Elements of Political Theatre in Selected Plays of Dušan Jovanović and Goran Stefanovski

Diplomsko delo poskuša poiskati elemente političnega gledališča v štirih izbranih dramah in ugotoviti, če lahko drame uvrstimo v politično gledališče. Vse štiri drame so nastale v časovnem razponu slabih dvajsetih let (1979–1996) in se tako ali drugače navezujejo na stanje v (novi) Jugoslaviji. Obravnava se začne s krajšim zgodovinskim pregledom, ki izpostavi najvažnejše politične dogodke iz časa nastanka dram v Jugoslaviji (od pribl. 1980 do 1995). Sledi opredelitev pojma politično gledališče, ki se naslanja na razlago in ugotovitve Siegfrieda Melchingerja, nemškega gledališkega kritika. Melchinger postavlja določene kriterije za to, kaj loči politično gledališče od nepolitičnega, to pa pojasnjuje z elementi, kot so kritištvo, javne zadeve, želja po širjenju političnih idej, demaskiranje ipd. Drama Karamazovi Dušana Jovanovića, skuša opozoriti na posledice, ki jih lahko povzročita nepravičnost in krutost sistema, drama Jasnovidka ali dan mrtvih pa ironično posega v sfero politične elite. Obe drami podajata ostro kritiko jugoslovanskemu političnemu režimu. Na podoben način je kritiko sistema najti tudi pri makedonskem dramatiku Goranu Stefanovskem. V drami Hi-Fi sta upodobljena medgeneracijski razkol in nekompatibilnost vrednot političnega vodstva in družbe. Bakanalije pa se osredotočajo na nesmisel vojn v jugoslovanskem prostoru. V zadnjem poglavju primerjava političnih elementov (kritika, demaskiranje, kodiranje, humor itd.) pokaže jasno povezavo med izbranimi dramami in političnim gledališčem.Undergraduate thesis attempts to find political elements in four selected dramas and tries to determine if the dramas could be considered political theatre. All four dramas were created in a period of nearly twenty years (1979–1996) and in one way or another relate to the situation in (new) Yugoslavia. The discussion begins with a brief historical overview, highlighting the most important political events in the period when plays were produced in Yugoslavia (from about 1980 to 1995), followed by a definition of the concept of political theatre, based on the interpretation and observations of Siegfried Melchinger, a German theatre critic. Melchinger sets out certain criteria for what distinguishes political theatre from non-political theatre, explaining it in terms of elements such as criticism, public affairs, the desire to disseminate political ideas, unmasking, etc. Dušan Jovanović\u27s play Karamazovi seeks to draw attention to the consequences that the injustice and cruelty of the system can cause, while the play Clairvoyant or the Day of the Dead, ironically intervenes in the sphere of the political elite. Both plays are harsh critiques of the Yugoslav political regime. In a similar way, the Macedonian playwright Goran Stefanovski also criticises the system. The play Hi-Fi depicts an intergenerational rift and the incompatibility of values between the political leadership and society. Bacchanalia, on the other hand, focuses on the absurdity of wars in the Yugoslav space. In the last chapter, a comparison of political elements (criticism, unmasking, coding, humour, etc.) shows a clear link between the selected plays and political theatre