The paper deals with three no longer dramatic texts (Poschmann) by Simona Semenič, namely the feast or the story of a savory corpse or how roman abramovič, the character janša, julia kristeva, age ...24, simona semenič and the initials z. i. found themselves in a tiny cloud of tobacco smoke; sophia or while i almost ask for more or a parable of the ruler and the wisdom and 7Cooks, 4Soldiers, 3 Sophias. The main characters in all three texts are bullied and abused women, victims of religious and political wars as well as of patriarchal paradigms and enforced social roles. Their stories are based on true stories and then set within a timeless fictional frame in their fragmentary form. Characteristic of Simona Semenič's writing is the subversion of traditional reading conventions which involves the reader more closely into the decoding of the text and its interpretation. The division between the dialogue and stage directions disappears as stage directions become more than mere directions and their narrative function is emphasized. It is therefore necessary that the addressee of the text reconsiders basic relations within it, who speaks and to whom, what is the position of the author, of the dramatis personae, and their own position. The reader/spectator is more emotionally and cognitively involved in the plot and thus becomes to a greater degree a participant, and consequently responsible for the state of the society. Simona Semenič uses innovative textual strategies to achieve an artistic impact and to open up ethical aspects through a universal perspective. Even though she violates dramatic conventions, she at the same time relativizes and revitalizes them, and her new textual strategies are closely tied to the problems of reception and the power of the theatre today.
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
The article deals with a radio play The Return of Cortes by Andrej Hieng that was later on rewritten into an opera libretto. Through a comparative analysis of both texts and theses of Theodor Adorno ...about bourgeois opera it tries to detect features of an opera genre in the libretto by Pavel Sivic.
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.
In the final part of my study I shall present Shakespeare's influence on Slovene dramatists from the 1930s to the present time. In this period an almost unbelievable growth in Slovene cultural ...activities took place. This is also reflected in a very large number of new Slovene playwrights who have written in this time, in their international orientation in dramatic art as well as in the constantly growing number of permanent (and ad hoc) theatre companies. Communication regarding new theatrical tendencies not only in Europe but also in the United States of America and % during the past decades % also in its global dimension has become much easiers than in previous periods and this resulted also in the application of new dramatic visions in playwriting and in theatrical productions in Slovenia. These new movements include new techniques in writing, such as symbolism, futurism, expressionism, constructivism, surrealism, political drama, the theatre of the absurd and postmodernism, which have become apparent both in new literary techniques and in new forms of production. In this period Classical drama still preserved an important role in major Slovene theatres. Plays written by Greek playwrights, as well as plays written by Shakespeare, Molière, Schiller etc. still constitute a very relevant part of the repertoire in Slovene theatres. Besides, Slovene theatres have also performed many plays written by modern playwrights, as for example by Oscar Wilde, L. N. Tolstoy, I. S. Turgenev, Henrik Ibsen, August Strindberg, G. Hauptmann, G. Büchner, G. B. Shaw, A. P. Chekhov, John Galsworthy, Luigi Pirandello, Eugene O'Neill and many other contemporary playwrights. In the period after the Second World War the influence of American dramatists has been constantly growing. This variety also resulted in the fact that direct influence of Shakespeare and his plays upon Slovene dramatists became less frequent and less noticeable than it had been before. Plays written by Slovene dramatists are rarely inspired by whole scenes or passages from Shakespeare's plays, although there are also some exceptions from this rule. It is rather surprising how quickly Slovene theatres produced works written by important foreign dramatists already in the period following the First World War not to mention how quickly plays written by the best European and American playwrights have appeared on Slovene stages during the past fifty years. The connection between Shakespeare's plays and plays written by Slovene playwrights became more subtle, more sophisticated, they are often based on implied symbolic references, which have become a starting point for a new interpretation of the world, particularly if compared with the Renaissance humanistic values. The sheer number of plays written by Slovene dramatists in this period makes it difficult to ascertain that all influences from Shakespeare's plays have been noticed, although it is hoped that all major borrowings and allusion are included. Slovene dramatists and theatre directors have provided numerous adaptations of Shakespeare's plays, which sometimes present a new version of an old motif so that it may hardly be linked with Shakespeare. Slovene artists, playwrights and 4 also theatre directors, have %rewritten%, %reset% the original text and given it a new meaning and/or a new form, and in a combination of motifs and structure they have thus created a %new play%, even stand-up comedies in which the actor depends on a scenario based on Shakespeare's play(s) but every performance represents a new improvisation. Such productions are naturally closer to the commedia dell'arte type of play than to a play written by Shakespeare. I briefly mention such experimental productions in the introductory part of my study. The central part of my research deals with authors in whose works traces of Shakespeare's influence are clearly noticeable. These playwrights are: Matej Bor, Jože Javoršek, Ivan Mrak, Dominik Smole, Mirko Zupančič, Gregor Strniša, Veno Taufer, Dušan Jovanović, Vinko Möderndorfer and Evald Flisar.
