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Tekstiloomestrateegiatest eesti nüüdisteatris. Rühmatöö, dokumentaalteater ja verbatim-tehnika

Author(s): Madli Pesti / Language(s): Estonian Issue: 02/2012

The article asks about the boundaries of drama. There are a few strategies of producing dramatic texts that are popular in Western theatre, yet not very widely used in Estonia: (1) devised theatre, where the staging process does not start from a finished play; (2) documentary theatre, where the dramatic text is compiled using various documentary sources, and (3) verbatim theatre, using interviews and oral tradition in general. The article defines those methods and explains their historical background. The definition of the verbatim-technique is extended to cover not only the use of recordings of oral speech, but also the use of its written records, i.e word-for-word stage presentation of interviews, essays, reports etc. Some exemplary cases from Estonian theatre are analysed in the article. Theatre devising is practised in von Krahl’s and in NO99. Merle Karusoo’s production is representative of documentary and verbatim-theatre. Precise specification of various ways of text creation enables analysis of new forms of drama and extends the boundaries of the genre.

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Eesti Pindaros. K. J. Petersoni oodide vaimuloolisest taustast

Author(s): Jaan Undusk / Language(s): Estonian Issue: 02/2012

Die studie untergliedert sich in zehn Kapitel. Zu Anfang werden die poetologische Rezeption von Pindar und das daraus folgende „Pindarisieren” seit der Renaissance im französischen und besonders deutschen sprachbereich geschildert. danach wird der Herderschen Interpretation der „pindarischen” dithyramben und den dichterischen Initiativen des jungen Goethe nachgespürt. Im Kapitel „das Enjambement” (fr. ’das Überschreiten’, dt. Zeilensprung) wird gezeigt, wie das Pindarisieren in der neuen dichtung fast verpflichtend mit dieser Versfigur in Verbindung gebracht wurde. Die Pindar-begeisterten dichter haben seine Oden in der sog. kolometrischen schreibweise gelesen, wobei der Text in kurze Zeilen von unregelmäßiger Länge eingeteilt wurde, die wie Freie Rhythmen aussahen. Eben der junge Goethe hat in solch einer Form (hier ’schlanke Rhythmen’ genannt) ihm Ebenbürtiges gefunden: in seinen grossen Hymnen sind lange sätze in kurze Zeilen gesetzt, so dass oft ein satz einer strophe gleicht; das Entstehen von Enjambements wird dadurch begünstigt. Das Enjambement konnte ihm als eine ’Figur des Überschreitens’ im breiteren ideologischen sinne bedeutend sein. der estnische dichter Kristian Jaak Peterson (1801-1822), dessen Oden erst im 20. Jahrhundert gedruckt wurden, kann diesbezüglich als Geistesverwandter Goethes gelten. Wie Ronsard im 16. Jahrhundert, wie Weckherlin im 17. Jahrhundert, wie Willamov und Goethe im 18. Jahrhundert und Hölderlin um die Wende zum 19. Jahrhundert, so wollte auch Peterson am Anfang des 19. Jahrhunderts die estnische Literatur durch das „Pindarisieren” erneuern. Bemerkenswert ist, dass er dabei dieselbe Wahl traf, wie vor ihm nur Goethe allein, nämlich, die Oden in ‘schlanken Rhythmen’ zu komponieren. Die formellen Ähnlichkeiten zwischen den beiden sind manchmal beredt, obwohl von einem Goethe-Interesse bei Peterson jede spur fehlt. In den letzten Kapiteln des Beitrages werden die möglichen Berührungspunkte zwischen Peterson und den dichtern des Göttinger Hains, die frühe Pindar-Rezeption in Livland sowie die vermutliche Vermittler-Funktion des dorpater Professors und vulgärrationalistischen Bibelübersetzers J. W. Fr. Hezel (1754-1824) bei der PindarBeschäftigung des jungen Peterson untersucht.

