Čeprav segajo začetki dramskega pisanja že k prvim slovenskim pisateljicam, Luizi Pesjak in Zofki Kveder, so bile dramatičarke v slovenski literarni zgodovini redke. Po letu 2000 je opaziti skokovit ...prodor dramatičark, njihova pisava pa nastaja in se razvija v tesni povezanosti s praktičnim gledališkim delom. Analiza 37 dramskih besedil 15 avtoric je pokazala, da sodobne slovenske dramatičarke tematizirajo položaj žensk v družini in družbi kot tudi anomalije sodobne družbe in globalne probleme današnje civilizacije. V dramah je prisotna zavest o krizi dramske forme, dramatičarke problematizirajo status drame in raziskujejo nekonvencionalne oblike dramske pisave.
Prispevek izhaja iz misli Patricea Pavisa, da so dramska besedila vedno samo sled določene uprizoritvene prakse, prav zato jih je potrebno brati tako, da si predstavljamo, kako so jih med nastajanjem ...oblikovale omejitve igre in uprizoritve. V zgodovini drame je imelo pomembno mesto pravilo o enotnosti kraja, časa in dejanja, ki je upoštevalo tako sprejemnikove zmožnosti kot nemožnost hitrih menjav prizorišč in časovnih preskokov. Danes medijska tehnologija omogoča vnosom mediatiziranega, posredovanega v živo uprizoritev gledališča, kar je močno razširilo razumevanje prostora in časa ter vplivalo tudi na pisanje dramskih besedil. Navedene procese bomo prikazali na primerih iz sodobne slovenske dramatike in gledališča (Dušan Jovanović: Razodetja, Simona Semenič: tisočdevetstoenainosemdeset, Neda R. Bric: Eda: Zgodba bratov Rusjan, Andrej E. Skubic: Pavla nad prepadom).
Prispevek raziskuje, na kakšen način lahko "multidisciplinarne" metodologije raziskujejo besedilnost v sodobnem mediatiziranem svetu in kako lahko preučujejo vezi med teksti in mediji, ki so (tako ...kot tiste v rizomu) heterogene, raznovrstne (Deleuze Guattari). Obravnava Butnskalo Marka Derganca in Emila Filipčiča, Slovensko narodno gledališče Janeza Janše, zgodbo o nekem slastnem truplu ter 5fantkov.si Simone Semenič.
Simona Semenic is a female Slovene playwright whose dramatic writing can be compared on the international level with Sarah Kane, Elfriede Jelinek, Anja Hilling and Ulrike Syha. They all have in ...common the search for linguistic and formal originality of expression, they strive for innovation in their dramatic writing, which will be heard in our world of media-shaped culture and bring an immanent theatrical solution. The paper considers three no longer dramatic texts by Simona Semenic: (1) The Feast or the Story of a Savoury Corpse or How Roman Abramovid, the Character Jansa, Julia Kristeva, age 24, Simona Semenid and the Initials z.i. Found Themselves In a Tiny Cloud of Tobacco Smoke; (2) Sophia or While I Almost Ask for More or a Parable of the Ruler and Wisdom; and (3) 7Cooks, 4Soldiers, 3Sophias. The main characters of all three are tormented and abused women, victims of religious and political wars, and of patriarchal patterns and imposed social roles; thanks to their thematic and formal similarities, the three selected dramas could form a trilogy. The fates of the women, which are based on real people, are presented in a fragmentary way within a timeless fictional frame, while Semenic, through innovative textual strategies, achieves artistic effects and contemplates ethical aspects from a universal perspective, and so her works are relevant everywhere. Her writing is characterised by the undermining of established reading conventions (absence of capital letters or punctuation, writing in verse form, etc.), whereby the reader is included more closely in the process of decoding and interpreting the text. The division between primary text and ancillary text is transcended, since the stage directions are more than just guidelines for staging and become an equal part of the text, with an emphasis on their narrative function (comment on what is happening, narration of events separated by space and time, a means of communicating with the audience, etc.). The addressee of the dramatic text must thus think about the basic relations, who is speaking and to whom, as well as about the status of the author, the dramatic characters and their own position. The reader/spectator is emotionally and cognitively more involved in what is happening and becomes to a large extent a participant and consequently shares responsibility for the state of society and the world. Although Semenic breaks the basic dramatic conventions, she at the same time relativises and revitalises them in metadramatic form, while the new textual strategies are most closely connected with the questions of reception and the power of theatre in today's world. Key words Slovene drama; Simona Semenic (1975-); dramatic form; stage directions; spectator
Članek analizira učinke sodobne dramatike, ki temeljijo na analizi posebnega delovanja človeškega telesa na nevrobiološki ravni. Najprej pojem utelešene vednosti razlikujemo od pojma refleksivne ...vednosti, nakar analizo nevrobioloških mehanizmov, ki utemeljujejo utelešeno vednost, povežemo z Damasievim razumevanjem čustev in občutkov ter njihove evolucijske zveze s pravili vedenja bitij v skupnostih. Končno ugotavljamo, kakšni so možni učinki utelešene vednosti v sodobni dramatiki na prejemnika dramskega sporočila. Teoretsko analizo utemeljimo tudi skozi študijo primera, in sicer drame 24ur Simone Semenič.
