This paper starts from an uncommon place in Frankopan’s prayer book, which is, uncharacteristically for prayer, permeated with a vengeful tone. Katharina’s prayer is followed from that sacred ...paradigm and Kumičić’s literarization through later dramatizations of the zrinski-frankopan theme. On the one hand, this draws attention to prayer in general in the literarization of this historical theme, which was necessary, because despite the fact that prayer is a particularly foremost component in that framework, it has not been mentioned in previous literature. On the other hand, it is indicated that the prayer, starting from Kumičić, cannot be read solely as a way of (over)emphasizing piety, but that it should be looked at from the negative point of view as well. The paper is expanded in this way and it highlights places in literarization that look askance at the implied signifiers of the prayer such as piety or giving the sense to the existence of one’s own nature. It can be noted that with the return of the zrinski-frankopan theme in 1915., we note that not only a poetical movement occurs, but also the one in relation to the prayer. More daring authors appear that revalorize its concept. We note its relation with “eternal darknesss” (Strozzi), unmasking of hypocritical prayer (Ogrizović, Šop) and the process of desacralization Zrinski and Frankopan (Raos, Gavran). A series of texts that decentralize the prayer from its stereotypical meaning to the liberal aspect expand to Gavran’s The Conspirators (1984).
The paper explores the image and the status of two main female characters in Kole Čašule's trilogy Darkness: Neda in Darkness and Katerina in Zitolub. Starting from Froma Zeitlin's theoretical ...premises on playing the feminin in greek tragedy and Hans Mayer's analysis of female figures in the western art and culture, the aim of this analysis is to show two types of female characters in Čašule's historical plays.
In this paper, I am dealing with the political theater and performance. Both performances question the borders between artistic and non-artis tic fields, and work with concept of documentary drama. ...Frljić’s play is realized within the post-drama paradigm, for which the idea of politics of theatrical form is important since it deals with the signifiers. Using the post-drama paradigm, Frljić in his play works with political discourses active in Serbian society in last 20 years. He touches the hidden collective traumas, and by this causes political reactions of the audience and media, which I discuss. Marković and Pelević take the politcal parties to be the space for their performance. Their performance has three levels of performing. The first level is their membership in different parties, the second one refers to performing the text as a drama play, published in Scena magazine; and the third level concerns their performance’s public reading by the audience.
The inspiring hermeneutic connection between Kamov’s and Krleža’s texts points to a constantly dynamic and varying interpretations of the writings of these two canonic Croatian writers. In an absurd ...manner, Miroslav Krleža negated Janko Polić Kamov’s personality and literature by ignoring his proto-avant-garde position in Croatian and European literature, while at the same time associating with Kamov’s best friends and by being thoroughly acquainted with his work and biography. The literary work of Janko Polić Kamov, Croatia’s proto-avant-garde writer, is recognizably reflected in a significant segment of Miroslav Krleža’s literary output. At the same time, this by no means diminishes Krleža’s artistic and cultural contribution as the pivotal figure of Croatian and European literature.
The paper thoroughly examines dramatic opus of Zorica
Jevremovi}, with the proposition that her work
fits into the pattern that might be termed “the politics
of memory”. Such a politics confronts ...with the so
called “politics of oblivion” which came to be inherent
to the oficial cultural policy of Serbia. The plays
by Zorica Jevremovi} expose a cultural politics coming
from “down under”, which clashes with state cultural
policy based upon the uniform ethnicity concept.
Advocating intercultural dialogue, “Four Prewar
Plays” and “The Ballad of Girls’ Garments” by
Zorica Jevremovi} are deemed necessary for a
reconceptualization of Serbian art, theatre and its
cultural institutions, as well as for building a new concept
The author discusses some of the major problems regarding the tragic genre in the early modern period as well as its perception in the pre-dominant normative poetics. The emphasis is on incomplete, ...often faulty interpretations of the Aristotle’s definition of tragedy as a genre and tragic as a mode, or type of discourse. The paper also addresses similarities between Aristotle’s and Horace’s understanding of tragedy and some structuralist and post-structuralist interpretations of the genre.
U članku je riječ o izboru iz dramskoga opusa uspješnoga mladog dramatičara i režisera Kriste Šagora, rođenoga 1976. godine u Stadtoldendorfu (Njemačka), po ocu hrvatskoga podrijetla. Već više puta ...nagrađivane, njegove su drame pronašle svoj put i izvan Njemačke potvrđujući se kao zanimljivi interkulturalni tekstovi i izazvavši djelomice i oštre rasprave. Odrastanje, pubertet, traženje identiteta, ali i osjetljivije teme poput homoseksualnosti i sadomazohizma u središtu su njegova zanimanja. Šagorovi su komadi osim toga nastanjeni jedinstvenim, osebujnim protagonistima. Uz to Šagor prezentira istančanu psihologiju mladih, pokazuje izražen osjećaj za jezik, kao i zanimljivu strukturnu sustavnost i zakonitost.
Im Beitrag geht es um die Auswahl aus dem Dramenwerk des erfolgreichen jungen Theaterautors und Regisseurs Kristo Šagor, der 1976 in Stadtoldendorf geboren und väterlicherseits kroatischen Ursprungs ist. Bereits mehrfach ausgezeichnet, fanden seine Dramen ihren Weg auch außerhalb Deutschlands, bestätigten sich auch als interessante interkulturelle Texte und riefen teilweise heftige Diskussionen hervor. Das Erwachsenwerden, Pubertät, Identitätssuche, aber auch empfindlichere Themen wie Homosexualität und Sadomasochismus stehen im Fokus des Interesses. Šagors Stücke sind außerdem mit unverwechselbaren, eigenartigen Protagonisten bevölkert. Darüber hinaus präsentiert er eine verfeinerte Jugendpsychologie, zeigt einen ausgeprägten Sprachgefühl sowie interessante strukturelle Systematik und Gesetzmäßigkeit.