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1

Cielesność a psychiczno-duchowy wymiar macierzyństwa. Dramaty Lady Kaštelan i Ivany Sajko

100%
Abrasowicz G.
Slavica Wratislaviensia
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2011
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vol. 153
199-209
EN
The text deals with the contemporary Croatian dramas by Lada Kaštelan (The Last Link, Before Sleep) and Ivana Sajko (23rd Kitten, Woman-bomb). They are presented as interesting examples of “maternity literature” and illustrations of different, often shown in an unusual way, aspects of motherhood. They also provide confirmation of correctness that in this experience the realm of biological, psychological and spiritual are strongly correlated with each other, they coexist and collaborate. Croatian playwrights demonstrated new models of extra/ordinary female identity and different, undesirable, non-performing aspects of motherhood that concern the woman’s body, psyche and spirituality. In this very interesting way the authors tried to redefine and reinterpret the existing regulation of motherhood. These works reveal that maternity remained a contested terrain despite its association with an increasingly standardized set of values and expose the negotiations about the cultural meanings of family, womanhood and motherhood. Furthermore, they explore and challenge conventional maternal ideology and expose gaps in the mythology of ideal motherhood. Lada Kaštelan and Ivana Sajko analyse the various problems relating to the maternity function or distortions of motherhood, as well as use the examples of very distinct physical anomalies associated with the images of pregnancy, childbirth, raising a child and at the same time they research the categories of natural — unnatural — supernatural motherhood.
2

Lost in Transitions: Childhood and Child Characters in Post-Yugoslav Playwriting

100%
Abrasowicz G.
Miscellanea Posttotalitariana Wratislaviensia
|
2017
|
vol. 7: Special Issue, vol. II, POST-COMMUNIST CHILDREN’S CULTURES IN CENTRAL, EASTERN, AND SOUTHEAST EUROPE
17-34
EN
The history of Yugoslavia’s fall cannot be told without paying attention to transition(s) to democracy and its reflection in art. Playwrights from the emerging countries, including Serbia (Biljana Srbljanović and Milan Marković), Bosnia and Herzegovina (Tanja Šljivar), Montenegro (Maja Todorović) and Kosovo (Jeton Neziraj), use political, economic, and national transitions as a biographical category, comprising various phenomena connected with “interruptions” and “passages” in human life, as well as identified with difficult, extreme, or critical situations. The authors focus on micro-social children’s stories, making these young protagonists repositories of anti-knowledge situated on the margins of society. The members of the young generation presented in these dramatic texts go through various transitions marked by new roles and responsibilities. Such descriptions and interpretations of transformations of the surrounding reality can be seen as a new way to illustrate the traumatic predicaments of people living in (post-)transitional societies.
RU
Трансформация действительности приводит к изменениям ее описания и интерпретации, что отражается в искусстве, в частности в современной пост-югославской драме. В произведе­ниях драматургов из стран с формирующимся рынком — Сербии (Биляна Србьянович и Милан Маркович), Боснии и Герцеговины (Таня Шливар), Черногория (Майя Тодорович) и Косово (Етон Незирай) — переход функционирует как определенная биографическая категория, включающая в себя различные явления, связанные с «перерывами» и «переходами» в человеческой жизни, отождествляемая со сложными, экстремальными или критическими ситуациями. Некоторые драматурги не остаются равнодушными к изменениям, происходящим в более широком контек­сте, но они сосредоточены на микросоциальных историях детей. Эти художественные решения представляют молодых протагонистов как хранилище антизнаний, расположенных на периферии общества. Это новая перспектива для выявления травматических переживаний и трудных усло­вий жизни и развития людей в (пост)переходном обществе.
3
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Rola ciała w poszukiwaniu (utraconej) tożsamości

100%
Abrasowicz G.
Pamiętnik Słowiański
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2011
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vol. 61
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issue 1
23-46
EN
This paper is devoted to a detailed analysis of body images, its functions and roles that it plays in the process of searching for identity in the drama Archetype Medea – a Monologue for a Woman Who Sometimes Speaks (2000) by Ivana Sajko. In the current “postmodern climate,” traditional ideas about the human subject — such as the idea of the autonomous and pre-social subject as the source of truth, rationality and identity — have come under heavy pressure. In postmodern discourse the human subject no longer figures as a point from which the universe can be moved. Postmodernism and postdramatic theatre shows us the human subject as a position, as materialized and dynamic construct produced at the intersection of Nature and Culture, in a whole range of discursive practices the meanings of which are a constant site of struggle over power. The attractive literary strategies in Sajko`s play show main directives in the emotional, biological, cultural and social constructions and representations of the embodied female subject that feels, speaks and shows, confirms its tendency towards the (self-)realisation.
4
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O scenicznym ożywianiu i potencjałach autobiograficznego archiwum na przykładzie wybranych chorwackich spektakli teatralnych

100%
Abrasowicz G.
Poznańskie Studia Slawistyczne
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2020
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issue 19
253-271
EN
Autobiographism has been noticeably conquering the Croatian theatre which results in specific artistic projects, mainly falling into the category of theatre of the real. This material calls for a description of strategies, functions and potentials. The most important here is the freedom to (re)construct identity – performativity – communication and interaction. The styling of an autobiographical archive and its extension into action allows adopting a new view and interpreting historical events and current social problems differently. This phenomenon is manifested in selected performances which involve staging a dramatic text, adapting prose or journalistic text, compiling and processing various cultural texts, incorporating the performers’ confessions and observations, and developing documentary material. Descriptions of the latest performances confirm reactivity of the theatre, its power to concertize and subjectivize, as well as to model the audience’s attitudes.
PL
 Autobiographism has been noticeably conquering the Croatian theatre which results in specific artistic projects, mainly falling into the category of theatre of the real. This material calls for a description of strategies, functions and potentials. The most important here is the freedom to (re)construct identity – performativity – communication and interaction. The styling of an autobiographical archive and its extension into action allows adopting a new view and interpreting historical events and current social problems differently. This phenomenon is manifested in selected performances which involve staging a dramatic text, adapting prose or journalistic text, compiling and processing various cultural texts, incorporating the performers’ confessions and observations, and developing documentary material. Descriptions of the latest performances confirm reactivity of the theatre, its power to concertize and subjectivize, as well as to model the audience’s attitudes.
5

Re-wizje Europy we współczesnym dramacie chorwackim (Europa — Monolog dla Matki Courage i jej dzieci Ivany Sajko)

63%
Abrasowicz G., Koch M.
Miscellanea Posttotalitariana Wratislaviensia
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2014
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vol. 2: Postkolonializm — tożsamość — gender. Europa Środkowa, Wschodnia i Południowo-Wschodnia
249 - 266
EN
The complex figure of great mother of the nation in the play Europe — Monologue for Mother Courage and her Children (2004) by the famous Croatian artist Ivana Sajko offers a new perspective on the issue of contemporary gender role distribution, power relations and postcolonial discourse. The monologue presents the woman’s point of view on the connections between gender, culture and neo-colonialism. Europe is the main character in the play. Taking as a reference the mythical story about the princess and the white bull, Brecht’s Mother Courage, a fantasy of the Mother goddess, Sajko adds various political implications of Europe. Through this trope Sajko analyses the issue of unusual motherhood and the construction of “motherland” with its social and cultural phenomena.
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