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Mokyklinis jėzuitų teatras – politinio Lietuvos Didžiosios Kunigaikštystės teatro dalis
No full textAt the beginning scholastic Jesuit theatre was considered to be a part of didactic teaching programme. During their performances students were trained to associate with spectators, develop their memory, articulation, review the knowledge of the Latin language, meditate upon religious, moral values. New academic years used to begin and end with students’ performances, they supplemented various state and religious celebrations, gave honour to outstanding heroes of past and present. Eventually, however, scholastic theatre overgrew these didactic aims: from academic lecture-halls they spread into the streets and squares of the town, became inseparable part of the town life, helped to form esthetic taste of spectators, impressively expressed the baroque spirit.The article analysis comedies, recitations and paratheatrical plays performed by the students of old Vilnius university show in political and social events by using different theatre forms.The biggest part of the analysis is devoted to the drama “About peace” written by the university professor Kasper Pentkovski (Kasper Pætkowski, 1554–1612). It was written and performed in 1582 in Vilnius when King of Poland and Great Duke of Lithuania Steponas Batoras returned after winning the war and signing the peace treaty with Moscow tzar Ivan the Terrible.The drama describes the hardships caused by the war, the sufferings, the loss, religious disunity, and belief that the treaty signed by Steponas Batoras will bring harmony, peace and help to strengthen catholic faith.Thus, Jesuit scholastic theatre very sensitively reacted both to local and European political changes, it might be called ‘engagé’ theatre trying to conciliate didactic and political goals
Antikinių dramų pastatymai Lietuvoje
No full textPerformances according to antique dramas and their revamps by Lithuanian directors of 1925 to 2003 are presented in the article. Performances of Sophocles’ and Euripides’ tragedies are discussed wider. Scilicet: “Oedipus at Colonus” by Borisas Dauguvietis (1939), “Oedipus the King” by Juozas Miltinis (1977), “Electra” by Irena Kriauzaitė (1993), “Medea” by Linas Marijus Zaikauskas (1994), “Oedipus the King” by Rimas Tuminas (1998), “Antigonė” by Birutė Marcinkevičiūtė (Mar) (1999) and “Oedipus the King” by Oskaras Koršunovas (2002). Scenography and direction of performances, interpretation of antique text and particularity of development of performances’ form and content are analyzed in the article.Scenography of performances changed from realistic (by B. Dauguvietis) and static (by J. Miltinis) portrayal of antique theatre to modern (by L. M. Zaikauskas), plastic (by R. Tuminas) with vivid reflection of today’s realia (by O. Koršunovas). B. Dauguvietis has saved almost authentic form of antique performance and has rejected only from masks and cothurni. Idea of antique marble statuary playing in the tragedy of “Oedipus the King” was rendered in J. Miltinis’ performance. Role of chorus was retained in these performances; original text was not changed or shortened. Plays by I. Kriauzaitė and B. Marcinkevičiūtė were up-to-date, without antique costumes and masks, and distinguished from other plays with its minimalist direction and scenography. Chorus parts, which were acted by one actress, were shortened in “Electra”. Director and actress B. Marcinkevičiūtė herself performed all personages in tragedy and tragedy’s chorus was represented by video projection in “Antigonė”. Later performances of antique dramas were modernized not only in the meaning of form but of content, too. Greek tragedy’s text remained plot’s pattern in L. M. Zaikauskas’ and O. Koršunovas’ performances, through which present-day realia were revealed: women emancipation was revealed in “Medea” and politician’s caricature – in “Oedipus the King”. Antique chorus role was retained in both performances, while masks – in Koršunovas’ performance. Scenography was abstract in “Oedipus the King” by Tuminas, neither representing antiquity nor nowadays.A conclusion is drawn that most Lithuanian directors trended into creation of jug-handled, idealized character (B. Dauguvietis, J. Miltinis, I. Kriauzaitė, B. Marcinkevičiūtė), melodramaticallity (I. Kriauzaitė, L. M. Zaikauskas) or tragicomedy (R. Tuminas). None of directors managed to show universality of antique tragedy so that both past and present would be reflected in it. They, using texts of antique tragedy, created modern picture of distinctive, idealized and psychologized, alone, reserved, depending on destiny human being
