This text is an introduction to the thematic block of the journal Social Sciences and Humanities Studies on the literary and theatrical aspects of Bosnian drama and theater. It recalls the presence ...of theatrical and sub-theatrical phenomena on the territory of Bosnia and Herzegovina in antiquity, and then lists the specifics of Bosnian culture in the Middle Ages, from which arises a specific relationship to drama and theater. The attitude of Islamic culture towards theater and drama significantly influenced the status that drama has even after the departure of the Ottoman Empire from Bosnia and Herzegovina. With the arrival of the Austro-Hungarian Empire, there are significant differences concerning European civic theater. Through the most important conclusions from the individual texts that make up this block, the status that Bosnian drama has in our theatrical culture is pointed out.
The paper deals with Nadija Rebronja’s book 88, which is conceived as 88 piano keys or fragments. The paper recognizes some important links that this book establishes with the mannerist literary ...tradition, as understood and explained by Gustav René Hocke in his widely acknowledged books Mannerism in Literature and The World as a Labyrinth. Instead of opening up to the totality of all things, 88 resembles a mannerist work that closes itself into its own artistic reality and questions the place that literature and art occupy in today’s world. The paper also deals with the implications that arise from the connection Nadija Rebronja establishes with the tradition of magic(al)realism, particularly regarding the construction of motivational systems and their relation to the phenomenon of magic in this book. By utilising the concepts of simultaneity and catalogue, 88 relates to the tradition of the Russian avant-garde, as understood by Aleksandar Flaker. It is also shown that a reassessment, a significant avant-garde procedure, holds an important place in the 88, since the author re-evaluates the figure of travel and a topos of the town square in relation to classical literature. This reassessment is linked to the tradition of hikaye, instructive stories that have come from the Islamic tradition, as well as a farce - a literary form based on reversal. The final part of this paper deals with the fragmentation in Nadia Rebronja’s88 which can be linked to the atomization within the mannerist literature and the avant-garde understanding of the world. It also explores the ways in which the world created in this book relates to,on the one hand,the “optimal projection” as one of the characteristics of the avant-garde, and the concept of utopia as an alternative to freethinking on the other.
This text is an introduction to the thematic block of the journal Social Sciences and Humanities Studies on the literary and theatrical aspects of Bosnian drama and theater. It recalls the presence ...of theatrical and sub-theatrical phenomena on the territory of Bosnia and Herzegovina in antiquity, and then lists the specifics of Bosnian culture in the Middle Ages, from which arises a specific relationship to drama and theater. The attitude of Islamic culture towards theater and drama significantly influenced the status that drama has even after the departure of the Ottoman Empire from Bosnia and Herzegovina. With the arrival of the Austro-Hungarian Empire, there are significant differences concerning European civic theater. Through the most important conclusions from the individual texts that make up this block, the status that Bosnian drama has in our theatrical culture is pointed out.
CHEKHOV - OUR CONTEMPORARY Almir Bašović
Društvene i humanističke studije (Online),
07/2020, Volume:
5, Issue:
3 (12)
Journal Article
Peer reviewed
Open access
This text deals with Chekhov’s questioning of the conventions of the stage observed as a box and his insistence on Nature as an important element of the dramatic space. Through the example of five of ...Chekhov’s great plays it shows the developmental journey of his plays, bearing in mind the place that Nature occupies in them. This journey could be treated as a path from the principle of representation based on the cube to the alternative principle based on the on the sphere, as suggested by Étienne Souriau. In this argument we can find reasons to proclaim Chekhov our contemporary.
Čehov - naš savremenik Bašović, Almir
Društvene i humanističke studije (Online),
2020, Volume:
XII, Issue:
12
Journal Article
Peer reviewed
Open access
This text deals with Chekhov’s questioning of the conventions of the stage observed as a box and his insistence on Nature as an important element of the dramatic space. Through the example of five of ...Chekhov’s great plays it shows the developmental journey of his plays, bearing in mind the place that Nature occupies in them. This journey could be treated as a path from the principle of representation based on the cube to the alternative principle based on the on the sphere, as suggested by Étienne Souriau. In this argument we can find reasons to proclaim Chekhov our contemporary.
