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„Nije na pjesniku da se klanja kralju”. Pozicija disidenta u hrvatskoj teatrologiji – slučaj Ivšić

100%
Petranović M.
Poznańskie Studia Slawistyczne
|
2014
|
issue 6
EN
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.
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O scenicznym ożywianiu i potencjałach autobiograficznego archiwum na przykładzie wybranych chorwackich spektakli teatralnych

81%
Abrasowicz G.
Poznańskie Studia Slawistyczne
|
2020
|
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.
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