Drama

Drama je žanr u književnosti, koji je nastao u petom veku pre nove ere, za vreme antičke Grčke i koji se i danas razvija.^[1] Drama je književno delo, koje, uglavnom, služi javnom izvođenju u pozorištu. U toku 18. i 19. veka opera je nastala kao kombinacija drame, poezije i muzike. Osnovne podvrste drame su: tragedija, komedija i drama u užem smislu, koje se prvo pojavljuju nekoliko vekova pre naše ere. Starogrčka drama je prema legendama nastala za vreme verskog festivala, kada se jedan pevač odvojio od zbora i počeo pevati sam. Grčka tragedija se uglavnom bavila poznatim mitološkim temama. Tragedije su, slično kao i danas, radovi ozbiljnijeg i težeg karaktera i tiču su se uglavnom ljudskih tragičnih sudbina. Za razliku od njih, komedije su većinom vedrijeg karaktera i gotovo uvek imaju srećan završetak. Grčki festivali drame bili su takmičarskog tipa, a pisci su se za takmičenje prijavljivali sa tetralogijama: tri tragedije i jednom komedijom. Najpoznatiji antički dramski pisci su Eshil, Sofokle i Euripid, kao i komediograf Aristofan.

Smatran žanrom poezije uopšte, dramski modus je bio u suprotnosti sa epskim i lirskim modusima još od Aristotelove Poetike^[2]^[3]^[4] (oko 335. p. n. e.) — najranijeg dela dramske teorije.^[5] Na engleskom (kao što je bio analogan slučaj u mnogim drugim evropskim jezicima), reč play ili igra (prevod anglosaksonskog pleġan ili latinskog ludus) bila je standardni termin za drame sve do vremena Vilijama Šekspira – baš kao što je njen tvorac bio plejmejker, a ne dramaturg, a zgrada je bila igraonica, a ne pozorište.^[6]

Upotreba „drame“ u užem smislu za označavanje određene vrste predstave datira iz modernog doba. „Drama“ se u ovom smislu odnosi na komad koji nije ni komedija ni tragedija — na primer, Zolina Tereza Rakin (1873) ili Čehovljev Ivanov (1887). To je uži smisao koji su filmska i televizijska industrija, zajedno sa filmskim studijama, usvojile da opišu „dramu” kao žanr u svojim medijima. Termin „radio drama” je korišćen u oba smisla - prvobitno prenošen u živoj izvedbi. Takođe se može koristiti da se odnosi na prefinjeniji i ozbiljniji vid dramaturske produkcije radija.^[7] Izvođenje drame u pozorištu, koju glumci izvode na sceni pred publikom, pretpostavlja kolaborativne načine produkcije i kolektivni oblik recepcije. Na strukturu dramskih tekstova, za razliku od drugih oblika književnosti, direktno utiče ova saradnička produkcija i kolektivna recepcija.^[8]

Pantomimizam je oblik drame gde se radnja priče ispriča samo kroz pokret tela. Drama se može kombinovati sa muzikom: dramski tekst u operi se uglavnom peva u celini; što se tiče nekih baleta, ples „izražava ili imitira emocije, karakter i narativnu akciju“.^[9] Mjuzikli uključuju i govorne dijaloge i pesme; a neki oblici drame imaju usputnu muziku ili muzičku pratnju koja naglašava dijalog (melodrama i japanski no, na primer).^[10] Drama u prmaru je forma koja je namenjena čitanju, a ne izvođenju.^[11] U improvizaciji, drama ne postoji pre trenutka izvođenja; izvođači smišljaju dramski scenario spontano pred publikom.^[12]

Istorija zapadne drame

Klasična grčka drama

Zapadna drama potiče iz klasične Grčke.^[13] Pozorišna kultura grada-države Atine proizvela je tri žanra drame: tragediju, komediju i satirsku predstavu. Njihovo poreklo ostaje nejasno, iako su do 5. veka pre nove ere bili institucionalizovani u takmičenjima koja su se održavala kao deo proslava boga Dionisa.^[14] Istoričari znaju imena mnogih drevnih grčkih dramatičara, među kojima je i Tespis, koji je zaslužan za inovativnost glumca („hipokrita“) koji govori (a ne peva) i oponaša lik (umesto da govori u svojoj ličnosti), dok ostvaruje interakcije sa horom i njegovim vođom („korifeji“), koji su bili tradicionalni deo izvođenja nedramske poezije (ditiramske, lirske i epske).^[15]