Razprava z naslovom »Tesnobnost samodefiniranja in znamenja krize« bo obravnavala ne- katera vprašanja, ki bistveno določajo sodobno razmišljanje o evropski drami in gledališču. Tako bo na primer ...ideja fragmentarne dramatike obravnavana v povezavi s prvim prime- rom takšnega pisanja, z Aristofanovimi komedijami. Temeljno vprašanje, ki si ga zastavlja- mo, je naslednje: glede na katero idejo »celote« je določeno dramsko delo fragmentarno in po kakšni logiki so ti fragmenti povezani v to celoto? Drug pomemben vidik se nanaša na prepričanje, da živimo v posebnem zgodovinskem trenutku in da je performativnost razli- kovalna značilnost našega časa. Zdi se, da ta predpostavka spregleda dolgoletno tradicijo, ki sega vse do Platona in je jezik obravnavala kot dejanje samo po sebi.
Razprava z naslovom »Tesnobnost samodefiniranja in znamenja krize« bo obravnavala nekatera vprašanja, ki bistveno določajo sodobno razmišljanje o evropski drami in gledališču.
Tako bo na primer ideja ...fragmentarne dramatike obravnavana v povezavi s prvim primerom takšnega pisanja, z Aristofanovimi komedijami. Temeljno vprašanje, ki si ga zastavljamo, je naslednje: glede na katero idejo »celote« je določeno dramsko delo fragmentarno in
po kakšni logiki so ti fragmenti povezani v to celoto? Drug pomemben vidik se nanaša na
prepričanje, da živimo v posebnem zgodovinskem trenutku in da je performativnost razlikovalna značilnost našega časa. Zdi se, da ta predpostavka spregleda dolgoletno tradicijo, ki sega vse do Platona in je jezik obravnavala kot dejanje samo po sebi.
Razprava z naslovom »Tesnobnost samodefiniranja in znamenja krize« bo obravnavala nekatera vprašanja, ki bistveno določajo sodobno razmišljanje o evropski drami in gledališču. Tako bo na primer ideja ...fragmentarne dramatike obravnavana v povezavi s prvim primerom takšnega pisanja, z Aristofanovimi komedijami. Temeljno vprašanje, ki si ga zastavljamo, je naslednje: glede na katero idejo »celote« je določeno dramsko delo fragmentarno in po kakšni logiki so ti fragmenti povezani v to celoto? Drug pomemben vidik se nanaša na prepričanje, da živimo v posebnem zgodovinskem trenutku in da je performativnost razlikovalna značilnost našega časa. Zdi se, da ta predpostavka spregleda dolgoletno tradicijo, ki sega vse do Platona in je jezik obravnavala kot dejanje samo po sebi.
The text will address some issues that substantially determine contemporary thinking about European drama and theatre. Thus, for example, the idea of fragmentary dramaturgy will be considered in ...relation to the first case of such writing, namely, the comedies of Aristophanes. The fundamental questions that should be taken into consideration are the following: relative to what idea of the “whole” (or “totality”) is a certain dramatic work fragmented, and according to what logic are these fragments connected to a certain unified “whole”? Another important aspect refers to our belief that we live in an exclusive moment in history and that performativity is a distinguishing characteristic of our time. This assumption seems to be neglecting the long-standing tradition, dating back to Plato, which considered spoken language as an act in itself.
Razprava z naslovom »Tesnobnost samodefiniranja in znamenja krize« bo obravnavala ne- katera vprašanja, ki bistveno določajo sodobno razmišljanje o evropski drami in gledališču. Tako bo na primer ...ideja fragmentarne dramatike obravnavana v povezavi s prvim prime- rom takšnega pisanja, z Aristofanovimi komedijami. Temeljno vprašanje, ki si ga zastavlja- mo, je naslednje: glede na katero idejo »celote« je določeno dramsko delo fragmentarno in po kakšni logiki so ti fragmenti povezani v to celoto? Drug pomemben vidik se nanaša na prepričanje, da živimo v posebnem zgodovinskem trenutku in da je performativnost razli- kovalna značilnost našega časa. Zdi se, da ta predpostavka spregleda dolgoletno tradicijo, ki sega vse do Platona in je jezik obravnavala kot dejanje samo po sebi.
The text will address some issues that substantially determine contemporary thinking about European drama and theatre. Thus, for example, the idea of fragmentary drama- turgy will be considered in relation to the first case of such writing, namely, the comedies of Aristophanes. The fundamental questions that should be taken into consideration are the following: relative to what idea of the “whole” (or “totality”) is a certain dramatic work fragmented, and according to what logic are these fragments connected to a certain unified “whole”? Another important aspect refers to our belief that we live in an exclusive moment in history and that performativity is a distinguishing characteristic of our time. This assumption seems to be neglecting the long-standing tradition, dating back to Plato, which considered spoken language as an act in itself.
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