Prva stran



Številka 1/2015 ~ Issue 1/2015



Đurđa Strsoglavec, glavna in odgovorna urednica, ob pomoči Simona Jenka: Jeziku in slovstvu ob 60. rojstnem dnevu. Jezik in slovstvo. 1/2015. 3.

Đurđa Strsoglavec, glavna in odgovorna urednica, ob pomoči Simona Jenka: To Jezik in slovstvo on Its 60th Anniversary. Jezik in slovstvo. 1/2015. 3.

PDF: http://www.jezikinslovstvo.com/pdf.php?part=2015|1|3



Mateja Pezdirc Bartol: Uvodnik: Dramski in gledališki opus Vitomila Zupana. Jezik in slovstvo. 1/2015. 5–7.

Mateja Pezdirc Bartol: Editorial: The Drama and Theatre Opus of Vitomil Zupan. Jezik in slovstvo. 1/2015. 5–7.

PDF: http://www.jezikinslovstvo.com/pdf.php?part=2015|1|5–7



Ivo Svetina: Zakaj je Aleksander Veliki praznih rok? Jezik in slovstvo. 1/2015. 9–20.
Avtor analizira dve razpravi Tarasa Kermaunerja, v katerih se Kermauner posveča dvema slovenskima dramama, in sicer Aleksandru praznih rok Vitomila Zupana in Aleksandru Velikemu Vladimirja Kavčiča. Pri tem izpostavi tista mesta v Kermaunerjevih razpravah, ki problematizirajo tako revolucijo, katere ideali se nikdar ne uresničijo, kot tudi Despota/Diktatorja, ki v imenu spreminjanja sveta krene na zavojevalski pohod, pri čemer mora slej ko prej obračunati tudi s svojimi najzvestejšimi sobojevniki.
Ključne besede: slovenska povojna dramatika, diktator, revolucija, ideja, nasilno spreminjanje sveta, demitizacija, nihilizem

Ivo Svetina: Why Is Alexander the Great Empty Handed? Jezik in slovstvo. 1/2015. 9–20.
The article analyses two essays by Taras Kermauner in which he discusses two Slovenian plays about the historical figure Alexander the Great: Alexander the Empty Handed (Aleksander praznih rok) by Vitomil Zupan and Alexander the Great (Aleksander Veliki) by Vladimir Kavčič. Particular emphasis is placed on the sections in which Kermauner addresses the topics of the revolution whose ideals are never fulfilled and the despot/dictator who, under the pretext of changing the world, sets out on a campaign of conquer and is sooner or later forced to eliminate his most faithful companions in arms.
Keywords: Slovenian post-war drama, dictator, revolution, idea, violent changing of the world, demythification, nihilism

PDF: http://www.jezikinslovstvo.com/pdf.php?part=2015|1|9–20



Gašper Troha: Vitomil Zupan – dvorni dramatik revolucije? Jezik in slovstvo. 1/2015. 21–30.
Stvar Jurija Trajbasa, prvo dramsko besedilo Vitomila Zupana, je družbenokritična drama socialnega realizma. Sprva jo je prepovedala italijanska cenzura, po vojni pa jo je napadla komunistična oblast. Med letoma 1940 in 1948, ki zaznamujeta usodo te drame, so nastale številne avtorjeve agitke, zaradi katerih je leta 1947 prejel tudi Prešernovo nagrado ob njeni ustanovitvi. Usoda njegove prve drame in medvojnih tekstov postavlja pred nas vprašanje o njegovi literarni poetiki pred letom 1949, ko je bil obsojen na montiranem procesu. Raziskava pokaže, da so Zupanove agitke logičen razvoj nastavkov socialističnega realizma v Juriju Trajbasu, njegova drama Aleksander praznih rok (1955), predhodnica slovenske eksistencialistične drame, pa zaključuje avtorjevo ukvarjanje z nietzschejanskim konceptom volje do moči. Na ta način se sklene dvajsetletni razvoj Zupanove družbenokritične dramatike, ki pa se ji zaradi znanih biografskih okoliščin nikoli ni uspelo povsem razmahniti.
Ključne besede: Vitomil Zupan, Stvar Jurija Trajbasa, socialni realizem, družbenokritična dramatika, Aleksander praznih rok

