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In our drama section we publish the script of the performance entitled 99,6% and presented at Cluj. The production which opened on the 12th of November, 2018 at Reactor de creație și experiment was signed by a creative team, the members of which are: Panna Adorjáni, Raul Coldea, Hermina Csala, Radu Dogaru, Petro Ionescu, Bogdan Olarson, Kinga Ötvös, Oana Mardare and Adi Tudoran. The performance created for the centenary anniversary of Romania deals with the question of the co-existence of different ethnic groups: their young Romanian and Hungarian creators think in mixed languages and often inspired by personal experiences about the cultural divisions among ethnic minorities living in Romania. The title of the performance itself is a reflection on the same issue: it shows the result of a DNA-test performed on the creators at their request. The number in the title is the percentage of the similitude of our genetic material: the remaining 0,4% is the symbol of the differences which, nonetheless, powerfully divide us. The subtly constructed sequences of the bilingual script include personal experiences, comments and songs and they do not simply map the constructions of (national, cultural and personal) identities, but also experiment with their gentle deconstruction. During all this, the text also carries, in the collective and democratic creation-method of the performance, the utopia of an ideal social mechanics. In 2019 the performance won the Halász Péter Prize for the most innovative work of the year founded by Trafó House of Contemporary Arts in Budapest and Színház (Theatre) magazine.
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“Hughie or the Tale of a Memory” is the working title of the first play that the experienced artist Alexa Visarion has directed for the independent theater (a production released in 2017). The purpose of my paper, which is an investigation of several drama reviews that discuss the play’s first night, is to prove that – despite difficulties with cultural reception and public taste (given a text by O’Neill that is 80 years old, as well as the director’s first time with an informal theater production) - this performance was a succesful attempt at communicating and debating the conflicted values of American pragmatism and equally a crowning of the Romanian director’s effort to stage O’Neill’s plays in our country. Relying on insights from the Amercan doctrine of Pragmatism, I will try to show how O’Neill’s text challenges philosophical premises that are inbred in the American status-quo, thereby making his plays “anti-materialistic” by promoting a fatalistic approach to existence.
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Drama, both as an artwork and as a micro cosmos, is built on ‘the meaning (idea) ‘. The meaning for human consciousness cannot be considered independent of space-time. Therefore, the art of drama is open to all kinds of speculation about the phenomenon of time. In order to understand the structure of the cosmos, we make observations, experiments and analyses and produce theories by means of science and philosophy and at the end of these theories we get some explanations and concepts; such as paradoxes, entropy and big bang. In this study, a speculative approach is tried to be brought to the story of Oedipus by making use of scientific interpretations of concepts such as time, entropy and big bang. The history of the Oedipus has a beginning that expresses “the absolute order”. This beginning reminds us of the universe before the big bang. With the realization of a prophecy, this “absolute order” will evolve into chaos, and the destruction of Oedipus will begin over a long period; just like the continuous expansion of the universe, the increase of disorder, namely entropy, a theory of physics. In the fictional universe of Oedipus, the restoration of order can only be achieved by the death of Oedipus. The situation is the same in the universe we live in: For the end of chaos and the establishment of the absolute order, all the matter that constitutes the universe must be collected into a single point, which means that the universe returns to its starting point.
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The cross comparison of the works of art has always been fascinating and has led to the discovery of many interesting ideas. Although much has been written on Harold Pinter and Samuel Beckett’s works, this paper introduces a comparative outlook of two of their works. Basing its approach on content analysis, the paper compares the theme of menace in The Caretaker by Harold Pinter and Endgame by Samuel Beckett. We try to show how protagonists in both plays are afflicted by some sort of threat which is best justified by the manifestations of Pinter’s Comedy of Menace which in the end results in Beckett’s Theatre of the Absurd. One character is threatened by the nationally oriented fears of the system and the other harbingers an international atmosphere of menace hovering over the mind and soul of the protagonists at a micro level viewpoint and reflecting that of the postmodern man at a macro level one.
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Mihaela Michailov is a contemporary Romanian playwright and theatre critic born in 1977, who also teaches at the Caragiale Academy of Theatrical Arts of Bucharest. Her plays have been translated in several languages, including Bulgarian, French, German, Spanish and Hungarian. This impressive list is now continued with Johanna Bertóti’s Hungarian translation of Profu’ de religie (The Religion Teacher). Michailov’s play invites us to the world of Romanian institutional education, populated by the characters of the primary school pupils, teachers, and parents, but gradually – with the complication of the events – opening up toward a wider social framework, in order to provide a more comprehensive view of the sensational and scandalous media coverage of an abuse story. Did the religion teacher touch the thigh of the 12-year old girl? What does it mean in fact if he did? What does abuse itself mean in this case? Who is the victim? What is the truth? The author does not provide us with any clear-cut solutions. Her aim is rather to show how unsure our language and our various discourses, the adults’ and children’s interpretations might be in this case, along with complex ways in which the media transforms the issues of victimhood, while also presenting an ironic image of church, religion, and education in Romania.
