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Attica in Bulgaria

 

ABSTRACT
From the Samodivas of Botev to Aeschylus’s Oceanides
Svetla Cherpokova
The text traces possible infusions into Botev’s “Hadzhi Dimitar” from Lyuben Karavelov’s texts and his translations from Russian, as well as the indirect influences of Aeschylus’s Prometheus Bound. The focus is on the image of the Samodivas in Botev’s ballad (woodland nymphs in Thomas Butler’s translation), with a discussion of possible literary precedents in Karavelov’s texts (Samodivas, nymphs) and in Aeschylus’s tragedy (Oceanides).
The Case "Elektra" in Bulgarian National TheatreContexts - unknown, hidden, concealed Mladen Vlashki
The case of the unfulfilled staging premiere  of Geo Milev in the drama of Hugo von Hofmannsthal "Elektra" opens an interesting perspective not only for the receptive processes in the Bulgarian culture from the early twenties of the twentieth century, but also to their interpretations during the creation of the canonical literary and historical narrative of the new Bulgarian literature. In different historical periods for the purposes of this story contextual facts  are concealed, hidden, replaced in order to achieve ideological inspiration for the repressive attitude of the political power after the devetoyunskiya (9th of june)coup against the artist and the man Geo Milev and  so that his creative figure can be entered in the socialist literature canon.Factors that influence the interpretive perspectives are: the problems about the nature of the National Theatre from the beginning of the wars until about 1925.; the receptive horizons of expectations of the bulgarian public to the european schools of art and trends in the same period; the very ambiguous figure of Geo Milev in the active cultural life of Bulgaria from 1919 up to 1925. The historical course of the three vectors is crossed just in the first attempt of Hofmanstals production of "Electra" on the bulgarian scene. For the first time on the stage of the National Theatre is an attempt to put a piece with ancient mythological content (by Sophocles), which is processed by the modernist drama in the spirit of the symbolistic drama and where the staging solutions are rather avant-garde (in conjunction with Cubism, Futurism and Expressionism).For the first time In the study some  source documents about  the scenographic concept and the methodology of directing are being published.These sources of the Geo Milevs concept about the production of "Elektra" are not taken into account so far in any of its interpretations
AN EPISODE OF THE RECEPTION OF ANCIENT GREEK TRAGEDY IN BULGARIA  (Vili Tsankov’s ORESTEIA of 1986 – artistic choices, the response of critics and ideological contexts)
Cleo Protokhristova
The confrontation of theatre practice vs. critical reflection in the Bulgarian reception of classical antiquity seems to suggest a recurring model, according to which the energy of critical disagreement flows one way as if by a rule. With this in mind, this paper considers a specific case of the clash between artistic decisions and criticisms, dramatic and rich in ideological implications, which took place in the 1980s. The occasion was the production of Oresteia by the Sofia Theatre in 1986, staged by Vili Tsankov.
The Ancient Drama and the Thracian Studie
Nevena Panova
The text aims at outlining the presence of Ancient drama in the Bulgarian Thracian studies. Firstly, there is certain use of Ancient drama as a historical source, which leads also to elaborating of new fruitful translations, even of fragmentary works. In other cases, however, there are secondary studies, using the Ancient (primary Greek) material too free (disregarding the genre context of the literary works in question) in order to point out some improvable Thracian contributions concerning the very origin of drama. Thus, we should ask how could thracologists work together with classicists for better understanding of the doubtless very interesting and important Thracian-Greco-Roman relations.
Ancient Greek drama in Bulgarian textbooks as culture translated
Vitana Kostadinova
This essay discusses the diachronic reception of ancient Greek drama in school textbooks. It problematises the notion of a “universal system of values” utilized with reference to Greek antiquity and analyses the notable absence of Medea. It then focuses on the authors and titles included in the curriculum in order to point out the different images produced: Aeschylus as the father of tragedy emphasizes the patriarchal ambience of Bogdanov’s textbook; by way of translating Hadzhikosev draws parallels between Prometheus Bound and Jesus Christ, and compares Oedipus Rex to a detective story; unlike Bakardzhieva, who idolises Antigone and condemns Creon, Gerdzhikova points out that both are extreme in their behaviour. The conclusion places responsibility with the authors of textbooks as the mediators between cultures.
Roman Drama Translations in Bulgaria between Canon and Comedy
Yoana Sirakova
The paper deals with the heterogeneous strategies in ancient drama translations in Bulgaria and particularly in translations of Roman comedy. Translations are examined from skopos theory point of view and application of different “interpretants” by translators, reflecting on translation product. Our thesis is that the distinction between equivalent and adequate translation, which is being ignored by some scholars as irrelevant, is of great importance as far as translation of the comic is concerned. The study focus on the relationship between canonicity and comic and the reflection of various translating approaches on the ratio of these concepts. Observations are based on several examples of different translators’ decisions and diverse pragmatics of translation products.  
Medea on the Road: Diana Dobreva’s Medea in France
Stefka Videva-Thollon
This article traces the tour of Diana Dobreva’s Medea in France. It begins with Festival Premières in Strasbourg (2007), a forum for young European directors, then goes through Festival d’Avignon Off  2011,  and ends up with l’ Epée de Bois,  La Cartoucherie de Vincennes in Paris, 2013. The performances are examined in the context of the quest for new aesthetics, synthetic forms, and interpretative approaches, associated with the contemporary reception of Medea on a French stage.
A  Dramatic adaptation of The Europides’ tragedy “Ephigenia in Avlida” for adolescent
Slavka Mihaylova 
The theatre exists in the theory and the practice of education from the Antiquity. Both the professionalization of the Bulgarian theatre and the education of its audience are in direct dependence from the quality and the level of the education. Having these ideas in mind Konstantin Sagaev founded “The Theatre for children and adolescent” in 1922. For the Purpose of the school he translates and creates texts. Among his published plays is the adapted for adolescent version of the Euripides’ tragedy “Ephigenia in Avlida”.
Double Dionysos – double Pentheus
Vyara Kalfina
According to the Euripides’ play “Bacchae” Pentheus sets himself against the newcomer god Dionysos restraining the citizens of Thebes from pursuing the god’s alleged pervert rituals. By preventing the people from being irrational he tries to demolish the spreading tendency of celebrating the new god. After undergoing a merely fictional change into a woman’s appearance the king gets involved improperly into the ritual. As a result the capacity for seeing the inaccessible to the common man cult practices merges with the trivial perceptions of the king and eventually leads to his μανία – an inability to distinguish between the dimensions of the cult and the social conventions so vigorously defended by the king himself.    
Dom, dom, niby robak, toczy klątwy moc niezwalczona” (about the „contaminated” family in the stagings of „(A)pollonia” by Warlikowski and „Iphigenia” by Grzegorzewska)
Barbara Bibik
The value of the family is an important issue both for the Greek playwrights and modern theatre makers, for whom the Greek tragedies are often an important source. In this paper I would like to deal with two stagings, „(A)pollonia” by Warlikowski, which is the combination of ancient and modern texts, and „Iphigenia” by Grzegorzewska. The turbulent and cruel history of the accursed Pelopidai associates both of those spectacles and texts they are based on, among which there are the Aeschylus’ „Oresteia” and Euripides’ „Iphigenia at Aulis”. And I would like to examine the use of ancient tragedies in the mentioned stagings as well as the image of the modern (?) family that is presented in them.