Gašper Troha: Vitomil Zupan – The Court Dramatist of the Revolution? Jezik in slovstvo. 1/2015. 21–30.
Jurij Trajbas’s Project (Stvar Jurija Trajbasa) is a Slovenian socialist realism drama and the first dramatic text by Vitomil Zupan. It was prohibited by the Italian censor at the beginning of World War II and severely criticised after the war by the communist authorities. Between 1940 and 1948, the two milestones in the reception of this dramatic text, Vitomil Zupan wrote a number of agitkas, which won him the first ever Prešeren Prize (1947), the most prestigious Slovenian national prize for achievements in the field of culture. The reception of his first dramas and his wartime texts raises the question of the author’s poetics before 1949, when he was sentenced to prison in a rigged trial. The present paper demonstrates the consistent development of socio-critical tendencies in Zupan’s poetics spanning from Stvar Jurija Trajbasa to agitkas and his post-war dramatic texts such as Aleksander praznih rok (Alexander the Empty Handed) from 1955. The latter represents the beginnings of Slovenian existentialist drama and concludes the author’s reflection upon Nietzsche’s concept of the will to power. We can thus trace the coherent development of the author’s socio-critical drama across two decades. However, due to the author’s imprisonment and the lack of theatre performances of his texts, this drama was never able to resonate to its full extent.
Keywords: Vitomil Zupan, Jurij Trajbas’s Project , social realism, socio-critical drama, Alexander the Empty Handed

PDF: http://www.jezikinslovstvo.com/pdf.php?part=2015|1|21–30



Mateja Pezdirc Bartol: Oblaki in pištole v dramskem opusu Vitomila Zupana (poskus sinteze). Jezik in slovstvo. 1/2015. 31–42.
Slovenska literarna veda opredeljuje Vitomila Zupana kot samosvojega avtorja, ki ni sledil prevladujočim literarnim tokovom, njegov dramski opus pa je označen kot raznovrsten po vsebinski in oblikovni plati. Pričujoča razprava prikaže dramski opus Vitomila Zupana v razvojnem loku v treh fazah in opozori na tista mesta, ki kažejo na skupna idejna in formalna izhodišča, to so avtorjevo vztrajanje pri lastni moralni filozofiji in prizadevanje po ohranitvi smisla sveta in človeka, prikazovanje skrajno zaostrenih bivanjskih situacij, v katerih se dramska oseba odloča med dobrim in zlim, rahljanje tradicionalne dramske forme s časovnimi in prostorskimi preskoki ter razgibano, mestoma fragmentarno zgodbo, vera v jezik in umetnost ter s tem povezana želja po razumevanju, oblaki in pištole pa so tisti motivni drobci, ki dobivajo simbolne razsežnosti odločilnega in usodnega.
Ključne besede: slovenska dramatika, Vitomil Zupan, razvoj Zupanove dramatike, motivi in teme, dramska forma

Mateja Pezdirc Bartol: Clouds and Guns in Vitomil Zupan’s Dramatic Oeuvre (An Attempted Synthesis). Jezik in slovstvo. 1/2015. 31–42.
In Slovenian literature studies, Vitomil Zupan is seen as a peculiar author who did not join mainstream literature and whose dramatic oeuvre is characterised as diverse in both form and content. This paper presents the development of Zupan’s dramatic work in three phases, emphasising those passages that indicate common thematic and formal principles: his adherence to his own moral philosophy and his efforts to preserve the meaning of the world and the human being; his depiction of acute existential situations in which the dramatic characters have to choose between good and evil; his loosening of traditional dramatic form with leaps across time and space and with a plot that is sometimes fragmented; his faith in language and art, and his associated yearning for understanding. Thus clouds and guns are the motivic fragments that become symbolically decisive and fateful.
Keywords: Slovenian drama, Vitomil Zupan, the development of Zupan’s drama, motifs and themes, dramatic form

PDF: http://www.jezikinslovstvo.com/pdf.php?part=2015|1|31–42



Barbara Orel: Zupanova vizija razvojnih smernic v dramatiki in gledališču. Jezik in slovstvo. 1/2015. 43–52.
Vitomil Zupan v razpravi Sholion (1973) – esejistično zasnovanih premišljevanjih o gledališču – ugotavlja stanje na začetku sedemdesetih let 20. stoletja in poda smernice za razvoj dramatike in gledališča. Te se v njegovi viziji vzpostavljajo kot sinteza več gledaliških zvrsti: gledališča absurda, totalnega gledališča in t. i. realističnega gledališča, kot se izrazi sam. S tem izrazom označuje raznovrstne uprizoritvene pristope, ki so gledališču absurda nasprotni in v katerih so prisotni elementi družbene kritike, groteske, komike, satire, realnih situacij in projekcij zamisli sveta. Članek natančneje predstavi Zupanova izhodišča za jutrišnjo sintezo, jih teoretsko opredeli in prepozna njihove manifestacije v njegovem dramskem opusu.
Ključne besede: Vitomil Zupan, Sholion, dramatika, gledališče, razvojne smernice

