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Based on the unpublished documents, the paper considers the first stage of adoption of A.N. Ostrovsky’s plays by provincial theatres. The information about the permitting and banning of Ostrovsky’s plays by the theatrical censors in 1849–1865 is used for the first time. These data allowed us to judge about the formation of the playwright’s popularity.
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We analyze the specific features of the genre of verbatim drama (a form of documentary drama characterized by word-for-word fixation of the utterances of real people) using the example of the play “Neophobia” (2007) by a Swiss playwright, Mirjam Neidhart. The play addresses the birth-rate crisis in modern Europe and is based on the interviews taken by the author from different people in Germany and Switzerland. We study Neidhart’s play as a typical example of the genre of verbatim drama and make a conclusion that the verbatim technique is based not so much on a creative practice as on a technology borrowed from sociology, and a verbatim play becomes particular variant of social research.
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In the article the philosophical problems of the classical and modern Belarusian dramaturgy are analyzed. The author reveals continuity and distinctness of aesthetics of a new generation of authors. She also analyzes the features of a director’s drama reading in modern Belarusian theater: directors preserve the tradition of psychological realism, develop the forms of national metaphorical theater, make use of the elements of post-dramatic theater.
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This article is dedicated to the Christian “dimension” of the drama “Albena” by Yordan Yovkov. The various expressions of the Biblical Narrative, the structure of action in relation to the liturgical circle and the specific accent on the remission are interpreted.
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This article analyzes a selection of works by authors belonging to so-called Nikolai Kolyada’s “school:” Oleg Bogayev, Vasilii Sigarev, Yaroslava Pullinovich, Vladimir Zuyev and others. The main attention is given to the problem of the characters’ insecurity in the existing world, as well as to the artistic presentation of various social consequences of war.
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The article presents the attempt to discuss the concept of space in the play Паб by Oleg and Vladimir Presnyakov. The material, analyzed in the context of contemporary researches concerning space connections in the literature and culture, proves being ambiguous and multiplanar. The author pays attention to the interrelation between constructing the space and presenting the mechanisms of state functioning as well as emphasizes the crucial role of the cultural codes in shaping the spatial relations in the play. Skillful comparison of those codes with new spaces allows to expose the absurdity of power.
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The setting up of the TV Theatre is directly connected to development of Polish programme television. The fi rst play in the history of TV Theatre, which was entirely prepared in the TV studio, was Window in the Forrest — play written by Leonid Rachmanow and Jewgienij Ryss and directed by Jozef Slotwinski. In August 1999 the Academy of TV Theatre selected a hundred of greatest plays. In famous „A Golden Hundred” there are also Russian writers plays and among them plays written by Nikolai Gogol. In Decemer 1976 Ewa Bonacka directed a comedy Marriage. In 1977 Jerzy Gruza presented another comedy The Government Inspector.
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The aim of this text is to show the historical intersections of the cooperation between Slovenians and Bulgarians in the field of drama and theater, including translations, staging, guest appearances, as well as receptive and imaging aspects. The reasons that provoked the theatrical contacts between us as well as the prospects for future cultural dialogue are clarified.
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This article is an attempt to show the non-professional reception of literature and theatre of the late nineteenth and early twentieth centuries by ‘a young theatre amateur’ from Cracow. It reveals the dilemmas of a patriot who was convinced about the obligation of art to serve the nation, while at the same time she was interested in the ideas of Nietzsche and the theme of art as a temple propagated by “Chimera”. Elżbieta Kietlińska (b. 1881) who received no secondary education, had no job, and never founded a family, did not work, did not belong to any organisation, had no artistic ambitions, for many years lived on art, which gave meaning to her life. Intimate confessions of this inhabitant of Cracow show a spontaneous acceptance by young people of Słowacki (in particular), but also of Mickiewicz and Krasiński, and did not resist to accept the pre-first night performances of plays which ‘were not written to be staged’. Among her contemporaries she considered Wyspiański – the playwright and theatre artist to be the greatest authority: matter-of-factly and vividly she writes about his work as stage manager. Of modern European dramaturgy she most valued and deeply experienced Russian drama. With appreciation, but not uncritically, she was watching the work of Ibsen. She was fascinated by the genius of Wagner as a composer. She was the opposite of a ‘Philistine’. Her opinions, thoughts and emotions, may be the subject of all kinds of studies by the researchers of culture of the period of modernism.