Oliver Taplin, University of Oxford

Ancient Greek Drama and Theatre in Context
Оливър Таплин
В своята лекция пред пловдивска аудитория Оливър Таплин споделя опита си на консултант при съвременните постановки на атически трагедии и обяснява някои особености на древногръцкия театър. Текстът изказва хипотезата за поставянето на пиеси в древния Филипополис – както класически, така и местни. Шест рисунки от вази онагледяват беседата на оксфордския професор. В по-теоретичен план, той се спира на ролята на театралното пространство, за да направи паралел между днешните продукции и постановките от древността в контекста на рецепцията. Неговото заключение е, че днес не можем да реконструираме древна Гърция или аудиторията на античния театър, но и не е нужно да го правим, защото не създаваме музей; достатъчно е да сме исторически информирани, когато мислим за древногръцкия театър.
CULTURAL TRAFFIC: what happens when Greek tragedies are moved across time, place and language? Anxieties, interventions and retreats[ I would like to thank the editors of this volume for their initiative in bringing together all those who research and teach ancient Greek drama and it modern stagings and for their collegiality during the preparation of the lectures on which this essay is based.]
Lorna Hardwick
Department of Classical Studies
The Open University, UK
КУЛТУРЕН ТРАФИК: какво се случва, когато гръцките трагедии се пренасят във времето, в пространството и в нова езикова среда? Тревожност, намеса и отстъпление
Лорна Хардуик
Тази статия анализира преноса на култура като акцентира не на пътуването на драмите през вековете, а на театралните продукции, които са пътували. За целта, проф. Хардуик се опира на категориите, установени от Ерика Фишер-Лихте: едновременното физическо присъствие на актьори и зрители, ефимерност и интензивност, създаване на нови значения в постановката и постановката като трансформиращо събитие. Във фокуса на внимание са „Хекуба” на Еврипид, в английския превод на Тони Харисън, и съвременната адаптация на „Трахинянките” на Софокъл,  направена от Мартин Кимп, със заглавие „Жестоки и нежни” (Cruel and Tender).
 

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