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Plays from Romania: Dramaturgies of Subversion reflects the
diversity of dramatic writing exploring the past and present of
Romania, and takes stock thirty years after the collapse of
communism. In addition to plays originally written in Romanian, the
collection includes work by German, Hungarian and Roma authors born
and/or working in Romania, and brings together plays written during
the communist period and its aftermath. The plays included in the
collection, edited and translated by Jozefina Komporaly and fully
published for the first time in English, demonstrate broad variety
in terms of form and content - ranging from family dramas to
allegories, and absurdist experiments to modular texts rooted in
open dramaturgy - and are the work of both individual playwrights
and the results of collective creation. These works share a
preoccupation with critically reflecting urgent concerns rooted in
Romanian realities, and are notable dramaturgical experiments that
push the boundaries of the genre. In addition, these plays also
seek novel ways to examine universal experiences of the human
condition, such as love, loss, abuse, betrayal, grief, violence,
manipulation and despair. This unique anthology celebrates the
renewed vitality and variety of writing for the stage after 1990,
and endeavours to place Romanian theatre in a forward-looking
transnational context. Lowlands ('Niederungen') by Herta Muller,
adapted for the stage by Mihaela Panainte (German) This stage
adaptation is based on a volume of short stories by Herta Muller
written in German in 1982 and focuses on the perspective of a child
narrator, by way of a series of episodes that centre on mundane
aspects of daily life in a remote village against the backdrop of
the oppressive atmosphere of mid-twentieth century Romania. The
Spectator Sentenced to Death ('Spectatorul condamnat la moarte') by
Matei Visniec (Romanian) This play is a bitter parody of the
Stalinist justice system, which totally disregards the fundamental
question whether the accused is actually guilty or not. The
Passport ('Kalucsni') by Gyoergy Dragoman (Hungarian) This play is
set pre-1989 in a typical small town in the Transylvanian province
of Romania, in which the lives of the various social classes, and
the fate of the persecuted and that of those who persecute are
closely intertwined. The Man Who Had His Inner Evil Removed ('Omul
din care a fost extras raul') by Matei Visniec (Romanian) This
topical play is a sharp reflection on the voluntary servitude in
which we place ourselves, often unawares, in conditions of our
contemporary consumer culture, and a fierce critique of
increasingly dominant tendencies to abandon moral criteria in
political life. Stories of the Body (Artemisia, Eva, Lina, Teresa)
('A test toertenetei') by Andras Visky (Hungarian) The cycle
Stories of the Body comprises four plays based on real life stories
as experienced by remarkable women (including Mother Teresa and
Italian Renaissance painter Artemisia Gentileschi), and are
connected to various cities including Budapest, Cluj/Kolozsvar,
Kolkata and Rome, from the 17th to the 21st century. Sexodrom by
Giuvlipen Theatre Company (Mihaela Dragan, Antonella Lerca Duda,
Nicoleta Ghita, Zita Moldovan, Bety Pisica, Oana Rusu, Raj
Alexandru Udrea), based on a concept by Bogdan Georgescu.(Roma)
This is a work of collective creation by members of the Roma
Theatre company Giuvlipen, aiming to bring to public attention
taboo subjects, to enhance the visibility of Roma performers and to
experiment with new forms of theatre-making in a Romanian context.
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Home
Andrea Tompa; Translated by Jozefina Komporaly
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R359
Discovery Miles 3 590
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Ships in 12 - 17 working days
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Prompted by a class reunion, Home deals with the experience of
homecoming after extended absence and engages with the archaeology
of the self in the context of estrangement and belonging. Having
taken the decision to emigrate decades earlier, Tompa's unnamed
protagonist is caught between two worlds, navigating a journey from
one homeland to another, and suddenly facing an upsurge of
revelations that have a strong emotional impact. Home takes in
landmark events from the past, starting with the youthful ease with
which the protagonist had set off on an adventure of a lifetime,
and continuing with the personal stories of former classmates -
some also scattered around the world, and others who decided to
stay put. Home negotiates diverse orders of experience and presumed
difference without becoming judgmental, while attention is being
drawn to ongoing change over time - be it in the lives of those who
opted to stay or to leave.
