Genre Intersections and Transmediality in Mark Požlep’s Project Stranger than Paradise

The paper adopts a transmedial and multidisciplinary perspective to present and analyze the project Stranger than Paradise by Slovenian artist Mark Požlep, which ran from 2014 to 2016, covering the initial concept, its execution, and the subsequent presentations in various media: exhibitions and performances. The documentary material presented at the exhibition as a documentation of the original event is compared with the later performance of the same name with different collaborators working on the production. The paper focuses on the issue of hybrid genres in contemporary performance practices and examines how the performance of this play contributes to the modes and strategies of documentary theater, i.e., performance, while demonstrating that it can be placed in the context of post-documentary theater as it represents the so-called transition from directorial to authorial work

Razgranato dokumentiranje i promišljanje recepcije

Knjiga Mirne Sindičić Sabljo, utemeljena na autoričinoj doktorskoj disertaciji iz 2013. godine, kako i naslov precizira, predstavlja sustavan, a treba pridodati i osobito temeljit, uvid u šezdesetogodišnju kazališnu, književno-povijesnu i kritičku recepciju iznimno važnog i vrlo utjecajnog odvjetka novije francuske dramsko-kazališne povijesti, u širem kontekstu poznatijem pod uopćenim Esslinovim terminom "teatar apsurda" koji okuplja niz, više ili manje srodnih, dramatičara iz Europe, ali i Sjeverne Amerike. Premda se pojam "teatar apsurda" udomaćio u hrvatskoj kritičarskoj i znanstvenoj terminologiji, autorica se ipak radije priklanja pojmovniku francuske književne kritike koja koristi termin Le Nouveau Théâtre naglašavajući kako nije riječ o sinonimima. Navedeni termin naime pod svoje okrilje okuplja dramske autore "koji su pisali na francuskom jeziku, između 1947. i 1968. godine, a koji se ne mogu vezati uz tradiciju francuskoga bulevarskog, politički angažiranog ili literarno-filozofskog kazališta." Drugim riječima, u knjizi se kronološkim redoslijedom prati hrvatska književna i kazališna recepcija niza istaknutih francuskih i frankofonih dramatičara, od tzv. prethodnika novog kazališta Alfreda Jarryja, Rogera Vitraca i Antonina Artauda preko Eugenea Ionesca i Samuela Becketta kao dvojice stožernih čvorišta, Jeana Geneta i ostalih u hrvatskom kontekstu manje utjecajnih ili slabije zastupljenih autora i autorica (kao što su Georges Neveux, Arthur Adamov, Michel de Ghelderode, Fernando Arrrabal, Roland Dubillard, Jean Vauthier, Margarite Duras, Robert Pinget, Nathalie Sarraute, Aimé Césaire, Romain Weingarten, Jacques Audiberti, Jean Tardieu, Boris Vian i drugi). O važnosti i značaju ovog istraživanja za hrvatsku komparatistiku i romanistiku najbolje govori podatak kako je u drugoj polovici 20. stoljeća uz američku upravo francuska književnost najzastupljenija u prijevodu. Imajući u vidu kako je ujedno riječ o najplodonosnijem razdoblju francuskoga dramskog i kazališnog života u 20. stoljeću, značaj navedene recepcije bitno se ogleda i u kontekstu povijesnoga, ali i estetskog razvoja hrvatske drame i kazališta

