{"?xml":{"@version":"1.0"},"edm:RDF":{"@xmlns:dc":"http://purl.org/dc/elements/1.1/","@xmlns:edm":"http://www.europeana.eu/schemas/edm/","@xmlns:wgs84_pos":"http://www.w3.org/2003/01/geo/wgs84_pos","@xmlns:foaf":"http://xmlns.com/foaf/0.1/","@xmlns:rdaGr2":"http://rdvocab.info/ElementsGr2","@xmlns:oai":"http://www.openarchives.org/OAI/2.0/","@xmlns:owl":"http://www.w3.org/2002/07/owl#","@xmlns:rdf":"http://www.w3.org/1999/02/22-rdf-syntax-ns#","@xmlns:ore":"http://www.openarchives.org/ore/terms/","@xmlns:skos":"http://www.w3.org/2004/02/skos/core#","@xmlns:dcterms":"http://purl.org/dc/terms/","edm:WebResource":[{"@rdf:about":"http://www.dlib.si/stream/URN:NBN:SI:DOC-P022352O/f590aa89-ea9a-4d9d-a90c-7d0011d95fd9/PDF","dcterms:extent":"269 KB"},{"@rdf:about":"http://www.dlib.si/stream/URN:NBN:SI:DOC-P022352O/adad1242-31f7-4bdf-b02a-cdaf7ec3f0a2/TEXT","dcterms:extent":"0 KB"}],"edm:TimeSpan":{"@rdf:about":"2015-2026","edm:begin":{"@xml:lang":"en","#text":"2015"},"edm:end":{"@xml:lang":"en","#text":"2026"}},"edm:ProvidedCHO":{"@rdf:about":"URN:NBN:SI:DOC-P022352O","dcterms:isPartOf":[{"@rdf:resource":"https://www.dlib.si/details/URN:NBN:SI:spr-I624P2HE"},{"@xml:lang":"sl","#text":"Amfiteater (Ljubljana)"}],"dcterms:issued":"2026","dc:creator":"Kraševec, Eva","dc:format":[{"@xml:lang":"sl","#text":"številka:1"},{"@xml:lang":"sl","#text":"letnik:14"},{"@xml:lang":"sl","#text":"str. 308-325"}],"dc:identifier":["DOI:10.51937/Amfiteater-2026-1/308-325","ISSN:1855-4539","COBISSID_HOST:289136387","URN:URN:NBN:SI:doc-P022352O"],"dc:language":"sl","dc:publisher":{"@xml:lang":"sl","#text":"= University of Ljubljana Press"},"dc:subject":[{"@xml:lang":"en","#text":"alienation effect"},{"@xml:lang":"sl","#text":"avantgarde"},{"@xml:lang":"en","#text":"avant-garde"},{"@xml:lang":"en","#text":"comedy"},{"@xml:lang":"sl","#text":"komedija"},{"@xml:lang":"en","#text":"passion for the real"},{"@xml:lang":"en","#text":"performative"},{"@xml:lang":"sl","#text":"performativno"},{"@xml:lang":"en","#text":"postmodernism"},{"@xml:lang":"sl","#text":"postmodernizem"},{"@xml:lang":"sl","#text":"potujitveni učinek"},{"@xml:lang":"sl","#text":"strast do realnega"}],"dcterms:temporal":{"@rdf:resource":"2015-2026"},"dc:title":{"@xml:lang":"sl","#text":"Komedija na začetku dvajsetega stoletja, njena strast do realnega in vpliv na razvoj žanra|"},"dc:description":[{"@xml:lang":"sl","#text":"he article focuses on comedy at the beginning of the 20th century and argues that this was a period marked by comedy’s proximity to and intertwining with the complexity of social change and of a historical moment shaped, especially through the experience of the world wars, by horror and trauma. The author notes the mass emergence of dramatic forms in which both comic and tragic elements are intertwined, as well as the use of numerous stylistic devices of classical comedy in the works of avant-garde authors. Based on examples of dramatic avant-garde texts by Alfred Jarry, Guillaume Apollinaire and Alexander Vvedensky, the article analyses new stylistic tendencies and shifts in the perception of comedy as a literary genre. Alain Badiou characterises the 20th century as the century of the “passion for the real”, which at first glance has no comic dimension. How does the “passion for the real” fit with comedy and the phenomena of the comic, which – in contrast to the real – are located precisely in the realm of appearance, illusion and doubling and, with their location in the