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1

Motywy antyczne w dramatach Nikosa Kazandzakisa

100%

Borowska M., Warszawski U.

Collectanea Philologica

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2004

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vol. 08

FR

Dans tout son oeuvre, poetique, prossateur et drammatique Kazantzaki, cet esprit si grec, dans sa quete desesperee de la verite et de Dieu, ebranle ses fondements - l'Hellenisme et l'Orthodoxie, et aboutit a l'abime du vide et du neant pour en sortir la tete haute sans peur at sans esperance - un Homme-Dieu absolument libre.

2

Факторы влияния чеховского текста на пьесы Александра Марданя „Антракт” и „Аншлаг” (отказ от власти прецедент¬ных текстов или возвращение к ним?)

80%

Sibirnaya M.

Kultury Wschodniosłowiańskie - Oblicza i Dialog

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2016

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issue 6

237-234

EN

This research is dedicated to the issue of the classical drama reception, which is supposed to be canonical, used in the play of Odessian playwright Alexandr Mardan. The concept of modern times appears in Mardan’s plays through the literary and cultural inheritance of the past. The usage of Chekhov’s motives in both plays we deal with - Antract and Anshlag seems not only to resemble the form used in the mass culture, but also stylization and reinterpretation of the classic, which appear here as modern literary devices through which the interpretation of canonical drama occurs. In both plays one can observe a lack of presentation of classical motives in a modern, revolutionary form, there is no retrieval to the precedent writings with the final idea of elaborating on Chekhov thoughts. Furthermore, the classical motives are used for the reinterpretation of how theater may influence the modern human being and how endless the attempts to interpret the classic are.

RU

This research is dedicated to the issue of the classical drama reception, which is supposed to be canonical, used in the play of Odessian playwright Alexandr Mardan. The concept of modern times appears in Mardan’s plays through the literary and cultural inheritance of the past. The usage of Chekhov’s motives in both plays we deal with - Antract and Anshlag seems not only to resemble the form used in the mass culture, but also stylization and reinterpretation of the classic, which appear here as modern literary devices through which the interpretation of canonical drama occurs. In both plays one can observe a lack of presentation of classical motives in a modern, revolutionary form, there is no retrieval to the precedent writings with the final idea of elaborating on Chekhov thoughts. Furthermore, the classical motives are used for the reinterpretation of how theater may influence the modern human being and how endless the attempts to interpret the classic are.

3

Произведения Александра Марданя в контексте „новой драмы”

57%

Sibirnaja M.

Kultury Wschodniosłowiańskie - Oblicza i Dialog

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2018

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issue 8

207-217

EN

The article attempts to allocate and analyze the most essential characteristics of plays by A. Mardan's, a popular Russian-speaking Ukrainian playwright, and to inscribe his work in the context of the dynamics of the phenomenon of the new drama. The attempt of the author is to understand a complex post-Soviet reality in order to reflect it in the artistic space of the drama. The plays demonstrate the destruction of habitual human values, including moral, ethical, aesthetic, and other norms that guide people in life. At the same time, his plays exploit the techniques and elements of various genres of mass culture. One may say that certain principles have become an integral quality of Mardan's plays such as the approach of the plays to the truth of life, the external everydayness, the use of elements of documentary theater and the theater of absurd, the construction of the plot with an eye for entertainment or scandalous intrigue, philosophical overtones and the author's attitude to the depicted world. This indicates that his plays may be regarded as works of ‘the new drama’ that occupy a worthy place in the contemporary Russian-language drama of the post-Soviet period.

4

Jak vypráví drama aneb O generativním a inscenačním vypravěči, zcizovaném vyprávění, voice-overu a dalších vyprávěcích strategiích dramatu

51%

Merenus A.

Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)

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2014

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vol. 17

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issue 1

301-314

EN

The present theoretical study introduces basic types of narrating in drama derived from the Pfister's model of epic communication structures in drama. Various narrative strategies, e.g. the projected stage director, voice-over, generic and narrator on the stage, alienated and retrograde narration, etc., are being presented with regard to their possible further application as a poetic tool for literary analysis of (especially) modern drama.

5

Paradise Lost: Janusz Głowackis Antigone in New York und Dea Lohers Manhattan Medea

41%

Dubrowska M.

