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Through concrete theatrical productions of one stream of documentary Russian and Slovak theatre the authoress makes comparisons between various approaches, forms and the messages of cultural creatives. She presents two strands of new drama against the backdrop of the events and recollections of World War II and of the conversations between refugees, whereby producers based themselves on literary models. The socio-political situation and new media (the Internet, web community systems and others) have a significant impact on the thinking and maturing of young people. The content of the word, of a sign and the capacity of the viewer to perceive a theatrical performance as a whole have become important once again. Selected theatrical performances point to different approaches and a different reception of a new theatre in two Slavic cultures.
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Although drama translation offers a rich platform for discussion and analysis, it is astonishing to see that it is the most neglected area in translation studies. Susan Bassnett, one of the most prominent theorists for drama translation, suggests five types of strategies for the drama translator. This comparative study focuses on Susan Bassnett’s first and the final strategies to find out the differences between two translations of Shakespeare’s Macbeth. Among five types of drama translation strategies, co-operative translation is the most accomplished one in terms of stage performance, while with regard to fidelity, literary translation stands at the opposite pole from it. The scholar, translator and critic Orhan Burian’s translation of Macbeth in 1946 is a typical example of literary translation; on the other hand, the well-known director and actor Haluk Bilginer’s translation of Macbeth in 2010 is considered to be a successful co-operative translation. Burian’s conservative style produced a faithful yet stilted translation. The dialogues were too long and implausable for the stage performance. On the contrary, Bilginer worked with the director and even with the actors at times in order to achieve the rhytm of speech, simplicity of pronunciation and easy graspability. Bilginer made alterations such as omitting some acts and scenes thereby keeping the audience’s attention focused on the play. His usage of easy-flowing daily spoken tongue and common Turkish idioms and slang expressions where appropriate also functioned to bring the text closer to the audience and to create playable and speakable dialogues which performers could utter without difficulty.
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This study highlights new tendencies in the contemporary theatre of Ravenhill’s distinctive plays, which apply postdramatic aspects of time, space, body and media related to Hans Thies Lehmann’s work, Postdramatic Theatre (2006). Introducing the aspects of postdramatic theatre, this paper examines how Mark Ravenhill’s plays can be adopted to postdramatic conditions in contemporary theatre and how these aspects create time inconsistency, unspecified space, active bodies and mediatized culture. Considering these aspects, this paper analyses Mark Ravenhill’s plays Faust is Dead (1997) and Pool (No Water) (2006) to show how these aspects change the form and understanding of the plays. A detailed analysis, especially using postdramatic aspects of body and media, about Faust is Dead and Pool (No Water) is carried out in this paper. This analysis opposes traditional aspects in dramatic theatre of the use of non dramatical texts, performance, active body and spectators. With these distinctive plays Mark Ravenhill deconstructs conventional rules, text, language and characters.
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Éva Székely, our Hungarian author from France wrote about Wajdi Mouawad’s Blood Promises cycle. The Canadian-Lebanese playwright-director has been rewarded with numerous prizes. The author considers his four plays – Tideline (1999), Scorched (2003), Forests (2006) and Heavens (2009) – to be cruelly beautiful. One play from the French edition of the cycle has been translated to Hungarian and has been staged.
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Claudel wrote Break of Noon (Partage de midi) in 1906, but, because he took the inspiration from a scandalous period of his own life, he let it out of his hands only forty years later. The Károli Gáspár Reformed University and the Budapest based L’Harmattan Publishing House published in cooperation, in 2015 the drama translated to Hungarian by Melinda Székely. The reviewer considers that the text is mostly metaphorical, refined, poetical, but also crudely outspoken, disturbingly honest, even judgemental. The play that strikes art-noveau, expressionistic and romantic chords presents the destiny and tragedy of four characters.
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Zsuzsa Lőrincz is primarily an actress. Badzika, published in our current issue, is her debut drama publication, a text that she has also directed at the Griff Puppet Theatre in Zalaegerszeg. Badzika, a children’s play grasps with sophisticated sensibility the moment of transformation in a family: the transposed situational and role-plays on the one hand show us a child’s imagination in action, on the other hand these scenes are full with the intuition of an invisible, unknown, yet detectable change related to the arrival of a new baby. At the end of the fictional adventures, the family order is restored, or rather a new order is created, in which the known and unknown elements all find their places. The father arrives home from his business trip and the whole family celebrates together. The songs composed for the play are signed by Géza Bereményi.