Razgranato dokumentiranje i promišljanje recepcije

Knjiga Mirne Sindičić Sabljo, utemeljena na autoričinoj doktorskoj disertaciji iz 2013. godine, kako i naslov precizira, predstavlja sustavan, a treba pridodati i osobito temeljit, uvid u šezdesetogodišnju kazališnu, književno-povijesnu i kritičku recepciju iznimno važnog i vrlo utjecajnog odvjetka novije francuske dramsko-kazališne povijesti, u širem kontekstu poznatijem pod uopćenim Esslinovim terminom "teatar apsurda" koji okuplja niz, više ili manje srodnih, dramatičara iz Europe, ali i Sjeverne Amerike. Premda se pojam "teatar apsurda" udomaćio u hrvatskoj kritičarskoj i znanstvenoj terminologiji, autorica se ipak radije priklanja pojmovniku francuske književne kritike koja koristi termin Le Nouveau Théâtre naglašavajući kako nije riječ o sinonimima. Navedeni termin naime pod svoje okrilje okuplja dramske autore "koji su pisali na francuskom jeziku, između 1947. i 1968. godine, a koji se ne mogu vezati uz tradiciju francuskoga bulevarskog, politički angažiranog ili literarno-filozofskog kazališta." Drugim riječima, u knjizi se kronološkim redoslijedom prati hrvatska književna i kazališna recepcija niza istaknutih francuskih i frankofonih dramatičara, od tzv. prethodnika novog kazališta Alfreda Jarryja, Rogera Vitraca i Antonina Artauda preko Eugenea Ionesca i Samuela Becketta kao dvojice stožernih čvorišta, Jeana Geneta i ostalih u hrvatskom kontekstu manje utjecajnih ili slabije zastupljenih autora i autorica (kao što su Georges Neveux, Arthur Adamov, Michel de Ghelderode, Fernando Arrrabal, Roland Dubillard, Jean Vauthier, Margarite Duras, Robert Pinget, Nathalie Sarraute, Aimé Césaire, Romain Weingarten, Jacques Audiberti, Jean Tardieu, Boris Vian i drugi). O važnosti i značaju ovog istraživanja za hrvatsku komparatistiku i romanistiku najbolje govori podatak kako je u drugoj polovici 20. stoljeća uz američku upravo francuska književnost najzastupljenija u prijevodu. Imajući u vidu kako je ujedno riječ o najplodonosnijem razdoblju francuskoga dramskog i kazališnog života u 20. stoljeću, značaj navedene recepcije bitno se ogleda i u kontekstu povijesnoga, ali i estetskog razvoja hrvatske drame i kazališta

Generic Permutations of Šoljan’s Romanca o tri ljubavi [A Romance of Three Loves]

Romanca o tri ljubavi (1976) zauzima istaknuto i povlašteno mjesto unutar dramskog opusa Antuna Šoljana, zahvaljujući i tomu što je u cijelosti napisana u stihu. Autorski podnaslovljena kao "sentimentalna farsa", u književno-teorijskoj literaturi različito se poetički i generički određivala: kao poetska drama, postmoderna drama, neoromantički igrokaz, burleskna komedija i sl., ili kao farsa koja izmiče zakonitostima žanra. U radu se iz pozicija suvremene genologije ukazuje na problematičnost statičnog poimanja kategorije žanra te postavlja teza o mogućnosti teksta da participira u okviru više žanrova. Također, s obzirom na nedostatnost artikuliranijih generičkih istraživanja ove drame, ukazuje se na temeljne razlike u shvaćanju pojmova romanca i romansa te se ispituje kako drama funkcionira u kontekstu žanrovskih određenja i konvencija romanse.Romanca o tri ljubavi (1976) [A Romance of Three Loves] occupies a prominent and privileged place within the dramatic oeuvre of Antun Šoljan by virtue of being entirely written in verse. Subtitled by the author as a ʻsentimental farceʼ in the literary-theoretical literature, it was defined poetically and generically in various ways: as a poetic drama, postmodern drama, neo-romantic play, burlesque comedy, etc., or as a farce that escapes the features of the genre. From the perspective of contemporary genealogy, the paper points out the problematic nature of the static or notion of the genre category and highlights the hypothesis about the potential of the text to participate in the framework of multiple genres. Also, given the insufficiency of more articulated generic research on this drama, fundamental differences in the understanding of the concepts of ʻromancaʼ and ʻromanceʼ are pointed out as well as the play’s function according to its genre conventions and definitions