Vidi još

Reference

^ Elam (1980, 98).
^ Aristotelis Opera. XI. Prevod: Bekker, August Immanuel. 1837.
^ Dukore, Bernard F. (1974). Dramatic Theory and Criticism: Greeks to Grotowski. Florence, Ky.: Heinle & Heinle. str. 31. ISBN 0-03-091152-4.
^ Aristotle (1987). Aristotle: Poetics, with Tractatus Coislinianus, reconstruction of Poetics II, and the Fragments of the On the Poets. Prevod: Janko, Richard. London: Hackett.
^ Francis Fergusson writes that "a drama, as distinguished from a lyric, is not primarily a composition in the verbal medium; the words result, as one might put it, from the underlying structure of incident and character. As Aristotle remarks, 'the poet, or "maker" should be the maker of plots rather than of verses; since he is a poet because he imitates, and what he imitates are actions'" (1949, 8).
^ Wickham (1959, 32–41; 1969, 133; 1981, 68–69). The sense of the creator of plays as a "maker" rather than a "writer" is preserved in the word playwright. The Theatre, one of the first purpose-built playhouses in London, was an intentional reference to the Latin term for that particular playhouse, rather than a term for the buildings in general (1967, 133). The word 'dramatist' "was at that time still unknown in the English language" (1981, 68).
^ Banham (1998, 894–900).
^ Pfister (1977, 11).
^ Encyclopaedia Britannica
^ See the entries for "opera", "musical theatre, American", "melodrama" and "Nō" in Banham (1998).
^ Manfred by Byron, for example, is a good example of a "dramatic poem." See the entry on "Byron (George George)" in Banham (1998).
^ Some forms of improvisation, notably the Commedia dell'arte, improvise on the basis of 'lazzi' or rough outlines of scenic action (see Gordon (1983) and Duchartre (1929)). All forms of improvisation take their cue from their immediate response to one another, their characters' situations (which are sometimes established in advance), and, often, their interaction with the audience. The classic formulations of improvisation in the theatre originated with Joan Littlewood and Keith Johnstone in the UK and Viola Spolin in the US; see Johnstone (1981) and Spolin (1963).
^ Brown (1998, 441), Cartledge (1997, 3–5), Goldhill (1997, 54), and Ley (2007, 206). Taxidou notes that "most scholars now call 'Greek' tragedy 'Athenian' tragedy, which is historically correct" (2004, 104). Brown writes that ancient Greek drama "was essentially the creation of classical Athens: all the dramatists who were later regarded as classics were active at Athens in the 5th and 4th centuries BC (the time of the Athenian democracy), and all the surviving plays date from this period" (1998, 441). "The dominant culture of Athens in the fifth century", Goldhill writes, "can be said to have invented theatre" (1997, 54).
^ Brockett and Hildy (2003, 13–15) and Banham (1998, 441–447).
^ Banham (1998, 441–444). For more information on these ancient Greek dramatists.

Literatura

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Spoljašnje veze

Greek & Roman Mask Timeline Архивирано на сајту Wayback Machine (2. август 2020)

[elam98-1] Elam (1980, 98).

[2] Aristotelis Opera. XI. Prevod: Bekker, August Immanuel. 1837.

[dukore-3] Dukore, Bernard F. (1974). Dramatic Theory and Criticism: Greeks to Grotowski. Florence, Ky.: Heinle & Heinle. str. 31. ISBN 0-03-091152-4.

[Janko87-4] Aristotle (1987). Aristotle: Poetics, with Tractatus Coislinianus, reconstruction of Poetics II, and the Fragments of the On the Poets. Prevod: Janko, Richard. London: Hackett.

[5] Francis Fergusson writes that "a drama, as distinguished from a lyric, is not primarily a composition in the verbal medium; the words result, as one might put it, from the underlying structure of incident and character. As Aristotle remarks, 'the poet, or "maker" should be the maker of plots rather than of verses; since he is a poet because he imitates, and what he imitates are actions'" (1949, 8).

[6] Wickham (1959, 32–41; 1969, 133; 1981, 68–69). The sense of the creator of plays as a "maker" rather than a "writer" is preserved in the word playwright. The Theatre, one of the first purpose-built playhouses in London, was an intentional reference to the Latin term for that particular playhouse, rather than a term for the buildings in general (1967, 133). The word 'dramatist' "was at that time still unknown in the English language" (1981, 68).

[7] Banham (1998, 894–900).

[8] Pfister (1977, 11).

[Encyclopaedia_Britannica-9] Encyclopaedia Britannica

[cgt-10] See the entries for "opera", "musical theatre, American", "melodrama" and "Nō" in Banham (1998).

[closet-11] Manfred by Byron, for example, is a good example of a "dramatic poem." See the entry on "Byron (George George)" in Banham (1998).

[impro-12] Some forms of improvisation, notably the Commedia dell'arte, improvise on the basis of 'lazzi' or rough outlines of scenic action (see Gordon (1983) and Duchartre (1929)). All forms of improvisation take their cue from their immediate response to one another, their characters' situations (which are sometimes established in advance), and, often, their interaction with the audience. The classic formulations of improvisation in the theatre originated with Joan Littlewood and Keith Johnstone in the UK and Viola Spolin in the US; see Johnstone (1981) and Spolin (1963).

[13] Brown (1998, 441), Cartledge (1997, 3–5), Goldhill (1997, 54), and Ley (2007, 206). Taxidou notes that "most scholars now call 'Greek' tragedy 'Athenian' tragedy, which is historically correct" (2004, 104). Brown writes that ancient Greek drama "was essentially the creation of classical Athens: all the dramatists who were later regarded as classics were active at Athens in the 5th and 4th centuries BC (the time of the Athenian democracy), and all the surviving plays date from this period" (1998, 441). "The dominant culture of Athens in the fifth century", Goldhill writes, "can be said to have invented theatre" (1997, 54).

[14] Brockett and Hildy (2003, 13–15) and Banham (1998, 441–447).

[15] Banham (1998, 441–444). For more information on these ancient Greek dramatists.

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