Czasopisma Naukowe w Sieci (CNS)

Obecny Nieobecny. Polska recepcja dramatów Dušana Kovačevicia

  1. Dagmara Szałęga

Abstract

Prisutan Neprisutan. Poljska recepcija drame Dušana Kovačevića

 

Svrha ove studije je sagledavanje recepcije Kovačevićevog dramskog opusa na poljskom području. Naime, pisac nije baš poznat u našoj zemlji, jer su samo tri komada prevedena i izvedana u domaćim pozorištima: Balkanski špijun, Profesionalac i Lari Tompson — tragedija jedne mladosti. Njegove drame su, ipak, interesantne za reditelje, šta dokazuje činjenica da su se Balkanski špijun i Profesionalac po četri puta pojavile na daskama poljskih pozorišta. Ovi komadi su, ispostavilo se, veoma aktuelni i za poljsku stvarnost, jer iako Kovačević tačno smešta radnju na prostor Srbije, iskazuje svoj stav prema zajedničkoj istoriji svih zemalja tzv. Istočnog bloka. Zbog mnogih faktora, kao što su npr. veće interesovanje poljske publike za zapadno dramsko stvaralaštvo ili za komade mlade generacije srpskih pisca, Kovačević se nalazi u drugom planu. Njegova je delatnost prisutna u Poljskoj, no ipak nije adekvatna za popularnost tog umetnika u svetu. Postoji još mnogo drama koje na veoma duhovit i interesantan način svedoče o problemima u našoj svakodnevnici, a koje i dalje nisu poznate poljskoj javnosti.

 

Present or absent. Polish reception of Dušan Kovačević’s dramas

 

The aim of this article is to discuss the reception of Dušan Kovačević’s dramas in Poland. Although the playwright is not very popular in Poland, because only three dramas have been translated and played in our theaters so far: Balkan Spy, The Professional, Larry Thompson ― The Tragedy of a Youth, his work is interesting for directors — Balkan Spy and The Professional have appeared on the Polish stage a few times. These plays are, as it turned out, up to date for Polish audience as well. Although Kovačević places action in Serbia, he expresses his attitude towards common history of all countries of the so-called Eastern bloc. Because of many factors, for example greater interest of Polish public in western dramatic writings or in plays written by young Serbian writers, Kovačević stays in the background. His work is present in Poland but is not as popular as in the rest of the world. There are a lot of Kovačević’s dramas which in a very interesting and funny way refl ect problems of our everyday existence but are still unknown for the Polish public.

 

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Slavica Wratislaviensia

154, 2011

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