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

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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Između ponoći i jednog sata oživi sve ono za što glupi ljudi vjeruju da oživjeti ne može. Ali zaista, mnogobrojne stvari koje inače samo ukočeno i mirno leže, kao da ne mogu reći ni „dobar dan“, sve one u to vrijeme ožive. I ne brinu mnogo o tome vjeruju li glupi ljudi u to ili ne. Tako i u tom starom gradiću oživje sve kada sat sa zvonika crkve Presvete Djevice Marije s dvanaest muklih, teških udaraca otkuca ponoć. Kamenje na pločniku počelo je razgovarati s vlatima trave koja je među njim rasla i pitalo je koliko još misli ostati. Zabati i erkeri kuća u uskim zamršenim uličicama kimali su jedni drugima, a ulične svjetiljke žalile su se na vjetar; prehladile su se jer on tako bezobzirno mijenja smjer.Također oživje sve i u starom vinskom podrumu staroga gradića. Mnogobrojne bačve koje stajahu jedne pokraj drugih, velike i male, zijevnuše i protegnuše se i ispružiše se, a kad bi jedna drugu pritom gurnula, rekla bi: „Oh, tisuću puta oprostite!“ Jer bačve su vrlo pristojne i znaju se lijepo ponašati. Tada bi sve uspravno stale na svoje debele nožice – naime, bačve imaju nožice, ako glupi ljudi ne znaju ni to – i sve bi se klanjale jedne drugima i kimale si i pozdravljale se na sve stane....

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Otvori oči, pa po običaju najprije baci pogled na sat na zapešću... Tek je pola sedam. No učas ih čvrsto zaklopi, iščekujući škriput kreveta i glas: „Ustaješ?“ Ali tišina potraja, pa otvori oči i uvidi, sama je u krevetu. Pa da, Rađan je noćas otišao u Delhi. Zaboravila je. Hm, sad nema razloga za žurbu. Udahne, duboko i polako, pa se s izdahom zakotrlja po cijelom krevetu. Dok je ležala na drugom rubu, s rukom preko lica, u ušima joj jače odjekne tika-taka njezina sata. Osmjehne se. Navikla je spavati sa satom na zapešću. Rađan se stalno nervira: „Zašto da ti sat cijelu noć kucka kraj uha. Hajde, skini ga.“ Makne ruku s lica, namjesti jastuk pod trbuh i opruži se, raskriljenih ruku, po cijelome krevetu. Ah, kakav je užitak spavati dokasno. Kad je Rađan kod kuće, već se oko šest, pola sedam sve ustrči. Priprema čaja, doručka, usto i ručka, a u osam Rađan odlazi u ured. Bog zna otkud Rađanu ta loša navika ranog ustajanja. Kako god, ona je danas slobodna. Može što poželi. Stoga opusti tijelo spremna da još malo odrijema....

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This essay examines the long-standing and far-reaching influence of Oscar Wilde’s public persona – both historical and mythical – on author Beverley Nichols. Nichols, famous during his lifetime for both his non-fiction and reportage, has sustained his fame primarily through his Allways and Merry Hall gardening trilogies. These feature a semi-autobiographical version of the author who is self-styled as a spiritual successor who pays homage to, and extends the legacy of, Oscar Wilde and his endless bon mots, serving up irony, humor, and social commentary in an engaging, urbane manner while further shaping the Wildean identity that prevailed as an iconic gay style throughout much of the last century and that endures, in some forms, even today. Keywords: queer theory, Oscar Wilde, Beverley Nichols, Pet Shop Boys, queer identityOscar Wilde’s final words as his three harrowing trials and, indeed, his remarkably verbal life drew near their close – “And I? May I say nothing, my Lord?” – serve as a potent reminder of the many forces that conspired to silence the man, his work, and the desire he came to represent, for better or worse, to so many. Nearly a century after that utterance, his words continue to resonate, as a refrain, perhaps even a plaintive cry, for the Pet Shop Boys (PSB hereafter) and many others, suggesting that Wilde, as the long-reigning patron saint of queer men, still holds sway in matters of self-styling and queer identity formation based in nostalgia. From the spectacle of his downfall emerged a mythical Wilde – martyr, champion of queer desire, arbiter of style and wit – based in the biographical as much as the fanciful, who inspires Wilde nostalgia even today. Beverley Nichols, especially in his two mid-century “gardening” trilogies, pays homage to the cultural construct we call Oscar Wilde with his endless bon mots, serving up irony, humor, and social commentary in an engaging, urbane manner while further shaping the Wildean identity that prevailed as an iconic queer style throughout much of the last century and that enjoys nostalgic revivals by artists like PSB over a century later. ...

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