L’u-topie dans « En attendant Godot » de S. Beckett

Author(s): Christofi Christakis / Language(s): French Issue: 25/2013

In this work, utopia is constructed through a series of transgressions and paradoxes. For the characters, the only place of existence is a "no man's land", where they are constantly and unwittingly drawn to. The other dramatic elements are often defined in relation to this place and can be connected to both a positive as well as a negative utopia. This universe is governed by its own laws: everything is in a state of suspense and confusion, everything seems to repeat itself. This is how utopia becomes both a space of presence and absence; the space of a play. The interactions between the different dramatic elements eventually create more tensions by causing a break in time and action. Utopia is filled with Godot's expectations, while questioning what gives meaning to time, space, action and play. She hosts what is said and shown and maintains her own existence. She embodies absence (Godot) and (unfulfilled) expectations. Beckett’s questioning is the most perfect form of modern, unfulfilled utopia.

Realite et utopie dans le mental collectif sur la perception du classique de la dramaturgie roumaine : I. L. Caragiale

Author(s): Cristian Stamatoiu / Language(s): French Issue: 25/2013

The study identifies the difficulties occurred in the reception in the collective mind and the translation of the Romanian classic play writer, I. L. Caragiale. The author identifies here the major problem in the fact that the hilarious characters of Caragiale are using a lot of “Frenchies”, words that were very “stylish” in the Romanian highlife in the beginning of the XX-th century, and now they are extremely difficult to (re)translate in... French.

Valère Novarina et son « théâtre utopique »

Author(s): Zita Sándor / Language(s): French Issue: 25/2013

Valère Novarina, French drama writer and director classifies some of his own works as “utopian theatre”. These pieces are excellent examples of the theory of Jill Dolan, who thinks that the utopia in theatre instead of referring to the past or the future takes place in the present of the drama (and its representation) by elaborating present and eventual interactions. In “La Chair de l’homme”, Novarina introduces 3.171 persons on the scene showing a wide range of possible relations among these people from different points of view, by expansion of the eyes of the reader or the spectator. The geographical location of the piece creates a mental space where very different places can meet. Novarina offers a synchronic view of the present in his “utopian theatre”, letting different times and realities written on each other within one piece.

ГОЗБА ЗА ВРЕМЕ КУГЕ

Author(s): A. S. Pushkin / Language(s): Serbian Issue: 1/2021

Drama written by Alexander Sergeyevich Pushkin (Гозба за време куге. Из Вилсонове трагедије The City of the Plague)

KAMENI PRST

Author(s): Miodrag Žalica,Safet Pašalić / Language(s): Bosnian Issue: 1/2021

Radio drama written by Miodrag Žalica and Safet Pašalić (Kameni prst)

Na raskrižju

Author(s): Stjepan Škvorc / Language(s): Croatian Issue: 105-106/2021

Drama play by Stjepan Škvorc ("Na raskrižju")

Женската сексуалност и машката доминација во Танте за кукуригу и Кротењето на опаката

Author(s): Vladimir Cvetkoski / Language(s): English Issue: 11/2013

Овој труд разгледува некои аспекти на женската сексуалност и машката доминација во комедиите „Танте за кукуригу“ и „Кротењето на опаката“ од Вилијам Шекспир. Во контекст на двете драми, текстуалните примери што застапуваат елизабетански ставови кон женската сексуалност и машка доминација се претставени како елементи од една поголема матрица на социјалните односи на моќта. Покрај тоа, третманот на сексуалноста и сексуалната желба во „Танте за кукуригу“ се претставени преку дискусија за сликовноста на страста на Анџело по Изабела. Елизабетанските ставови за сексуалноста и за сексуалната желба се прикажани преку анализа на сликовноста во солилоквиите на Анџело и на Петручио, соодветно, со што се укажува на употребата на слики од областа на соколарството како метод за кротење на птици/итрици, што се користи од страна на машките ликови во драмата „Кротењето на опаката“. Тропите и јазикот од областа на соколарството се препознатливи и во дискурсот што го употребува Петручио при кротењето на Катерина. Карактеризацијата на Катерина, како што се гледа од нејзиниот говор за женската послушност, се разгледува како во однос на практиката на Шекспир да претставува доктринарни говори така и во поглед на современите сценски поставки и толкувања на самиот говор. Конечно, со оглед на реската разлика помеѓу елизабетанските хиерархиски општествени односи и егалитарниот општествен амбиент на нашата современост, статијата пристигнува до заклучок дека субверзивните елементи во Шекспировите комедии, најозади, служат за да се задржи првично воспоставеното статус-кво на родовите односи, социјалните практики и општествениот ритуал на бракот.

