Rozhlasová hra a/nebo rozhlasová inscenace?

Author(s): Lenka Jungmannová / Language(s): Czech Issue: 4/2021

The objective of this study is to theoretically define and distinguish between a radio play and radio production. Hence the first part of the paper characterizes the individual components of a radio production (speech, music, sound and silence), its performativity and its basic building block - the acoustic situation arising out of the interaction between the acting and the sound production. In the next section the radio production is considered as a sound composition (by theoretical passages on montage and time and space phenomena) and finally the historical roots of this radio work are also referred to. The second half of the study focuses on the radio play, which it endeavours to analyse primarily on the basis of its relationship to the theatre play. The study then goes on to examine both the structural elements and the types of radio plays and the secondary processes involved in the creation of this literary work: adaptation and dramatization.

РОДОТ И АРХЕТИПОТ ВО ДРАМИТЕ НА ТЕКИ ДЕРВИШИ И НА ГОЦЕ СМИЛЕВСКИ

Author(s): Nataša Avramovska / Language(s): Macedonian Issue: 56/2010

The theatrical works by Teki Dervishi, The Hill of Sorrow, and by Goce Smilevski, Conversation with Spinoza (a circus act in five parts), are bound by a common (almost identical) dramatic unfolding that maps out the circle of infinite oneness of the uroboric body: the great snake that swallows its own tail. It is the kind of dramatic interplay which maps out the circle of the unbreakable bond between the mother’s womb and the bearings of her son’s sensuality (as in: body, source of sinning). The lining of the circle marks the infinity of the sensuality’s incarnations, its eroticism, its sex; it underlines their collectivity, a oneness with the all-encompassing and all-bearing body of the mother, which in turn, appears as an apotropaioi (in its magic, protective function) character positioned at the gates of the dramatic world: at its entrance and at its exit. Namely, at the entrance/exit of being itself: in the interim process between life and death. What these two plays bear in common, as a result of their intertextual and intercultural dialoguing when dealing with the question of gender and archetypes, is the conjoined reinforcement of the archetypal meaning of man’s mother born out of corporeality and sensuality. In Smilevski’s play, what takes center stage is the theme of sexuality, that is the dialogue carried out betwixt the world of sexuality and Spinoza’s philosophy, which is resolved at the level of archetypal imagery. In Dervishi’s play, on the other hand, sexuality is always twice-removed from the archetypal character of the Mother, and her many mythic incarnations. What is nonetheless key for the platform of comparing these two pieces based on the commonality of gender and archetypes could be found in ‘the familial scenario’ of sexuality that the two respectively voice.

FROM PLOT TO POLITICS: AESTHETICS AND POLITICS IN "THINKING ABOUT CHRISTA T." BY CHRISTA WOLF

Author(s): Senka Anastasova / Language(s): English Issue: 25/2022

Есејот се занимава со естетичките аспекти на процесот на пишување и отворање на уметничкиот текст кон политичкиот и културолошкиот контекст, во субверзивната автобиографска новела "Размислување за Криста Т." од германската авторка Криста Волф. Во овој текст расправам за врските помеѓу процесот на нарација (наратологијата како наука за раскажувачкиот текст) и политичката теорија која се занимава со политичката одлука: што е она што вистински се случило (фактот) и што е она што е фикција. Низ подвоеноста во идентитетот на Криста Волф (авторката) и Криста Т. (мртвата фикционална жена, карактерот) ги отворам прашањата: што е стварност, фикција, мемориски практики, идеологија и пишување, дијалектички отпор кон идеолошка матрица и унифицираното пишување, реконструкција на стварноста и фактографијата наспроти фикционални тропи. Овој есеј има за цел да го покаже процесот на естетичка продукција и конфигурација на уметнички текст низ теорија на рецепција и контекст на интерпретација. Наратолошката автобиографска трансформација на авторката, од раскажување во прво лице еднина до раскажување во трето лице женски род (таа) – ја покажува еманципацијата на мислата и процесот на ослободување на фикцијата од самодоволноста на наратолошкиот контекст и отворање на пишувањето кон културолошко-политичката стварност (во 1945 г.). Укажувам на хипотезата дека ако естетичкиот акт во уметничкиот текст е идеолошки, истовремено тој акт не смее да се затвори во сопствената (марксистичка) идеологија, туку единствено може да постои во пукнатинките на идеолошкиот отпор, во политичката одлука како чин на отпор низ уметност, како основа за создавање нови политичко-идеолошки почетоци низ уметнички парадигми на пишување. Покажувам дека критичкиот пристап на дистанцирање на авторката (уметничката) од самата себе емпириската личност) е единствено можен прогресивен естетичко-политички акт на творење, епистемологија и толкување помеѓу минатото, сегашноста и иднината.

KOMA

Author(s): Rastislav Durman / Language(s): Serbian Issue: 1-2/2022

Drama by Rastislav Durman: “Koma”

ОДЛАЗАК ИЗ ПОЗОРИШТА НАКОН ПРЕДСТАВЕ НОВЕ КОМЕДИЈЕ

Author(s): Nikolay Vasilyevich Gogol / Language(s): Serbian Issue: 1-2/2022

Drama by Nikolai Gogol: "ОДЛАЗАК ИЗ ПОЗОРИШТА НАКОН ПРЕДСТАВЕ НОВЕ КОМЕДИЈЕ“ (Leaving the Theatre after the Presentation of a New Comedy)

КАРТАШИ

Author(s): Nikolay Vasilyevich Gogol / Language(s): Serbian Issue: 1-2/2022

Drama by Nikolai Gogol: "КАРТАШИ" / (The Gamblers)

GOGOLJEVA SMRT

Author(s): Ulderiko Donadini / Language(s): Croatian Issue: 1-2/2022

Drama by Ulderiko Donadini: "Gogoljeva smrt".