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In Estonian theatre, the experience of World War I found expression somewhat belatedly, in the early 1920s, when Expresssionist plays, mainly by contemporary German playwrights – Ernst Toller,Walter Hasenclever, Georg Kaiser et al – were staged in the Estonia Theatre, in the Drama Theatre and in the amateur Hommikteater (Morning Theatre, 1921–1924). The article examines the most significant Expressionist stage productions, focusing on the relations between their ideological, affective and stylistic dimensions. Critical and audience receptions of Expressionist plays are discussed as well.In the Estonia Theatre, a group of young actors and directors(Ants Lauter, Erna Villmer, et al) sought to innovate theatrical language by making use of new, Expressionist devices. In contrast, the amateur Hommikteater (led by August Bachmann and Nigol Andresen)placed emphasis on spreading the ideals of new humanity and social justice, which reflected the left-wing sympathies of the troupe , but their work was also distinguished by an inventive style and a strong emotional impact on audiences. The members of the literary group Tarapita (who promoted Expressionism themselves)enthusiastically supported Hommikteater. This little theatre became highly influential in the process of theatre innovation, despite its very small audiences.However, the key ideas and ideals of postwar Expressionism (including a strong anti-war pathos) had rather little effect on Estonian theatre in general. Expressionism mainly contributed to the widening of the stylistic palette of Estonian theatrical art. This can be partly explained by the social situation of the 1920s: victory in the War of Independence and the subsequent building of the independent Estonian state raised nationalist spirits and made people less sensitive to the destructive experiences of World War I as reflected in postwar German Expressionism.
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This article explores the forms and functions of grotesque realism in the play Balkan Spy (1983) (Balkanski špijun) by Dušan Kovačević. The analysis is focused on the mechanisms of grotesque that the author uses in order to create a tragicomic version of reality, and on the effects of this aesthetic choice. The analytical approach to the dramatic text shows that Kovačević employs elements of both conventional and modern theatre. In other words, contemporary grotesque realism, caricature, irony, bitter/dry and subversive humour are the most dominant dramaturgical techniques that the author brings in order to create his characters as well as the absurd world caused by political paranoia.
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The recusant culture in the time of the queen Elizabeth (1558–1603) developed a lot of rhetorical devices, figures, tropes and allegories to convey hidden religious and political meanings. Apostle Peter, whose authority had been lessened by reformers, epitomized the institution of papacy and the Roman Church for the Catholics as is clearly understandable from the poem Saint Peter’s Complaint by Robert Southwell or from the motet Tu es Petrus by William Byrd. In The Tragedy of Romeo and Juliet Shakespeare creatively adapted motifs taken from his sources (Brooke, Painter) but added to them a remarkable number of allusions, canonical terms, and references to St. Peter the apostle, to the Ecclesia Romana and to Rome as well as to the liturgy of Maundy Thursday and Good Friday, thereby underlining a sacrificial value of Juliet’s suffering in figura Christi for the sanctity of her marriage. This article supports the thesis that Shakespeare made use of the Bible and scholastic philosophy for his dramatic purpose, and deliberately imbued the secular subject-matter with a religious vocabulary and imagery.
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Originally written by Henrik Ibsen in 1882, An Enemy of the People was adapted in 1950 by the American playwright Arthur Miller, and this adaptation was the one taken into consideration by the director Claudiu Goga when staging the play at the “Vasile Alecsandri” National Theatre in Iași in 2016. In this paper, we aim to analyze the reception of the play in Iași by also pointing out the differences between Henrik Ibsen’s original, Arthur Miller’s adaptation and Claudiu Goga’s staging and showing that any adaptation of a text leads in fact to a new piece of work. Goga’s staging enjoyed favorable reviews, probably also due to the possible identification of the audience with the social-political realities in Romania.
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To achieve its cathartic effect tragedy must communicate and elicit emotions. Any dramatic utterance, treated as an act of communication within the represented world, rests on the interaction of two inseparable, accordant, and interrelated systems – language and emotions. Language can name and verbalize emotions in order to construct them in the dramatic world, but to create a linguistic image of a believable emotional utterance the language a character speaks must appear to be infl uenced and shaped by emotions. Further, that mimetic representation of emotion through language must be understood by the audience. To achieve this, dramatic language must either rely on conventional linguistic means used to express emotions or create its own code that will be decoded by the audience. The audience will vicariously experience the characters’ emotions by recognizing them in their language and actions. The emotionally dynamic image of Othello, one of the most passionate men of Elizabethan drama, is created primarily by the language he uses. To follow the changes in the syntax and the semantics of his language as the action of the play develops is to observe the transformation of the character from a loving and caring husband into a jealous beast that knows no mercy. The article will offer an analysis of the pragmalinguistic representation of jealousy in Othello’s language and show how his discourse changes in the text. The analysis will rely on basic pragmatic categories and consider Othello’s use of directives, assertives, expressives, etc. The emotional change in Othello will also be illustrated by a brief study of the change in his syntax and his vocabulary: from balanced rhetorics and sophisticated words to erratic speech and expletive swearwords.
