The Politics of Women's Masquerade in Krleža's, Begović's and Marinković's Selected Works

Prema Lacanu, spol je način pozicioniranja spram manjka Simboličkog poretka – dok muškarac tek vjeruje u privid cjelovitosti, ženskost se zasniva na glumi. Budući da, kako je to već ustvrdila Joan Riviere, nema razlike između prave ženskosti i maskerade, ženskost razotkriva ontološku negativnost utemeljujuću za svaki subjekt. Rad ističe političke implikacije što ih u hrvatskim modernističkim dramama otvara motiv ženske glume. Ženska glumačka izvedba analizira se u Krležinom dramsko-novelističkom ciklusu o Glembajevima (posebna pozornost pridaje se noveli Pod maskom), u Begovićevoj drami Pustolov pred vratima i u Marinkovićevu mirakulu Glorija. Krležini, Begovićevi i Marinkovićevi likovi glumica problematično se udvajaju ili uvišestručuju, čime, poput histeričarki, upućuju na nemogućnost pronalaska istine i izvorišta u poretku reprezentacije. Junakinje također svjedoče o inherentnoj odsutnosti bilo kakve biti ženskosti koja bi bila različita od maskerade same.According to Lacan, sex is a way of positioning oneself towards lack of the Symbolic Order – while a man just believes in the illusion of wholeness, femininity is, on the other hand, based on acting. Considering, as Joan Riviere stated, there is no difference between genuine femininity and masquerade, femininity discloses ontological negativity constitutive of any subject. This paper underlines political implications revealed by the motif of female acting in Croatian modernist plays. Female acting performances are analysed in Krleža's play and the collection of novella about the Glembays (with particular attention to the novella Pod maskom), in Begović's play Pustolov pred vratima and in Marinković's miracle play Glorija. Actresses in Krleža's, Begović's and Marinković's selected works problematically duplicate or multiply, and in that way, just like hysterics, they point to the impossibility of finding the truth and source in the order of representation. The heroines also testify to the inherent absence of any essence of femininity that would be different from the masquerade itself