Plays from Romania: Dramaturgies of Subversion reflects the
diversity of dramatic writing exploring the past and present of
Romania, and takes stock thirty years after the collapse of
communism. In addition to plays originally written in Romanian, the
collection includes work by German, Hungarian and Roma authors born
and/or working in Romania, and brings together plays written during
the communist period and its aftermath. The plays included in the
collection, edited and translated by Jozefina Komporaly and fully
published for the first time in English, demonstrate broad variety
in terms of form and content - ranging from family dramas to
allegories, and absurdist experiments to modular texts rooted in
open dramaturgy - and are the work of both individual playwrights
and the results of collective creation. These works share a
preoccupation with critically reflecting urgent concerns rooted in
Romanian realities, and are notable dramaturgical experiments that
push the boundaries of the genre. In addition, these plays also
seek novel ways to examine universal experiences of the human
condition, such as love, loss, abuse, betrayal, grief, violence,
manipulation and despair. This unique anthology celebrates the
renewed vitality and variety of writing for the stage after 1990,
and endeavours to place Romanian theatre in a forward-looking
transnational context. Lowlands ('Niederungen') by Herta Muller,
adapted for the stage by Mihaela Panainte (German) This stage
adaptation is based on a volume of short stories by Herta Muller
written in German in 1982 and focuses on the perspective of a child
narrator, by way of a series of episodes that centre on mundane
aspects of daily life in a remote village against the backdrop of
the oppressive atmosphere of mid-twentieth century Romania. The
Spectator Sentenced to Death ('Spectatorul condamnat la moarte') by
Matei Visniec (Romanian) This play is a bitter parody of the
Stalinist justice system, which totally disregards the fundamental
question whether the accused is actually guilty or not. The
Passport ('Kalucsni') by Gyoergy Dragoman (Hungarian) This play is
set pre-1989 in a typical small town in the Transylvanian province
of Romania, in which the lives of the various social classes, and
the fate of the persecuted and that of those who persecute are
closely intertwined. The Man Who Had His Inner Evil Removed ('Omul
din care a fost extras raul') by Matei Visniec (Romanian) This
topical play is a sharp reflection on the voluntary servitude in
which we place ourselves, often unawares, in conditions of our
contemporary consumer culture, and a fierce critique of
increasingly dominant tendencies to abandon moral criteria in
political life. Stories of the Body (Artemisia, Eva, Lina, Teresa)
('A test toertenetei') by Andras Visky (Hungarian) The cycle
Stories of the Body comprises four plays based on real life stories
as experienced by remarkable women (including Mother Teresa and
Italian Renaissance painter Artemisia Gentileschi), and are
connected to various cities including Budapest, Cluj/Kolozsvar,
Kolkata and Rome, from the 17th to the 21st century. Sexodrom by
Giuvlipen Theatre Company (Mihaela Dragan, Antonella Lerca Duda,
Nicoleta Ghita, Zita Moldovan, Bety Pisica, Oana Rusu, Raj
Alexandru Udrea), based on a concept by Bogdan Georgescu.(Roma)
This is a work of collective creation by members of the Roma
Theatre company Giuvlipen, aiming to bring to public attention
taboo subjects, to enhance the visibility of Roma performers and to
experiment with new forms of theatre-making in a Romanian context.
