![PARADNI TRČULJAK](/api/image/getissuecoverimage?id=picture_2008_46817.png)
We kindly inform you that, as long as the subject affiliation of our 300.000+ articles is in progress, you might get unsufficient or no results on your third level or second level search. In this case, please broaden your search criteria.
“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.
More...
Dennis Kelly (1970), contemporary British playwright and scriptwriter’s first drama Debris, appears in this issue in the Hungarian translation of dramaturge Júlia Sándor. The drama was first presented in London, at Theatre 503, in 2003. According to its interpreters, the text shows the stylistic features of in-yer-face dramas: this term was used by critics for the theatrical tendency of the 1990’s in Great Britain that tried to impress the audience with its shocking rhetoric. Kelly’s drama does not in any way resort to linguistic or thematic fineries, but still manages to explore the horror of human existence with refined theatrical fantasy and humour. The two characters of his play are the siblings Michelle andMichael, who approach their own dysfunctional childhood through the language of horror-fantasy, in which fiction and reality intertwine. Storytelling leads back to the traumatic origin of birth, where destruction has started – and apparently will always start. This is so because – next to the socio-graphic character of situations created by emotional void, aggression, alcoholism and poverty – the generalhuman, especially childhood experience of vulnerability is equally strong. The impossible struggle for life in a world that is hostile to the core – this is what Kelly’s characters express theatrically.
More...
This article focuses on the interpretation tendencies of relations between a human being and nature characteristic of Rainis’ future visions. They are analysed on the basis of the idea of the Sun’s child expressed in several unfinished dramatic works of the poet (“Īliņš”, “Jānis Vīrs”, “Saules loks”). If the activities of the main character of the play “Īliņš” is focused mainly on the material world and the social sphere, the main area of the Sun’s child is not related to the social environment: he is solving issues that address the sequence of development of a human being and other living forms in the world (including birth, life, the process of aging and death). The image of the Sun’s child represents an idea about a new, harmonious world that would overcome the antagonism of human beings and the nature that has existed for generations, as well as rise above the oppositions that exist in society in general and in each individual in particular. The creation of the image of the Sun’s child and the formation of the over all world view of Rainis were strongly influenced by the work “Études sur la nature humains” (1903) written by the Russian biologist, Nobel Prize winner Ilya Metchnikov (1845–1916). Several basic I. Metchnikov’s guidelines and ideas are in common with the range of issues that Rainis was especially interested in. They are revealed not only in the draft materials of several unfinished plays, but also recorded in the poet’s diary.
More...
A witch is a frequently used motif in the poetry and plays of Aspazija (real name Elza Rozenberga, 1865-1943), an outstanding Latvian poetess and playwright. It can be said that a witch, as interpreted by Aspazija, is not only a literary image, but also bears a special meaning: it is a way of poetess' self-expression that manifests the Aspazija's contradictory self, as well as the relations between art and life, the spiritual and the real, escalating them up to the greatest degree of dramatism. The paper focuses on Aspazija's play "The Witch" ("Ragana"). As a complete dramatic work the volume of which is 5 acts it is published only once - in the magazine "Mājas Viesa Mēnešraksts", 1896, No. 10,11 and 12. Later, respecting Aspazija's wish, it is published only in a form of a fragment, cutting the action in the middle of the 4th act, 10th scene. In this paper the play "The Witch" is analysed in the context of Aspazija's early poem "The Daughter of the Sun" ("Saules meita") and M. Lermontov's poem "The Demon". Thus, the most essential tendencies in Aspazija's literary quests can he revealed.
More...
In the drama of William Shakespeare all the contrasts of his age are reflected. By emphasising different aspects in the drama of the English Bard, it is possible to obtain a new perspective in the interpretation of his creative work. The real and most absolute personification of the comic dimension of the world is the Jester - a character known already from Greek and Roman comedies, medieval religious plays and the Italian commedia dell' arte. The symbolical figure of the Fool or the Jester is one of the most meaningful char acters created by William Shakespeare. His philosophy allows him to notici sense in the absurd and make a fool of common sense. The Jester expresses the estranged state of the human mind - to the apotheosis and culmination of this tragic foolishness in the figure of King Lear's Jester. At the end of "King Lear" the King and the Jester exchange places and the King becomes the Jester.
More...
The article discusses the plays which have won the competition for the plays created for the drama theatre “Skaryna and Modernity” in 2016. These are “Francysk. Pripovest” by Timophei Ilievsky, “I Brought You the Word” by Mihail Turunovsky, “Viry Svoya” by Sergei Shidlovsky and Irina Andreeva, “The Doctor of Free Studies” by Nikolai Rudkovsky, “Doctor Raus’s Career” by Viktor Martinovich, “Skoryna. Beta-version” by Elena Ivanyushenko. Special attention is paid to the characteristics of drama time and space, characters’ typology, subject matter of the plays.
