172 KB38 KB201920252019Inkret, Andrejaletnik:1številka:2str. 17-33ISSN:2670-6210COBISSID_HOST:71163490URN:URN:NBN:SI:doc-7LZN0RDGenZnanstvena založba Filozofske fakulteteClothogrška dramatikaigra v igrirazkazovanjeSophoclesteorija gledališčaAias Mastigophoros| divine ostentation within a play|The paper analyses a short scene that forms part of the opening of Sophocles' Aias (66-133): Aias, suffering from the madness that was inflicted upon him by Athena, is displayed by the goddess to Odysseus. In the corpus of extant ancient drama, this inset appears to be unique. Its expressive power is derived from the scene's specific structure that doubles the integral elements of theatre. The paper suggests the reasons why the scene has often been labelled "a play-within-a-play," describing and illustrating the elements that can be paralleled with the structural components of theatre. Taking as basis concepts and ideas proposed by modern theatre theoreticians (Anne Ubersfeld, Tadeusz Kowzan, Umberto Eco), the paper argues that the essence of the performative dimension of the scene is to be found in the phenomenon of the "ostentation act" first described by Umberto Eco. Tracing the meaning of the inset within the tragedy as a whole, the paper emphasizes the fact that the "ostentation" in Aias is a divine creation, and examines how Odysseus, a privileged recipient of the spectacle, reacts to the display of Aias' shameful conditionČlanek analizira krajši prizor v začetnem delu Sofoklejevega Ajanta (66-133): Ajanta, zmrcvarjenjega od norosti, ki mu jo je sama povzročila, Atena pokaže Odiseju. V celotnem korpusu ohranjene antične dramatike se zdi tak scenografski prijem edinstven. Njegova izrazna moč izhaja iz specifične strukture tega prizora, kjer se podvajajo ključni elementi gledališča kot takega. Članek navaja razloge, zakaj je bil ta prizor večkrat označen kot "igra v igri", ki opisuje in prikazuje elemente, vzporedne strukturnim komponentam gledališča. Temeljne koncepte in ideje najde pri modernih teoretikih gledališča (Anne Ubersfeld, Tadeusz Kowzan, Umberto Eco) in predlaga, da je bistvo performativne razsežnosti tega prizora v pojavu "razkazovanja" ki ga je prvi opisal Umberto Eco. Ko raziskuje pomen tega dramskega vložka za celotno tragedijo, članek pokaže, da gre pravzaprav za stvaritev bogov, in ugotavlja, kako se Odisej, privilegirani gledalec te drame, odzove na prikaz Ajantovega sramotnega stanjaTEXTznanstveno časopisjejournalsSlovenian National E-content AggregatorNational and University Library of SloveniaZnanstvena založba Filozofske fakultete