Název: Emerging postdramatic aesthetics and Shakespeare in Hungarian theatre
Zdrojový dokument: Theatralia. 2021, roč. 24, č. Special Issue, s. 105-119
Rozsah
105-119
-
ISSN1803-845X (print)2336-4548 (online)
Trvalý odkaz (DOI): https://doi.org/10.5817/TY2021-S-7
Trvalý odkaz (handle): https://hdl.handle.net/11222.digilib/143676
Type: Článek
Jazyk
Licence: CC BY-NC-ND 4.0 International
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Abstrakt(y)
The essay aims at examining the ways postdramatic aesthetics meet Shakespearean plays in Hungarian theatre. Offering a context for postdramatic strategies in European theatre practices and touching upon its regional differences, a main goal is to analyse how postdramatic strategies affect the schemes of interpretation and reception in the Central European geopolitical region. Presenting two case studies of staging Romeo and Juliet on Hungarian stages between 1996 and 2019, the article argues that a new relation of visuality, performativity, and textuality, emerging in these productions, can lead to rediscovering and reinterpreting Shakespearean dramas after 1989.
Reference
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[19] MOLNÁR GÁL, Péter. 1999. Trafó-tragédia [Tragedy at Trafo]. Népszabadság (27. 11. 1999): 26.
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[21] PERESZLÉNYI, Erika. 2014a. Hudi László: Rómeó és Júlia, 1996 [László Hudi: Romeo and Juliet, 1996]. Philther.hu. [accessed on 18.01.2021]. Available online at http://www.philther.hu/link/play/romeo-es-julia-2/section/.
[22] PERESZLÉNYI, Erika. 2014b. Hudi László: Tragédia-jegyzetek, 1999 [László Hudi: Tragedynotes, 1999]. Philther.hu. [accessed on 18.01.2021]. Available online at http://www.philther.hu/link/play/tragedia-jegyzetek/section/.
[23] PIKLI, Natália. 2013. The Prince and the Hobby-Horse: Shakespeare and the Ambivalence of Early Modern Popular Culture. Journal of Early Modern Studies 2 (2013): 119–140.
[24] REYNOLDS, Bryan. 2017. Intermedial Theatre: Performance Philosophy, Transversal Poetics, and the Future of Affect. London: Palgrave Macmillan, 2017.
[25] SCHÄFER, Martin Jörg. 2019. Translation as Entanglement. In Michaela Ott and Thomas Weber (eds). Situated in Translations: Cultural Communities and Media Practices. Bielefeld: transcript, 2019: 119–132.
[26] SHUSTERMAN, Richard. 2012. Thinking Through the Body: Essays in Somaesthetics. Cambridge: Cambridge University Press, 2012.
[27] SŐREGI, Melinda. 2002. Amint a léggömb kipukkad [As the Balloon Bursts]. Criticai Lapok (2002): 3.
[28] SZABÓ, Attila. 2019. A valós színterei: Színház, közösség, múltfeldolgozás [Stages of the Real: Theatre, Community, Past Procession]. Budapest: Prae, 2019.
[29] TARJÁN, Tamás. 2007. Holdkór [Lunatic]. Színház 40 (2007): 1: 9–11.
[30] VAJNA, Tamás. 1996. Szükségből szerény [Humble out of Necessity]. HVG (20. 04. 1996): 101.
[31] ZÁVADA, Péter. 2020. Kertész utcai Shaxpeare-mosó [The Shaxpeare Wash of Kertész Street], Manuscript.
[2] BOENISCH, Peter. 2003. coMEDIA electrONica. Theatre Research International 28 (2003): 1: 34–45. | DOI 10.1017/S0307883303000130
[3] BOUCHARD, Gianna. 2008. 'Be not faithless but believing': Illusion and Doubt in Anatomy Theatre. In Maaike Bleeker (ed.). Anatomy Live: Performance and Operating Theatre. Amsterdam: Amsterdam University Press, 2008: 93–110.
[4] CARDY, Tom. 2012. Audiences endure shock and bore. Stuff (7. 03. 2012). [accessed on 18.01.2021]. Available online at: http://www.stuff.co.nz/dominion-post/culture/6522466/Audiences-endure-shock-and-bore.
[5] CARLSON, Marvin. 2009. Theatre Is More Beautiful Than War: German Stage Directing in the Late Twentieth Century. Iowa City: University of Iowa Press, 2009.
[6] CONSTANTINIDIS, Startos E. 1993. Theatre Under Deconstruction? A Question of Approach. New York: Garland, 1993.
[7] CSÁKI, Judit. 1999. Feeling. Ellenfény 1 (1999): 45–46.
[8] CSÁKI, Judit. 2003. Színészparádé blődliben [Foolish Parade of Actors]. Magyar Narancs (23. 10. 2003): 43.
[9] DERES, Kornélia. 2016. Képkalapács: Színház, technológia, intermedialitás [Hammer for Images: Theatre, Technology, Intermediality]. Budapest: JAK-Prae, 2016.
[10] GARDNER, Lyn. 2014. Lear-inspired Show Searingly Exposes Family Ties and Debts. The Guardian (4. 06. 2014). [accessed on 18.01.2021]. Available online at https://www.theguardian.com/stage/2014/jun/04/testament-she-she-pop-and-their-fathers-barbican-review.
[11] IMRE, Zoltán. 2009. A színház színpadra állításai [Stagings of Theatre]. Budapest: Ráció, 2009.
[12] KARSAI, György. 2005. Volt egyszer egy évad [Once there was a Season]. Színház 38 (2005): 5: 7.
[13] KATTENBELT, Chiel. 2006. Theatre as the Art of the Performer and the Stage of Intermediality. In Freda Chapple and Chiel Kattenbelt (eds.). Intermediality in Theatre and Performance. Amsterdam: Rodopi, 2006: 29–40.
[14] KOLTAI, Tamás. 1999. Űrt érzek [I Feel Emptiness]. Élet és Irodalom (5. 11. 1999): 17.
[15] KONDOROSI, Zoltán. 2005. Összjátékok [Teamworks]. Ellenfény 4 (2005): 38–40.
[16] KOVACS, Teresa. 2017. Elfriede Jelinek and Ewald Palmetshofer in between. Sedimentations, enclosures and overlayering of dramatic formations in contemporary German-language playwriting. In Zuzana Augustová, Jan Jiřík and Daniela Jobertová (eds.). Horizonty evropského dramatu: Současný divadelní text mezi dramatickými a postdramatickými tendencemi [Horizons of the European Drama: A Contemporary Theatrical Text Between Dramatic and Postdramatic Tendencies]. Prague: Kosmas, 2017: 243–262.
[17] LEHMANN, Hans-Thies. 2006. Postdramatic Theatre. Transl. by Karen Jürs-Munby. London and New York: Routledge, 2006.
[18] MANCEWICZ, Anita. 2014. Intermedial Shakespeares on European Stages. London: Palgrave Macmillan, 2014.
[19] MOLNÁR GÁL, Péter. 1999. Trafó-tragédia [Tragedy at Trafo]. Népszabadság (27. 11. 1999): 26.
[20] MOLNÁR GÁL, Péter. 2006. Don Blőd. Szinhaz.hu (7. 11. 2006). [accessed on 18.01.2021]. Available online at https://szinhaz.hu/2006/11/07/don_blod.
[21] PERESZLÉNYI, Erika. 2014a. Hudi László: Rómeó és Júlia, 1996 [László Hudi: Romeo and Juliet, 1996]. Philther.hu. [accessed on 18.01.2021]. Available online at http://www.philther.hu/link/play/romeo-es-julia-2/section/.
[22] PERESZLÉNYI, Erika. 2014b. Hudi László: Tragédia-jegyzetek, 1999 [László Hudi: Tragedynotes, 1999]. Philther.hu. [accessed on 18.01.2021]. Available online at http://www.philther.hu/link/play/tragedia-jegyzetek/section/.
[23] PIKLI, Natália. 2013. The Prince and the Hobby-Horse: Shakespeare and the Ambivalence of Early Modern Popular Culture. Journal of Early Modern Studies 2 (2013): 119–140.
[24] REYNOLDS, Bryan. 2017. Intermedial Theatre: Performance Philosophy, Transversal Poetics, and the Future of Affect. London: Palgrave Macmillan, 2017.
[25] SCHÄFER, Martin Jörg. 2019. Translation as Entanglement. In Michaela Ott and Thomas Weber (eds). Situated in Translations: Cultural Communities and Media Practices. Bielefeld: transcript, 2019: 119–132.
[26] SHUSTERMAN, Richard. 2012. Thinking Through the Body: Essays in Somaesthetics. Cambridge: Cambridge University Press, 2012.
[27] SŐREGI, Melinda. 2002. Amint a léggömb kipukkad [As the Balloon Bursts]. Criticai Lapok (2002): 3.
[28] SZABÓ, Attila. 2019. A valós színterei: Színház, közösség, múltfeldolgozás [Stages of the Real: Theatre, Community, Past Procession]. Budapest: Prae, 2019.
[29] TARJÁN, Tamás. 2007. Holdkór [Lunatic]. Színház 40 (2007): 1: 9–11.
[30] VAJNA, Tamás. 1996. Szükségből szerény [Humble out of Necessity]. HVG (20. 04. 1996): 101.
[31] ZÁVADA, Péter. 2020. Kertész utcai Shaxpeare-mosó [The Shaxpeare Wash of Kertész Street], Manuscript.