More...
It is important to mention since the very beginning that the dramatic text is in fact a form of written dialogue meant to illustrate an action. Within the written works, one must make the difference between the theatrical and dramatic language. If the theatrical language (typical with theatre performance) is the result of a build-up of sub-systems - decor, music, dance, lights - which create communication at a level of representation by merging together, the dramatic language can function as a literary text. The central axis in a theatrical performance is represented, from the very beginning to this day, by the dramatic text: “Without a dramatic text there is no theatrical performance; there can be created a performance without lights, sounds, music, decor, movements etc., but the nature of this performance would not be dramatic anymore, but choreographic.”.(Haja, 1998, 89 )
More...
Dramatic Franciscan literature, as part of the friar’s school, it’s connection with to theoretical concepts and classic dramatic literature, culture, history, folkloric oral heritage, will be the subject of this press release. Synthesized religious topics with dramatic elements in act, as a concept Theatrum mundi, through the elements of mimesis of the Christian theatre, presented as another approach to drama and antic theatre even through rhetorical elements, ethos, logos and pathos. Drama “Skanderbeg”, discovered in AQSH, fund in the year of announced in honor of our national hero, is another historical and literary fact and valuable contribution of the Franciscan school, which deserves our attention.
More...
In this paper“The autopsy of the policy-making among Albanians” will be reviewed Demon’s Diner– a political drama (written since 1993), focusing on the politico-ethical topic, the dramatic characters and the Albanian political theatre. The purpose of this drama is the examination / autopsies of policy-making among Albanians, through the portrayal of political figures/actors - presenting them as “mental products” of the old politics, wandering in “political thinking” vs. “acts in politics”. The other side of the analysis is, first and foremost, identify elements that are characteristic of this dramatic genre,we study the focusing peculiarities of the Demon’s Diner, such as:a faithful picture of the political situation/historical facts, consequences of politicians, major political problems in Kosovo, social solidarity, national aspirations, the international factor, political and territorial contraction. I will be interested to see how the author E. Kryeziu sets forth the mentality of the characters / politicians - they psychics, the discourse (declarative, and yowl), the use of antipode concepts and antonymic relations, and the force of dialogue, dramatic tension, and controversy.The burlesque of the title, as a show of political vulgarity (the dinner prepared by politicians/ demon diner), forms of this dinner (official dinner, rally, diplomatic emissary), time in drama/ the action in a play (diner - meals during which a meeting between the Albanian and the international representation, and dinner / reception as a dramatic tension), as well as the place (the venue is a restaurant/ a meeting place where “repressed” political machinations) are other issues which will be dealt with.
More...
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.
More...
The object of my interest is music co-creating the so-called “acoustic kitchen” in radio drama adaptations of Tadeusz Różewicz’s works. There is no doubt that both in older versions of radio dramas, including Świadkowie albo nasza mała stabilizacja from the 60’s, as well as in the latest ones (eg Pułapka from 2016), music is an important component of the setting; it creates the scenery and atmosphere, illustrates the internal states of the characters, and portrays their emotions and interrelationships. It also plays a traditional delimitational role, separating individual acts and scenes, dismembering the text and establishing smooth transitions between its parts. For the researcher of the radio versions of plays intended for the theater stage, as in the case of Różewicz, it is extremely important to determine the location of musical elements in the (radio) drama, to look at the principles of selection of these motifs and the way they are joined together, as well as to reflect on their origin; in other words, to determine to what extent the musical choices result from the will of the author of a play, and how much they are derived from the invention of the radio drama’s producers. In my interpretation, I follow the musical and acoustic suggestions included in the stage directions and the way they are used by the authors of the dramas, such as: Akt przerywany, Białe małżeństwo, Kartoteka, Kartoteka rozproszona, Odejście Głodomora, Pogrzeb po polsku, Pułapka, Stara kobieta wysiaduje, Świadkowie albo nasza mała stabilizacja, Wyszedł z domu. I will address the question of how the notes given by the author were taken into account in the radio versions of his plays and how the producers of the adaptation made the decision themselves to introduce muical and acoustic elements not marked by the author in the stage directions.
More...
The article discusses selected Jesuit plays from the mid-18th century, in which there are female figures, contrary to the rules adopted at the end of the 16th century (Ratio studiorum). The analysis of the works was preceded by theoretical considerations on the attitude of the Jesuits to women’s roles. Polemical theoretical statements and the introduction of playwrights to the tragedies in which they justified the lack of female figures were reminded. The analysis showed that the heroines of collegiate art could be allegories, personifications or mythological figures. Their actions were most often a symbolic commentary on the main action of the dramas. The efforts of authors translating foreign-language dramas into Polish, aimed at adapting the original to the requirements of collegiate scenes, were also analysed. A significant part of the article consists of an analysis of several texts in which female roles appeared. Intentional dramaturgy has been presented, consisting of elevating female figures and constructing them on the basis of models known from male roles.
