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DRAMA THAT WAS NOT PLAYED IN HUNGARY. DRAMATIC WORKS OF PRESSBURG SCHOLAR AND WRITER TOBIAS GOTTFRIED SCHRÖER (1791 – 1850)

100%

Kopčáková S., Zubal P.

Slovenské divadlo (Slovak Theatre)

2021

vol. 69

issue 3

322 – 336

The study deals with the dramatic works of a writer, professor of the Evangelical Lyceum of the Augsburg Confession in Pressburg, Tobias Gottfried Schröer. As a citizen of German descent striving to avoid the harsh censorship of the time, between 1820 and 1849, he published his works under various pseudonyms. Under his real name, he published only textbooks and three compendia intended for the Lyceum students. In Germany (Leipzig, Hamburg, etc.), he was quite a well-known writer; his short stories, poems and plays were published in various almanacs and collections. His drama work is almost unknown, and the number of his plays (existing as primary sources, including those that are only referred to), we estimate at fifteen so far. They were written approximately between the years 1806 and 1846, which testifies to their author’s lifelong interest in theatre and story dramatizations. A historical drama Leben und Thaten Emerich Tokoly’s und seiner Streitgenossen [The Life and Deeds of Emerich Tököly and His Comrades-in-arms by A. Z.] (1839), published in Leipzig under the pseudonym of A. Z., and a comedy Der Bär [The Bear] (1830) can be considered the most important.

GODUNOVSKÉ ÚVAHY. MOŽNOSTI INSCENOVANIA HISTORICKEJ DRÁMY

75%

Hlaváčová A.

Slovenské divadlo (Slovak Theatre)

2012

vol. 60

issue 3

287 - 304

The aim of the present paper, written after the 19th Pushkin festival in Pskov, is to explore Pushkin’s drama Boris Godunov that had never been staged despite its importance and attractiveness for Slovak culture and history. The author tries to prove her statement by analysing Pushkin’s play from the perspective of religious history. She shows that the problem is usually simplified to the struggle of Latin/byzantine, resp. Polish/ Russian conflict, omitting other possibilities. In accordance with Pushkin’s understanding of history, she sees the pretender Dmitri (Otrepiev) as a representative of the third – unionist – tendency. By founding the Moscow patriarchate (1589), Boris Godunov accomplished the process started by the refusal of the Union of Florence by Vasili II., the Blind. Reaction to it had been the local Brest-Litovsk Union (1595) changing Constantinople jurisdiction for that of Rome – thus, inevitably strengthening the Latin cultural influence over the byzantine Christendom. But Dmitri’s unionism is not purely defensive if we consider his plan to liberate the city of Constantinople. Classifying Dmitri´s tragic position in history as both utopian and visionary, the author draws attention to the last image of Pushkin´s drama where we encounter Dmitri quietly sleeping – and with him the idea of Florence. Faithfull to history, Pushkin never directly confronts the antagonist heroes of his play Boris and Dmitri, as we could expect from the title of drama, but he weights their positions employing an extremely radical symmetry of situations to express the archetypal positions of Russian society: nationalist and universalist. Drama is composed of suggestive scenes but at the same time, in its composition remains impartial and so its significance lay in the vibration of the question posed. Consequently, Pushkin’s compassion for Godunov’s tragic death, yet at the same time overt sympathy to Dmitri, had not been staged for reasons of ideology and the lack of general historical knowledge, respectively.

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2 Slovenské divadlo (Slovak Theatre)

1 Hlaváčová A.

1 Kopčáková S.

1 Zubal P.

1 2021

1 2012

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DRAMA THAT WAS NOT PLAYED IN HUNGARY. DRAMATIC WORKS OF PRESSBURG SCHOLAR AND WRITER TOBIAS GOTTFRIED SCHRÖER (1791 – 1850)

GODUNOVSKÉ ÚVAHY. MOŽNOSTI INSCENOVANIA HISTORICKEJ DRÁMY