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Tegobe tijela, povlastice žanra: glumičina trema u Krležinoj noveli "Pod maskom"

100%
Čale Feldman L.
Slavica Wratislaviensia
|
2011
|
vol. 153
171-180
EN
This contribution develops its argument at the crossroads of three interests: the first one concerns a focus on the representation of the female body, thereby placing the discussion within the methodological framework of gender studies and feminist criticism; the second one, however, reflects upon the phenomenon of acting, and therefore approaches the female body as the sign of the intertwining of literature and visual arts, in this case theatre; finally, the crucial interest of the text is “the perspective of the body as a possible literary strategy,” the strategy of the narrative voice, which — in contrast to the theatrical exposure of the body and the inevitable “objectivity” of character’s pronouncements — provides a possibility to enter the actor’s experience from a subjective perspective, the one offered through the lenses of the actress’ confession, allowing it to overflow the entire world of the text. The state of stage fright which is reconstructed by the narrator of the short story Behind the Mask evokes those aspects of the female acting body that neither figure in the rich heritage of prose thematizations of female acting practice, nor are represented as something submitted to the external, social and specifically male evaluation: suffering, ageing, death, shame and fear. In the short story, these aspects of the body’s destiny are presented as both the cause and effect of an internally divided consciousness, split by its multiple tasks of representing a fictional character, of controlling the body in its “technically” rehearsed motions, and of handling deeply ingrained, “private” symptoms such as regression, that is, a feeling of infantile impotence, while simultaneously registering all the painfully sensed aggression of the outside world — the backstage. Since Behind the Mask is only a part of a larger cycle entitled Honorouble Glembays, which consists of eleven short proses and a trilogy connected to each other through characters that dwell in their possible worlds, it is interesting to note that at the centre of this short story is not one of the members of the Glembay family, but an actress confiding to her female friends in the salon owned by Laura Lenbach, member of the family and protagonist of the second part of the trilogy. This makes us wonder whether the links between the short story and the play are in fact metaleptic in nature, since we are led to believe that the actress is confiding about her stage fright to the very character she was charged with embodying.
2

Dekadentni erotismus a vražda. Obraz fatalni ženy v romanu Miroslava Krleži Povratak Filipa Latinovicza

75%
Jensterle-Doležalová A.
Slavica Wratislaviensia
|
2010
|
vol. 152
43-52
EN
Miroslav Krleža (1893–1981) in his novel Povratak Filipa Latinovicza (1932) formed the myth of the femme fatale in the picture of two women: Regina and Bobočka. Women are the main obsession of the hero, the painter Filip, who returns home after twenty-three years to find lost sources of his identity and lost inspiration for his art. The novel – story of Filip’s life – regarding the problem that women are just objects of desire, is divided into two parts: the trauma of Regina belongs to his youth (first part of the novel) and affects his present; Bobočka is the frustration in his present. Women with no clear identity are mainly presented with the body, they represent the irrational world and mystery and they explore their body to use men and improve their position in society. Eroticism is the place of Evil. In this sense especially bizarre is Bobočka, with whom Filip falls desperately in love: she ruined men in the past and she does the same to present lovers. Filip plays the role of an observer: he experiences especially bizarre erotic scene in a threesome between Bobočka, her lover Kyriales and her man Baločanski. The grotesque, obscene scene is the place of modern hell, where the hero is punished by looking at his beloved with two other men. The end is very characteristic and amplifies the love by – connection death. Baločanski murders Bobočka, the solution of that decadent eroticism is Death. This figures also as a punishment for Bobočka in the sense of Christian philosophy: she was a vampire for the men and Baločanki murders her in the same grotesque manner. This novel was very modern in the literature of Central Europe at the beginning of the twentieth Century. Very modern is the theme of eroticism, its connection with the evil and death, even though the presentation of the woman follows the traditional stereotype of the prostitute. Eroticism in the broken mirror – in the schizophrenic perspective of sensible narrator – expresses the importance of Freud’s psychoanalysis.
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