Драматургия в ракурсах новейших теоретических исследований = Dramat w nowych ujęciach teoretycznych: studia slawistyczne

Abstract

The present volume is a set of articles written by Polish and Ukrainian scholars in the period from 2011 to 2014. All the texts reflect upon twentieth and twenty-first century drama, assuming the perspectives of literary theory as well as comparative, Russian, Ukrainian and Polish studies. The book poses four questions: What new categories describing the twentieth-century drama have been recently introduced by contemporary literary theory and comparative studies? What new perspectives on Polish, Russian and Ukrainian drama studies can be opened up by applying comparative and interdisciplinary strategies, and new methodologies? Are there any new dramatic or quasi-theatrical genres, and to what extent does their popularity depend on their presence on TV and in the cinema? Are there any new methodological horizons for genealogical stu dies (particularly those conceming theatrical genres)? The book includes formal discussions of the comedy, the vaudeville, the dramatizing process, the place of jokes and humor in the drama structure (Aleksandra Litowska, Tatiana Szachmatowa, Anna Maroń, Danuta Ulicaha). One of the articles touches upon a new genre that can be situated somewhere on the borderline between the comedy and the cabaret performance, i.e. stand-up (Marcin Minkiewicz). Another one discusses the figure of trickster in Juliusz Słowacki's dramas (Grzegorz Kowalski). Amelia Hertzówna's dramas are read through the theory of C.G. Jung (Jolanta Dragańska), the works of Lesia Ukrainka and Stanisław Przybyszewski - in the broad context of comparative Polish, Ukrainian and Russian studies (Jarosław Ławski, Anna Janicka, Elwira Tomczyk). A separate text is dedicated to the metamorphosis of the 'folk tragedy' as a genre (Maria Olszewska). Last but not least, the volume analyzes such phenomena as a 'personification of voice' (Natalia Malutina), metamorphoses of space in contemporary drama (Elena Fomina), and the concept of 'post-drama' (Natalia Seibel). The publication of the volume was possible thanks to the collaboration between Professor Oksana Szputa-Wiazowska from Chair in Ukrainian Literature at the Odessa I. I. Mechnikov National University and Professor Natalia Malutina from Chair in Philological Studies, the Department of Philology at the University of Białystok. The opportunity for this cooperation occurred during a scholarly session 'Lesia Ukrainka's Orgy and problems of contemporary drama and theatre' that was held from 25 to 28 September 2012 in Simferopol. The session was possible thanks to Professor Wiktor Humeniuk. Polish scholars were represented by Professor Danuta Ulicka (the University of Warsaw), Anna Janicka (PhD) and Professor Jarosław Ławski (the University of Białystok) and Grzegorz Kowalski (MA) from Książnica Podlaska in Białystok. Despite the dramatic political changes that are currently taking place in Central and Eastern Europe, I do hope that the present volume is the beginning (not: the end) of the cooperation between scholars specializing in comparative, cultural and philological studies from Poland, Ukraine and Russia.