Barbara Orel: Zupan’s Vision of Developments in Drama and Theatre. Jezik in slovstvo. 1/2015. 43–52.
Vitomil Zupan’s Sholion (1973), a collection of theatre essays, reflects on the state of drama and theatre in the early 1970s and outlines the way he anticipates them developing. In his vision of future developmental trends, Zupan sees drama and theatre as the syntheses of several theatre genres: the theatre of the absurd, total theatre and so-called “realistic” theatre, as he himself terms it. Zupan uses this term to denote various approaches to performing that are the opposite to theatre of the absurd and entail elements of social criticism, grotesque, comedy, satire, real situations and projections of ideas regarding the world. This article presents the fundamental ideas of Zupan’s “synthesis of tomorrow”, defining them theoretically and identifying their manifestations in his dramatic opus.
Keywords: Vitomil Zupan, Sholion, drama, theatre, developmental trends

PDF: http://www.jezikinslovstvo.com/pdf.php?part=2015|1|43–52



Tomaž Toporišič: Kako Vitomil Zupan misli gledališče. Jezik in slovstvo. 1/2015. 53–61.
Razprava si zastavi na videz enostavno vprašanje: Kako Vitomil Zupan misli gledališče? Odgovor poišče v dialogu z avtorjevo dramsko, gledališko in esejistično pisavo, ki jih vpne v sočasne misli o gledališču, tako praktikov kot teoretikov: od Artauda do Brechta oziroma od Kermaunerja do Jovanovića ali od Tauferja do Šeliga. Vse skupaj naveže na današnji čas, na to, kako danes mislimo gledališče. Na ta način preverja, kako daljnosežno je bilo Zupanovo mišljenje gledališča, hkrati pa tudi, kako je lahko to mišljenje gledališča produktivno za današnji čas: za gledališko, dramsko, uprizoritveno teorijo in prakso. Izhaja iz pisateljeve preveč pozabljene knjige-razprave Sholion (gledališče 1972, s posebnim ozirom na mehanizem postavitve in odnos do t. i. sporočila) ter prikaže, kako Zupan izgradi še danes izrazito sodobno stališče, da ne smemo vztrajati na okopih dramskega gledališča, ampak nas mora zanimati gledališče kot fenomen, ki je kompleksen in povezuje različne medije. Dramska pisava mora biti zato odprta za različne načine gledališčenja.
Ključne besede: sodobna drama, performativna revolucija, metagledališkost, dramatik kot scenarist, Vitomil Zupan, Elfriede Jelinek

Tomaž Toporišič: The Way Vitomil Zupan Thinks Theatre. Jezik in slovstvo. 1/2015. 53–61.
The essay focuses on a seemingly simple question: How did Vitomil Zupan think theatre? The answer to this question can be found in a dialogue with the author’s thoughts from his plays, theatrical writings and essays that can be linked to the ideas of 20th century theatre practitioners and theorists such as Artaud, Brecht, Kermauner, Jovanović, Taufer and Šeligo. Zupan’s conceptions of drama and theatre are linked to and compared with the conceptions of theatre today. It is thus possible to establish how far-reaching his thinking about theatre was, and how productive it can be for theatre after the turn of the millennium. The centre of interest is Sholion (theatre 1972, with a particular focus on the mechanism of performance and its relation to the so-called message), his all too frequently forgotten theoretical treatise on theatre with its attractive conception of the highly dynamic relationship between drama and performance, as well as its concept of theatre as a complex phenomenon with its specific dialectic of mixed media. Drama writing must therefore be open to various ways of theatrical performance.
Keywords: contemporary drama, performative revolution, metatheatricality, the playwright as a screenwriter, Vitomil Zupan, Elfriede Jelinek

PDF: http://www.jezikinslovstvo.com/pdf.php?part=2015|1|53–61



Blaž Lukan: Drama kot oblika (iz) »predmiselnega kaosa«. Jezik in slovstvo. 1/2015. 63–81.
Prispevek razpravlja o zadnji drami Vitomila Zupana Zapiski o sistemu (1975). Drama je v slovenskem literarnozgodovinskem kontekstu komajda registrirana, in to včasih s povsem arbitrarnimi sodbami o njeni domnevni kritični navezavi na sočasni socialistični sistem. Bolj opazna je bila njena uprizoritev (1979) v Eksperimentalnem gledališču Glej, pri kateri je gledališka kritika poudarila zlasti dosežke režije, besedilu pa očitala nekatere formalne pomanjkljivosti. Prispevek izhaja ravno iz navedenih »pomanjkljivosti«, ki pa jih razume kot nove, presežne kvalitete besedila, s katerimi avtor presega okvire sočasne slovenske dramske produkcije, na določen način pa tudi »samega sebe«. Razmislek se giblje v dveh smereh: prva je »formalna« in odkriva v Zapiskih o sistemu dramaturške oz. oblikovne elemente, kakršne je veliko kasneje vzpostavila postdramska (gledališka) praksa, druga pa je vsebinska in v besedilu najde ideološke nastavke, ki segajo čez poenostavljene aktualizme.
Ključne besede: Vitomil Zupan, slovenska dramatika, Zapiski o sistemu, metadrama, postdramskost

