Rad obrađuje temu globalnih migracija u suvremenoj španjolskoj drami na prijelazu stoljeća, od 90-ih godina XX. do prvog desetljeća XXI. stoljeća, kada uočavamo sve veći broj dramskih djela koja ...tematiziraju probleme s kojima se susreće multikulturalno španjolsko društvo. Unutar danog povijesnog konteksta utvrđuju se tematske smjernice dramskih djela u kojima motivi poput marginalizacije, rasizma i netolerancije prema strancima ocrtavaju sliku šire kulturne pozadine i sveprisutnu polarizaciju španjolskog društva. Analiziraju se motivi koji tvore migrantski diskurs te žanrovske osobitosti dramskih djela na tragu postmodernizma, pri čemu se naglasak stavlja na dekonstrukciju nacionalnog narativa na kojem se gradi predodžba stabilnog kulturnog identiteta u opreci prema Drugome.
This paper studies the topic of global migrations in contemporary Spanish drama atthe turn of the century, from the 1990s until the first decade of the 21st century, aperiod in which we can observe an increasing number of plays that face the problem ofmulticultural Spanish society. The thematic and structural characteristics of the dramaticcorpus show how playwrights participate in social debate and inscribe new signs into the Spanish cultural space. Firstly, we describe the historical, cultural and social context of Spanish opening to migration flows from the European Union, Africa, Latin America and Asia. Secondly, the paper analyses how new circumstances affect the appearance of topics related to migration and Otherness as a complex phenomenon that combines geographical, social, economic, cultural and historical aspects united by the concept of national identity. The research reveals that the frequent motives of marginalization, intolerance and violence express an attitude towards foreigners, but at the same time outline the picture of the broader cultural background and ubiquitous polarization of Spanish society. In addition, we observe that the plays question the migrant discourse based on the motifs of borders, travel, memory and forgetting as the opposition to the chronologically structured national (hi)story. The playwrights question the status of the individual in the new geopolitical, social and cultural circumstances, as well as the sustainability of the monolithic national narrative within the new global order. One part of the dramatic opus also uses postmodern techniques in the deconstruction of that official narrative, whereby the emphasis is placed on the deconstruction of the national discourse on which the idea of a stable cultural identity is built in opposition to the foreign, that is, the Other.
This article looks at the presence and function of animals in the dramatic works of Sarah Kane, a recognized protagonist of the experimental theatre scene in Britain and abroad. The by now massive ...scholarship on Kane has tended to see her work as epitomizing the move beyond the dramatic paradigm famously theorized by Hans-Thies Lehmann, and as equally marked by increasingly dehumanised constructions of subjectivity that culminate in the disembodied theatrical landscapes of her late plays. The research presented here addresses a hitherto unexplored dimension to Kane’s joint engagement with the boundaries of subjectivity and the boundaries of theatre, namely, the pervasive presence of animals across her entire oeuvre and their thought-provoking intersections with the human subjects with whom they share the stage. Through a combination of textual and performance analysis, I chart the complex, changing configurations of this relationship of co-habitation and mutual implication, offering an extensive discussion of the role of animals as key players in Kane’s dramaturgy of simulacra.
This article offers an analysis of the last part ofTrilogía del Infinitoby Angelica Liddell, Génesis 6, 6-7, related to the question of gender. This show, created by a female artist who founded her ...own company and triumphs on inter-national stages, tackles specifically feminine themes such as maternity (in the mode of the obscene and the horrible), in particular through the theme of infanti-cide –represented in the play by the figure of Medea. The show also deconstructs the usual binary codes in the configuration of female and male identities, in par-ticular through the treatment of the body on stage. Envisaged in its different tex-tual and scenic aspects, the play is analyzed in the light of the concepts of inter-textuality, intermediality, intersemioticity and performativity, in order to define the specificity of the dramatic andscenic language of Angelica Liddell. It therefore appears that in this spectacle, in which there is very few spoken text, Angelica Liddell’s aesthetic and identity quest goes through other modalities and leads to the invention of a specific language whichrenews the tragic modality in the pre-sent era and it is part of the general tendency of female dramaturgies and sce-nographies of the late twentieth and early twenty-first centuries to deconstruct, center, and sometimes even transgress and subvert the models imposed by pa-triarchal society to create new ones, more in line with individual feelings and the present. For the Spanish performer, this quest also involves an exploration of the religious which corresponds to the search for a transcendence necessary for the fashioning of her own identity as well as that of a collective meaning.