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Väikese rahva "suured lood" - rahvajuttude kaudu konstrueeritud eneseesitlusest

Author(s): Eda Kalmre / Language(s): Estonian Issue: 05/2012

The article discusses how rumours and legends work together in creating national and personal identity. the subject matter is a narrative cycle centered around so-called stories of descendence. according to these stories, a number of famous people such as Harry s. truman, Benito mussolini, Franklin delano roosevelt, Boris Yeltsin, Boris Becker, ayrton senna da silva, Lady diana etc are either Estonians or have Estonian ancestors. Following these stories through many different sources and material (archival texts, memories, diaries, literature, media, pop culture) we can observe how vibrant this discourse has been and still is today. We may take these stories with a grain of salt, but these legends and rumours certainly articulate the beliefs and wishes of Estonians as well as provoke debate about the described events, their credibility and interpretation.

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„Santa Maria” Forever. Eesti ja Portugali kirjandussuhetest

Author(s): Toomas Haug / Language(s): Estonian Issue: 01/2012

In January 1961 all papers wrote about the seizure of the Portuguese liner „Santa Maria” in protest against the dictatorship ruling Portugal at the time. In occupied Estonia „Santa Maria” became a symbol of freedom and rebellion whose use in arts and literature is best exemplified by a painting by Aleksander Suuman and a romantic freedom-singing poem by Paul-Eerik Rummo. Even a cafe ship in Tartu on the river Emajõgi was popularly christened „Santa Maria”. Those were marks of the social optimism raised in Estonia by the political „thaw” of the early 1960s, soon, however, running into the sands of reaction.

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Eesti Pindaros. K. J. Petersoni oodide vaimuloolisest taustast

Author(s): Jaan Undusk / Language(s): Estonian Issue: 01/2012

Renessansist alates sai tavaks pidada vanakreeka luuletajat Pindarost (V saj ekr) poeedi võrdkujuks ja sageli ka kõigi aegade suurimaks lüürikuks. Nii nagu Homeros eepilises, nii oli Pindaros lüürilises luules siitpeale ületamatu-jäljendamatu looja. kui taheti esile tõsta mõne rahvusliku luuletaja erilist väge või algupära, siis nimetati ta selle rahva Pindaroseks. Prantslane Pierre de Ronsard avaldas 1550. aastal oma menuka esikkogu „Oodid”, mis hakkas pihta tosina pindarosliku ülistuslauluga ning jätkus seejärel Horatiuse ja anakreoni oodidest inspiratsiooni ammutanud värssidega. Tema sõber ja võitluskaaslane „Plejaadi” luulevennaskonnast, Joachim du Bellay, ei ristinud teda seepeale aga sugugi mitte näiteks „prantsuse Horatiuseks”, vaid andis talle „prantsuse Pindarose” (le Pindare François) aunime (schmitz 1993: 82). see tähendas, et siitpeale oli Ronsard’i looming prantsuse luule kvaliteedi mõõt ning luuletaja oma kodumaal niisama vaieldamatu suurus kui Pindaros kreeklaste seas. kaks sajandit hiljem nimetas Johann Georg Hamann „saksa Pindaroseks” oodimeistrit Friedrich Gottlieb klopstocki (Hamann 1983: 134), ja seegi tähendas siis saksa rahva poeta laureatus’t. Pindarose ja „saksa Pindarose” kui kahe suurima lüüriku najal vaagis omaenese luuleindu noor Friedrich Hölderlin luuletuses „Mu otsus”: „kas Pindarose lennu rauge järelkaja? kas / rabelev püüd olla nii suur kui klopstock?” (Hölderlin 1961: 40). XX sajandi veerult tagasi vaadates osutus Hölderlin ise uueks „saksa Pindaroseks” (vt edaspidi).

