Theatrical readings and screen adaptations of the play Gospoda Glembajevi

U diplomskom radu govori se o drami Gospoda Glembajevi Miroslava Krleže koja uz drame U agoniji i Leda zaokružuje psihološki ciklus autorova dramskog stvaralaštva. Rad obuhvaća portret umjetnika; njegovo porijeklo, odnos prema tradiciji i suvremenim strujanjima u umjetnosti početkom dvadesetog stoljeća što je rezultiralo Glembajevskim ciklusom i drugim maestralnim djelima te se objašnjava struktura Glembajevskog ciklusa, posebice drame Gospoda Glembajevi. Gospoda Glembajevi jedna je od najizvođenijih Krležinih drama već devedeset godina, ali s različitim scenskim čitanjima koja su u radu grupirana prema zajedničkim značajkama. Osim kazališnih predstava, u radu se govori i o filmskim adaptacijama dramskog teksta kao i o baletnoj produkciji. Različita čitanja, prema zaključku, objašnjavaju se teorijom estetike recepcije. Rad dokazuje da brojne obrade drame Gospoda Glembajevi u različitim umjetničkim ostvarajima tijekom dugog vremenskog perioda potvrđuju njezinu svevremensku aktualnost, ostavljajući prostor za nove inačice viđenja te misteriozne skupine agramerskih likova.The diploma thesis deals with the play Gospoda Glembajevi (The Glembays), written by Miroslav Krleža, which, together with the plays U agoniji (In agony) and Leda, completes the psychological cycle of the author's dramatic work. This paper includes a portrait of the artist; its origins, its relationship to tradition and contemporary art trends in the early twentieth century that resulted in the Glembay cycle and other masterpieces. It also explains the structure of the Glembay cycle, especially of the play Gospoda Glembajevi (The Glembays). Gospoda Glembajevi (The Glembays) has been one of the most performed Krleža`s plays for ninety years, but with different stage readings that are grouped in this paper according to its common features. Different readings, according to conclusion, are explained by the theory of the aesthetics of reception. In addition to theatrical performances, the paper also discusses film adaptations of the dramatic text, as well as ballet productions. In this paper is also proved that numerous adaptations of the play in various works of art over a long period of time confirm its timeless relevance, leaving room for new versions of the vision of this mysterious group of agrarian characters