Suvremena hrvatska psihološka drama, Gavranova Nora danas (2005.), analizirat će se iz književnoteorijskog emocionološkog aspekta. S obzirom da do sada u hrvatskoj znanosti o književnosti ne postoji ...pisani trag o znanstvenom radu iz područja književne emocionologije (suvremena književnoteorijska disciplina) u istraživanju hrvatske književnosti moderne i postmoderne, ovaj rad smatra se književnoznanstvenim emocionološkim prvijencem toga razdoblja. Uvodno će se prikazati teorijski okvir emocionologije s naglaskom na hrvatsku književnu znanost (godine 2012. tiskan je prvi hrvatski emocijski zbornik Poj željno). Veza između emocija i književnosti je imanentna (Brković, 2015.), a znanstveni interes rada usmjeren je na istraživanje funkcionalnosti (za)dane emocionalne kategorije dramskih likova u dramskome tekstu, u oblikovanju socijalne relacije, konkretno rodnih odnosa i literarne manifestacije emocija. Cilj je prikazati ulogu karakterističnih emocija (ljutnje, straha, tuge, radosti) u izgradnji identiteta dramskih likova Nore i Tonija (antilutke i lutka), a posebno s obzirom na rodnu stereotipizaciju. Metodologija je usmjerena na dramsku narativnu strukturu s integracijom metodoloških okvira afektivne naratologije i teorija konceptualne metafore. Analizirajući emocije kao ekspresiju osjećaja u književnom tekstu (Brković, 2015.), strategije reprezentacija emocija te recepciju emocija u suvremenoj hrvatskog drami, istražuju se suvremene koncepcije teorije književnosti ‒ emocionologije, uz doticaj kognitivne psihologije te neurobioloških i filozofskih teorija o emocijama. Novoosmišljenim pojmom emocijska metamorfoza u ovome radu želi se dati doprinos terminologiji emocionologije, koja je još uvijek neusuglašena i u razvitku (Robinson 2004, Keen 2011). Novim, emocijskim čitanjem književnog teksta sugerira se i ključ razumijevanja temeljnih odnosa (dramske) naracije, a unutar poetike suvremene (dramske) književnosti.
Gavran's Nora danas (2005), a contemporary Croatian psychological drama, is analysed from a literary-theoretical emotional point of view. Considering that this is the first scientific work of its kind about either world or Croatian modern and/or contemporary literature that deals with emotional studies as a contemporary literary discipline, a theoretical framework of emotional studies will be presented with an emphasis on Croatian literary science (the first Croatian emotional collection Poj željno was published in 2012). The connection between emotions and literature is immanent (Brković, 2015), and this paper focuses on researching the functionality of the (given) emotional category of the protagonist of a dramatic text in shaping social relations, specifically gender relations and literary manifestations of emotions. The aim is to show the role of typical emotions (anger, fear, sadness, joy) in building the identity of the dramatic protagonists Nora and Tony (anti-puppet and puppet), especially with respect to gender stereotyping. The methodology focuses on the dramatic narrative structure by integrating the methodological frameworks of affective narratology and the theory of conceptual metaphor. By analysing emotions as an expression
of feelings in a literary text (Brković, 2015), strategies of emotion representations and reception of emotions in contemporary Croatian drama, we explore contemporary concepts of literary theory - emotional studies, also touching upon cognitive psychology and neurobiological and philosophical theories of emotions. The newly conceived notion of emotional reversal in this paper seeks to contribute to the terminology of
emotionalism, which is still inconsistent as it is still being developed (Robinson 2004, Keen 2011). A new, emotional reading of a literary text also suggests the key to understanding the fundamental relations of (dramatic) narration within the poetics of contemporary (dramatic) literature.
Lara Foot Newton's play, Tshepang: The Third Testament, is based on the 2001 rape of a nine-month-old child in South Africa (the child, who survived, was renamed Baby Tshepang, or "Hope"). Systemic ...exploitation and poor living conditions-including alcoholism, poverty, war, unemployment, lack of education, and toxic constructions of masculinity-have engendered child sexual abuse in post-apartheid South Africa. By analyzing how the play diverges from the searing media accounts of the 2001 rape case, the article will demonstrate how cycles of violence and structured oppression have contributed to the prevalence of child rape and the ways in which the play invites productive engagement with the issue. Part of this discussion will include an examination of the figure of the rapist as presented in the play: abused and traumatized throughout his childhood, he ultimately becomes the victimizer.
Historical drama embodies the conflict between factual truth, the artistic fiction of representation and the reality of people and objects on stage. It can therefore be employed, especially when ...realistic in form, to support a version of events, by letting everybody see its repetition. But by highlighting fictionality or conventions it can also be harnessed to challenge the reliability of any reconstruction of the past. The latter possibility, widely employed in contemporary playwriting, is investigated here by focusing on the exemplary case of Howard Brenton. His works often show up the opaqueness and unreliability of documents and accounts (The Romans in Britain, 1980; H.I.D. – Hess Is Dead, 1989; In Extremis, 2006). And they combine the patent fiction on stage and the intimate human reality of actors and spectators so as to question the received image of iconic figures (The Churchill Play, 1974; Anne Boleyn, 2010; Lawrence after Arabia, 2016).
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