163 KB32 KB200720252018Toporišič, Tomažletnik:12številka:2str. 218-235ISSN:1854-9632COBISSID_HOST:4623707URN:URN:NBN:SI:doc-VC7A9MHPslZnanstvena založba Filozofske fakulteteArs et humanitasabsolute dramaabsolutna dramaBeckett, Samuelcontemporary dramaJovanović, Dušanne več dramskono longerpost-dramaticpostdramskoprocedure spominaprocedures of memorySemenič, Simonasodobna dramatikaDrame moči in nemoči spomina in spominjanj (Beckett, Jovanović, Semenič)|The article deals with specific memory procedures in contemporary drama, which, despite the apparent absoluteness of the present, often use memory in order to produce dramatic effects, but no longer as the continuity of memory in the sense of St. Augustine and his Confessions, but as the discontinuity of memory in the sense of Beckett's heroes and their specific memory that deconstructs the validity of itself. On the basis of the specific cases of (no longer) dramatic tactics from late modernism to (no longer) post-dramatic, we will try to show the transformations of the drama of memory and remembrance. We will start with the uncertainty and the erasure of the memory in late Becket, continue with examining memory and personal and common identity in the work of Dušan Jovanović, and conclude with the postmodernist volatility of the collective memory of the newer history and present, as depicted in the works of Simona Semenič. Our thesis is that the synthetic model of drama construction is not without alternative. In modern drama it was replaced by an analytical and "narrative" model of building the dramatic structure. Thus the memory was emancipated from the primacy of the absolute drama and, contrary to the Augustinian narrative, which depicts the past through the memories of the heroes in the present, and thus ensures their identity, the heroes of contemporary drama are being robbed of traditional forms of memory and narrativePrispevek se ukvarja s posebnimi procedurami spomina v sodobni dramatiki, ki kljub navidezni absolutnosti sedanjosti, ki jo vedno znova reprezentira, velikokrat uporablja spomin, a ne več kot kontinuiteto spomina v smislu svetega Avguština in njegovih Izpovedi, ampak diskontinuiteto spomina v smislu beckettovskih junakov, pri katerih spomin dekonstruira veljavnost samega sebe. Na podlagi primerov (ne več) dramskih taktik od poznega modernizma do (ne več)postdramskega bomo prikazali transformacije drame spomina in spominjanja od negotovosti in izbrisa spomina poznega Samuella Becketta, preko raziskav spomina in osebne ter skupne identitete Dušana Jovanovića do postdramskih sopostavitev kolektivnega spomina novejše zgodovine in sedanjosti v dramski pisavi Simone Semenič. Teza, ki jo preverjamo, je, da sintetični model dramske gradnje ni brez alternative, ampak ga je v sodobni drami zamenjal analitični in "pripovedni" model gradnje ne več dramske pisave, v katerem se spomin emancipira od primata sedanjosti dramskega dejanja. V nasprotju z avguštinovsko pripovedjo, ki prikaže preteklost skozi spominjanja junakov v sedanjosti, s tem pa jim zagotovi tudi identiteto, je v sodobni dramatiki ravno obratno. Junaki so oropani tradicionalnih oblik spomina in pripovedi, saj bi njihova sposobnost povedati zgodbe, ki so del spomina, izključevala "kaos", ki se zdi Beckettu bistven za formo, ki bo "dopuščala kaos" in "oskrbela zmešnjavo" ter zamenjala klasično dramsko oblikoTEXTznanstveno časopisjejournalsSlovenian National E-content AggregatorNational and University Library of SloveniaZnanstvena založba Filozofske fakultete