Dancing in War. Perception of Theater in Wartime Sarajevo: Pippo Delbono, Giorgio Strehler and Peter Schumann

„When I went to Sarajevo, I met a boy“, Pippo Delbono tells us. They talked, and suddenly the boy told him, „I saw an entire city in anger. I’ve seen people become monsters“. And Delbono replied, „And I’ve seen people look at me like I’m a monster. And all the things that turn into monstrosity“. Traveling, for Delbono, is a life experience that turns into a theatrical one at the same time. In 1998, Delbono created a play called War. The story of the boy he meets during his trip to Sarajevo is an introduction to Delbono’s magical world of theater through which he expresses the need to present a life that is born from suffering, illness, war, but in which we still „dancing“. Danzare nella guerra, „dancing in the war“, for Delbono means to oppose the war to the beauty, joy, and poetics of the movement. In 1995, Strehler directed a play called Mother Courage of Sarajevo based on the text written by Bertolt Brecht. For Strehler, Mother Courage of Sarajevo is not just a play, it is a symbol, a political act that portrays war as a human failure. Strehler based his vision of theater on Brecht’s epic theater. One year before, in 1993, with his puppet troupe, The Bread and Puppet, Peter Schumann came to Sarajevo to provide his support. In the first place, we want to show how Delbono’s conception of theater and experience during his trip to Sarajevo intertwine with the primary goal of Sarajevo theater in those years, as „spiritual resistance“, „spiritual needs“, „call to heal wounded souls“, a „super theater“, as Izudin Bajrović calls him, in which theater and life were the same. Through Strehler’s theater, his relationship with Sarajevo, and the breaking of the „fourth wall“, we will talk about theater as research of those eternal human values, but also returning to humane theater. In the third place, through Schumann’s work, we will show how the external theatrical reality intertwines with the internal one as a feature of strong political engagement.

Bertolt Brecht’in Epik Tiyatrosu Üzerinden İnteraktif Belgesellere Bakmak

In the 21st century, which is called the digital age, documentary cinema has undergone many changes in terms of both content and form. Apart from being a display medium, interfaces and screens have become spheres where the narrative is constructed. Thus, the production and viewing dimensions of documentary films have changed and traditional narrative documentaries have started to be replaced by interactive documentaries. In these documentaries, the director becomes the designer and the viewer becomes the participant/user. In this context, Walter Benjamin’s approach to epic theater, which he believes is compatible with new technical forms and is the culmination of technology, is the starting point of this study. Because especially since the early 1960s, Bertolt Brecht’s understanding of epic theater has influenced directors and shaped their understanding of filmmaking. The directors who wanted to make the audience feel that the images they see in a film were made with designed decorations, used Brecht's aesthetic understanding to destroy mimesis and break identification. In this context, Seven Digital Deadly Sins (2014), which is an example of an interactive documentary developed with new communication technologies and opens the door to different possibilities for the director and the audience, is evaluated through Bertolt Brecht's understanding of epic theater.

БАГАТОВИМІРНІСТЬ ВТІЛЕНЬ СЮЖЕТУ ТУРАНДОТ В ЖАНРІ ТЕАТРАЛЬНОЇ МУЗИКИ

The article deals with the historical projection of the 300-year-old path of the Turandot image in the genre of theatrical music. After completing all the stages of European exoticism in Chinese subjects, Turandot was embodied in the main stages of the development of musical drama - from the baroque French Fair Theater Fory Saint-Lauren (Le Sage / d'Orneval for the first time analyzed music by J.C. Gillіer) through the pre-classical model of Italian folk (K. Gozzi) to the concept of German romanticism (F. Schiller ‒ F. Destush, K.M. Weber, W. Lyahner), oriental readings of the early modern days: neoclassical (F. Buzoni), symbolist (W. Ferst), primitive-naive (Y. Vakhtangov), psychologically-expressionistic (W. Stenhammar), household-entertaining variants (Broadway Theater) and complex multicomponent phenomena of the second half of the twentieth century, embodied in the "epic theater" (B. Brecht / H. D. Hosalla, Y. Lakner, A. Schnitke) and means "Theater of absurd" (W. Hilderschmayer), based on postmodernistic parameters of hybrid genre formations in Ukrainian culture (M. Denisenko, I. Uryvskiy) in the globalized reference of intercultural communication of the beginning of the third millennium.