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This paper investigates how verbal images are anchored in acting. It focuses on the concretisation of the actor’s imagination and the possibilities of relating the declamation and gestures to the stage disposition and the theatre’s location in the city. Two models are used – Noh and Shakespearean theatre.
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This study focuses on the most important stage productions of Aeschylus’ Oresteia of the 20th century. A special emphasis is given to the possibilities of reading the tragedy, in relation to politics and social climate. Based on selected productions the study also follows the evolution of various modern directing concepts and diverse approaches to staging ancient drama. Productions of Aeschylus’ Oresteia were often an integral part of significant changes in modern history and went beyond established ideas of how to read ancient drama.
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András Ferenc Kovács, the poet residing in Tg-Mureş is a well-known figure of contemporary Hungarian literature and a collaborator in creating several theatrical texts. Antwerp Runs, which appears in our drama supplement, is a sketch from his script entitled Debauched Armada of Comedians (Elizabethan English Fosteriades). The characters of the dramatic text in verse step out from Paul Foster’s drama Elisabeth I. They are mostly money lenders, as the theme of the text is the world of money and its way of functioning – offering us a peek into the witchcraft of power. Characteristically to András Ferenc Kovács’s poetry, in the Antwerp Runs layers of historical and current experience and language, the political-economic relations of the sixteenth century and the reality of the European economic and political union build on each other with ease.
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Theatre is a cultural activity deeply involved with repetition. Repeated text recycling of specific material, and the practice of using the same spaces and bcj dies appear in a wide range of theatrical cultures. Māra Ķimele as a stage dire tor has always been interested in the original, the unique. Yet she is not free fro postmodern obsession with things that return. This can be clearly seen in two productions of "Miss Julie" by August Strindberg. Māra Ķimele gains enc mous power from repeated appearances of the same actors and scenic element.
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Ak, brīži - Kad lielāks, nekā dzīvot, prieks ir mirt!.. ’ Šādu epigrāfu savai apjomīgākajai lugai - traģēdijai “Ķēniņš Zauls” - izvēlējies Augusts Saulietis (1863.-1933.). Kā liecina nosaukums, lugas fabula aizgūta no Bībeles, Pirmās Samuēla grāmatas, kas iezīmē soģu laikmeta beigas un ķēniņu valdīšanas sākumu, tātad būtisku pavērsiena punktu, kad sakrālo, t.i., priestera, varu nomaina laicīgs valdnieks - karavadonis. A.Saulieša traģēdijas galvenais varonis Izraēla pirmais ķēniņš Zauls pieder šīm abām pasaulēm — viņš ir Dieva izraudzīts valdnieks, bet tai pašā laikā šo izraudzīšanu pieprasījusi tauta. (Zīmīgi, ka A.Saulieša lugā par ķēniņu kļūst tautā jau iecienīts, slavas oreola apvīts varonis, lai gan no Bībeles teksta noprotams, ka karavadoņa slavu Zauls gūst tikai, būdams ķēniņš.) Šī ap Zaulu savijusies pretruna izraisa arī viņa iekšējo traģēdiju, jo, kā lugas pēcvārdā raksta tās autors, “kaut ar vienu savu pusi Zauls tiecas uz jaunu dzīvi, it kā ārā no Zamueļa reliģiski-fanatiskās pasaules, ar otru pusi tas paliek pilnīgi viņas varā un tad arī zem viņam uzkrautā Jachvē's lāsta, un viņam jākaro pret to, kas stiprāks nekā cilvēki” [...]
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Stangret examines the dramatic work of Paweł Demirski by juxtaposing his strictly literary output with the work he did on the project Szybki Teatr Miejski [The Fast City Theatre]. The main problem is the creation of the authorial subject within specifically artistic communication. Treated hypertextually, the literary work, which is linked to autocommentary and the uncovering of the author’s perspective, causes the author himself to become the text in which the above-mentioned elements come together. Stangret sheds light on the communication strategies of this particular kind of text. The main means of communicating “oneself as a text” is the intimation of transgressing the speaking element for the sake of immediate expression. The artist creates himself as an author writing a text whose meaning is largely based on action beyond the work. Another element is the strategy of provocation whose main factor is the speed of transmission. Stangret shows the ways in which the poetics of Demirski’s plays can be inscribed in modern media communication.
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