More...
Stories by Lejla Kalamujić: - CIGARA JE IZGORJELA DOPOLA; - DVIJE RAKE; - TATINA JAKNA PORAZA; - PORODICA; - PIONIRSKA ZAKLETVA; - A ONDA SU I NJU UBILA NJENA DJECA; - SMRT SE SPUSTILA U GRAD; - KUĆA OD ŠEĆERA; - NA PLAVOM PUTU; - POVRATAK NA GRBAVICU; - RAZMJENA NA MOSTU BRATSTVA I JEDINSTVA; - BORINA SMRT; - NEMA VIŠE NI MRTVOG DŽAVIDA; - SAFETINA SMRT; - SARAJEVO — BIJELJINA — SARAJEVO; - MOŽDA SAM JA NEPRIJATELJ OVOG GRADA?; - U CVJETNOM VRTU MOG UMA; - MNOGO GODINA POSLIJE; - JE LI TI TO PROFITIRAŠ NA SVOJIM MRTVIMA?; - SRCE TAME; - KRIVA SAM; - MOLBA PTICAMA; - FINALNA RASPODJELA GROBOVA.
More...
Theater as a duration is a living matter that is constantly being upgraded. It is not possible to determine the constancy of theatrical existence once and for all. In some more dynamic horizonts there are also festivals that must have the necessary dynamics of performance and being in order to create an atmosphere, emotion and tithes. Without it there are no theaters. If it is measured by how much a theater performance has been achieved then those whose author Dusan Kovacevich, shown at the Brcko Meeting of Theaters / Theaters, measure the critical thinking of the being of a theater act. Kovacevich upgraded his performances from Meetings to Meetings that communicated with the viewers more and more intensively. For these reasons, Dusan Kovacevich remains a universal value for the achievement of a festival that fosters a South Slavic drama.
More...
Dugo je Duško Trifunović obilježavao i obilježava južnoslovenski prostor svojim poetskim ostvarenjima. Mnogo ih je uglazbljeno. Kroz njegovo djelo reaktuelizuje se vrijeme determinisano ne tako davnom prošlošću. Neka sjeta i melanholija prodrmaju svakoga ko se sjeti uglazbljenih stihova ovog vječitog sanjara. Međutim, Duško Trifunović je u razdoblju osamdesetih godina XX vijeka pokazao i svoje prisustvo u teatarskom svijetu. [...]
More...
Шта човек да очекује од представе по тексту овог наслова? Али, шта год очекивали, сигурно ће вас ова представа на Камерној сцени СНП-а, дословно изненадити. Унеколико познајем и пратим репертоар овог позоришта, који је заиста разноврстан. Представе на две велике сцене, од Андрићеве „Ћуприје“, па до „Духа који хода“ Дејана Дуковског или „Аникиних времена“, опет по Андрићу, постижу атрактивност и пуне гледачиште, освајају награде на фестивалима, гостују по Региону и по Европи. [...]
More...
Behind every theater festival, there will be a performance or performance that will mark, remember and talk about. This is the case with the Meetings of theater / theater in Brcko. For thirty-five years, during the thirty-five concerts of the theater, numerous performances have been produced, either by the award of a professional jury or audience, and some of them who existed for a certain moment. In the performances numerous great protagonists performed on the Festival stage of the Meeting. The management of so many award-winning performances, numerous writers, directors or actors who marked a performance and made it recognizable for a longer course of time are important for the further course of the duration and the Festival and the life, closeness and spontaneity of the South Slavic drama structure that it nurtures in its own programmatic basis.
More...
Iz potrebe da se afirmiše borba za dramski i scenski esnaf nastao je Festival Premijera, koji organizuje tuzlanski Teatar Kabare. Osim na matičnoj sceni drugi po redu Festival Premijera je, od 21. septembra do 23. oktobra 2017. godine, imao svoje izvedbe i u Živinicama, i Kalesiji. Razlog za to je što su u tim sredinama umjetnički sadržaji bilo koje vrste u potpunom zamiranju. Festival je potreba i Kabareovska znatiželja da se napravi studija slučaja i jedan produkcijski model u kojemu se nastojalo da se ono što se događa u Teatru Kabare Tuzla pod geslom “Prezentacije i promocije umjetnosti” jednostavno proširi na još neke gradove. Da se umjetnost iz centra, uslovno rečeno jednog areala, proširi na periferiju. Sve to iz potrebe da se vidi može li se umjetnićki i ekonomski preživjeti u vremenima koja dolaze. Zapravo, namjera je da se kroz Festival Premijera skenira stanje potrebe za dramskim stvaralaštvom i vidi perspektiva za istim.
More...