Blaž Lukan: Dramatic Text as a Form of (from) “Pre-Mental Chaos”. Jezik in slovstvo. 1/2015. 63–81.
The article is an analysis of Vitomil Zupan’s last play Notes on the System  (Zapiski o sistemu, 1975) from 1975. The play has barely received mention in the Slovenian literary-historical context, and the few references to it are marked by entirely arbitrary judgements about its supposed critical view of the “socialist system” of the time. A more notable response was elicited by the play’s production in the Glej Experimental Theatre in 1979, when theatre critics on the whole praised the achievements of the director, while finding fault with some of the formal features of the play. The present article engages with these “faults”, which are instead understood as new, transcendent qualities of the text, with which the author surpasses the set boundaries of Slovenian theatre production of the time, and, in a way, also surpasses “himself”. The line of thinking follows two directions: the first is “formal” and shows the Notes on the System to possess dramaturgical or formal elements that would much later be instituted by postdramatic (or theatre) practice, while the second relates to the content, finding ideological configurations in the text that go far beyond simplistic truisms.
Keywords: Vitomil Zupan, Slovenian drama, Notes on the System, metatheatre, postdramatic theatre

PDF: http://www.jezikinslovstvo.com/pdf.php?part=2015|1|63–81



Breda Marušič: Levitan Vitomila Zupana na gledališkem odru. Jezik in slovstvo. 1/2015. 83–92.
Eno od še neraziskanih področij ustvarjanja Vitomila Zupana je prenos njegovega romana Levitan (1982) na gledališki oder. Režiser Ljubiša Ristić je leta 1985 skupaj s kolektivom Slovenskega mladinskega gledališča opravil priredbo Zupanovega teksta o zaporniški izkušnji, ki predstavlja primer nove postdramske gledališke prakse uprizarjanja (sodobnega slovenskega) romana. Prispevek raziskuje zunaj- in znotrajliterarne dejavnike prenosa Zupanovega nedramskega gradiva v gledališki medij. Ker je kolektivna kreacija brez fiksnega teksta nastajala sočasno z Resničnostjo, se raziskava v nekaterih segmentih primerjalno navezuje tudi na roman Lojzeta Kovačiča in njegovo ugledališčenje.
Ključne besede: Vitomil Zupan, Levitan, Ljubiša Ristić, gledališka priredba, postdramsko gledališče

Breda Marušič: The Theatre Staging of Levitan by Vitomil Zupan. Jezik in slovstvo. 1/2015. 83–92.
The theatre staging of Vitomil Zupan’s novel Levitan (1982) is an area of the author’s creative work that has yet to be researched. In 1985, director Ljubiša Ristić adapted Zupan’s text on prison experience in collaboration with the Slovenian Youth Theatre company (Slovensko mladinsko gledališče). This literary adaptation is an example of the new postdramatic theatre approach to the staging of the (modern Slovenian) novel. The present paper investigates extraliterary and intraliterary elements of the process in which Zupan’s non-dramatic text is transferred to the theatre medium. As this collective creation came about without a fixed text, and simultaneously with Reality) (Resničnost), in some aspects the paper also refers comparatively to the novel by Lojze Kovačič and its staging.
Keywords: Vitomil Zupan, Levitan, Ljubiša Ristić, theatre staging, postdramatic theatre

PDF: http://www.jezikinslovstvo.com/pdf.php?part=2015|1|83–92



Ocene in poročila/Reviews and Reports
Nika Arhar
Simpozij o dramskem in gledališkem opusu Vitomila Zupana Razmaknite se, zidovi, človeškim sanjam / The Symposium “Part, Walls, and Let Human Dreams Enter” on the Drama and Theatre Opus of Vitomil Zupan

PDF: http://www.jezikinslovstvo.com/pdf.php?part=2015|1|93-100



Nela Malečkar, Ifigenija Simonović, Aleš Berger, Alenka Puhar (ed), Vitomil Zupan: V branje vam priporočamo. Jezik in slovstvo. 1/2015. 101–102.

Nela Malečkar, Ifigenija Simonović, Aleš Berger, Alenka Puhar (ed), Vitomil Zupan: Recommended Readings. Jezik in slovstvo. 1/2015. 101–102.

PDF: http://www.jezikinslovstvo.com/pdf.php?part=2015|1|101–102