Lekcja życia

Author(s): Aleksander Cywiński / Language(s): Polish Issue: 2/2020

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ДЕДИНЕ МАНЖЕТНЕ

Author(s): Dragutin Beg / Language(s): Serbian Issue: 35/2021

POVRATNIK

Author(s): Ivo Mijo Andrić / Language(s): Bosnian Issue: 2/2021

Literary Text (monodrama) written by Ivo Mijo Andrić: POVRATNIK

SVUKUD PROĐI, U BOSNU DOĐI

Author(s): Srećko Marčeta / Language(s): Serbian Issue: 2/2021

Literary Text (monodrama) written by Srećko Marčeta: SVUKUD PROĐI, U BOSNU DOĐI

ВАСКРШЊА ТОЛЕРАНЦИЈА

Author(s): Dragutin Beg / Language(s): Serbian Issue: 34/2020

БОЖИЋНО ПРАЗНОВАЊЕ

Author(s): Dragutin Beg / Language(s): Serbian Issue: 33/2020

Susjedi ili suvremena krimi-komedija o stambenim problemima

Author(s): Sanja Nikčević / Language(s): Croatian Issue: 107-108/2021

Drama by Sanja Nikčević ("Susjedi ili suvremena krimi-komedija o stambenim problemima")

Susjedi

Author(s): Snježana Babić Višnjić / Language(s): Croatian Issue: 107-108/2021

Drama by Snježana Babić Višnjić ("Susjedi")

THE PLAY IN EUGEN FINK’S PHILOSOPHICAL REFLECTION

Author(s): Panagiotis Asimopoulos / Language(s): English Issue: 2/2021

The truly harsh, yet highly impressive, coincidental identity of the carefree play with the tender childhood is an attractive springboard for fertile thoughts. With admirable engrossment prominent scholars diachronically deal with the nuanced access of that complicated experiential process. Tirelessly they aim at the thorough tracing of its identity. Adopting traditional practices or groundbreaking consideration they tend to convincingly interpret the fundamental parameters concerning the polyhedral function of “play”. Deterministically they are led to crucial drawing of undeniable findings that substantially differ from the primary aspect. In particular, they emphasize the catalytic presence of play in psychosomatic activities and spiritual manifestations, without exception of all living beings, not only of the rational creatures (underage or adults). They also highlight the pure theatrical shade and the unparalleled ritualistic character of the cultural phenomenon; they underline the explosive externalization of the authentic pleasure through which each individual consciously or imperceptibly channel his mimetic dynamics while clearly defining the inviolable framework of his dominance by pointing to his personal value. At the same time, they focus on the essential components of the play: the complete exemption from compulsive rigidities is consistent with the creative freedom of the teammates and their unchangeable availability for self-promotion despite the spatial and temporal limitations of its commission; the ideal interaction between the unwavering attachment to the realistically binding, the consciously accepted rules and the temporary, autonomous transition to conceivable dimensions; its noble harmony based on the supreme secular order and the absolute mystic beauty as well. Starting from the famous saying of “dark” philosopher Heraclitus that “eternity is a child playing draughts, the kingly power is a child’s” (fragment B 52) Eugen Fink bypasses metaphysical speculations, mythological rituals, but also religious doctrines. Through the perfect combination of his transparent argumentation with the ancient Greek anthropological palimpsest, he makes a detailed examination of the philosophical essence of the play. He reasonably gives it existential importance, as he perceives it as a top result of excellent aesthetic education.

