The Adaptation of Novel Dark Mother Earth (Črna mati zemla)

Komparativnom analizom propitivali smo odnos literarnog teksta i teksta adaptacije, odnosno načine transformacije romanesknog u dramski diskurz. Pritom smo na umu imali polazišnu tezu da su i roman i predstava narativni oblici te oba imaju mogućnost prenošenja, posredovanja priče, ali na drugačiji način s obzirom na različite medijske specifičnosti. Priča ili narativ tako se pokazala kao ona „izvanmedijska“ struktura, koja se prenosi u druge žanrove. Adaptacija iz literarnih u kazališne znakove događa se putem dramatizacije, koja uključuje jezične znakove (prenošenje pripovjednih dijelova u verbalne znakove, tj. govor likova, dijalogizacija onih dijelova koje u narativnom tekstu posreduje pripovjedač), glumce i pripadajuće kinezičke znakove (mimički, gestički, proksemički znakovi), (ra)stvaranje fikcionalnog svijeta znakovima prostora (scenografija, rekviziti, kostim). Iako se adaptaciju često kritizira kao manje vrijednu, kao „izdaju originala“, tekst adaptacije uvijek treba promatrati kao novi tekst, s vlastitim integritetom. U takvu obliku prijevoda mogući su i određeni gubici, koji se najviše odnose na prostorno-vremenske ograničenosti unutar kazališta i kraćenja fabule. Na sve to gledatelj mora pristati kazališne konvencije i percepcije radi, dok je u dijegezi čitateljeva imaginacija daleko slobodnija.This paper explores the relationship between literary texts and adaptation texts through a comparative analysis. More specifically, it studies how the novel can be transformed into a dramatic discourse. This paper is based on the postulate that both the novel and stage performance are narrative forms, and that they both convey a story – but in a different way, according to their differing media specificities. The basis for both, the „story“ (narrative), stands as an 'off-media' or 'transmedia' structure which can be translated across genres. The paper explores how the adaptation from literary to theatrical signs occurs. It looks at how it occurs through a dramatization involving linguistic signs (i.e. through the transfer of narrative parts into verbal signs: the speech of characters and turning the parts the narrator mediates in a narrative text into a dialogue), through actors and associated kinesic signs (mimic, gestural, and proxemic), and through the (re)creation of a fictional world with spatial signals (set design, props, and costumes). This paper also argues that, although adaptations are often criticized as less valuable and secondary, a certain „betrayal of the original“, adaptation texts should always be considered as an autonomous work and a new text with its own integrity. In this form of media-text translation, certain elements can be changed and lost. This is mostly associated with fabula reducing and space-time constraints within the theater. While the audience must conform to the theatrical conventions and perceptions, the reader's imagination is much more independent