From the very inception of her professional career, the theater projects of Olja Lozica, a Croatian dramatist, playwright and director, display the author's profound artistic commitment to the ...researching and portraying marginalized social groups and individuals. This paper examines selected plays by Olja Lozica, where she delves into the theatrical exploration of socially vulnerable workers, the unemployed, the powerless, stigmatized minority groups and various forms of disability. It also investigates the multifaceted forms, objectives and impacts of the author's distinct approach to theatrically representing non-normative individual and collective identities. Additionally, the paper establishes connections between the considered thematic layer and some of the principles underpinning Olja Lozica's unconventional, de/ rehierarchized, and open creative process.
Bearing in mind the potential of costume to construct and actively create meanings and to initiate, shape, and define a performance, the paper examines the nature and role of performance costume in ...projects and performances of several important Croatian artists who are either costume designers or performance artists or both, such as Vlasta Delimar, Ivana Popović, Ksenija Kordić, Tajči Čekada, and Ivana Bakal, and whose work significantly modified the notion and status of costume and costume design(er) in Croatian performing arts at the end of the 20th and the beginning of the 21st centuries. Furthermore, it focuses on the strategies of costume design(er) in articulating the relationship between costume, performance, and society with special emphasis on the position of costume design(er) and costume based performance towards producing, interpreting or performing various individual and collective identities, body, ecology, social activism, and the artist's social status.
Rad se bavi scenografskim čitanjima kazališnih uprizorenja romana
Nedjeljka Fabrija na primjerima predstava
Vježbanje života
u režiji
Georgija Para i izvedbi Hrvatskoga narodnog kazališta Ivan pl. ...Zajc u Rijeci,
Berenikina
kosa
u režiji istoga redatelja i izvedbi Hrvatskoga narodnog kazališta u
Zagrebu, te
Smrt Vronskoga
u režiji Ivice Boban i izvedbi Hrvatskoga
narodnog kazališta Ivan pl. Zajc u Rijeci. Scenografije spomenutih predstava
oblikovali su istaknuti hrvatski scenografi Zlatko Kauzlarić Atač (
Vježbanje
života
, 1990.,
Berenikina kosa
, 1995.) i Dalibor Laginja (
Smrt
Vronskog
, 1995.), bitno pridonijevši kazališnoj transpoziciji romana na
scenu.
The paper focuses on the scenography in stage adaptations of Nedjeljko
Fabrio’s novels, i.e. on the scenography of Zlatko Kauzlarić Atač in
Vježbanje života
(
Practicing Life
) directed by Georgij Paro in the Croatian National
Theatre Ivan pl. Zajc in Rijeka (1990), and in
Berenikina kosa
(
The
Berenice's Hair
) also directed by Georgij Paro in the Croatian National
Theatre in Zagreb (1995), and the scenography of Dalibor Laginja in
Smrt Vronskog
(
The Death of Vronsky
) directed by Ivica Boban in the Croatian
National Theatre Ivan pl. Zajc in Rijeka (1995). The scenography of each
mentioned stage adaptation is meticulously analysed and studied in terms of its
general ideas and practical outputs, its functions in the theatre production,
its relation towards the individual production elements, its place in the
designer’s opus, and its critical reception. The study reveals that the
analysed designs contributed significantly to the stage adaptations of Fabrio’s
novels by articulating Fabrio’s ideas and concepts, material and metaphorical
transposition of production’s ideas, utilising, organising and modelling stage
space, dramaturgical functionality, as well as visual expressiveness and effectiveness
of the production.
The paper discusses the relationship between the (Croatian) theatre historiography and the (Croatian) national identity, a topic rarely considered in Croatian theatre studies. In order to study the ...role of national paradigm in the construction of theatre historiography and the role of theatre historiography in the construction of national identity, the analysis is conducted in two directions, from the idea of nation towards theatre historiography and vice versa. The paper focuses on several Croatian theatre histories and several examples from Croatian theatre history.
The paper discusses the position of Croatian playwright Radovan Ivšić in Croatian theatre historiography, before and after the independence of Croatia in the nineties. The research results point to ...three major phases in Ivšić’s reception in Croatian theatre historiography – the rejection, acceptance and canonization.
U radu obrađuje se način na koji Dubravko Jelčić u svoju Povijest hrvatske književnosti (2004) uključuje teme iz područja hrvatske dramske književnosti i kazališta. Pritom se poseban naglasak stavlja ...na zastupljenost hrvatske drame i kazališta s obzirom na neka opća mjesta žanra povijesti književnosti (periodizacija, metodologija, načela književnopovijesne naracije itd.), kao i na osobitosti njegovih odabira, postupaka i zaključaka u odnosu na druge dosad objavljene cjelovite povijesti hrvatske književnosti, ali i na kanon dramskih djela i autora karakterističan za hrvatsku kazališnu historiografiju novijega razdoblja.
The paper discusses the foundation and affirmation of Croatian costume design from the beginnings of Croatian theatre history up to the professional and artistic rise of costume design after the ...Second World War, with special regard to the professional development of the discipline and the persons behind it (theatre amateurs, theatre producers, actors, artistic directors, wardrobe masters, painters, set designers, costume designers…). The paper also investigates the relation between costume design and other theatre professions, namely set design and stage direction, as well as the status of costume design in the theatre, in theatre legislation, in theatre criticism and theatre studies, and in university-level education.
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