THE CHARACTERS OF SERVANTS IN TITUŠ (TITO) BREZOVAČKI’S PLAYS

Rad istražuje obilježja likova i uloge slugu u dramskim djelima Brezovačkog: hagiografskoj drami Sveti Aleksij i drami Diogeneš iliti sluga dveh zgubljenih bratov. Nakon smještanja djela u poetički kontekst vremena, propituju se i uspoređuju odrednice likova najprije s obzirom na žanrovske i komičke konvencije, a potom se pažnja usredotočuje na interpretaciju njihova diskurza s obzirom na filozofske i/ili svjetonazorske ideje koje zastupaju te iznesene kritičko-satiričke refleksije. Utvrđuje se kako obojica likova slugu nasljeduju pojedine tipične komediografske konvencije prikaza oštroumnih slugu, no razlikuju se u pogledu funkcije uloge i svjetonazornih odrednica. Favorin ima zabavnu funkciju rasterećenja tragičnog sadržaja i prijenosnik je determinističkih učenja, dok je Diogeneš transformirani lik kritičko-satiričkog sluge dijelom u skladu s konvencijama sentimentalističke i građanske drame. Njegovim posredstvom ističu se ključni društveno-satirični aspekti i objedinjuju sve dramaturške razine djela. S obzirom na njegovu ulogu i funkciju, uz oslonac na filozofske refleksije o prosvjetiteljstvu i Hegelovu dijalektiku odnosa roba i gospodara sugeriraju se moguće društveno-političke implikacije djela.The starting point of this paper is the notion that in Tito Brezovački’s plays the characters of servants have an important role and a privileged place – that of social testimonies. This paper is focused on investigating the features of representation and the roles of servants in two key plays: the hagiographic play Sveti Aleksij (1786) and the play Diogeneš iliti sluga dveh zgubljenih bratov (c. 1805). The plays are first situated within the temporal context after which the features of the characters of servants Favorin and Diogeneš are compared primarily in relation with the genre and comic conventions. The focus is then shifted towards the interpretation of their discourses with respect to the philosophical and/or ideological notions that they support and the critical-satirical reflections which direct interpretation towards coeval socio-political reality. Favorin has the role of the bearer of comical-entertaining parts and his function is to relieve the dominant tragic-pathetic tone, while in the philosophical context he is the conveyer of moralistic-deterministic ideological determinants. The character of Diogeneš (although he has, just like Favorin, inherited some typical comedic conventions in the display of willy servants) represents the transformed character of critical-satirical servant partly in accordance with the conventions of the emerging sentimental drama and drame bourgeois. Since he unites all the dramaturgical layers of the play the key socio-political aspects of the play are uncovered through his mediation. Given his role and purpose in the plot, along with the Kantian notion of Enlightenment and Hegelian dialectic of the master servant relationship, new possible socio-political implications of this enlightenment play are proposed in the context of the emergence of new social order

THE CHARACTERS OF SERVANTS IN TITUŠ (TITO) BREZOVAČKI’S PLAYS

The starting point of this paper is the notion that in Tito Brezovački’s plays the characters of servants have an important role and a privileged place – that of social testimonies. This paper is focused on investigating the features of representation and the roles of servants in two key plays: the hagiographic play Sveti Aleksij (1786) and the play Diogeneš iliti sluga dveh zgubljenih bratov (c. 1805). The plays are first situated within the temporal context after which the features of the characters of servants Favorin and Diogeneš are compared primarily in relation with the genre and comic conventions. The focus is then shifted towards the interpretation of their discourses with respect to the philosophical and/or ideological notions that they support and the critical-satirical reflections which direct interpretation towards coeval socio-political reality. Favorin has the role of the bearer of comical-entertaining parts and his function is to relieve the dominant tragic-pathetic tone, while in the philosophical context he is the conveyer of moralistic-deterministic ideological determinants. The character of Diogeneš (although he has, just like Favorin, inherited some typical comedic conventions in the display of willy servants) represents the transformed character of critical-satirical servant partly in accordance with the conventions of the emerging sentimental drama and drame bourgeois. Since he unites all the dramaturgical layers of the play the key socio-political aspects of the play are uncovered through his mediation. Given his role and purpose in the plot, along with the Kantian notion of Enlightenment and Hegelian dialectic of the master servant relationship, new possible socio-political implications of this enlightenment play are proposed in the context of the emergence of new social order

Naslijeđe Stanislavskog u radu Grotowskog: o značenju metode fizičkih radnji

The paper aims to emphasize and display the importance of the pedagogical, explorative and theoretical work of Stanislavsky in the fields of the pedagogy and ethics of the art of acting and how these influenced the development of features and the establishment of the basic principles of Grotowsky's director/pedagogical work in his various artistic and researching periods. As well as essential historic-biographic correlation, the points of contact and the links in their work are established with particular emphasis on the crucial link manifested in the researched importance and in the development of the so-called method of physical actions which Grotowsky assumed from Stanislavsky but further developed in his own direction. By contrasting the basic principles of their work in the field of the method of physical actions, the crucial theoretical and practical differences between the two authors emerge. These differences are primarily evident in the apprehension of the basic preferences of the actor’s/performer’s art-making: apprehension of organical behavior and the work on (or with) impulses and in the context of determining the function and the meaning of the role

Representation of the servants in Croatian comedy from the 16th until the middle of the 19th century

