Dramska pisava Drage Potočnjak in Simone Semenič

analiza in primerjava dramske forme izbranih besedil

Tjaša Mislej (Avtor), Mateja Pezdirc-Bartol (Mentor)

Povzetek

V magistrski nalogi sem obravnavala dramsko pisavo oziroma zunanjo in notranjo formo izbranih dramskih besedil dveh uveljavljenih sodobnih slovenskih dramatičark, Drage Potočnjak in Simone Semenič. Dramsko formo sem primerjala s pomočjo analize in primerjave sestavnih delov dramskih besedil. Tako sem dobila širšo sliko formalnih postopkov, s katerimi v izbranih besedilih obe avtorici strukturirata dramsko dejanje, dramske osebe, dramski prostor, čas ter jezik in kako so vsi ti deli organsko povezani v celoto. Analiza štirinajstih dramskih besedil je pokazala, da nekatere zgodnejše drame Drage Potočnjak upoštevajo enotnost dejanja, časa in prostora. Kasneje pa njena dramska forma postaja ohlapnejša. Dramsko dejanje avtorica oblikuje tako, da se pokaţejo medosebni konflikti ter intimni in socialni problemi posameznikov. Glavni protagonisti so pogosto marginalizirani posamezniki, ki zaradi svoje ranljivosti in druţbene nemoči ne zmorejo aktivno voditi dramskega dejanja. Z izbiro protagonistov, ki so jih zaznamovale hude travme, avtorica občinstvo sooči z bolečimi in neprijetnimi temami, ki jih druţba pometa pod preprogo. Simona Semenič klasično, zaprto strukturo dramskega dejanja izmed obravnavanih besedil ohranja samo v svoji kratki drami Nogavice. V ostalih besedilih pa razvija formalno inovativno strukturo dejanja, ki je blizu postdramskemu gledališču. V njenih dramah se kaţejo postdramske značilnosti, kot so rušenje dramske iluzije resničnosti, metagledališki kontekst, brisanje meje med glavnim in stranskim besedilom, mešanje različnih zvrstnih prvin ter zabrisana jasnost posredovanega pomena. Semenič namerno krši tradicionalne dramske konvencije in preko metagledališkosti raziskuje ustroj gledališča kot medija in načine sodobne recepcije. Pri tem sprejemnika postavlja v aktivno vlogo pričevalca zapletenega dramskega dogajanja, ki ga mora ta šele sintetizirati v enoten pomen. V teoretičnem uvodu sem predstavila krizo in postopen razpad klasične aristotelske dramske forme ter krizo dramskega gledališča, ki se razvije v postdramsko gledališče.

Ključne besede

slovenska književnost;slovenska dramatika;slovenske dramatičarke;postdramsko gledališče;dramska forma;bolonjski magisteriji;Potočnjak;Draga;1958-;Semenič;Simona;1975-;

Podatki

Jezik:	Slovenski jezik
Leto izida:	2017
Tipologija:	2.09 - Magistrsko delo
Organizacija:	UL FF - Filozofska fakulteta
Založnik:	[T. Mislej]
UDK:	821.163.6.09-2Potočnjak D.
COBISS:	64620898
Št. ogledov:	886
Št. prenosov:	791
Ocena:	0 (0 glasov)
Metapodatki:

Ostali podatki

Sekundarni jezik:	Angleški jezik
Sekundarni povzetek:	In my master's thesis I discussed the dramatic writing or external and internal dramatic structure of selected plays by two well-established contemporary Slovenian playwrights, Draga Potočnjak and Simona Semenič. With the help of analysis and comparison of the basic components I compared the dramatic structure of their plays. A wider view of the formal procedures was gathered by these methods, in order to recognize which procedures they are using to structure dramatic plot, dramatic characters, dramatic place, time and language and how all these components are tied together as a whole. An analysis of 14 dramatic texts showed that some of the earlier works by Draga Potočnjak follow the classical unities of action, time and place. Later on, her dramatic form becomes looser. The dramatic action is formed in a manner that brings out the interpersonal relations and the intimate and social problems of the individuals. The main protagonists are often marginalized individuals, who are not able to lead the dramatic action because of their vulnerability and social powerlessness. With her choice of protagonists, scarred by trauma, Draga Potočnjak faces the audience with painful and unpleasant themes, which society often sweeps under the rug. Among the discussed plays, Simona Semenič maintains the classical, closed structure of dramatic action only in her short play Nogavice. In the rest of the plays she develops formally innovative structures of dramatic action, which correspond to postdramatic theatre. Many postdramatic characteristics are found in her plays, such as the defying of dramatic representation of reality, a metatheatrical context, erasing the boundaries between the main and the side text, intertwining different genre elements and blurred clarity of passing the meaning. Semenič deliberately violates the traditional dramatic conventions and uses the metatheatrical context to explore the construction of the theatre medium and the ways of modern reception. The receiver takes on an active role of witnessing the complex dramatic plot, which has to be yet synthesized into a coherent meaning. In the theoretical introduction of the thesis, I have presented the crisis and the gradual disintegration of the classical Aristotelian dramatic form and the crisis of dramatic theatre, which eventually results into postdramatic theatre.
Vrsta dela (COBISS):	Magistrsko delo/naloga
Komentar na gradivo:	Univ. v Ljubljani, Filozofska fak., Oddelek za slovenistiko
Strani:	95 str.
ID:	10914720