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

This December it will be ninety years since Agatha Christie disappeared for eleven days and despite the fact that there are many biographical books about her life and work, nobody knows for sure what provoked her to vanish, sending shockwaves in British society in 1926. Whatever the cause may be, this disappearance has remained a mystery and inspired French authors Anne Martinetti and Guillaume Lebeau, along with the illustrator Alexandre Franc, to create a graphic novel: Agatha: The Real Life of Agatha Christie. Marinetti has also written a cookbook inspired by Agatha Christie, entitled Creams and Punishments, while together with Lebeau, she has co-authored the encyclopedia Agatha Christie from A to Z.Agatha: The Real Life of Agatha Christie was originally released in 2014 as a French-language Kindle edition and was first published in English in May, 2016 by the UK press SelfMadeHero, which specializes in graphic novels and manga adaptations of classic literature, like those of Shakespeare, Poe and Kafka. The story is told through 112 illustrated pages and concludes with a thorough timeline of key events in Agatha Christie’s life, as well as a complete bibliography. It is noticeable that novels and story collections featuring Hercule Poirot take up the greater part of her bibliography. The authors of this biography assume a similar approach in showing the significance of this fictional character in Christie's career (and life), representing Poirot throughout the text as her companion and advisor without using any graphic techniques to stress the fictionality of his character. The authors make strong attempts to convey the close relationship that Christie built with her most prominent character, one who always seems to appear in this biography during her moments of extreme loneliness, and one to whom Christie owed a great deal – as she admited herself when she decided to buy the Greenway House in December 1938 (Martinetti, Lebeau, and Franc 80). ...

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Kuća je imala tri sobe, dva dnevna boravka, kupaonicu, blagovaonicu, kuhinju, sobu za sluškinju, podrum, terasu i dvorište.Što je za Eduarda značilo dvorište?Značilo je zemlju kojom je jurio orući štapom, iskopanu krhotinu stakla iz kojeg je izišao crv prepolovljen napola, ali koji se još micao, uvijek moguće postojanje kakva blaga, lokve blatnjave vode u vrijeme kiša, papirnati brodić, jednog mrava u njemu, liniju mrava koju je pratio da vidi kamo idu. Išli su u mravinjak. Manga sapatinho, manga manga-coracao-de-boi. Šećerna jabuka, goiaba, gabiroba. Kokošinjac. Bijela kokoš bila je njegova, bilo je jasno iz imena: „Eduarda!”Stisnula bi se i dopustila mu da je uzme u ruke. Katkad bi snijela jaje. Kada bi odlazio u školu, Eduardo bi je ostavljao ispod lavora. Jednom zgodom otac mu je rekao da to nije u redu: zar bi volio da netko to radi tebi? I kokoši pate. Jedne nedjelje za vrijeme ručka zatekao je Eduardu na stolu, s nogama u zraku, pečenu. Pojeo ju je kroz suze. Da, pate, no svi ih jedu i misle da je to u redu....

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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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