Darkness as National Drama

Author(s): Jelena Lužina / Language(s): English Issue: 57/2007

The renowned drama by Kole Čašule – organized in a fairly non-standard quadraphonic/four section form (in four parts, and not, as would have been customary, in four acts), entitled with quite the stigmatic and adequately connotative syntagm Darkness – is undoubtedly one of the key Macedonian dramas, and at the same time a drama that is laconically ("by automatism") attributed with being a "national classic", whatever this quite undetermined/undeterminable formulation means. The text that follows aims to study the potential meanings of this formulation, trying to argument them or raise them as problems with the help of exact and absolutely confirmable facts.

Црнила како национална драма

Author(s): Jelena Lužina / Language(s): Macedonian Issue: 57/2007

Познатата драма на Коле Чашуле – организирана во прилично нестандардна квадрифониска/„четиричлена“ форма (во четири дела, а не, како што би вило вообичаено, во четири чина), насловена со прилично стигматична и соодветно конотативна синтагма „Црнила“ – несомнено е една од клучните македонски драми, едновремено и драма што лаконски („по автоматизам“) се атрибуира како „национална класика“, што и да значи оваа прилично неодредена/неодредива формулација. Текстот што следи има намера да ги истражи потенцијалните значења на таа формулацијата, обидувајќи се истите да ги аргументира или да ги проблематизира со помош на егзактни и апсолутно проверливи факти.

Doomed Eternality of Desire and Fear in A Delicate Balance

Author(s): Samira Sasani,Haghrezaei Elham / Language(s): English Issue: 2/2018

A Delicate Balance is a play of fear and threat. The characters in this play show an unknown dread of the outside world and try to maintain the status quo.The sense of communication is bound to a protective behavior which results in their avoidance of any outsider. Laing’s theory on the condition of the schizoid and the divided selves which torture his existence has become the framework through which this study will show how collusions at work create divided selves and how these selves find themselves in their encounter with the real world. In this article, the attempt has been made to demonstrate the deepest layers of relationships between the characters of the play, while delving into the conflicting forces which are at work in each character’s inner world resulting in their ironically opposing and conflicting behaviors. This study will also reveal how masks act as important tools to protect the characters’ existence from the threat of the outside invaders. These schizoid characters suffer from, deal with and behave differently towards their inner split and the conflict it arises from within, so that their main focus will be to preserve their existence.

Pierrettin veo

Author(s): Arthur Schnitzler / Language(s): Bosnian Issue: 3-4/2016

Ispovijed mazohiste ili Labirint svijeta i raj biča

Author(s): Roman Sikora / Language(s): Bosnian Issue: 1-2/2016

Play by Roman Sikora

Poniženi i uvrijeđeni

Author(s): Miroslav Bambusek / Language(s): Bosnian Issue: 1-2/2016

Play by Miroslav Bambušek

Plavi kit

Author(s): Milan Sotek / Language(s): Bosnian Issue: 1-2/2016

Play by Milan Sotek

Tajni izvještaj sa planete majki (Mamma guerilla)

Author(s): Anna Saavedra / Language(s): Bosnian Issue: 1-2/2016

Play by Anna Saavedra

Kuća Kod sedam žohara

Author(s): Anna Saavedra / Language(s): Bosnian Issue: 1-2/2016

Play by Anna Saavedra

Hajócska, menj!

Author(s): Alfréd Erőss / Language(s): Hungarian Issue: 02/2017

Epica magna

Author(s): Mihai Ignat / Language(s): Romanian Issue: 10+11/2018

Literary text

Победници, победници

Author(s): Mirko Demić / Language(s): Serbian Issue: 186-187/2019

Repräsentation reformatorischer Ideale am Beispiel des Dramas "Johannes Honterus" von Traugott Teutsch

Author(s): Delia Cotârlea / Language(s): German Issue: 18/2018

Im vorliegenden Beitrag setze ich mich mit der literarischen Figur von Johannes Honterus im gleichnamigen Drama des siebenbürgisch-sächsischen Autors Traugott Teutsch auseinander. Es wird dabei verfolgt, in welchem historischen Kontext das Drama entstand, welche siebenbürgisch-sächsischen und reformatorischen Ideale an Hand der Figur des Protagonisten und der Handlung festgestellt werden können.

