Provider: - Institution: - Data provided by Europeana Collections- By choosing Schneewittchen by the Swiss writer Robert Walser for his latest production, Ivica Buljan is following the main outlines of his stage direction procedure and a consistent poetics of theatre, which he delineated back in the initial stages of his work as a stage director. He always selects poetic theatre plays that are devoid of all psychological analysis or linear plot. The spectacle effect is subdued or even completely erased by the emphasis on the rational components of the text that focus the spectator's attention on aural perception and comprehension. Unlike Disney's work in a different genre, Walser's Schneewittchen is not a reinterpretation of the Snow White fairytale by the Brothers Grimm. Instead, it disassembles the story into individual viewpoints. The quadrangle, composed of well-known heroes whose characters are here presented much more clearly, speak a posteriori about what happened (to them), comparing the reality of their experience with the story and the experiences of others. The neurotic Snow White, the indecisive and gullible Prince, the Queen who resembles Mme Merteuil from Dangerous Liaisons and the manly Hunter all investigate the coherence of the story and attempt to separate the truth from the lie and find some sort of meaning. They repeat the key scenes from the story, reconstructing the scene of the crime (Walter Benjamin, one of the first critics of Walser's work said that the play begins where other stories stop). Walser's short plays are pioneering works of that poetic modernity that is clearly articulated in Beckett's plays as presented by the theatre of Thomas Bernhardt. Their characters excel in their remarkable inner motivation and energy, which cannot be contained. In traditional theatres (and fairytales), characters behave according to a certain logic, following ethical choices and actions that lead them either to disaster or glory. In Walser's text, modernity is expressed through a relative presentation of each position, the shattering of any kind of security, and characters who do not understand themselves but whose relationships with others have a complex meaning. Schneewittchen belongs among those works that have been staged by Ivica Buljan many times and that can be enjoyed without having to understand them in order to be enchanted by them.- Nevrotična Sneguljčica, neodločni in vodljivi Princ, Kraljica ter možati Lovec se sprašujejo o smislu zgodbe, poskušajo ločiti resnično od lažnega, poskušajo ločiti resnično od lažnega, da bi dojeli njeno bistvo. Z izbiro dramoleta Sneguljčica - napisal ga je švicarski pisatelj Robert Walser - hrvaški režiser Ivica Buljan nadaljuje z osnovnimi značilnostmi svojega režijskega postopka. Poetično dramsko delo, v katerem ni psihološke razčlembe niti linearnega zapleta, je zanj osnovna predloga. Poudarjene intelektualne značilnosti besedila izginjajo, ugašajo. Tako naj bi se - za učinek predstave - sprostila koncentracija poslušanja in razumevanja. Walserjeva Sneguljčica ni adaptacija pravljice za otroke bratov Grimm, ni prestavljena v drug svet, v bistvu gre za različnost pogledov. Kvartet dobro znanih protagonistov, v tem primeru bolj izrazitih značajev, pripoveduje "a posteriori", kar se (jim) je zgodilo, in primerja resničnost svojih izkušenj v zgodbi z izkušnjami drugih. Nevrotična Sneguljčica, neodločni in vodljivi Princ, Kraljica, ki spominja na diskretno Mme Marteuil iz Nevarnih razmerij, ter možati Lovec se sprašujejo o smislu zgodbe, poskušajo ločiti resnično od lažnega, da bi dojeli njeno bistvo. Walserjevi dramoleti so začetki poetičnega modernizma, ki se nazorno prepozna pri Beckettu ali v gledališču Thomasa Bernhardta. Modernizem, ki ga kaže Walserjevo dramsko besedilo, se potrjuje z relativiziranjem stališč, z razkrojem varnosti, z liki, ki samih sebe ne razumejo, medtem ko so relacije med osebami večpomenske. Walserjeva Sneguljčica /Schneewittchen/ je besedilo, ki se ujema z Buljanovim razumevanjem gledališča. Predstavi je lahko slediti, četudi je povsem ne razumemo. In vendar nas prevzame.- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana