Title (srp)

Poetika dramskog stvaralaštva Sare Kejn u kontekstu nove britanske drame

Author

Pavićević, Jovana, 1982-

Contributor

Nastić, Radmila, 1952-
Rosić, Tatjana.
Bijelić, Tatjana.

Description (eng)

The dissertation The poetics of Sarah Kane’s dramatic works in the context of in-yerface theatre is focused on the analysis of five plays written by British playwright Sarah Kane: Blasted, Phaedra’s Love, Cleansed, Crave and 4.48 Psychosis. The analysis aims to illuminate the formal and thematic qualities of the aforementioned plays as well as the author’s attitude towards dramatic techniques, theatrical conventions, and cultural, social and ideological phenomena so as to assess Kane’s contribution to contemporary British dramaturgy. The study is divided into five units. The Introduction presents the research methodology, research questions, dissertation structure and summary. The second chapter is divided into two segments, the first of which examines the relationship between tradition and novelty in European drama and theatre from the beginning of Modern drama in the 1890s all the way to the Theatre of the Absurd in the 1950s, while the second delineates basic theoretical concepts proposed by the anthropologist Victor Turner, performance theorist Richard Schechner, and German theatrologist Hans Thies-Lehmann. The third chapter charts the development of the Royal Court Theatre from the 1950s until the new millennium, and looks at the concept of New Writing for the British theatre in general. The second part of this chapter outlines the main representatives and general characteristics of the new theatrical sensibility in the 1990s, the so-called in-yer-face theatre, and considers the possibilities of finding an adequate expression in the Serbian language to mark this specifically British phenomenon. It also argues that Sarah Kane’s work as the epitome of in-yer-face theatre sprang from various experimental urges that governed the European and British theatre in the previous decades. The first part of the fourth chapter is dedicated to Sarah Kane’s life and to the idea of experiential theatre. The second part provides a thorough analysis of Kane’s dramatic works and offers an insight into the author’s mechanisms underlying the creative processes and experimental techniques. The analysis shows that Sarah Kane uses various artistic techniques of estrangement in order to transform the content of her plays and to subvert and counter theatrical and social conventions. Accordingly, the final chapter of the dissertation presents Sarah Kane as one of the rare innovators in British drama whose works represent a true challenge for theatre-makers and audiences alike.

Description (srp)

Doktorska disertacija Poetika dramskog stvaralaštva Sare Kejn u kontekstu nove britanske drame se bavi analizom dramskog stvaralaštva britanske autorke Sare Kejn koje obuhvata pet komada: Razneseni, Fedrina ljubav, Očišćeni, Žudnja i Psihoza u 4:48. Analiza ima za cilj da rasvetli formalne i tematske odlike navedenih drama kao i autorkina shvatanja dramskih tehnika, pozorišnih konvencija i kulturnih, društvenih i ideoloških fenomena kako bi se procenio autorkin doprinos savremenoj britanskoj dramaturgiji. Disertacija se sastoji iz pet poglavlja. Uvod se tiče teorijsko-metodološkog koncepta rada i obuhvata metodologiju, hipoteze, strukturu disertacije i kratak pregled poglavlja. Drugo poglavlje je podeljeno na dva segmenta od kojih prvi ispituje odnos između tradicije i novine u evropskoj dramskoj i pozorišnoj umetnosti od začetka moderne drame u poslednjoj dekadi 19. veka sve do sredine 20. veka i teatra apsurda, a drugi predstavlja ključne teorijske koncepte koje su ponudili antropolog Viktor Tarner, teoretičar performansa Ričard Šekner i nemački teatrolog Hans Tis-Leman. Treće poglavlje prati razvoj londonskog pozorišta Rojal Kort od sredine pedesetih godina do početka novog milenijuma i razmatra pojam novog pisanja i novih dramskih tekstova pisanih za britansko pozorište. Drugi deo istog poglavlja daje pregled glavnih predstavnika i ključnih odlika novog dramskog i pozorišnog senzibiliteta devedesetih godina 20. veka (eng. in-yer-face theatre) i razmatra mogućnosti pronalaženja ekvivalentnog izraza na srpskom jeziku kojim bi se označio ovaj specifično britanski fenomen. U ovom delu se takođe postavlja teza da je stvaralaštvo Sare Kejn, kao oličenje čitavog senzibiliteta, proizašlo iz različitih eksperimentalnih težnji koje su obeležele evropsko i britansko pozorište u prethodnim dekadama. Prvi deo četvrtog poglavlja se bavi autorkinim životom i idejom iskustvenog teatra, dok drugi deo predstavlja detaljnu analizu autorkinih drama i pruža uvid u mehanizme koji se nalaze u osnovi njenih stvaralačkih procesa i eksperimentalnih tehnika. Analiza dramskog stvaralaštva pokazuje da se Kejnova služi različitim umetničkim postupcima oneobičavanja kako bi preobrazila sadržaj svojih drama i podrila pozorišne i društvene konvencije. U skladu sa tim poslednje poglavlje prikazuje autorku kao jednu od retkih inovatora u britanskoj drami čija dela predstavljaju istinski izazov za publiku i pozorišne stvaraoce.

Description (srp)

Napomene i bibliografske referenceuz tekst. Datum odbrane: 06.05.2016. null

Object languages

Serbian

Date

2016

Rights

Creative Commons License
This work is licensed under a
CC BY-NC-ND 2.0 AT - Creative Commons Attribution - Non-Commercial - No Derivative Works 2.0 Austria License.

CC BY-NC-ND 2.0 AT

http://creativecommons.org/licenses/by-nc-nd/2.0/at/

Identifiers