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Chinese theatre can be divided into modern and postmodern forms since 1949. The modern form of Chinese modern theatre is undoubtedly influenced by Western realism and modernism, which takes the script and the literature as the centre, and introduces the theory of modernism. It is represented by plays such as Tea House and Sang Shu Ping Chronicle. The postmodern form of Chinese modern theatre is influenced by the Western postmodern drama and Chinese opera: it is represented by three directors, namely Lin Zhaohua, Mou Sen and Meng Jinghui.
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This study aims to examine the relationship between Mihail Sebastian’s literary works and his autobiographical writings. Even though his life was influenced by several watershed events of the twentieth century, this particular author defended both his moral integrity and his cultural options. Sebastian’s diaristic writings are thus relevant to each and every one of us and demand to be re-assessed through our own individual lenses. Keeping a journal, the confessing self is definitively committed to writing “to the moment”. This type of discourse has all the makings of analytical drama, from which the “protagonist”, in the purest sense of the word, is never absent.
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Gottlieb Stephanie the younger, author of many frequently performed playwrights, is also known as a productive author of soldier plays (Soldatenstücke). As a veteran and citizen of enlightened josephinist Austria, he worked continuously to improve the army’s image and to propagate the ideas of state enlightenment at the same time. His early play Die Kriegsgefangenen (prisoners of war), which can be read as a direct successor of and commentary on Lessing's Minna von Barnhelm. This play depicts bourgeois citizens and soldiers subjected to the condition of war. The analysis at hand tries to show that Stephanie confronts his audience with virtuous behavior in order to overcome unjustified negative stereotypes.
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Edward Bond is a major voice in contemporary political theatre. He has played a great role in shaping the landscape of British theatre. His career spans over sixty-five years and he has written more than fifty plays as well as poems, penned drama theory and drama notes. Lear (1971) is seen as one of Edward Bond’s most important plays by many critics. With Lear, which is the rewriting of Shakespeare’s King Lear, Edward Bond seems to express his hidden instinct to overcome Shakespeare and to make Lear mythology more useful for his age. In the play he questions the possibility of social change, explores oppressive systems of the contemporary world, discusses the social role of the artist and gives hope with optimism for salvation of the human being. The aim of this paper is to examine Edward Bond’s ambition of rewriting Shakespeare’s King Lear in order to reveal the political and social ills of contemporary societies, and to investigate his effort to cope with Shakespeare and to evaluate his criticism of Shakespeare in the play.
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Engleska renesansna drama uglavnom prikazuje crne afričke likove koristeći negativne formule koji pokazuju da ovi likovi stalno podliježu pogrešnim predodžbama i neshvaćanju od strane dominantne kulture. Drama insistira na reprodukciji i održavanju crnih afričkih likova kao Drugih procesom stereotipije. Termin “stereotip” je prvenstveno bio korišten kako bi se opisala metoda tiskanja uvedena koncem osamnaestoga stoljeća, u kojoj se koristila čvrsta ploča ili metal za slova lijevan u kalup od papirmašea ili gipsani odljev načinjen od površine kalupa slova, a ne sam kalup za tiskanje ili pravljenje kopija stranica sa slovima kako bi posve iste kopije mogle biti reproducirane kasnije (Miller, 4). Drugim riječima, rezultati procesa stereotipije su identični i nanovo se ravnaju po utvrđenom, nepromijenjenom tipu ili uzorku bez bilo kakvih individualnih oznaka po kojima bi se kopije razlikovale (Miller, 4)
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Having outlined the genesis and publication history of Stefania Zahorska’s play Dragon Street 13 (1944), Osiński interprets the text in the context of various historical events – the Grossaktion Warschau, the Warsaw Ghetto Uprising and the attitude of Polish exiled war veterans towards the Holocaust. Scholarship on the play is discussed in the light of recent finding and of reviews of Dragon Street 13 in the émigré press. Thus Osiński reveals the documentary value of Zahorska’s text as well as her original contribution to Polish émigré literature.