Roczniki Humanistyczne

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2013

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vol. 61

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issue 5: Neofilologia

225-237

EN

In this article, describing the two contemporary dramas written by European writers (Glowacki, Loher), the author is paying a particular attention to the two women that were listed in the titles of these dramas-Antigone and Medea. Both were placed in the neo-contemporary re-reading of their antique prototypes (written by Sophocles and Euripides), now both of them are residents of New York City, illegal immigrants with a baggage of tragic life events, they are defeated in the world of new ideas and plans. Multiethnic New York City, a “promised land” for the thousands of immigrants, portrayed by the two dramatists, appears to be a lost paradise, a cursed place, metropolis that is ruled by the tough business laws. Both protagonists fail, they lose paramount principles: hope and love.

PL

W omawianych w artykule dramatach współczesnych europejskich pisarzy (Głowacki, Loher) szczególną uwagę autorka kieruje na tytułowe postaci kobiece – Antygonę i Medeę, które, w uwspółcześnionej re-lekturze ich antycznych pierwowzorów (Sofokles i Eurypides), są mieszkankami Nowego Jorku, nielegalnymi emigrantkami z bagażem tragicznych przeżyć, ponoszącymi klęskę także w świecie nowych nadziei i planów. Multietniczny Nowy York, „ziemia obiecana” dla tysięcy emigrantów, sportretowany przez dramatopisarzy, jawi się jako raj utracony, miejsce przeklęte, metropolia rządząca się bezwzględnymi prawami rynku. Obydwie protagonistki przegrywają, tracąc wartości nadrzędne: nadzieję i miłość.

DE

Bei der Analyse der im vorliegenden Beitrag behandelten zeitgenössischen Theaterstücke der namhaften europäischen Dramatiker (Głowacki, Loher) legt die Autorin des Textes ihr besonderes Augenmerk auf die weiblichen Titelfiguren: Antigone und Medea. Die Protagonistinnen, in der aktualisierten Re-Lektüre ihrer antiken Vorlagen (Sophokles und Euripides), sind Einwohnerinnen von New York, illegale Einwanderinnen mit Last der Vergangenheit, die in der „neuen“ Welt ihrer Pläne und Hoffnungen eine Niederlage zu erleiden haben. Die multiethnische Metropole, das Gelobte Land für Exilanten und Emigranten, wird in den beiden Stücken zum verlorenen Paradies, zur Stätte der Verdammnis, in der das Geld regiert und der Ankömmling nicht wahrgenommen wird. Die beiden Protagonistinnen scheitern, indem sie um die wichtigsten Werte, Liebe und Hoffnung, gebracht werden.

6

Монтаж как сюжетный прием в драматургии Вадима Леванова

41%

Журчева Т.

Acta Universitatis Lodziensis. Folia Litteraria Rossica

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2019

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issue 12

151-160

EN

The article is devoted to the issue of montage as a plot-forming technique actively used in modern drama. The possibilities of montage are considered on the basis of the last plays by Vadim Levanov. Levanov is one of the most famous representatives of the modern Russian drama of the turn of the 21st century, and his work reflected all the variety of ideological and artistic explorations in contemporary drama. The dramatic diptych The Life of the Holy Blessed Xenia of St. Petersburg and The Most Possibly Authentic and Plausible Biography of the Bloody Lady Darya Saltykova, a Moscow Hereditary Noblewoman as well as A Play about Cows undoubtedly were Levanov’s programmatic works which reflected his philosophical queries. The article shows how the use of the montage technique allowed the playwright to express his attitude towards the eternal opposition of good and evil.

RU

Статья посвящена проблеме монтажа как сюжетообразующего приема, активно используемого в современной драматургии. Возможности монтажа рассматриваются на примере последних пьес Вадима Леванова. Он – один из наиболее известных представителей новейшей российской драмы рубежа XX–XXI веков, и в творчестве Леванова отразилось все многообразие идейных и художественных исканий современной драматургии. Драматургический диптих Святая блаженная Ксения Петербургская в житии и Кровавыя барыни Дарьи Салтыковой, московской столбовой дворянки правдоподобное и елико возможно достоверное жизнеописание, а также Пьеса про коров несомненно были программными произведениями Леванова, в которых отразились его философские искания. В статье показано, как использование приема монтажа позволило драматургу выразить свое отношение к извечной оппозиции добра и зла.

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2 Kultury Wschodniosłowiańskie - Oblicza i Dialog

1 Acta Universitatis Lodziensis. Folia Litteraria Rossica

1 Collectanea Philologica

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1 Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)

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1 Borowska M.

1 Dubrowska M.

1 Merenus A.

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