Suchergebnisse

Prema Peteru Szondiju, jednočinka nije tek skraćena drama, već jedan dio drame koji se izdvojio u cjelinu. Za razliku od klasične drame, gdje napetost proizlazi iz međuljudskog zbivanja koje se razvija u smjeru nekog razrješenja, ovdje je dramska situacija finalni okvir cijelog dramskog kozmosa. Drugim riječima, determinizam jednočinke apsolutan je i ona stoga predstavlja »dramu neslobodna čovjeka«. Kravar ukazuje na prerestriktivno Szondijevo određenje i naglašava kompleksnost utjecaja koji u periodu moderne sukonstituiraju ovaj specifični žanr. Na temelju Kravarovih kritičkih opaski analizirat ću četiri Brešanove jednočinke iz ciklusa Kratki kurs dugog propadanja i supostaviti ih Brešanovoj, autorski čvrsto profiliranoj poetici u klasičnom dramskom formatu. ; According to Peter Szondi, the one-act play should not be conceived of as a short play, but as a part of a play which emancipated itself into a distinct unit. Unlike classical form of play where tension derives from interpersonal activities which strives towards a resolution, the dramatic situation in one-act play functions as the ultimate horizon of everything that happens. In other words, the determinism that characterizes the one-act play is absolute, thus it represents the »drama of the un-free man«. Kravar considers Szondi's definition as the too restrictive and stresses the complexity and variety of influences which structure this particular genre in the modernist period. Following Kravar's suggestions, I'll analyse four one-act plays written by Ivo Brešan, form his cycle »A Short Course of the Long Decline«, and counterpoise them to Brešan's distinctive dramatic style in his more classical works.