Oﬁary – wyobcowane – sprawczynie. Kobiecy punkt widzenia na przemoc i wojnę we współczesnym dramacie i teatrze (post)jugosłowiańskim

Gabriela Abrasowicz; Magdalena Koch

Tytuły

Abstrakt

The bloody conflicts accompanying the collapse of Yugoslavia in 1991–1995 have become one of the extremely interesting, recurrent subject in the (post)Yugoslav drama and theatre. The female artists and playwrights also leap at a chance to abreact the horrors of war. Their engaged art and writing defined by a syntagma: (anti)war female dramaturgy arises interest, because it is situated/placed in the opposition to the masculinist mode of describing armed conflicts, their side effects and consequences. The paper presents three categories of contemporary

(post)Yugoslav female drama heroines who represent three role models in war narratives: Victims – Alienated – Agents. The analytical part of a paper consists of three parts. Firstly, the problem of female victims of ethnic rapes is presented on an example of drama Maria’s Pictures (Slike Marijine, 1992) by Croatian playwright Lydia Scheuermann Hodak. Secondly, the category of alienated heroines is illustrated by a play Finger (Gishti, 2011) by Albanian author Doruntina Basha from Kosovo in which refugees problems and questions evoked by missing persons (husbands and sons) is thematised. Thirdly, there are presented three plays by Croatian author Ivana Sajko representing the figures of violence activism: a figure of avengeress (Archetype: Medea – monologue for a Women who Sometimes Speak, 2000), a female terrorist (Woman-Bomb, 2003) and an emperess-warrior (Europe – a monologue for Mother Courage and her Children, 2004). The stress is also put on the artvivism as well as on catharctic function of this artistic creativity.

The bloody conflicts accompanying the collapse of Yugoslavia in 1991–1995 have become one of the extremely interesting, recurrent subject in the (post)Yugoslav drama and theatre. The female artists and playwrights also leap at a chance to abreact the horrors of war. Their engaged art and writing defined by a syntagma: (anti)war female dramaturgy arises interest, because it is situated/placed in the opposition to the masculinist mode of describing armed conflicts, their side effects and consequences. The paper presents three categories of contemporary

(post)Yugoslav female drama heroines who represent three role models in war narratives: Victims – Alienated – Agents. The analytical part of a paper consists of three parts. Firstly, the problem of female victims of ethnic rapes is presented on an example of drama Maria’s Pictures (Slike Marijine, 1992) by Croatian playwright Lydia Scheuermann Hodak. Secondly, the category of alienated heroines is illustrated by a play Finger (Gishti, 2011) by Albanian author Doruntina Basha from Kosovo in which refugees problems and questions evoked by missing persons (husbands and sons) is thematised. Thirdly, there are presented three plays by Croatian author Ivana Sajko representing the figures of violence activism: a figure of avengeress (Archetype: Medea – monologue for a Women who Sometimes Speak, 2000), a female terrorist (Woman-Bomb, 2003) and an emperess-warrior (Europe – a monologue for Mother Courage and her Children, 2004). The stress is also put on the artvivism as well as on catharctic function of this artistic creativity.

Słowa kluczowe

(anti)war female dramaturgy, violence, artivism, (post)Yugoslav drama and theatre, gender studies

(anty)wojenne dramatopisarstwo kobiece, przemoc, artywizm, dramat i teatr (post)jugosłowiański, gender studies

Bibliografia

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Hrvatskoj i Srbiji i Crnoj Gori, ur. S. Anđelković, Novi Sad 2004.

Habarta M., Kobiety zbrodniarki. Na przekór bałkańskiemu patriarchalizmowi i stereotypom płci, „Znaczenia” 2014, nr 10, http://www.e-znaczenia.pl/?p=1095 (dostęp: 8.01.2018).

Haraway D., Manifest cyborgów: nauka, technologia i feminizm socjalistyczny lat osiemdziesiątych, tłum. S. Królak, E. Majewska, „Przegląd Filozoficzno-Literacki” 2003, nr 1.

JM, Cyborg [w:] The Routledge Companion to Critical Theory, ed. S. Malpas, P. Wake, London–New York 2006.

Kazaz E., Krvavi lom društva i poetički prevrati romana, „Sarajevske Sveske” 2006, br. 13, http://sveske.ba/en/content/krvavi-lom-drustva-i-poeticki-prevrati-romana (dostęp: 8.01.2018).

Kazaz E., Prizori uhodanog užasa, „Sarajevske Sveske” 2004, br. 5, http://www.sveske.ba/bs/content/prizori-uhodanog-uzasa (dostęp: 8.01.2018).

Koch M., Abrasowicz G., Ciało kobiece jako współczesna scena społecznego spektaklu. Tematy medyczne w postjugosłowiańskim dramacie i teatrze kobiecego autorstwa [w:] Medycyna w teatrze, red. M. Ganczar, K. Rutkowski, Warszawa 2017.

Koch M., Abrasowicz G., Re-wizje Europy we współczesnym dramacie chorwackim („Europa – monolog dla Matki Courage i jej dzieci” Ivany Sajko), „Miscellanea Posttotalitariana Wratislaviensia”, t. 2: Postkolonializm – tożsamość – gender. Europa Środkowa, Wschodnia i Południowo-Wschodnia, red. A. Matusiak, Wrocław 2014.

Lukić D., Ženski pogled na mušku stvar. Ratna tematika u suvremenih hrvatskih dramatičarki s jednom muškom iznimkom [w:] Govor drame. Govor glume. Zbornik radova sa simpozijuma „Dramski tekst danas u Bosni i Hercegovini, Hrvatskoj i Srbiji i Crnoj Gori”, ur. S. Anđelković, B. Senker, Zagreb 2007.

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Informacje

Informacje: Studia Litteraria Universitatis Iagellonicae Cracoviensis, 2018, Volume 13, Issue 4, s. 237 - 255

DOI: https://doi.org/10.4467/20843933ST.18.021.9474

Typ artykułu: Oryginalny artykuł naukowy

Tytuły:

Polski:

Oﬁary – wyobcowane – sprawczynie. Kobiecy punkt widzenia na przemoc i wojnę we współczesnym dramacie i teatrze (post)jugosłowiańskim

Angielski:

Victims – Alienated – Agents. The Women’s Point of View on Violence and War in the Contemporary (Post)Yugoslav Drama and Theatre

Autorzy

Gabriela Abrasowicz

https://orcid.org/0000-0002-2977-4822

Uniwersytet Wrocławski
Polska

Uniwersytet Śląski w Katowicach
ul. Bankowa 12, 40-007 Katowice, Polska

Magdalena Koch

Uniwersytet im. Adama Mickiewicza, Wieniawskiego 1, 61-712 Poznań, Poland

Publikacja: 20.12.2018

Status artykułu: Otwarte

Licencja: CC BY-NC-ND

Udział procentowy autorów:

Gabriela Abrasowicz (Autor) - 50%

Magdalena Koch (Autor) - 50%

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Języki publikacji:

Polski

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