Dramatizacija sodobnega slovenskega romana

Dramatizacija pomeni prenos literarnega ali neliterarnega nedramskega besedila (predvsem romana) v dramsko obliko, po kateri bo nastala uprizoritev. Termin vsebuje kategorijo dramskega, vendar se ta že od 19. stoletja, ko začnejo v gledališčih pogosteje uprizarjati izvorno nedramska besedila in dramatizacijo teoretično opredelijo (É. Zola), spaja in prepleta z značilnostmi epskega. Tako dramatizacija pripovednih besedil ne kaže le razmerij med pripovedništvom in dramatiko ter literaturo in gledališčem, ampak je skozi zgodovino pripomogla k njihovemu spreminjanju. Ker poteka prenos med zvrstema in nato med medijema različno ter izkazuje različno stopnjo povezanosti izhodiščnega besedila z novonastalim gledališkim tekstom, se namesto dramatizacije uporabljajo tudi pojmi, kot so priredba, adaptacija in ugledališčenje. Namen doktorske disertacije je predstaviti različne pristope k temu v slovenski gledališki in literarni vedi skorajda neraziskanemu področju, predlagati enotnejšo terminologijo ter na osnovi preučevanja manjšega segmenta dramatizacij (dramatizacije sodobnega slovenskega romana) priti do širših uvidov v razmerje med pripovedništvom, gledališkim tekstom in uprizoritvijo. Disertacija je zasnovana tridelno. V prvem delu predstavljam teoretična izhodišča za raziskovanje postopka, ki zajema tri člene: roman, dramatizacijo in uprizoritev. Razpravo začenjam z opredelitvijo dramatizacije, razmislekom o njenem položaju v novejših praksah pisanja in uprizarjanja ter jo nadaljujem s primerjalnim navajanjem pripovednih in dramskih prvin. Ob tem izpostavljam ustreznost vprašanja zvestobe novonastalega dramskega besedila v odnosu do epskega izhodišča in s tem povezan status dramatizacije kot izvirnega dela. V zaključnem poglavju prvega dela disertacije pišem o dvojnem (literarnem in uprizoritvenem) značaju gledališkega teksta in različnih koncepcijah odnosa med literaturo in gledališčemta namreč ob besednem kodu uporablja še vrsto neverbalnih kodov. Že v prvem delu disertacije navajam za ponazoritev teoretičnih izhodišč primere s slovenskih in tujih gledaliških odrov, v drugem delu pa skušam na osnovi številnih primerov dramatizacij v slovenskih gledališčih od 17. stoletja dalje ugotoviti, kakšni so (zunajliterarni in znotrajliterarni) razlogi za njihov nastanek in kaj vpliva na dinamiko njihovega pojavljanja po posameznih obdobjih in gledališčih. Kronološki pregled dramatizacij na slovenskih gledaliških odrih razvrščam v tri obdobja. Prvo obdobje 308 308 308 zamejujem s koncem druge svetovne vojnezanj so značilni velik delež dramatizacij med preostalo dramsko produkcijo, prevladujoči narodnoprebudni, didaktični in komercialni razlogi za izbor pripovednih besedil ter tip dramatizacij, ki ne upošteva specifik drugega medija. V drugem obdobju (1945%1980) se je število dramatizacij zmanjšalo, pojavili so se drugačni pristopi v uporabi nedramskega gradiva, ki so se začeli v eksperimentalnih gledališčih in so pripomogli k reteatralizaciji slovenskega gledališča. Tako kot se spremenijo razlogi za uprizarjanje epike in lirike, se spremni tudi izbor besedilmed njimi je manj kanonske literature. Tretje obdobje (1980-2010) zaznamujejo soobstoj različnih literarnih in gledaliških poetik, drugačno pojmovanje gledališkega teksta in njegovega dialoga z romanesknim besedilom ter neenaka razporeditev dramatizacij po posameznih gledališčih in gledaliških sezonah. Drugi del disertacije, ki sem ga zasnovala po predhodno opravljenem popisu uprizoritev, nastalih po izvorno nedramskem gradivu, vpeljuje tretji del disertacije, v katerem raziskovalno področje zožim na dramatizacijo sodobnega slovenskega romana. V tretjem delu razprave se ukvarjam z dvanajstimi sodobnimi slovenskimi romani, ki so izšli med letoma 1958 in 2010 ter bili dramatizirani in uprizorjeni v obdobju 1971-2010: Spopad s pomladjo (1958), Boris PahorNekropola (1967), Boris PahorMrgolenje prahu (1968), Evald FlisarDon Juan na psu ali zdrav duh v zdravem telesu (1969), Dušan JovanovićResničnost (1972), Lojze KovačičLevitan (1982), Vitomil ZupanSeverni sij (1984), Drago JančarFilio ni doma (1990), Berta BojetuBalerina, Balerina (1997), Marko SosičKatarina, pav in jezuit (2000), Drago JančarFužinski bluz (2001), Andrej E. Skubic in Čefurji raus! (2008), Goran Vojnović. V romanih opazujem pripovedne, dramske in performativne prvine ter preučujem, kaj se je z njimi zgodilo med prenosom v drugo literarno zvrst in nato v uprizoritev. Dramatizacijske in režiserske strategije vrednotim na osnovi izvirnosti in nadgradnje izhodiščnega besedila (sodobnega slovenskega romana) na območju druge literarne zvrsti oziroma drugega medija. Na osnovi interdisciplinarnega raziskovanja navedenih primerov, v katerih upoštevam tako literarni kot uprizoritveni kriterij, dramatizacije razvrščam v tri skupine: dramatizacije - ilustracije, dramatizacije z izrazitejšim avtorskim pristopom in avtonomni gledališki teksti po sodobnih slovenskih romanih. Tipološka razvrstitev nima ostrih meja ravno zaradi prepleta obeh kriterijev in dopušča prehajanje iz enega tipa v drugega. Sodobni slovenski roman se je po letu 1990, ko je prešel v fazo najnovejšega romana - modificiranega tradicionalnega romana - pokazal kot vrsta izhodiščnega besedila, ki ni 309 309 309 porodila izrazito izvirnih literarnih in gledaliških pisav, kar je povezano tako z znotrajliterarnimi kot zunajliterarnimi razlogi. Več inovativnosti je opaziti v gledaliških priredbah, ki so nastale po sodobnem slovenskem romanu z elementi modernizma. Kljub tovrstnim primerom lahko povzamem, da sodobni slovenski roman ohranja na gledališkem odru svojo integriteto in tako le poredko preseže paradigmo tekstocentrizma.Dramatization is a transformation of a literary or non-literary text (predominantly a novel) into a dramatic form, based on which a performance will come to life. The term includes the category of drama which is a fusion and