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.
Razprava raziskuje, kako se književnost in umetnost vključujeta vpretok signifikacij in reprezentacij, kigradijo družbeno resničnost. Pri tem obravnava dva zgleda. Prvi zgledso hibridni romani ...Winfrieda Georga Sebalda z beganjem med znaki, ki ga prekinjajo črno-bele fotografije kot simbol mutacije v našem zaznavanjuprostora in časa, v katerem se zgodovina in geografija medsebojno oplajata, izrisujetapoti in pleteta mreže. Drugi primer je delo Oliverja Frljića, bosansko-hrvaškegagledališkega režiserja, ki v svojih šokantnihpredstavah obdeluje osebne, vojne in politične travme, da bi lahko zastavljal univerzalna vprašanja o mejah umetniške in družbenesvobode, odgovornostiposameznika in skupnosti, strpnosti in stereotipih. Zasledovali bomo njune figure, ki prestopajo meje in naseljujejopremična bojišča današnje Evrope ali širšega sveta. Poskušali bomo razumeti dialektiko umetnosti in družbe, znotraj katere fluidni, neobvladljivisubjekti nenehno spreminjajo obrise. Kritiški konsenz o tem, da se sodobna umetnost prvenstveno ukvarja z realnim, bomopostavili pod vprašaj ter poskušali opisati, kako sodobno gledališče in književnost krmarita po kompleksnosti diskurza in družbene resničnosti neoliberalizma v dobi terorizma, pa tudi, kako se umetnost pogaja, kako modulira in sodeluje v diskurzivnem pretoku zgodb, idiomov, polemik, pričevanj in delčkov (dez)informacij pri soočanju z globalnimi negotovostmi.
Jesuit teachers, whose members came to Ljubljana in the late 16th century, placed great emphasis on the production and staging of the school drama. Despite the domination of religious themes, the ...range of its subject matter was wide and varied. The article discusses two plays which derived their subject matter from English literature, namely from Bede's Ecclesiastical History of the English People and Holinshed's Historie of Britain.The texts themselves are lost, but in the case of the Holinshed-inspired work (a version of the King Lear story), a detailed synopsis has been preserved. The article examines the synopsis and the extant manuscript reports about the plays, the original English sources, and the treatment of the two works in contemporary scholarly treatises.
Miss Julie (Froken Julie) is one of August Strindberg's most popular and well-known plays. Today, almost 120 years after its first appearance, what Strindberg called the "first naturalistic tragedy ...in Swedish drama" is stili being staged worldwide, with Slovenia being no exception. This article examines the critical response to Miss Julie staged in Slovene professional theatres from its first ap pearance in 1921 to its !atest in 2008. It aims to establish to what extent critics' attitude towards the play and the author have changed over a time span of ninety years.
After the Second World War, Slovene theatres started to include in their repertoires more and more American authors and their plays. Their choice were varied, from serious dramas by Eugene O'Neill, ...Tennessee Williams and Arthur Miller, to comedies by Norman Krasna and John Van Druten dependant mostly on the availability of the texts. In the immediate postwar years the theatres liked to present playwrights with progressive ideas in their plays, such as Lillian Hellman and her "The Little Foxes", which was successfully produced at three Slovene theatres, while her "The Children's Hour" received negative reviews. In the fifties, three theatres chose two plays by Clifford Odets, "Golden Boy" and "Country Girl", mainly because of his socially critical ideas and his admiration of humanity. His plays were rather well received; however, the critics doubted his literary genius. William Inge and his plays, "Come Back, Little Sheba", "Picnic" and "Bus Stop", chosen mainly because of the warmth with which the author depicted the tragedy and the beauty of life, were produced at three Slovene theatres. The author received rather wide-ranging opinions from the critics. Some thought him to be an unoriginal depicter of dull American life, while others praised his lyricism and new dramatic techniques.
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