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Gestus and Taboo: A Study of Bertolt Brecht 手势与禁忌：布莱希特研究

Amfiteater Pub Date : 2022-06-30 DOI: 10.51937/amfiteater-2022-1/316-329

Luka Benedičič

引用次数: 0

Kozinov Ekvinokcij na križišču dejstev, konteksta in estetike

Amfiteater Pub Date : 2022-06-30 DOI: 10.51937/amfiteater-2022-1/382-385

Lovrenc Rogelj

引用次数: 0

Gestus in tabu: študija Bertolta Brechta 手势与禁忌：布莱希特研究

Amfiteater Pub Date : 2022-06-30 DOI: 10.51937/amfiteater-2022-1/330-342

Luka Benedičič

引用次数: 0

Seksualno osvobojena ženska: seksualnost in seksualne kulture v dveh dramah Simone Semenič 性解放的女人：两部戏剧中的性与性文化

Amfiteater Pub Date : 2022-06-30 DOI: 10.51937/amfiteater-2022-1/154-179

Pavel Ocepek

{"title":"Seksualno osvobojena ženska: seksualnost \u0000in seksualne kulture v dveh dramah Simone \u0000Semenič","authors":"Pavel Ocepek","doi":"10.51937/amfiteater-2022-1/154-179","DOIUrl":"https://doi.org/10.51937/amfiteater-2022-1/154-179","url":null,"abstract":"Prispevek izhaja iz teorije o seksualnosti kot družbeni strukturi, ki jo med drugim opredeljujejo \u0000seksualne kulture s svojimi značilnimi diskurzi in imperativi. Analiza identifikacijskih \u0000elementov restriktivne in permisivne seksualne kulture v dveh dramskih besedilih Simone Semenič, in sicer to jabolko, zlato in jerebika, štrudelj, ples pa še kaj, je pokazala, da je ena od središčnih tem v obeh dramskih besedilih prav seksualnost. Še več, dramatičarka tematiziranje seksualnih kultur postavlja v okvir družbenih sprememb pri organiziranosti seksualnosti. Dramski subjekt se znajde v primežu modernizacije seksualnosti, od koder pa se s težnjami po detradicionalizaciji in individualizaciji lastne seksualnosti ter ob spremembi seksualne morale osvobodi. Simona Semenič v tem smislu osvobodi predvsem žensko, ki ob zavračanju tradicionalnega pogleda na seksualnost, lastnega rimskokatoliški cerkvi, in ob družbenih spremembah pri organiziranosti seksualnosti v (post)socialistični družbi prehodi pot od seksualne zadržanosti do seksualne liberalizacije. Analiza dokazuje, da je seksualno osvobojena ženska, kot jo tematizira Simona Semenič, novost v slovenski dramatiki.","PeriodicalId":34446,"journal":{"name":"Amfiteater","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42566949","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Poetične tendence sodobnega hrvaškega dramskega pisanja

Amfiteater Pub Date : 2022-06-30 DOI: 10.51937/amfiteater-2022-1/108-112

Lucija Ljubić, Martina Petranović

引用次数: 0

Dramatika enaindvajsetega stoletja in nova resničnost družbenih omrežij 21世纪的戏剧与社交网络的新现实

Amfiteater Pub Date : 2022-06-30 DOI: 10.51937/amfiteater-2022-1/246-249

Hanna Veselovska

引用次数: 0

Slovenska dramatika v bolgarskem prevodu. Kako staro postane novo ali kakšni so kriteriji sodobnosti? 斯洛文尼亚戏剧被翻译成保加利亚语。它在多大程度上成为新的，或者现代性的标准是什么？