combination of epic and dramatic, and it has been so since the 19th century, when the originally non-dramatic texts were more frequently staged and the term dramatization was theoretically defined (É. Zola). Hence the dramatization of prosaic texts does not only show the relationship between prose and drama and literature versus theatre, but has throughout the history also contributed to their modification. As the transformation between the two literary forms and consequently between the two media demonstrates a different level of connectedness, the terms modification, adaptation and "theatralization" are also used. The aim of this doctoral thesis is to present different approaches to this almost unresearched topic in the Slovenian theatre and literary science, to propose a uniform terminology and so, resulting from studying a restricted number of dramatizations (of the contemporary Slovenian novels), reach some broader insights into the relationship among prose, theatre texts and their staging. The thesis consists of three parts. In the first part I present the theoretical bases to research the method that involves three elements: a novel, a dramatization and the staging. I begin my treatise with the definition of dramatization, followed by the consideration of its status in recent writing practices and stagings, and continue with a comparative listing of prosaic and dramatic elements. By doing that I also point out the appropriateness of questioning the faithfulness of a new-sprung text in comparison with its epic origin and, connected with this, the status of dramatization as an original work of art. In the final chapter of the first part of my thesis I deal with a double (literary and theatrical) character of a dramatic text and with different conceptions of the correlation between literature and theatre, which besides the verbal ones also uses a number of non-verbal ones. Already in the first part of the thesis examples of Slovenian and foreign theatres are used to illustrate the theoretical bases. In the second part, however, I try, on the basis of a number of examples of dramatizations on Slovenian stages from 17th century on, to find out what the (literary and extraliterary) reasons for their coming into existence were, and what influenced the dynamics of their appearances in certain eras and theatres. The chronological order of dramatizations is divided into three periods of time. The first period 311 311 311 is set into the time before the end of the Second World Warfor this period it is typical that a large number of dramatizations appears among the rest of dramatic production, with predominantly patriotic, didactic and commercial reasons for the choice of prosaic works and the type of dramatizations that did not pay regard to the specifics of the other medium. In the second period (1945-1980) the number of dramatizations decreased, and different approaches to the use of non-dramatic materials appeared. They were initiated in experimental theatres and helped with the so called "retheatralization" of the Slovenian theatre. With the changing reasons for the choice of lyrical and epic productions, the choice of prosaic texts for stagings also altered - there was much less canonical literature. The third period (1980-2010) is marked by the coexistence of diverse literary and theatre poetics, by a different comprehension of a dramatic text and its dialogue with a prosaic text, and, finally, by the inconsistent scheme of dramatizations in singular theatrical seasons. The second part of the thesis, which is based on the previously listed number of stagings being performed on the basis of non-dramatic materials, already introduces the third part of the thesis, in which the research is focused on the dramatization of the contemporary Slovenian novel. In the third part of the thesis I deal with twelve contemporary Slovenian novels, which were published between the years 1958 and 2010 and were dramatized and staged in the period between 1971-2010: Spopad s pomladjo (1958), Boris PahorNekropola (1967), Boris Pahor - Pilgrim Among the Shadows (1995) translated by Michael BigginsMrgolenje prahu (1968), Evald FlisarDon Juan na psu ali zdrav duh v zdravem telesu (1969), Dušan JovanovićResničnost (1972), Lojze KovačičLevitan (1982), Vitomil ZupanSeverni sij (1984), Drago JančarFilio ni doma (1990), Berta BojetuBalerina, Balerina (1997), Marko SosičKatarina, pav in jezuit (2000), Drago JančarFužinski bluz (2001), Andrej E. Skubic in Čefurji raus! (2008), Goran Vojnović. In these novels I observe prosaic, dramatic and performative elements and study what happened to them during the transformation into the other literary form and consequently into a performance. Dramatization and directing strategies are evaluated on the basis of originality and the upgrading of the original text (the contemporary Slovenian novel) in the field of the other literary form or medium. Based on the interdisciplinary research of the listed examples, in which the literary and the performative criteria are respected, I arrange the dramatizations into three groups: dramatizations - illustrations, dramatizations with a distinctive authorial approach, and autonomic theatre texts based on the contemporary Slovenian novels. There 312 312 312 is no distinctive border in the typology due to the mingling of both criteria allowing the transition of one type into the other. The contemporary Slovenian novel after 1990, when it reached the phase of the most recent novel - a modified traditional novel, turned out to be a kind of original text that did not evoke especially innovative literary or theatrical writings, which is related to literary and extraliterary reasons. More innovation may be noticed in theatrical adaptations based on the contemporary Slovenian novel with the elements of modernism. Despite this sort of examples, however, it can be concluded that the contemporary Slovenian novel keep