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Karl Ristikivi rändav Arkaadia

Author(s): Brita Melts,Janika Kronberg / Language(s): Estonian Issue: 10/2012

Since antiquity the motif of Arcadia has been productive in European cultural history, while undergoing several metamorphoses. The article follows the evolution of the motif in the oeuvre of Karl Ristikivi (1912-1977), relying on the landscapes experienced by the widely travelled author and the works of art critic and theorist Simon Schama, who emphasizes the Light and Dark in Arcadia. Ristikivi overtly mentions the motif of Arcadia in three works, notably, the novel Rohtaed („The Herb garden”, 1942), the poem Minagi olin Arkaadia teel ... („I too was heading for Arcadia...”, 1950) and the travelogue Itaalia capriccio („Italian Cappriccio”, 1958). in Ristikivi’s ideals, Arcadia is a bright dreamland, obviously situated in Italy. The original Hellenic Arcadia did not appeal to Ristikivi’s Apollonian nature. Thus he followed the European tradition where Arcadia had already been disassociated from the Greek region of the same name. The poem being inspired by R. L. Stevenson’s treatment of the old Scottish ballad „Skye boat song”, Ristikivi’s version suggests that one of his Arcadias might be found on the ascetic Isle of Skye, which most likely was the main destination of the last journey of the aging writer. The article points out that Arcadia could be interpreted as a generalization including polar opposites, a light-dark axis enabling analysis of Ristikivi’s oeuvre as a whole.

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Palanumäe lugu ja keele lugu

Author(s): Mart Velsker / Language(s): Estonian Issue: 04/2012

The article examines the language use, with related cultural attitudes and identity manifestations, in the novel series Minge üles mägedele („Over the Mountains”) by Mats Traat. Most of the character speech in the novels represents South Estonian, more specifically, the Tartu language. The narrator’s speech, however, is in standard Estonian, which is largely based on North Estonian dialects. Such division is typical of South Estonian prose, although not absolute. Notably, this novel series by Traat stands out in Estonian literary history as the most voluminous text of fiction where the Tartu language is consistently used. Moreover, the fate of the Tartu language develops into a side topic constantly cultivated. The language use of Traat’s characters has been most wittingly designed and also used as a means of character individuation, with frequent language conflicts and attempts at self-definition on language basis. The story of the language becomes increasingly related to that of a place called Palanumäe ’Burnt Hill’ in the novel. The image of a hill or mountain actualising the vertical dimension the novel can as well be perceived as a plexus of discordant up and down movements.

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Kas Jakob Liiv kirjutas esimesed eestikeelsed sonetid?

Author(s): Rebekka Lotman / Language(s): Estonian Issue: 06/2012

According to Bernard Kangro’s Eesti soneti ajalugu („History of the Estonian sonnet”, 1938) the first Estonian sonnet ever written was Õnnesoov isamaale („Congratulation to Fatherland”) by Matthias Johann Eisen, published in 1881, which has ever since been regarded as the birth year of the Estonian sonnet. However, there are two Estonian sonnets dated to earlier years by their author jakob Liiv (1859–1938). The sonnet Isale 50 aastaseks sündimise päevaks („to Father on his 50th anniversary”) bears the date 1878, and Asjata („in vain”) - 1880. both were published later than Eisen’s poem: Isale... in 1886 (undated) and 1903 (dated), while Asjata was published even later. The problem is whether Jakob Liiv actually wrote the sonnets in those years, which would mean a three-year prolongation of the history of the Estonian sonnet. to find an answer, the two sonnets are first analysed from the aspect of the technique of verse (metre, rhyme) in the context of the period as well as Liiv’s oeuvre, after which the two are referred to the author’s biographical background. The article fails to provide a definitive answer, though. The biographical data seem to support Liiv’s own datings, as by 1878 the young Liiv had been practising poetry for several years, also showing the results to his teacher Johann Jürgenstein. In addition, he was already acquainted with the oeuvre of Nikolaus Lenau, whose poetry, especially the sonnets, has been pointed out by Liiv as an influential example. Questions can be raised, however, about the technique of verse. Asjata, for example, is the only amphibrach in Liiv’s early oeuvre, moreover, the rhyming technique used is also more characteristic of the mature Liiv. Possibly, the truth is somewhere in the middle: Jakob Liiv may indeed have written those sonnets as dated, but edited them thoroughly before publishing.

