814 KB49 KB198220252002Slunjski, Matejaštevilka:1/2letnik:35str. 29-43ISSN:0567-784XCOBISSID:19928162URN:URN:NBN:SI:doc-JFTVD6BDenFilozofska fakulteta Univerze v LjubljaniActa neophilologica20.st.ameriška dramatikaHellman, Lillian, 1907-1984Inge, William, 1913-1973literarna recepcijaOdets, Clifford, 1906-1963slovensko gledališčeuprizoritveThe plays of Lillian Hellman, Clifford Odets and William Inge on Slovene stages|After the Second World War, Slovene theatres started to include in their repertoires more and more American authors and their plays. Their choice were varied, from serious dramas by Eugene O'Neill, Tennessee Williams and Arthur Miller, to comedies by Norman Krasna and John Van Druten dependant mostly on the availability of the texts. In the immediate postwar years the theatres liked to present playwrights with progressive ideas in their plays, such as Lillian Hellman and her "The Little Foxes", which was successfully produced at three Slovene theatres, while her "The Children's Hour" received negative reviews. In the fifties, three theatres chose two plays by Clifford Odets, "Golden Boy" and "Country Girl", mainly because of his socially critical ideas and his admiration of humanity. His plays were rather well received; however, the critics doubted his literary genius. William Inge and his plays, "Come Back, Little Sheba", "Picnic" and "Bus Stop", chosen mainly because of the warmth with which the author depicted the tragedy and the beauty of life, were produced at three Slovene theatres. The author received rather wide-ranging opinions from the critics. Some thought him to be an unoriginal depicter of dull American life, while others praised his lyricism and new dramatic techniquesV prvih letih po drugi svetovni voljni so v slovenskih gledališčih v glavnem igrali drame Eugena O'Neilla in Arthurja Millerja, kritiki pa so v teh delih iskali napredne ideje, ki so odgovarjale duhu takratnega časa. V petdesetih letih pa so se tudi slovenska gledališča začela odpirati v svet in prikazovalavedno več del ameriških avtorjev, od resnejših, ki so jih bolj cenili kritiki, pa do lahkotnejših komedij, ki so bile bolj obiskane. Pri izboru del je bila najpomembnejša dosegljivost gledališke predloge. V svoji nalogi sem raziskala sprejem treh ameriških dramatikov ter njihovih dram v slovenskih gledališčih in pri kritikih v slovenskem tisku. - Uprizoritve del Hellmanove, Odetsa in Inga v slovenskih gledališčih niso imele takega vpliva kot morda Williamsove ali Millerjeve, vendar pa so doprinesle k boljšemu poznavanju raznolikih zvrsti, idej in tematike ameriške dramatike. Predvsem Odetsove in Ingove igre so spodbudile gledališčnike in prevajalce k oblikovanju enotnejšega slovenskega pogovornega jezika, ki se je le počasi uveljavljal na slovenskih odrihTEXTznanstveno časopisjejournalsSlovenian National E-content AggregatorNational and University Library of SloveniaUniverza v Ljubljani, Filozofska fakulteta