Amfiteater Pub Date : 2022-06-30 DOI: 10.51937/amfiteater-2022-1/358-362

Ljudmil Dimitrov

{"title":"Slovenska dramatika v bolgarskem \u0000prevodu. Kako staro postane novo ali kakšni \u0000so kriteriji sodobnosti?","authors":"Ljudmil Dimitrov","doi":"10.51937/amfiteater-2022-1/358-362","DOIUrl":"https://doi.org/10.51937/amfiteater-2022-1/358-362","url":null,"abstract":"Prispevek se osredotoča predvsem na recepcijo slovenske (sodobne) dramatike v Bolgariji. Natančneje, kako se besedila, ki spadajo v tuji jezikovni in sociokulturni kontekst, ne glede na to, kdaj so bila napisana, izkažejo za nova v ciljni kulturi in se interpretirajo v skladu s problemi našega časa. Predstavljam predvsem novo zbirko petih slovenskih dram, ki sem jih izbral in prevedel ter spadajo v estetski okvir modernega (od moderne do postmodernizma), združujejo pa jih motivi čudeža, fantastičnega, nadnaravnega. Motivacija za mojo izbiro je dvojna. Po (ne)pričakovanem velikem uspehu prve zbirke Zalezujoč Godota. Pet sodobnih slovenskih dram (2014), iz katere so bile tri drame uprizorjene na bolgarskem odru (ena trikrat), ena delno, uprizoritev ene pa je bila zaradi nesreče odpovedana, poskuša druga zbirka ne le spoznati bolgarsko občinstvo in bolgarske gledališčnike s slovensko klasiko, temveč slednjo vključiti v lastno dramsko tradicijo, v kateri so prevladujoči motivi tudi mit, čudež ter infernalno. Ali lahko drugega razumemo s pomočjo svojega, kako novo postane staro in zakaj ustvarjanje predstave po dramskem besedilu še vedno ni zastarelo?","PeriodicalId":34446,"journal":{"name":"Amfiteater","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45766747","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

From Stage to Page: New Forms of the Performance Text 从舞台到页面：表演文本的新形式

Amfiteater Pub Date : 2022-06-30 DOI: 10.51937/amfiteater-2022-1/18-28

A. Jovičević

{"title":"From Stage to Page: New Forms of the \u0000Performance Text","authors":"A. Jovičević","doi":"10.51937/amfiteater-2022-1/18-28","DOIUrl":"https://doi.org/10.51937/amfiteater-2022-1/18-28","url":null,"abstract":"The paper deals with different forms of the performance text, still a new phenomenon \u0000in contemporary theatre, which requires new instruments for its analysis. The structural \u0000transformation of the written text into the performance, including the role of the spectator \u0000in it, confirms the fact that the performance text does not simply mean a new kind of \u0000the written text – and even less a new type of theatre text, but rather an essentially \u0000changed hypertext. Instead, the performance text could also be called an open text of \u0000the performance, in the sense that it requires spectators to become its active co-writers. \u0000Can we, therefore, define the performance text as a scenic écriture, collective writing, \u0000hypertext, stretch text, or even écriture corporelle? Furthermore, how can it be translated \u0000from stage to page to be preserved for future studies? The performance text is impossible without its author(s). Therefore, the paper deals with the performances of The Wooster Group, Motus, René Pollesch, Joris Lacoste, Milo Rau and Oliver Frljić, who are all constantly producing performance texts with their actors, without separating the process of writing from directing.","PeriodicalId":34446,"journal":{"name":"Amfiteater","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48066741","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

The Substance of Millennial Playwriting in Slovenia, Croatia and Serbia 斯洛文尼亚、克罗地亚和塞尔维亚千禧年剧本创作的实质

Amfiteater Pub Date : 2022-06-30 DOI: 10.51937/amfiteater-2022-1/284-286

Benjamin Zajc

{"title":"The Substance of Millennial Playwriting in \u0000Slovenia, Croatia and Serbia","authors":"Benjamin Zajc","doi":"10.51937/amfiteater-2022-1/284-286","DOIUrl":"https://doi.org/10.51937/amfiteater-2022-1/284-286","url":null,"abstract":"In Slovenia, Croatia and Serbia, 21st-century playwriting is strongly marked by the arrival of \u0000the millennial generation. If the older generation of playwrights was preoccupied with the \u0000memory of wars, questioning of collective guilt and condemnation of past political entities, \u0000and if the established contemporary dramatic corpus is expanded by questions of lost \u0000identity, feminism and critique of society, the millennial generation further complicates \u0000its dramatic construction with apprehension about globalisation and cultural erasure. \u0000As argues Stephan Dark, this gives their work a neo-miserabilist character. In millennial \u0000playwriting, which is less burdened by the events of the last century and more marked \u0000by the recent economic crises, we can observe even less optimism and utopian imagery. Instead, nihilism and cynicism prevail. Their material is self-referential and creates a world that corresponds to their own present. There is a particular focus on the individual’s attitude towards survival in an oppressive, corrupt and dysfunctional system, the individual’s search for meaning, related feelings of alienation and the inability to communicate. Through a selection of plays, this paper reflects on the key themes, the form and the atmosphere of millennial playwriting, which seems to be more marked by the uncertainty of the status quo than any previous generation.","PeriodicalId":34446,"journal":{"name":"Amfiteater","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49644270","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

The 21st-Century Drama and the New Reality of Social Networks 21世纪的戏剧和社交网络的新现实

Amfiteater Pub Date : 2022-06-30 DOI: 10.51937/amfiteater-2022-1/234-249

Hanna Veselovska

引用次数: 0