Иосиф Бродский о Тютчеве
No full textŠios pastabos – tai dar viena pastanga atskleisti Josifo Brodskio F. Tiutčevo kūrybos suvokimo ypatumus
Petrarkos recepcija Lietuvoje
Get PDFThe article addresses the problem of the Lithuanian reception of the works of the major poet of the Italian Renaissance Francesco Petrarca (1304–1374). Lithuanian humanists of the 16th and the 17th centuries, such as Petrus Roysius, Andreas Volanus as well as the poet Mathias Casimirus Sarbievius, are known to have been in possession of the works of Petrarch. There seems to be no doubt that Lithuanian poets and intellectuals of the 19th and 20th centuries must have been familiar with Petrach’s works, at least with his famous Sonnets.Nevertheless the article states that a wider circle of Lithuanian readers is only vaguely familiar with Petrarch’s works as very few sonnets by Petrach and only several fragments of his Latin works have been translated into Lithuanian
Dialogų tipai Piero Paolo Pasolinio romane “Teorema”
No full textNella vita e nell’opera di P. P. Pasolini i concetti di dialogo e di dialogicità sono fondamentali. Si può considerare tutta l’opera pasoliniana come ricerca di un dialogo nell’apertura al mondo, al tempo, alla storia, alla tradizione culturale e letteraria. Finora non sono stati ancora studiati i rapporti tra il pensiero pasoliniano e la filosofia del dialogo. In questo articolo, adottando il metodo del dialogo e della comunicazione letteraria, si vuole dimostrare che l’autore del “Teorema” attraverso i concetti di dialogo, di rapporti dialogici e d’incontro cerca di esprimere come l’avvento di una divinità misteriosa possa rivelare il significato dell’essere dell’uomo, l’assenza dell’autenticità e il trionfo dell’inautenticità nel mondo contemporaneo
Mokinystės tema Platono Kratile
No full textStraipsnyje analizuojama vieną keisčiausių Platono dialogų struktūrinančių ir jam papildomą interpretacinę dimensiją suteikiančių paslėptų nuorodų dialektika. Pirminę, paviršinę dialogo temą – etimologijos tikslumo ir žodžių reikšmės problemas – ji nagrinėja platesniame „mokymo(si)“ ir autoriteto ribų filosofijoje teminiame kontekste. Per subtilias autorines nuorodas kiekvienas dialogo personažas – Sokratas, Hermogenas ir Kratilas – atskleidžiami savo savitame santykyje su filosofine tiesa ir jos paieškomis. Platonas kritikuoja tuometinės Graikijos kultūroje labiausiai paplitusį bei tradicijoje įsigalėjusį „mokinystės“ modelį, autoritetu grindžiamą mokytojo ir mokinio santykį, siekdamas pakeisti jį „bendro ieškojimo“ santykiu, kritišku dialoge besiskleidžiančiu filosofinio ieškojimo procesu. Platono dialogo analizė, besiremianti explication du texte metodu, išryškina šias dialogą struktūrinančias temas, interpretuodama kūrinį kaip filosofinį Platono „laišką“ savo jaunystės mokytojui Kratilui
О традициях русской любовной лирики XIX века (Н. Некрасов и Ф. Тютчев)
No full textIntymiąją N. Nekrasovo ir F. Tiutčevo lyriką suartina dialogiškas eilėraščių pobūdis ir kai kurių rusų meilės lyrikos tradicinių motyvų raida (pvz., Puškino „išgyvenimų prisiminimų“ tema). Šie motyvai ir vaizdiniai (pavyduliavimas, kančios, lemtis, laiškai, liepsna) neretai įgyja skirtingą plėtotę poetų meilės eilėraščiuose. Straipsnyje pagrindiniu nagrinėjimo objektu yra N. Nekrasovo „Degantys laiškai“ ir F. Tiutčevo „Ji sedėjo ant grindų…“. Šių dviejų tekstų analogija nagrinėjama temos ir vaizdinių lygmenyje. Išanalizuotos personažų (lyrinio subjekto ir herojės) lyrinio vyksmo panašybės ir skirtybės. Autorė daro išvadą, kad Nekrasovo meilės lyrika, nepaisant romantinių motyvų pastovumo, artima XIX a. antros pusės rusų psichologinei prozai su jai būdinga griaunančios meilės jėgos tema