area of appearances, are far removed from the real? Or, in other words, does the passion for the real have comic dimensions? The selected examples testify that comedy defies the passion for the real with irony, the grotesque, absurdism and alienation as theorised and practised by Bertolt Brecht, but that, in the process, it loses the integrity of its structure and steps off its literary pedestal. Instead, individual comedy elements intrude into all genres and especially into performative eventness, understood here through Erika Fischer-Lichte’s The Transformative Power of Performance and through postmodernist poetics, as defined in dramatic terms by Hans-Thies Lehmann in Postdramatic Theatre, with which comedy has been inextricably linked throughout the 20th century and up to the present day"},{"@xml:lang":"sl","#text":"Članek se posveča komediji z začetka dvajsetega stoletja in ugotavlja, da gre za obdobje, v katerem beležimo bližino in preplet komedije s kompleksnostjo družbenih sprememb in časa, ki mu zlasti ob izkustvu svetovnih vojn z grozo in travmo ni bilo prizaneseno. Opažamo množičen pojav dramskih oblik, v katerih se prepletajo tako komične kot tragične prvine, in uporabo številnih slogovnih sredstev klasične komedije v delih avantgardnih avtorjev. Na podlagi primerov avantgardnih dramskih besedil Alfreda Jarryja, Guillauma Apollinaira in Aleksandra Vvedenskega analiziramo nove slogovne tendence ter premike v dojemanju komedije kot literarne zvrsti. Alain Badiou dvajseto stoletje označi kot stoletje »strasti do realnega«, ki na prvi pogled nima komične razsežnosti. Kako gre torej »strast do realnega« skupaj s komedijo in fenomeni komičnega, ki se – v nasprotju z realnim – nahajajo prav na področju videza, iluzije in podvojitev ter so s svojo umeščenostjo v območje dozdevkov daleč od realnega? Oziroma drugače, ali ima strast do realnega komične razsežnosti? Izbrani primeri izpričujejo, da komedija strasti do realnega kljubuje z ironijo, grotesko, absurdizmom in potujevanjem, kot ga teoretsko in praktično utemeljuje Bertolt Brecht, a da ob tem izgublja celovitost strukture in stopa z literarnega piedestala. Namesto tega se posamezni komedijski elementi vrivajo v vse žanre ter zlasti v performativno dogodkovnost, ki jo razumemo na osnovi študije Estetike performativnega Erike Fischer-Lichte in postmodernistične poetike, kot jo v dramskem smislu definira Hans-Thies Lehmann v Postdramskem gledališču, s katerimi je komedija neločljivo povezana celotno dvajseto stoletje vse do danes"}],"edm:type":"TEXT","dc:type":[{"@xml:lang":"sl","#text":"znanstveno časopisje"},{"@xml:lang":"en","#text":"journals"},{"@rdf:resource":"http://www.wikidata.org/entity/Q361785"}]},"ore:Aggregation":{"@rdf:about":"http://www.dlib.si/?URN=URN:NBN:SI:DOC-P022352O","edm:aggregatedCHO":{"@rdf:resource":"URN:NBN:SI:DOC-P022352O"},"edm:isShownBy":{"@rdf:resource":"http://www.dlib.si/stream/URN:NBN:SI:DOC-P022352O/f590aa89-ea9a-4d9d-a90c-7d0011d95fd9/PDF"},"edm:rights":{"@rdf:resource":"http://creativecommons.org/licenses/by-sa/4.0/"},"edm:provider":"Slovenian National E-content Aggregator","edm:intermediateProvider":{"@xml:lang":"en","#text":"National and University Library of Slovenia"},"edm:dataProvider":{"@xml:lang":"sl","#text":"Slovenski gledališki inštitut (SLOGI)"},"edm:object":{"@rdf:resource":"http://www.dlib.si/streamdb/URN:NBN:SI:DOC-P022352O/maxi/edm"},"edm:isShownAt":{"@rdf:resource":"http://www.dlib.si/details/URN:NBN:SI:DOC-P022352O"}}}}