Vrba píše Borovici

Author(s): pseudonym S. d. Ch. / Language(s): Czech Issue: 51/2019

Le manuscrit du Jeu d’Adam (Tours, Bibliothèque municipale, ms. n° 927, cc. 20r–40r) à l’aune de la philologie matérielle : didascalies, ponctuation, mise en page

Author(s): Sonia Maura Barillari / Language(s): French Issue: 1 (33)/2021

The Jeu d’Adam is the oldest theatrical text written in a vernacular language that has come down to us in its entirety. Composed around the mid-twelfth century, it has survived in only a single witness (Tours, Bibliothèque municipale, ms. n° 927, cc. 20r–40r) datable to the second quarter of the thirteenth century. The peculiarity that better characterizes the Jeu d’Adam is undoubtedly its large apparatus of Latin stage directions, aimed to regulate its staging scrupulously. The zeal lavished in the attempt to regulate diction by a pervasive and careful use of punctuation marks is very important. Considering the dating of the code, it appears sufficiently diversified, contemplating the punctus planus, placed both at the foot of the letter and in the middle position, the virgula (´), the punctus elevatus (.´) and the punctus interrogativus (two points with one or two virgulae on their top). The iterated use of the punctus interrogativus to indicate an interrogative or exclamatory intonation – extremely rare in the other manuscripts of the same time – is motivated both by the will to suggest in turn the appropriate intonation for the sentences in the form of direct speech, and by the ‘paraliturgical’ character of the Jeu, shaped by the concrete needs of the staging without however never abdicating its edifying purposes.

Martin Crimp: A többit láttad már a moziban

Author(s): Martin Crimp / Language(s): Hungarian Issue: 3/2022

Martin Crimp's drama The Rest Will Be Familiar to You from Cinema is featured in our Autumn issue in a recent translation by Bálint Botos. The young Transylvanian director staged the text himself in 2020 at the Tamási Áron Theatre in Sfântu Gheorghe. Crimp, recognised as a pioneering playwright of contemporary British theatre, rewrites in this text one of Euripides' lesser-known plays, The Phœnician Women. Although Euripides' drama is outshadowed by other adaptations, the mythological story behind it, viewed and reworked from different perspectives by the triad of ancient Greek tragedians is known to us all: as Eteocles and Polyneices are pitted against each other at the gates of Thebes, individual and communal transgressions intertwine inextricably, thus tragic events and their recurring spillover seem unstoppable. Crimp's drama interrogates the dialectic of these very issues. Treating the choir as the protagonist, it explores what we have learned from one of the oldest stories about crime, responsibility and violence.

Velem kezdődik el. Anya

Author(s): Chantal Bilodeau / Language(s): Hungarian Issue: 1/2023

Linia Kármán (fragment)

Author(s): Andreea Rasuceanu / Language(s): Romanian Issue: 7-8/2023

A fragment from the novel Kármán Line by Andreea Răsuceanu.

Teremtés könyve ’97

Author(s): Kata Jankovics / Language(s): Hungarian Issue: 3/2023

The author’s autobiographically inspired text speaks of twinhood as an existential experience, sometimes through the eyes of the biblical Esau and Jacob, sometimes from the point of view of the narrator, Kata. The experiences of the Old Testament figures and of the contemporary girl are intertwined, they engage in dialogue with each other, as we witness the struggles, the quest for identity, the competition and the desire for self-assertion in the sibling relationship.

Túrós csusza pörccel

Author(s): Róza Rebeka Baltay / Language(s): Hungarian Issue: 3/2023

Cottage cheese noodles are best made by grandmothers. The taste of the dish reminds Simi, the protagonist of the play, of his childhood, when the people she cared about could still talk to each other. A mother, her son, two grandmothers and a father about whom nothing is known for sure. Simi has to grow up listening to the grievances of his mother, Bori, and his grandmother, Mici, sharing his home with a new father-to-be. Like him, we are simultaneously present in both Mici’s and Bori’s apartment, trying to decide whom to believe. Years go by, and in the end, stuck between two doors, we find that there is nowhere to go home to.