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Shaw was considered to be such an eccentric writer at the beginning of his career as a playwright that although only 30 out of 3000 plays were censored by the authorities at the turn of the century (1890-1910), three of these 30 plays belonged to Shaw: Mrs Warren’s Profession (1894), The Shewing-Up of Blanco Posnet (1909) and Press Cuttings (1909). Shaw who made it a principle to shock the audience of the late Victorian period, assumed an irreconcilable attitude. However, in his fourth play Arms and the Man (1894), Shaw came up with a totally different strategy which served his Fabian political ends more effectively. Having comitted to breaking all the established and fossilized stereotypes in the first three plays, he might appear to be adopting an incompatible approach in his fourth play. On the other hand, he established closer and more consistent ties with the Fabian socialist ideology that he championed. Having realized that he could more effectively shatter the stereotypes through cliches, he particulary chose to utilize the common ground and well established literary conventions of the theatre and literature. This study aims to analyze Shaw’s Arms and the Man with a view to Russian formalists Propp and Tomashevski’s theories and discuss how this change of strategy served Shaw’s political ends.
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Matei Vișniec’s The Man with One Wing (Omul cu o singură aripă) is published in Éva Patkó’s excellent translation. Vișniec’s text can be interpreted as a fragmentary story of the revealing of a secret, where naturally – in keeping with the traditions of absurd drama – not only is the secret postulated as impossible to reveal, but at the same time the question arises whether it has any rational content worth decoding and understanding. Vișniec’s drama is constructed around one strong image that is not far from the metaphoric thinking of absurd theatre, but is at the same time, similarly to the author’s other texts, essentially linked to the deconstruction of metaphoric thinking: different interpretations and desires of the characters are cast on the half-human, half-animal, half-godlike creature only to be discarded later. Thus, the man with one wing, whose life is recreated for us in an apocryphal-story with a profane and bitter humour along a fragmented investigation or remembering, confronts the reader with the inexplicability of human life as a mixture of the ordinary and the extraordinary.
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Alina Nelega’s In Traffic received the UNITER prize for Best Drama of the Year in 2013 and the author herself directed the text with the Romanian company of the Târgu Mureș National Theatre in 2014. In Traffic is built from the monologues of six women and a dog – the fragmented dramaturgy organized around the event of the killing reconstructs the action from the different perspectives of characters, showcasing a wide array of female destinies. An abused housewife, a strong businesswoman, a PR manager who had lost control, an insensitive doctor, a humiliated policewoman and the organizer of an inheritance event – they are all random participants and characters of an event that stops the traffic. Life stops for a moment and for someone it stops forever – this still image holds a series of monologues that give a cross-section of the society we live in. In Nelega’s play, the events are triggered by a woman who revolts against her marriage: she communicates her decision to divorce right in the car, her action entailing a long series of reactions from other people. It is as if the crisis had reverberated and forced everyone to meditate on their own lives. This recitativo-like play with a powerful musical structure was translated by Csaba Székely.
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The drama supplement of this issue contains The Case, a text written by young playwright, Tímea-Aletta Szíjártó. The play won the Debut Prize of dráMÁzat II., a playwriting competition organized in cooperation by Szigligeti Theatre from Oradea, the Hungarian Faculty of Arts of the University of Arts in Tg-Mures and Tomcsa Sándor Theatre from Odorheiu Secuiesc. The story of The Case is set in a decrepit Transylvanian village here human relations are inseparably tinted by emotional and material poverty. The interesting novelty of Szíjártó’s text is not in its theme, but rather in the dramatic beauty of the dialogues written in the decaying dialect of the region.
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Csaba Székely burst into the Hungarian theatrical world a few years ago with his Mine-trilogy about the Transylvanian environment and his plays have been translated into several languages since then. His drama published in this issue, The Sand Monster (A homokszörny) steps away from the themes imposed by the environment and explores relationships between lovers, spouses, sex-partners. The order of scenes seems to follow the dramaturgy of an endless cyclic movement. Pairs of women with names of fruits and men with names of colours appear in dramatic moments that are sometimes spectacular, at other times hidden and defying silence. Whether relationships are dominated by emotion, carnality or social conditions, the feminine and masculine roles unite and separate as in a dance. The very same dance carries the sadness of relationship-paradoxes, while the carefully balanced playfulness and irony of the text keeps a distance from the characters, actually watching human nature from that distance.