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Train of Language, Train of Thought: Notes on an Exophonic Anomaly

Author(s): ØYVIND RANGØY / Language(s): English Issue: 1/2021

The creation of poetry with literary value in a non-native language often invites questions about how this is possible to achieve. This question, however, can be turned around: is there something in being an exophonic poet that, rather than being an obstacle, could make the development and maturing of a poetic language possible? Adam Zagajewski writes that ardor, not irony, can be primary building blocks, and about the ideal of being ‘in between’. Ben Lerner writes about the sources of Hatred of Poetry and sees poetry as a potential that can never be completely realised. Being between languages causes the reality of language as one of many possibilities to be always present. The result can be construed as a poetic of time and light, but also of a reconciliation at depth warranted by the poetic ethos. Language becomes aware of itself, its autonomy and inherent lack of objectivity, and this becomes less naive and prone to cliches, but this awareness need not spiral into self-dissolving irony. Rather, it may seek to reconcile the possible ways of seeing the world into a new sense of sincerity. It inspires creative and playful use of language, gives heightened awareness of possible metaphors even where the sense of the transferred image is absent within the framework of one language. This has the potential to change perception of language and reality in a way that makes poetry almost possible.

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Who’s Afraid of the Werewolf? An Imagological View of Kitzberg’s Play

Author(s): Anneli Ninre / Language(s): English Issue: 2/2021

The archetypal fear of the other and the idea that it is safer to hold on to the familiar are the central topics discussed in one of the best plays in Estonian literature Libahunt (The Werewolf, 1912) by August Kitzberg (1855–1927). Although the play was written at the beginning of the 20th century, it is still open to interpretation and has not lost its relevance. It is a play about conflict between values: the Tammaru family is conservative and afraid of strangers, of foreign blood, while one of their foster children Tiina is a free spirit whose appearance and nature is different from the family. She is not one of the villagers, she is an outsider and the family and the villagers are afraid of her. This stranger is seen as mysterious and dangerous – she is said to be a werewolf – and the xenophobic village casts her out. Using imagology as a theoretical basis, the article concentrates on the aspect of the foreigner and on fear of the other.

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Kas muuseumiKirjaniKe Kaanon on valmis?

Author(s): Maarja Vaino / Language(s): Estonian Issue: 01/2012

Eestis on praegu 16 muuseumi, mida võime seostada konkreetse kirjanikuga. Suurem osa neist ongi kirjanikumuuseumid, vaid mõne puhul moodustab kirjanikupärand ainult osa kogutervikust. Olgu need muuseumid siinkohal tähestiku järjekorras üles loetletud: Ahja muuseum (Tuglase „Väikese Illimari” maastik), A. H. Tammsaare muuseum Kadriorus, A. H. Tammsaare muuseum Vargamäel, Anna Haava mälestustuba, August Kitzbergi tubamuuseum, Betti Alveri muuseum, C. R. Jakobsoni talumuuseum, Dr. Fr. R. Kreutzwaldi memoriaalmuuseum, Eduard Vilde muuseum, Lydia Koidula memoriaalmuuseum, Liivi muuseum, Muhu muuseum (Juhan Smuuli tuba), Oskar Lutsu majamuuseum, Palamuse Oskar Lutsu Kihelkonnakoolimuuseum, Underi ja Tuglase Kirjanduskeskuse muuseumiosakond (Tuglase muuseum Adsoni majas) ja Gustav Wulff-Õie muuseum Nüplis. Lisaks tegutseb MTÜ Karl Ristikivi Selts ning Valgamaal on aktiivsemalt hakatud tegelema August Gailiti pärandiga. Gailiti sünnikodus Kuiksillal ei ole küll muuseumi, kuid seal toimuvad Gailitiga seotud üritused ning majaperenaine lubab huvilistel oma kodus ringi vaadata. 2010. aastal loodi MTÜ Eesti Kirjanike Muuseumide Ühing, mille eesmärgiks on kirjanikele pühendatud muuseumide tihedam koostöö, kirjanike pärandi väärtustamine, hoidmine ning sellele laiema ühiskondliku kõlapinna leidmine.

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Eesti venekeelne kirjandus: kas osa eesti või vene kirjandusest?