At the turn of the century, Slovene literary theory and theater studies somewhat more openly wrestled with the changed status of the dramatist in the realm of contemporary theater, resulting in new ...attempts to historicize today's Slovene dramatists. Comprehensive historical and theoretical models of the development of post-WW II Slovene drama fit into this context, as do studies dealing with the relationship between drama and theater; for example, Denis Poniz's article on Slovene drama in the book Slovenska knjizevnost III (Slovene literature III 2001), Janko Kos's deliberations on recent Slovene drama in his Primerjalna zgodovina slovenske literature (A comparative history of Slovene literature 2001), Lado Kralj's contribution to Sodobna slovenska dramatika (1945-2000) (Contemporary Slovene drama 1945-2000 2005), Silvija Borovnik's Slovenska dramatika v drugi polovici 20. stoletja (Slovene drama in the second half of the twentieth century 2005), and Tomaz Toporisic's monograph Med zapeljevanjem in sumnicavostjo: Razmerje med tekstom in uprizoritvijo v slovenskem gledaliscu druge polovice dvajsetega stoletja (Between infatuation seduction and suspicion: The relationship between the text and performance in the Slovene theater of the second half of the twentieth century 2004). All of these publications share on undogmatic, open view of drama (and, at least conditionally, of the associated theater) of the second half of the 1900s, one that is panoramic (e.g., Joze Koruza and Taras Kermauner) and free of ideological encumbrances. The authors consistently situate Slovene dramatists in space and time, and the studies are organized around focal points suggested by the dramatists' works and their dialogic relationship with the theater and society. Thus we gain a view of the history of the formation of drama writing and interactions with the theater field, and not infrequently and necessarily of the history of the (post)socialist polity as well. In the second edition of Primerjalna zgodovina slovenske literature, Janko Kos added a chapter entitled "Konec stoletja: Slovenska literatura v letih 1970-2000" (End of the century: Slovene literature in the year 1970-2000), in which he assigns a short section to drama, "Dramatika v obdobju slovenske postmoderne: od Ivana Mraka do Iva Svetine" (Drama in the period of Slovene postmodernism: from Ivan Mrak to Ivo Svetina). He concludes that postmodernist features are less noticeable in drama as compared to poetry and prose, but that pluralism in drama and the theater, as well as dramatists' autopoiesis are important. The research focus of Tomaz Toporisic's Med zapeljevanjem in sumnicavostjo is explained by the subtitle, "Razmerje med tekstom in uprizoritvijo v slovenskem gledaliscu druge polovice 20. stoletja" (The relationship between text and performance in Slovene theater of the second half of the twentieth century). If Lado Kralj and Andrej Inkret observed the relationship primarily from within literary studies and theoretical discourse, Toporisic is the first in Slovenia systematically to test it in practice as well, using actual stagings, directors, and the profiles of theaters. The chapters follow a periodization by decade and feature only stagings that were daring, innovative, and experimental as concerns the relationship between text and performance. Throughout, the author traces the text's changing function in the theater and how new theater practices exert a reverse influence on the techniques and poetics of composing drama texts. Malina Schmidt Snoj's monograph Tokovi slovenske dramatike (Currents in Slovene drama 2010) contains the most recent survey of Slovene drama. The author arranges the material chronologically (but without a real periodization), beginning with the first shoots of Slovene drama in the seventeenth and eighteenth centuries, then depicting the stasis and rise in the nineteenth century. She writes in detail about drama at the turn of the twentieth century and during the two world wars. The second volume is devoted entirely to post-WW II and revolutionary drama. Within the five time periods, she follows a certain collection of motifs (e.g., between marriage and profligacy: from Kveder to Kraigher, from Majcen to Alojzij Remec), an idea, the development of a certain dramatic personage, and metaphysical constants in the world (which is significant, especially for volume 2). Her interpretations are anchored in the European context, and the drama texts are usually treated comparatively. The book concludes with presentations on the dramatists Peter Bozic, Dane Zajc, Gregor Strnisa, Rudi Seligo, Dusan Jovanovic, Ivo Svetina, Andrej Hieng, Tone Partljic, and Drago Jancar-canonic authors of the second half of the twentieth century. Younger authors, born after 1950, are entirely omitted.
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