Nikad ne reci nikad

Author(s): Stjepan Škvorc / Language(s): Croatian Issue: 109-110/2022

Drama „Nikad ne reci nikad„ by Stjepan Škvorc

DRAKULA-FANTÁZIA

Author(s): István Szűts,Tibor Zalán,István Bella,Zoltán Seregi / Language(s): Hungarian Issue: 853/2022

A fragment of a play written by Szűts István, Bella István, Seregi Zoltán, Zalán Tibor - "Drakula-Fantázia".

Drama - Stjepan Škvorc

Author(s): Stjepan Škvorc / Language(s): Croatian Issue: 111-112/2022

Drama by Stjepan Škvorc: "Za domovinu"

Vakfolt

Author(s): Rita Sebestyén / Language(s): Hungarian Issue: 4/2022

Blindspot is a series of 30 dialogues set in Eastern Europe at the turn of the millennium. A minority in her country of birth and an immigrant in the country she arrives in, we follow the story of a young woman pursuing her studies and career. Conversations with family, friends, and authority figures are balanced between tragic and comic. An eternal quest of her position in power-ridden structures. The story was written in 2010 and is pure fiction. All rights reserved.

Pomník neznámému uměleckému činu — a hlavně Opavě

Author(s): Pavel Janoušek / Language(s): Czech Issue: 5/2022

Tiyatroda “Diegetik Kişi”ler Üzerine Bir İnceleme: Ölü Babaların Gölgesinde Beş Piyes

Author(s): Can Şen / Language(s): Turkish Issue: 113/2023

Theatre and the dramatic arts are majorly considered an art of “mimesis” (representation) while also “diegesis” (narrative) is seen in both theatre and other dramatic forms. In the dramatic forms, however, diegesis/narrative remains secondary due to their intrinsic properties. In the study of theatre and the dramatic arts, diegesis mostly appears as a “diegetic space” (mentioned/narrated space) in connection with the use of space. In the present article we will first focus on the concept of diegesis and diegetic space and then attempt to show that characters, just like events, can be included in plays only by narratives rather than necessarily being physically present in the cast. In connection with this, we emphasized that such people, who are not part of the cast but included in the play only through the narrative, should be named as “diegetic person”, similar to the term “diegetic space”. We concentrated on the prominent five plays from Western and Turkish theatre within a timeframe from the Ancient Greeks to the 1950’s to suggest the universality of this approach. In addition to the analyzed plays being prominent works of their periods, the fact that the diegetic people in those plays are dead fathers is another shared aspect of the five plays we have chosen.This study reveals that the existence of diegetic people, who have not been individually addressed up to present day in theatre studies, is parallel with that of the theatre and remains present in the modern theatre as well. It indicates that such people can be just as influential as tangible creatures in plays and accordingly emphasizes that diegetic people should also be taken into account in theatre studies.

Drama - Iva Kovačić

Author(s): Iva Kovačić / Language(s): Croatian Issue: 113-114/2023

Drama by Iva Kovačić: "Posljednja krava u selu;

Színházzal a klímaválság ellen. Chantal Bilodeau ökológiai színháza

Author(s): Orsolya Marton / Language(s): Hungarian Issue: 1/2023

The work of the Montreal-born, New York-based playwright and translator Chantal Bilodeau focuses on the intersection of storytelling and performative awareness raising about the climate crisis. Her two short dramatic texts, It Starts With Me and Mother demonstrate the versatile possibilities of expression and show the performative force of climate change theatre in action.

Feminin

Author(s): Elise Wilk / Language(s): Hungarian Issue: 1/2023

The central character in Elise Wilk’s drama is a teenage schoolgirl who one day has naked photos of herself posted on the internet, which turns into a scandal. The circumstances of the incident and the nature of bullying at school are gradually explored by the characters around the girl, all of whom are women. At the same time, the individual voices of the sister, mother, aunt, friend, classmate, lawyer, policewoman, teacher, headmistress, and the individual voices associated with the case, outline the different experiences and problems of femininity - the mosaic-like image of femininity emphasises the constructed nature of gender roles in society.Wilk was commissioned to write the play by Gianina Cărbunariu, director of the Youth Theatre in Karachonka, and it was premiered in 2018, with the all-female cast being one of the criteria for the commission. The text, translated by Ferenc André, can be read in our magazine.

MARK ROTKO ‒ CRVENO

Author(s): John Logan / Language(s): Serbian Issue: 3-4/2022

Drama by John Logan; "Mark Rotko - Red"

АМЕРИКАНКА

Author(s): Nikolaj Koljada / Language(s): Serbian Issue: 3-4/2022

Drama by Nikolaj Koljada: "Amerikanka"

F23 ILI BLUZ U BIJELOM

Author(s): Slađana Jovičić / Language(s): Bosnian Issue: 3-4/2022

Drama by Slađana Jovičić: "F23 ILI BLUZ U BIJELOM"

In memoriam Islam Žiga : monodrama "U procjepu"

Author(s): Islam Žiga / Language(s): Bosnian Issue: 3-4/2022

Monodrama by Islam Žiga: "U procjepu"