A novel of growing up a Hungarian in Romania under Communism. In
the novel Story of a Stammer, Gabor Vida asks a fundamental
question: Where does stammering come from? In the process of
answering this question, he discovers that an entire historical
period and an entire world have been stammering, too. Through
Vida's eyes, we see that stammering comprises all the lies
accumulated over time and over generations because nobody had ever
articulated what they felt or thought, nor done what they really
wanted. Nobody, Vida shows, had ever told the truth. Describing
life in the 1970s and '80s under Romanian Communist dictator
Nicolae Ceaucescu's authoritarian regime, Vida writes with
disarming honesty, breaking taboos and chronicling the ways in
which tyranny and exploitation seep into family relationships. The
novel charts the first two decades of a young Hungarian man's life
in Romania, telling a story of coming to terms with a stammer,
loneliness, and an unstimulating environment where religion,
alcoholism, and suicide are the most common escape strategies. A
Bildungsroman, a novel about Transylvania, a chronicle of minority
life, a sociological analysis of cultural identity, and ultimately
a deeply personal account of a historical era, Story of a Stammer
is a major contribution to contemporary Hungarian literature-an
unfailingly serious yet humorously delightful witness to a
turbulent period in recent history.
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Mr. K Released (Hardcover)
Matei Visniec; Translated by Jozefina Komporaly
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R613
Discovery Miles 6 130
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Ships in 12 - 17 working days
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Mirroring Romania's drastic transition from totalitarianism to
Western-style freedom in the late 1980s, Mr. K Released captures
the disturbingly surreal feeling that many newly liberated
prisoners face when they leave captivity. Employing his trademark
playful absurdity, Matei Visniec introduces us to Mr. K, a
Kafkaesque figure who has been imprisoned for years for an
undisclosed crime in a penitentiary with mysterious tunnels. One
day, Mr. K finds himself unexpectedly released. Unable to
comprehend his sudden liberation, he becomes traumatized by the
realities of freedom--more so than the familiar trauma of captivity
or imprisonment. In the hope of obtaining some clarification, Mr. K
keeps waiting for an appointment with the prison governor, however,
their meeting is constantly being delayed. During this endless
process of waiting, Mr. K gets caught up in a clinical exploration
of his physical surroundings. He does not have the courage or
indeed inclination to leave, but can move unrestricted within the
prison compound, charting endless series of absurd circles in which
readers might paradoxically recognize themselves.
Widely considered one of the most innovative voices in Hungarian
theatre, Andras Visky has enjoyed growing audiences and increased
critical acclaim over the last fifteen years. Nonetheless, his
plays have yet to reach a wider English-language audience. This
volume, edited by Jozefina Komporaly, begins to correct this by
bringing together a translated collection of Visky's work. The book
includes the first English-language anthology of Visky's best known
plays - Juliet, I Killed My Mother, and Porn - as well as critical
analysis and an exploration of Visky's 'Barrack Dramaturgy', a
dramaturgical theory in which he considers the theatre as a space
for exploring feelings of cultural and personal captivity. Inspired
by personal experience of the oppressive communist regime in
Romania, Visky's work explores the themes of gender, justice and
trauma, encouraging shared moments of remembrance and collective
memory. This collection makes use of scripts and director's notes,
as well as interviews with creative teams behind the productions,
to reveal a holistic, insider's view of Visky's artistic vision.
Scholars and practitioners alike will benefit from this rare,
English-language collection of Visky's work and dramaturgy.
In The Glance of the Medusa, Laszo F. Foeldenyi offers a
mesmerizing examination of the rich history of European culture
through the lens of mythology and philosophy. Embracing the best
traditions of essay writing, this volume invites readers on a
spiritual and intellectual adventure. The seven essays bear
testimony to Foeldenyi's encyclopedic knowledge and ask whether it
is possible to overcome our fear of passing away. In doing so, they
illuminate moments of mystical experience viewed in a historical
perspective while inviting readers to engage with such moments in
the present by immersing themselves into the process of reading and
thinking. Rather than providing firm answers to burning questions,
The Glance of the Medusa highlights the limits of definition,
conjuring up situations in which Man partakes of unutterable
experiences-such as passion, pleasure, fear, poetry, or
disgust-suggesting that moments of ecstasy cannot be pinned down or
captured, only drawn a little closer.
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R398
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Discovery Miles 3 300
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