional and non-fictional texts written by Jean-Paul Sarte, the Patriarch of Existentialism, the most important French philosopher of the sities, the Bible of Exinstentialism being L estre et le Neant, his phenomenological study, applyed in his novel, La nauseea. I have written this essay in comparing La Nauseea with Events in the Immeadiate Ireality, Max Blecher’s novel and with Sadecq Hedayat’s novel, The Blind Owl, but I also mentioned the autobiography of Sartre, The Words.

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CINNA OR LITERARY CRITIC OF THE FRENCH SOCIETY IN THE SEVENTEETH CENTURY

Author(s): Paul-Cristian Albu / Language(s): French Issue: 38/2024

I am writing this article because my intention is to present how the social injustice can be represented in literature in the seventeenth century. Toranius, Emily’s father, is the character who was killed by the Emperor Augustus. This drama is a projection of the social reality of the beginning of XVII century, a period who has a perfect correspondence to the rise of Absolutism of the Louis XIII and of the Richelieu government. The revenge has a central place in this playwork, because Emily wants to avenge his father’s death. His father had an honourable place in the Roman Empire society. In the first scene, I consider that Cinna, Emilie and Auguste have a key role, because they are showing their relationship with the past. The Emily’s dilemma is highlighted, because by the actions the main social character it is accelerated the events of the drama. Also, the conflict between the Emily’s love for Cinna and her hate against Augustus is highlighted to impose the political drama where Emily and Cinna are well integrated. I am using the technique of close-reading the Cinna book to better understand the role of this character in Corneille’s literary masterpiece.

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Digitalizované slamníky a generační citlivost: Aktuální narativní tendence současné původní české rozhlasové hry pro děti a mládež

Author(s): Filip Faja,Andrea Hanáčková / Language(s): Czech Issue: 5/2024

Responsive technology and digital learning influence how Generation Alpha (bornafter 2010) communicates and interacts with media (parfitt 2019, joones 2018, li 2021). This study analyses Czech radio plays for children and adolescents, focusingon narrative strategies and motifs. Using the theory of fictional worlds (doleže l2003) and the audionarratology (mildorf 2016, huwiler 2014), the authors examinethirteen radio titles from 2020 to 2022. They explore how current technologies andimplicit communication models are reflected in categories such as narrator, spacetime,and narrative techniques in contemporary audio production.

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„Sonnenpferde der Zeit”. Ansätze des jungen J.W. Goethe zur ästhetischen Subjektreflexion anhand von altersgruppenspezifischen Merkmalen

Author(s): Carmen Iliescu / Language(s): German Issue: 6/2024

The article starts by drawing attention to the historical, western discourse of the eighteenth century, addresses the topic of a newly founded reflection on age groups, provides information on genetic aspects, on new evaluations of Goethe’s early, aesthetic, reflection on age-groups, focuses on his two historical dramas ''Götz von Berlichingen'' and ''Egmont'', shows how the reflection on age groups is launched and is primarily generated by the interaction of literary figures that belong to different age groups: Götz – Georg, Götz – Karl, Egmont – Richard, Clara – Clara’s mother, Ferdinand – Ferdinand’s father, Ferdinand – Egmont. This interaction produces self-representations and interpretations of the counterpart that emerge in dependence on or in difference from certain age-group characteristics.

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„Dafür sprechen jetzt alle auf einmal“ Wir-Formen und chorische Elemente in Elfriede Jelineks ,,SCHNEE WEISS''

Author(s): Susanne Teutsch / Language(s): German Issue: 3/2021

This article focuses on the question of “who is speaking?” in Elfriede Jelinek’s texts regarding the level of the narrator, the we-form and the “Sprachflächen”-figures. The so-called characters in her novels and plays are difficult to catch, they are less psychological figures than mere declarations of speakers. One central reference in this context is the chorus’ speech in Greek tragedy which is often an important source for her writing. In Greek tragedy the chorus had both a spatial and a metaphorical function, mediating between the protagonist and the audience. It symbolized the constant conflict between individual and community. Taking the example of Jelinek’s play ''SCHNEE WEISS'' (2018) with reference to Euripides ''The Bacchae'' this article seeks to show how Jelinek’s use of the chorus and the we pronoun deny the speaker’s location and demonstrate the non-originality of speech.

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„Die Welt ist nicht Ihr Zirkus.“ Bertolt Brechts „Baal“(1922) als Abgesang auf den Ästhetizismus

Author(s): Robert Hermann / Language(s): German Issue: 2/2021

The article focuses on the critical depiction of Aestheticism in the 1922 version of Bertolt Brecht’s play ''Baal''. While many scholars argue that Brecht’s 1919 version is to be preferred due to its socio-critical and more ambivalent design, I put forward the hypothesis that the 1922 revision stands out by dismissing a decadent form of Aestheticism as well as the prototypical artist that goes along with it. After a brief introduction concerning the production history of the play, I will define the notions of Aestheticism and decadent Aestheticism to provide a foundation for the following in-depth analysis of the text. The analysis will be concluded by a comparison to the 1919 version of the play. My aim is to point out the important role that the 1922 variant of ''Baal'' played for the artistic development of the young Brecht and to thus highlight the significance of this rather neglected version both for Brecht’s oeuvre and for the ambivalent – and often competing – artistic trends of the Weimar Republic.

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Männlichkeitskonstruktionen in Ernst Tollers Dramen „Der deutsche Hinkemann” (1923) und „Der entfesselte Wotan” (1923)

Author(s): Anna Sator / Language(s): German Issue: 2/2021

The social changes that took place throughout the Weimar Republic Era affected gender roles in their depth – not only the image of the New Woman arose, but at the same time the traditional image of the heroic soldier was questioned. New images of a more sensual masculinity coexisted with the old ones. Dramatic texts and theatre in particular were and are predestined spaces to try out new forms of gender roles and characters. For instance, Ernst Toller’s ''Hinkemann'' is one of the first plays to address the effects of disability caused by war on ideas of masculinity as well as individual fates. Alongside this tragic illustration of the effects of missing representation and failing identification with the hegemonic idea of masculinity Toller wrote a comedy on the same hegemonic masculinity of the war hero in the same year. In ''Der entfesselte Wotan'' an unsuccessful hairdresser manages to gain power through founding an emigration society and staging himself as the messianic leader of this company. The analysis of the two dramatic texts points out that fictional texts are an important mirror of social change and especially the theatre is the place where new concepts of gender are staged and discussed.

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