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Contemporary German playwright and media-artist Felicia Zeller’s Conversations with Astronauts, translated by Beáta Adorjáni, was nominated in 2011 for best new German play at the Mülheimer Theatertage. The location of Zeller’s text-event with nonlinear dramaturgy is Ditchland, the characters are Au-pairs who work there and the families who have taken them in. Playing with geographical identification, the language makes real references ambiguous, sketching the experience of foreignness, as well as the small, humiliating, ordinary situations of sub- and super-ordination. The tension of Zeller’s drama is constructed on the linguistic situation of the infantilized status of a foreign language-learner that is related to several other – cultural and economic – gestures of power. The ironic linguistic perspective, much like Elfriede Jelinek’s similar texts, also raises the problem of (self)-expression: struggling and developing, random speech opens the space for the minor characters of social discourse.
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U godini stogodišnjice smrti Giuseppea Verdija programi se opernih kuća širom svijeta pune naslovima ovog neupitnog velikana talijanske opere. Takva obljetnica privremeno u sjenu baca sve ostale operne skladatelje, pa i one koji su zaslužili da ih se prisjetimo upravo ove godine. Benjamin Britten, koji je preminuo prije četvrt stoljeća, jedan je od njih. Obljetnice su se ipak prisjetili u Beču, te na scenu Bečke državne opere postavili u veljači njegovu operu Billy Budd, i to u njenoj izvornoj inačici. [...]
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In our study we focus on the exploration and research of the theme „handicap“ and the ways of its artistic representations in world drama works for children and youth designed for the theatre stages, which were in the Slovak translation published in a printed way, resp. via editorial activities of the Slovak Theatrical and Literary Council in Bratislava and Slovak Literary Agency. Our objective was to map out this specific area of the production for children and youth with the historical period of 1960´s to the beginning of the 21th century. The most frequented themes were the theme of social disability, the theme of orphan or half orphan (in 13 texts) and of beggary (in 11 texts), specifically. In proportion to the physical handicap it is the social one: 34 (social disability) to 18 (physical handicap).
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Ionesco deals with the loneliness and helplessness of man against death from 1960 on. “The King Is Dying”, which is accepted by a lot of critics as his masterpiece, is written by the writer in three weeks when he is ill. He brings to the stage man’s/his own struggle in the throes of death. He even says that he himself acts in the leading role of the play. Throughout the play he presents to the reader his perspective of the situation of mankind around the theme of death in a symbolic setting. To him, there is an instinct of death in the heart of all that is living and they agonize to suppress it. Ionesco is obsessed with death since he is four years old. He is never abandoned by the obsession or fear of death since he realizes that he is a mortal being. He writes this play in order to overcome his fear of death. While treating the tragic end of man, he is influenced by the western philosophy as well as the eastern philosophy, especially by The Book of the Dead of Tibet. The king passes through all the stages of facing death while moving to death step by step: These are rejection, anger, bargain, depression and acceptance. The theme of death is approached in this study with reference to the thoughts of François Chipraz, who defines the tragedy as “man’s struggle with the forces that surpass and destroy him – fate, death, time, sickness, etc.”
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The aim of the study is to show the ways of application of categories of philosophical anthropology that express the relation between love and a man as a differentiated integrity in the theory and practice of translation. The author differentiates four dimensions of love – filia, eros, agapé and caritas agapé. They are identified in Shakespeare´s tragedy Romeo and Juliet in Slovak translations by Karol Strmeň and Ľubomír Feldek. He suggests claim that a good translator should try to keep ratio of individual dimensions of love from original text in a translation.
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Pojmovi subverzivna i afirmativna američka drama prvi puta se spominju u djelima autorice Sanje Nikčević Subverzivna američka drama ili simpatija za losere (1994) i Afirmativna američka drama ili živjeli puritanci (2003). Prema autorici afirmativna i subverzivna drama se definiraju u odnosu prema američkom snu koji može biti potvrdan (afirmativan) ili rušilački (subverzivan). Afirmativni pravac realističke drame je zrcalno suprotan subverzivnoj drami, jer afirmira osnovne postavke Američkog sna i prikazuje uspješne primjere američkog društva u pričama sa sretnim razriješenjima ljubavnih, poslovnih i inih životnih situacija. Subverzivna američka drama negira Američki san,...jer na primjerima svojih likova, gubitnika (losera), pokazuje da taj mit ne funkcionira u suvrmenom američkom društvu.
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U radu se analizira upotreba zamjenica 2. lica u bosanskohercegovačkim dramama budući da upravo drame, u odnosu na druge književnojezičke forme, nude najobimniji materijal za istraživanje ove jezičke pojavnosti. U skladu s tim, pokazuje se koji faktori utječu na odabir zamjenice ti ili Vi u određenim kontekstima, objašnjavaju razlozi njihove eventualne netipične upotrebe, te daju implikacije koje ona podrazumijeva, uz stalno naglašavanje povezanosti jezičkih i društvenih fenomena.
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