Hvar City Theatre Days, Vol. 45 No. 1, 2019.
Original scientific paper
INNOCENCE OF THE COUNTRY IN THE SELECTED PLAYS OF IVAN VIDIĆ AND LADA KAŠTELAN
Dubravka Crnojević-Carić
Abstract
The paper focuses on the correlation between the phenomenon of the country and ‘self’, interpreted in different ways in the selected plays of Lada Kaštelan and Ivan Vidić, relying upon theoreticians and philosophers who deal with »habitat« (G. Bachelard), as well as with »home«, relationship between a personal and social system (N. Luhmann) and with the impression of »ours« and »foreign« (U. Bielefeld), »other« and different (D. Caroll). In this respect arise the issues of ideal as defense from existential fear, and correlation of events and fiction (thanks to the idea of a »foreign« it becomes clear how the »reality« and fiction do not create opposition). Vidić and Kaštelan open the same subjects, approaching them in almost opposite ways. If we accept the thesis that a subject is split within himself, and therefore permanently aims at the »original«, »innocent state of the soul» it is possible to notice how, in Kaštelan’s plays we can identify a dominant process of subjectivization (attempt to persuade the co-speaker to exteriorize his carefully hidden »self«, and in Vidić’s works the process of objectivization (M. Bahtin). Objectivization is a monological position, thanks to which one tries to reduce his co-speaker to a pre-set structure of generally valid fact. Vidić writes precisely about the processes of objectivization. Through objectivization we try to speak of him or her, rather than with him, we try to see our co-speaker as an object of a future manipulation. However, paradoxically enough, this way Vidić-the writer acts with the aim to open up that carefully hidden »self« in his viewer, the Shadow, the »foreigner« within himself.
Keywords
Homeland; habitat; fiction; subjectivization process; objectivization process; dialogism; occupation of the unconscious
Hrčak ID:
220457
URI
Publication date:
30.4.2019.
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