ДРАМАТИЗАЦИЈА РОМАНА Ф. М. ДОСТОЈЕВСКОГ „ЗЛОЧИН И КАЗНА”
Theater play of the novel "Crime and Punishment" by F.M. Dostoevsky
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Theater play of the novel "Crime and Punishment" by F.M. Dostoevsky
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The article offers a synthetic review of Hungarian theatrical realizations of Mayakovsky’s biography and works. The process of reception of Russian literature, including Mayakovsky, in Hungary was hindered by country’s strong cultural and language distinctness. For the first time Mayakovsky’s works reached Hungarian reader during politically strained times, namely the period of “white terror”. Despite the circumstances, the ground was fertile – part of the society, including writers positively received the Revolution of 1917, while Mayakovsky was seen as the voice of the revolutionary forms and after 1945 as a tribune of the people. This attitude towards Mayakovsky – seen as the main voice of the proletarian revolution and key author in the process of the formation of socialist poetics – is noticeable in the Hungarian theater until the 1970’s. Then, after a theatrical revolution, accent was placed on his innovative forms. Although there was no real diversity in the repertoire – Hungarian theater was dominated by The Bathhouse, with some exceptions for The Bedbug, or, just until recently, a variation of the works of Mayakovsky, which for the first time introduced fragments of Mystery-Bouffe onto the Hungarian stage.
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This paper aims to discuss the last play written by B.M. Koltès, Roberto Zucco, where the eponymous character incarnates a bloody serial killer from the 80s, for whose image Koltès had an extreme fascination transmissible to the readers and spectators of the time. The interpretative grid we applied to this text lies in the perspective of the power relations between the character and his environment, as well as explaining the attraction that Zucco brings about, thanks to a refraction force of the character that creates a mirror of the world's violence he shows right in front of everyone.
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In the drama section we publish Mese habbal (Tall Tale) by Árpád Levente Biró, a young playwright from Oradea. Biró’s text develops into a dramatic story the situation of inventing stories to cover up for unsolved tasks and speaks about the amount of imagination required to spin a yarn. The main character of the story is a rather lazy and disordered young schoolboy endowed with a powerful imagination, who offers a whole fantasy-trip to the teacher hoping to be forgiven for not doing his homework. We do not find out from the text whether the invention of the story starts at home or in the classroom, but it consequently shows us one thing: the joyful process of imagining in which the elements and the dramaturgy of the classical tale intertwine with the everyday reality of the character turned into hero.
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Romanian-born playwright, poet and journalist Saviana Stănescu lives in New York where she participates in several social and artistic projects, teaches at the university and directs. Aliens with Extraordinary Skills, first premiered in 2008 as a production of Women’s Project was remarkably successful. Éva Patkó created the Hungarian version, which will appear in Játéktér for the first time. The main characters of the play are a pair of clowns emigrating from Moldavia to New York. Although they become victims of a scam, they struggle hard to get their visas and earn a peaceful living. The dark comedy follows the adventures of the clowns – „who possess the extraordinary skill to make people and animals laugh” – with the immigration system and its representatives.
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Review on two drama collections "Against Forgetting" and "Parallel Realities", containing contemporary Hungarian dramas that cannot be characterized as "closet dramas"
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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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Alina Nelega is a Romanian playwright, translator, director and the artistic manager of the Liviu Rebreanu Company of the Târgu-Mureș National Theatre, a professor at the Târgu-Mureș University of Arts she also leads playwriting workshops. Her drama entitled Kamikaze appears for the first time in Hungarian, in the translation of István Kovács. The text is a kind of Balkan revenge-play. A man and a woman confront each other during a bizarre wedding night, in a clash of their doubly common past lives, the third character both linking and separating the newly wed couple. Two monologues follow each other in a space haunted in memories by the invisible and silent dead participant of the love triangle. The opposition between man and woman is not merely emotional: the possibility of a life with bourgeois values and the rebellion against them, as well as the impossibility of uncompromising rebellion turn into aesthetic and philosophical questions in Nelega’s text.
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The Roma actress and playwright Alina Șerban has gained international recognition with her text and performance entitled I Declare at My Own Risk – The Best Child in the World, which was directed by David Schwartz and premiered in 2011, starring the writer herself. The text of this play has been a work in progress ever since the beginning, and it can now be read in Hungarian in Beáta Adorján’s translation. Alina Șerban was born in 1987 in Bucharest. She graduated in 2009 from the National University of Theatre and Film of the Romanian capital, continuing her studies in New York and London. As a Roma woman from Romania, social activism and engagement is an organic part of her work as a performer and writer struggling against the many phenomena of discrimination, such as sexism, racism, and homophobia. Her I Declare at My Own Risk – The Best Child in the World is a biographically inspired text, reconstructing on the basis of diary fragments and first-person accounts the basic experience of how the existing caste systems and the everyday forms of stigmatization permeate our image of ourselves and our identity construction. Șerban’s work confronts us with all these issues through its captivating and heartbreaking humour. The theatrical staging of her childhood and maturation is built on a rhetoric that considers the personal involvement of the reader and spectator an integral part of the testimony.
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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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Obilježavajući 240. godišnjicu prvog objavljivanja balade Hasanaginica (1774-2014), Post Scriptum ekskluzivno objavljuje dijelove Historije novije bošnjačke književnosti prof. dr. Sanjina Kodrića, posvećene ovoj baladi. […]
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The paper presents in memoriam the career of the popular American playwright Neil Simon (1927-2018), his legacy in theater and cinema, his presence on the Bulgarian theater stage.
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David Mamet is one of the most important playwrights, scriptwriters, directors and producers of modern-day America. One of his distinctive plays, Speed-the-Plow begins with an idea of sensational film of two friends, Bobby Gould, recently promoted to head of production of a major Hollywood studio, and his associate Charlie Fox, having news that an important movie star is interested in making a movie with him. While discussing, they come to agree it would be a financial success. Yet, things get out of hands with interference of their secretary Karen. Bobby Gould is confused with the production of whose script must be shot. With the help of Madonna’s acting, it became very popular in Broadway in the very short time. The characters taking their places in the capitalist system and attempting to realize American dream in Mamet’s plays have no chance to win in this psychological and sociological battles. Karen and Charlie Fox try to take hold of Bobby Gould and manipulate him in this play. there is a power struggle between Charlie and Karen symbolizing masculinity and femininity. In this paper, this power struggle between man and woman will be discussed.
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Godina je 1940, njemačke trupe prodiru u Francusku. U nekom malom gradu u centralnoj Francuskoj, Simon Mašar radi u prevozničkom preduzeću i gostionici porodice Supo.
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