Between the Acts

Broj 1 - Godina 7 - 12/2016

Uvodnik

The papers collected within this entr'acte issue use different perspectives and standpoints to explore what happens between the acts – regardless of whether these are acts of a play, acts of speech or some other kind of social intercourse, or – broadly speaking – various acts/actions/activities that pertain to fictional worlds. It could arguably be expected that between the acts there is nothing of significance – utter silence and empty rows of seats in a theatre hall – or some form of light entertainment at best. These spatiotemporal lacunae, vacancies left gaping for however short a time, still possess the power, as all the papers in this issue seem to indicate, to construct and project new meanings of their own, or at the very least create potential for re-interpreting the adjacent ideas and contents, as well as exploring the problems of context, causality and sequence. ..

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Izdvojeno

Jednom sam upoznala pisca koji je rekao da više ne može podnijeti biti pisac. Bilo je to na zabavi u Madridu i ne sjećam se kako sam tamo završila, ali zabava je bila u Ulici Ventura de la Vega pa pretpostavljam da me netko koga sam upoznala te noći odveo tamo (moji prijatelji, ako sam ih uopće imala, živjeli su na sasvim drugim mjestima). Ako si pravi pisac, ne možeš samo tako prestati pisati, rekla sam. Moram, odgovorio je. Zato što se bojim da naginjem ludilu, a onih dana kad ne naginjem ludilu naginjem nečemu još gorem. Čemu?, upitala sam. Rekao je da ne zna, ali da mora misliti na ženu i dijete i da se, što se ludila tiče, slaže s Robertom Bolanom, da je zarazno. U to vrijeme nisam puno izlazila. Tek sam se udala i loše sam govorila španjolski, sin je bio samo godinu dana star i sve sam vrijeme provodila kod kuće, osim, katkad, kad bi mi se muž vratio s puta, spustio torbe u predsoblju i pogledao me dok sam sjedila na kauču nakon cijelog dana buljenja u sapunice. Mora da sam izgledala podbuhlo i zavidno dok sam tako sjedila na kauču kad bi se on vratio kući. Uvijek je nosio kravatu i sjajno odijelo i dok bi tamo stajao sa svojom crnom, španjolskom kosom, činilo mi se da u njegovim očima vidim sve zračne luke ovog svijeta. Ali nikada nije rekao da je stan u neredu ili da izgledam kao da tjedan dana nisam oprala kosu. Rekao je: Sad je na tebi red da malo izađeš. I podigao bi našeg sina, koji bi počeo vrištati. Naš bi mu sin ispovraćao velike žute mrlje po odijelu, ali moj muž samo bi se nasmijao i izgledao sretno. Španjolci vole djecu. Dobro se odijevaju i opušteni su, ta mi se kombinacija oduvijek sviđala. ...

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After an entire decade (1948-1957) of being strictly forbidden and anathematized, Czech crime fiction gained sway in the post-February literary life at the end of the fifties. There were several impulses that led to this occurrence: (1) fatigue of the constructive novel as a representative prose genre of the first half of the fifties, (2) the Moscow conference on Sci-Fi and crime fiction in July of 1958, and (3) a series of essays, Marsyas of the US, published in the beginning of 1958 by L. Dorůžka, F. Jungwirth and J.Škvorecký in Světová literatura revue. In addition to that, works of Czech literary classic writer Karel Čapek carried imense importance in the process of affirmation of crime fiction in the period 1958-1969, which can also be seen in the works of writers and literary critics of liberal (pro-western) orientation. This article analyzes Čapek's contribution to the “Rennaissance” of Czech crime fiction on two different levels. The first level is a review of connections between his book of essays Marsyas or On the sidelines of literature and essays by Dorůžka, Jungwirth and Škvorecky in Marsyas of the US. The second level aims to detect the Čapek motifs in crime fiction produced between1958 and 1969....

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The article begins with a brief discussion of what the author judges to be an overproduction of publications in literary studies. He offers an explanation of this development and contends that the causes are endemic to the humanities. Two causes of this overproduction are particularly pertinent for his reading of Melville: firstly, the constant change of interpretative paradigms and, secondly, the striving of the humanities to reflect upon the contemporary moment. The departure point of the reading is the spatial turn and the author's contention that this geographical knowledge has failed to address the sea. Elaborating on this contention, the author foregrounds the need for a maritime criticism and proceeds to read Moby Dick by excavating the manner in which Melville represents and thinks of the sea. On the basis of this evidence, the author argues that in Moby Dick, Melville offers a meontological thinking of the sea. Consequentially, the author argues that this meontology has a bearing on the present economic crisis and that it can be used in understanding the latest mutation of money. In the conclusion, the author claims that literary studies can make an important contribution to efforts to cope with the challenges of the present moment. ...

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The paper aims to emphasize and display the importance of the pedagogical, explorative and theoretical work of Stanislavsky in the fields of the pedagogy and ethics of the art of acting and how these influenced the development of features and the establishment of the basic principles of Grotowsky's director/pedagogical work in his various artistic and researching periods. As well as essential historic-biographic correlation, the points of contact and the links in their work are established with particular emphasis on the crucial link manifested in the researched importance and in the development of the so-called method of physical actions which Grotowsky assumed from Stanislavsky but further developed in his own direction. By contrasting the basic principles of their work in the field of the method of physical actions, the crucial theoretical and practical differences between the two authors emerge. These differences are primarily evident in the apprehension of the basic preferences of the actor’s/performer’s art-making: apprehension of organical behavior and the work on (or with) impulses and in the context of determining the function and the meaning of the role....

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