Teatr, czyli droga przez mrok

Author(s): Michał Zdunik / Language(s): Polish Issue: 686/2021

„Wydaje mi się, że nie jest tu zbyt jasno” – tymi słowami Maurice Maeterlinck rozpoczyna swój jednoaktowy dramat Intruz. Ciemność i mrok, światło i jasność – dokładne widzenie racjonalnej rzeczywistości wobec niepokojącej ślepoty, w której, paradoksalnie, można dostrzec znacznie więcej. Sztuka belgijskiego noblisty jest opleciona siecią takich przeciwieństw i sprzeczności, a sam proces lektury przypomina drobiazgowe odkrywanie sensu i docieranie do prawdy, przed którą chciałoby się uciec – okazuje się bowiem ostateczna, dramatyczna i nieodwracalna.

PLEADING FOR A HISTORY OF ROMANIAN TRANSLATION. THE DRAMATIC TEXT

Author(s): Corina Bozedean / Language(s): Romanian Issue: 2/2020

The international reception of drama text is, as Hans Robert Jauss showed, not a passive assimilation of the foreign cultural fact but an active and selective response to what is perceived as exterior. The literary creation enjoys but of a relative autonomy which is to be analysed into a dialectic relationship with society, with its production and consumption habits over a given period of time. The degree of closeness to translated creation varies based on audience, and therefore work on a history of translation becomes not only a titanic effort but also proves to be absolutely necessary for a better fixation of certain literary currents and ideologies. As for drama text, the approach of aspects such as the part of editorial translation/retranslation, the part of texts meant for stage or the special profile of the translator of drama may bring a contribution to a more objective understanding of the Romanian theatrical movement.

ДИСКУРСОТ НА ВИКТИМИЗАЦИЈАТА ВО СОВРЕМЕНАТА МАКЕДОНСКА ДРАМА

Author(s): Milan Damjanoski / Language(s): Macedonian Issue: 58/2011

One of the predominant discourses with which Macedonian culture is in constant dialogue is the discourse of Europe and European culture. This dialogue is conducted within the framework of the broader discourse of the relation between Europe and the Balkans, where Europe always has a dominant role within a relation that can best be described as one between a colonizer and colonized. Considering the fact that the representations of the Balkans conceived by Europe have been well known and studied, this work is focused more on the second part of the equation, i.e. the attitude of Macedonia and Macedonian culture towards Europe as the Other. The primary focus shall be on the contemporary Macedonian drama and the issue of representation of Europe in the plays of Goran Stefanovski, Jordan Plvnesh, Venko Andonovski and Dejan Dukovski whose plays are all watersheds of Macedonian literature and culture. The continuity of preoccupation and the complementary treatment of the character of Europe is a common theme of all the analyzed plays, which shall be considered from the point of view of the issue of victimization, a concept taken from Cvetan Todorov. At the same time, the analysis of this issue shall be also based on certain concepts used in postcolonial criticism. It will be concentrated on the representation and definition of the relationship between Europe and Macedonia, within which Macedonia reserves the position of the victim with all its related powerful symbolic and semantic values and benefits, but also the advantage of assuming a higher moral, psychological and qualitative position through the construction of the self as a subject that possesses valuable ethical, cultural, spiritual and civilizing values which the Other not only desires, but also fears. Consequently, we want to point to the fact that the space of Macedonian drama, along with the broader Macedonian society, is occupied , even preoccupied by the fixation of Europe as a colonizer trying not only to conquer us and impose its values, though decadent and morally degraded deep in its core. This is an indicator of the flux which Macedonian culture and society find themselves as they search for their identity and its verification, which is accompanied by a sense of threat resulting in the use of stereotypes. The presence and frequency of these stereotypes is indicative of the existence of a subconscious and repressed fear and insecurity, whereas the inability to overcome them leads to the acceptance of the role of the victim as an easier and readily available solution, but which also serves as a veritable mechanism for the construction of identity.

Ubio sam Almu (monodrama za ansambl)

Author(s): Monika Herceg / Language(s): Croatian Issue: 07+12/2021

Monodrama for the ensemble ("Ubio sam Almu") by Monika Herceg.