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To achieve its cathartic effect tragedy must communicate and elicit emotions. Any dramatic utterance, treated as an act of communication within the represented world, rests on the interaction of two inseparable, accordant, and interrelated systems – language and emotions. Language can name and verbalize emotions in order to construct them in the dramatic world, but to create a linguistic image of a believable emotional utterance the language a character speaks must appear to be infl uenced and shaped by emotions. Further, that mimetic representation of emotion through language must be understood by the audience. To achieve this, dramatic language must either rely on conventional linguistic means used to express emotions or create its own code that will be decoded by the audience. The audience will vicariously experience the characters’ emotions by recognizing them in their language and actions. The emotionally dynamic image of Othello, one of the most passionate men of Elizabethan drama, is created primarily by the language he uses. To follow the changes in the syntax and the semantics of his language as the action of the play develops is to observe the transformation of the character from a loving and caring husband into a jealous beast that knows no mercy. The article will offer an analysis of the pragmalinguistic representation of jealousy in Othello’s language and show how his discourse changes in the text. The analysis will rely on basic pragmatic categories and consider Othello’s use of directives, assertives, expressives, etc. The emotional change in Othello will also be illustrated by a brief study of the change in his syntax and his vocabulary: from balanced rhetorics and sophisticated words to erratic speech and expletive swearwords.
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Reading is an important step in the process of reception of literary text. This article is an attempt to illustrate reading as an interactive process in the reception of the dramatic text by the beginning students in FFL. Our activities are designed around S. Hinglais's play “The fatal word".
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"He was a savage who had some imagination,” Voltaire noted of William Shakespeare in a letter in 1765, foreshadowing his country’s tumultuous relationship not only with his works, but also with what is probably the most infamous aspect of his style—the bawdy puns. By analyzing two of Shakespeare's ribald wordplay as they appear in six renditions of Romeo and Juliet, the article aims to highlight how early French translators too sometimes interfered with them, for reasons ranging from perceived untranslatability, through their purported non-Shakespearean origin, to they allegedly being faults of the playwright’s time or Shakespeare himself.
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Počev od 2009. godine u Ivanjici se svake godine krajem avgusta održava Nušićijada. Reč je o kolaž festivalu satkanom od muzičkih koncerata, pozorišnih predstava, sportskih događaja, performanasa, izložbi i filmskih projekcija, začinjen ceremonijama i paradom kostimiranih građana kao svojim zaštitnim znakom. Ona predstavlja spoj kulture i zabave, tradicionalnog i modernog, mladosti i iskustva, individualnog i kolektivnog. Poznato je da je Branislav Nušić bio odličan besednik i da je napisao jedan od najboljih priručnika za retoriku na srpskom jeziku Retorika – nauku o besedništvu. Imajući to u vidu u okviru Nušićijade u Ivanjici počev od 2012. godine organizuje se Besedničko veče: „NUŠIĆ I REČ“. Ono se sastoji iz dva dela. U prvom delu ugledna ličnost iz javnog života po pozivu govori „Besedu o Nušiću“ na temu o Branislavu Nušiću kao besedniku i teoretičaru retorike. U drugom delu „U slavu reči“, nastupaju revijalno najuspešniji takmičari u besedništvu u Srbiji u tekućoj godini. U ovoj rubrici Hereticusa objavljujemo besede dr Slaviše Orlovića, redovnog profesora Fakulteta političkih nauka Univerziteta u Beogradu i studenata Olivere Ševo, Stefana Dragićevića i Bojane Petrović, koje su održane 27. avgusta 2016. u Ivanjici. Na kraju je beseda dr Đorđa Sibinovića notarima Srbije. [...]
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