Razprava se ukvarja s problemom konca tragedije in povezuje Mrakovo himnično tragedijo z aristotelovsko predtragično dramo, ki vzpostavlja enotnost publike in teksta in izenačuje anagnorisis s ...teofanijo.
purpose of this study is to explore the influence of William Shakespeare on Slovene playwrights in the period between 1876, which marks the appearance of Jurčič - Levstik's Tugomer, and the 1930s, ...when Oton Župančič published his tragedy Veronika Deseniška (Veronika of Desenice, 1924) and, a few years later, Bratko Kreft his history, Celjski grofje (The Counts of Celje, 1932). Together with Cankar's works all of the plays discussed in this study deal with one of the well-known Slovene myths. In the previous number of Acta Neophilologica I published my study on the first Slovene tragedy Miss Jenny Love, which was published in Augsburg in 1780.1 The Romantic period, which followed this publication, was in Slovenia and elsewhere in Europe mainly characterized by the appearance of poetry, with a few exceptions of plays which were primarily intended for reading and not for the stage (Closet Drama). Let me mention here that in the Romantic period some of the finest Slovene poetry was written by France Prešeren (1800-1849), and although some of his friends suggested he should also attempt to write a play, his closest achievement to drama was his epic poem Krst pri Savici (Baptism at the Savica River, 1836), which is also often considered by literary historians as a predecessor of later Slovene dramatic literature. Although many Slovene authors who wrote their works in the nineteenth century knew Shakespeare's plays, they still found it easier to express themselves in prose. The first Slovene novel is Josip Jurčič's Deseti brat (The Tenth Brother), which was published in 1866, ten years earlier than his play Tugomer (Tugomer). However,Jurčičʹs tragedy Tugomer was artistically very much improved by the adaptation made by Fran Levstik, whose text has been since considered as the ʺtrueʺ version of this play. Further editions and adaptations of this play definitely prove that several Slovene authors have found the subject-matter of this play worthy of new interpretations. By the end of the nineteenth century the list of Slovene translators of Shakespeareʹs plays (most of them chose only some acts or scenes) was quite long. But it was only in 1899, when Ivan Cankarʹs translation of Hamlet appeared on stage of the Slovene National Theatre in Ljubljana, that a real master of the Slovene language approached one of Shakespeare's plays. Cankar became enthusiastic about Shakespeare's work and this is best seen also in Shakespeare's influence on three plays written by Cankar: Kralj na Betajnovi (The King of Betajnova, 1901), Pohujšanje v dolini Šentflorjanski (Scandal in the Valley of Saint Florian, 1907) and Lepa Vida (Beautiful Vida, 1911). The same kind of "enchantment" caught Oton Župančič, a Slovene poet, translator and dramatist, who had translated by 1924, when his Veronika Deseniška (Veronika of Desenice) appeared, several plays written by Shakespeare. A large number of echoes of Shakespeare's plays can be found in Župančič's play, not to mention the Bard's influence on Župančič's verse and style. Such influence can also be traced in Kreft's play. Many Slovene literary historians and critics mention in their studies Shakespeare's influence on Slovene dramatists but their reports are mainly seminal and rather generalizing. Therefore the purpose of this study is to provide a deeper analytical insight into this topic.
PDF