Rad se bavi utvrđivanjem značajki predstavljanja likova slugu u hrvatskoj komediji ranoga novog vijeka u periodu od 16. do početka 19. stoljeća. Analiziraju se likovi slugu u žanrovski različitim komediografskim djelima: u autorskoj eruditnoj komediografiji Marina Držića, u komediji Hvarkinja hvarskoga dramatičara Martina Benetovića, u anonimnim dubrovačkim komedijama iz 17. stoljeća tzv. smješnicama te naposljetku u dramama kajkavskoga dramatičara Tituša Brezovačkoga. Utvrđuje se i problematizira tipološka koncepcija slugu s obzirom na generičke modele likova robova, kuhara i parazita, preuzete u humanističkom i renesansnom kazalištu iz plautovske komedije, te potom i s obzirom na modele komičkih maski zannija talijanske komedije e a e. U tom se smislu likovi slugu u proučavanim komedijama, kao koncepcijski nastavljači svojih antičkih prethodnika, u tipološkom pogledu pokazuju nerijetko kao hibridni, što je učestala praksa u renesansnoj komediji. Usporedno s tim opisuju se, analiziraju i obrazlažu karakterizacijska svojstva i značajke likova slugu te postupci oblikovanja komičnog. Detaljnija analiza i hermeneutička interpretacija koriste se u prikazu lika sluge Pometa iz komedije Marina Držića (prvenstveno u odnosu na komparativne značajke najznamenitijih plautovskih callidusa), te se donosi i detaljnija analitička interpretacija sluge Diogeneša iz komedije Tituša Brezovačkoga, s obzirom da su oba lika glavni ili dominantni likovi pripadnih komedija. Osim utvrđivanja preuzetih, perpetuiranih i preoblikovanih konvencija prikaza odnosa slugu i gospodara u radu se naznačuje i propituje moguće istraživanje toga prikaza s obzirom na sastavnice tadašnje socio-povijesne stvarnosti te iščitavanje njegova značenja u kontekstu hijerarhijskih društvenih ili vladajućih struktura. Pri tomu se problematizira i određenje karnevala i sastavnica karnevalske estetike. Provedeno istraživanje ujedno je pokazalo kako je za potpunije razumijevanje likova slugu nužno osim formalne dramske analize, uključiti i temeljitija kontekstualna socijalno-povijesna i/ili filozofsko teorijska razmatranja i obrazloženja koja u obliku detaljnije kontekstualne eksplikacije tek predstoje.The theses identifies and analyses the typical features in the representation of the servant characters in the Croatian comedy of the early modern period between the 16th and the beginning of the 19th century. The analysis includes the characters of servants in comedy plays of various genre: in the erudite comedies of Marin Držić, in the comedy Hvarkinja by playwright Martin Benetović from Hvar, in the anonymous 17th century comedies from Dubrovnik (the so-called smješnice) and finally in the plays by the kajkavian playwright Tituš Brezovački. Due to the lack of any thorough analysis of the characters of servants in the Croatian literary and theatrical history, the main purpose of this study is to provide an analysis of the description of the servants in the aforementioned comedies and define the image of servants as a historical-typological category in relation to the adopted features of the generic model of comedy. In the comedies of Marin Držić the image of servants draws on the defining characteristics of the slaves from the Roman comedy – primarily Plautine comedy (servus callidus, servus bonus), but also of cooks (cocus) and parasites (parasitus) and to a certain extent of agroikos in accordance with the humanist-renaissance rules of social decorum and the poetics of imitation and contamination. In the plays of Martin Benetović a syncretic concept of servants is evident (a syncretic merge of the tradition of the erudite comedy, the Venetian-Paduan farce and the comic masks of zanni from commedia e ’a e). In smješnice, the characters of servants are conceptualized according to the comic masks zanni from commedia e ’a e: the typical identifying features and the characterization of these masks appear in the form of different local types of servants in smješnice. In the plays of Tituš Brezovački the basic model of servants is more difficult to establish because of the generic characteristics of his work. The servants’ characteristics to a lesser extent draw from the conventions of the Western European comedy tradition, and mostly move away from the comic description thus becoming a vehicle for the presentation of specific philosophical social theses. This makes them carriers of the ideological and tendentious layer of the comedy and also exponents (e.g. servant Diogeneš) of social criticis. The analysis also focuses on how the relationship between the master and the servant is described. The basic conventions and comic components which construct the relationship on the fictional level are identified but at the same time the attention is drawn to the fact that the analysis needs to be placed in the context of the socio-historical reality and the social structures of the period. Thus the basic changes are identified in the representation and evolution of the relationship between the master and the servant in the diachronic trajectory of the Croatian comedy of the early modern period. Since the influence of carnivalesque elements and the carnivalesque aesthetics is apparent, some opposing theories concerning the purpose and function of the carnival are problematized, but no final and unambiguous answers are given. The final analysis provides the conclusion that the characters of servants on the Croatian stage are created according to the dominant models appearing in the Western European comedies of the period, and that in diachronic order they represent the common trajectory of the character of a servant in the context of his gradual or final disengagement from the paternalistic structures of dependence