Author(s): Igor Kotjuh / Language(s): Estonian Issue: 02/2012

Pealkirjas toodud küsimus on provotseerivalt poleemiline, sellele pole võimalik üheselt vastata. Näiteks Soome rootsikeelne kirjandus on küll osa soome kirjandusest, kuid Soome venekeelne kirjandus ei ole. Eesti kirjandusteadus on korduvalt pöördunud küsimuse juurde, mis on rahvuskirjandus. Ja vastanud: eesti kir- jandus on kirjandus, mis on loodud eesti keeles. Viieköiteline „Eesti kirjanduse ajalugu” (1965-1991) ja neljast osast koosnev luuleantoloogia „Sõnarine” ei leia ruumi Eesti venekeelsetele autoritele.

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Luulekogu üheksa osa, palve, epiloogi ja toimetaja kaassõnaga

Author(s): Hannes Varblane / Language(s): Estonian Issue: 02/2012

Review of: Jürgen Rooste. Kuidas tappa laulurästikut. Tallinn: Verb, 2011. 96 lk.

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Dekadentlik tammsaare ja diskursiivne kirjanduslugu

Author(s): Rein Veidemann / Language(s): Estonian Issue: 02/2012

Review of: Mirjam Hinrikus. Dekadentlik modernsuskogemus A. H. Tammsaare ja nooreestlaste loomingus. Dissertationes litterarum et contemplationis comparativae Universitatis Tartuensis 10. Tartu: Tartu Ülikooli Kirjastus, 2011. 326 lk.

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Vahingust

Author(s): Jaanus Adamson / Language(s): Estonian Issue: 03/2012

Review of: Vahing. Mälestusi Vaino Vahingust. Koostanud Külli Trummal. Tartu: Hermes, 2011. 336 lk.

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Pilguheit eesti omaelulookirjutusele: nähtus ja selle ajalugu

Author(s): Margus Lattik / Language(s): Estonian Issue: 03/2012

Review of: Methis. 5-6 /2010. Studia humaniora Estonica. Koostaja ja toimetaja Leena Kurvet-Käosaar. 250 lk.

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Mõtsast löütü muistõjutu´, paigapealne pärimus

Author(s): Marju Kõivupuu / Language(s): Estonian Issue: 03/2012

Review of: Metsast leitud kirik. Mõtsast löütü kerik. Urvastõ kohapärimus. Koostanud Valdo Valper, toimetanud Mall Hiiemäe. Tartu: Eesti Rahvaluule Arhiivi toimetused. Commentationes archivi traditionum Popularium Estoniae 28. Eesti Kirjandusmuuseumi Teaduskirjastus, 2010. 249 lk.

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Kommenteerida või mitte?

Author(s): Ülo Tedre / Language(s): Estonian Issue: 04/2012

Mälestused - ja nendega haakuvad nn elulooraamatud - tunnukse olevat nii avaldajate kui ka lugejate eelistuste esirinnas. Mälestusi ilmub sarjadena - näiteks monumentaalne sari „Eesti mälu” -, omaette teostena, aga samuti kildudena asutuste, organisatsioonide, koolide ja muude üksuste juubeliväljaannetes. Olgu siin näitena mainitud „Pärnu Ühisgümnaasium. Algusest aastani 1952” (Tallinn, 2006), mille 784 leheküljest kaugelt üle poole hõlmavad mälestused.

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Mis saabub ja mida ma soovin, on jubedalt erinev...

Author(s): Viivi Luik / Language(s): Estonian Issue: 04/2012

Review of: Margit Mõistlik. On raske vaikida ja laulda mul. Artur Alliksaare elust. Tallinn: Menu Kirjastus, 2011, 208 lk.

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Logos, ethos, pathos, ehk kuidas kirjutada kirjandusest?

Author(s): Epp Annus / Language(s): Estonian Issue: 04/2012

Review of: Aarne Merilai. Õnne tähendus. kriitilisi emotsioone 1990–2010. studia litteraria estonica 10. tartu: tartu Ülikooli kirjastus, 2011. 349 lk.

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