Šio darbo analizės objektas – tautinio identiteto išraiškos teatre. Jame siekta išsiaiškinti, kokio pobūdžio tautiškumas atsispindi dramos teatrų spektakliuose. Pasirinkta analizuoti įvairius šaltinius (teatrų repertuarai, spektaklių recenzijos), taip pat atlikti interviu su teatralais bei padaryti visuomenės anketinę apklausą, siekiant išsiaiškinti, kokią vietą teatras užima visuomenės gyvenime. Lietuvoje veikia 13 valstybinių teatrų, iš jų 8 – dramos teatrai. Toks skaičius gali būti sietinas su nusistovėjusia tradicija Lietuvos kultūriniame gyvenime. Tyrimui pasirinkti 4 valstybinių dramos teatrų (Nacionalinio, Kauno, Panevėžio J. Miltinio ir Šiaulių) repertuarų analizė, siekiant išsiaiškinti, kokią vietą užima nacionalinė dramaturgija teatrų repertuaruose bei kokios yra vyraujančios tendencijos, susijusios su tam tikrais Lietuvos įvykiais ar jų pasekmėmis. Teatro svarba visuomenėje yra labai didelė. Jis – visuomeninio meno forma, leidžianti bendrauti, kalbėti apie visuomenei ar individui svarbias temas. Neatsitiktinai teatras yra viena iš tų kultūrinių įstaigų, kurių veikla yra kontroliuojama totalitariniuose ar autoritariniuose režimuose (galima prisiminti SSRS pavyzdį). Sovietmečiu Lietuvos teatras sugebėjo išlikti, kaip priešprieša buvusiai tvarkai, bei puoselėti tautinę savimonę, pavyzdžiui, per istorinius pastatymus. Po 1990 m., pasikeitus politinei situacijai, teatras perėjo į ieškojimų , eksperimentinių spektaklių statymų stadiją. Tautinio identiteto samprata teatre... [toliau žr. visą tekstą] / Subject of the present Paper is expressions of national identity at theatre. The aim of the present Paper is to find out what type of nationality is reflected at plays of drama theatres. Analysis of various sources (repertoires of theatres, reviews of plays) has been selected as well some theatre people were interviewed and questionnaires for the society have been prepared in order to find out what part of the society’s life was taken by theatre. There are 13 state theatres operating in Lithuania, 8 of them are drama theatres. Such a number could be related to the established tradition in the cultural life in Lithuania. Analysis of 4 state drama theatres’ (National, Kaunas, Panevėžys J. Miltinis, and Šiauliai) repertoires has been selected for the research in order to find out what part of theatre repertoires is taken by national dramaturgy and what are the prevailing tendencies related to certain events in Lithuania or consequences thereof. The importance of theatre is very great in the society. Theatre is a form of public art enabling communication, speaking about the subjects that are relevant to the society or an individual. There is no coincidence that theatre is one of those cultural institutions where activities are under censorship in case of totalitarian or authoritarian regimes (we can remember the example of USSR). During the Soviet period the Lithuanian Theatre managed to remain as an opposite of the former order and to foster national consciousness, for instance... [to full text]

nÃo hà / Cenas em vestÃgios: rastros de memÃrias do teatro na escola à uma pesquisa desenvolvida na Escola Municipal de EducaÃÃo Infantil e Ensino Fundamental Deputado Josà Martins Rodrigues, onde se realizou uma investigaÃÃo cÃnica que problematiza a trÃade: memÃria, escola e teatro. Considerando primeiramente os conceitos de Nora (1993) sobre memÃria e como poderiam se aplicar dentro da construÃÃo de cena no ambiente escolar, esta pesquisa tambÃm dialoga com Salles (2013) e suas percepÃÃes acerca do processo de criaÃÃo. Investigando a preparaÃÃo, experimentaÃÃo, construÃÃo de cenas realizadas e estimuladas pelas memÃrias dos alunos na escola, resultou em um espetÃculo teatral denominado Rastro, que problematiza as questÃes referentes Ãs memÃrias individuais e coletivas dos alunos, percebendo que o ser humano investiga o passado, para compreender o presente e projetar o futuro, conhecendo quem fomos, influenciando quem somos e impulsionando quem seremos. O processo de criaÃÃo teatral atravÃs de memÃrias revela e evidencia potencialidades pedagÃgicas e criativas. Dessa maneira, aponta-se ainda a reverberaÃÃo e o impacto deste processo de criaÃÃo nos alunos e na escola. / Scenes Traces: Traces of Memories Theatre School is a research developed at EMEIEF MrJosà Martins Rodrigues which took place a scenic research that questions the triad of memory, school and theater. First considering the concepts of Nora (1993) on memory and how they could be applied in the construction scene in the school environment, this research also converses with Salles (2013) and their perceptions about the creation process. Investigating the preparation, experimentation, building scenes performed stimulated by memories of the students at school, resulted in a play called Rastro, which discusses the issues of individual and collective memories of students, realizing that man investigates the past, to understand the present and plan for the future, knowing who we were, who we are influencing and driving who will be. The process of theatrical creation through memories reveals and highlights educational and creative potential in this way is still pointed to the reverberation and the impact of this process of creating the students and school.

This study examines auto/biographical, theoretical, critical, literary, and dramatic works by and about LeRoi Jones/Amiri Baraka, primarily focusing on the eruption of “Hate Whitey” sentiment and rhetoric that characterized a decadelong cultural nationalist phase of the henceforth selfdeclaredly Black poet-playwright’s career. As a black militant, LeRoi Jones left his white wife and other white associates in Greenwich Village, moved to Harlem, changed his name to Amiri Baraka, converted to Islam, and started the Black Arts Repertory Theatre/School. This thesis contends that Baraka’s Black Arts Movement era plays emphasize negation of the value of white women and gay men, who had formed his most intimate prior cohorts, and use extreme imagery to malign, belittle, and abjure representatives of both groups as evil, ridiculous, and disgusting archetypes in an attempt to affirm the political stance of the author and preempt doubt about his level of commitment to his chosen cause during that period. Through these plays written from the mid-1960s to mid-1970s, Baraka denies his own personal history and appears to protest too much the virtues of corrective Afrocentric relationships which his works fail to affirm as much as he condemns their alternatives. However, after the purgative effect of these revolutionary works, Baraka’s evolution arrived at a place where he could once again acknowledge and promote a diverse equality that included respect for the partners and peers he had abnegated. Conclusions of this research suggest connections between the personal implications of Baraka’s individual journey and prominent themes stressed in the broader field of identity politics.

Seneca's Tragedies and their Reception in the Jesuit School Theatre of the Bohemian Province in the 17th and 18th Centuries (1623-1773) Eva Popelková Abstract The study of the reception of Seneca's tragedies in the Jesuit School theatre in the Bohemian province is focused on three aspects: the description of the mechanism and the expression of passions; the pedagogical issue linked to the figure of a tyrant, with an emphasis on female characters; and the image of pagan gods. The research is based on a comparison of Senecan tragedies and school plays from the Society of Jesus. The corpus consists of three parts: the printed plays of Carolus Kolczawa; the plays of Arnoldus Engel, both staged and intended for publication; and the plays devoted to John of Nepomuk, the emblematic saint of the Czech baroque period, which were not to be published. The analyses are preceded by an overview of the Senecan reception in the Early Modern Europe, the presentation of the Jesuit context and the studied corpus. Keywords Seneca, reception, Jesuit theatre, School theatre, Neo-Latin literature, Bohemian province, 17th century, 18th century