Izvorni znanstveni članak
Crossing the Lines: The Player’s Memory in Goran Marković’s Film The Tour (2008) And Tahir Mujičić’s Novel Be Hamlet, Pan Hamlet (2012)
Lada Čale Feldman
; Filozofski fakultet Sveučilišta u Zagrebu
Sažetak
Conceived as in memoriam of the Croatian actress Mira Furlan, the essay proposes to discuss the dramaturgical role of theatre actor’s memory in two artworks whose plots take place during the recent war in the former Yugoslavia: Goran Marković's film The Tour (2008) featuring, among others, Mira Furlan, and Tahir Mujičić's novel Be Hamlet, Pan Hamlet (2012), obliquely alluding to Jiři Menzel’s staging of Shakespeare’s Hamlet in Dubrovnik in which Mira Furlan played Ophelia. Comparing the way in which both Marković and Mujičić integrate references to former Yugoslav theatre landscape into their renderings of the senselessness of history and violence is all the more intriguing if we have in mind that neither the film nor the novel figure prominently in the rather substantial body of research dealing with issues of war-trauma in post-Yugoslav cultural production. Eschewing the standard ethical and political explanatory frameworks, Marković’s and Mujičić’s actors-as-characters cross all imaginable lines, from those of possible worlds they interpret to those dividing communities in clash, only to be forced to assume the position of unwilling spectators in a world gone mad, deaf and blind to their pressing performances.
Ključne riječi
theatre; film; novel; post-Yugoslav culture; acting; memory
Hrčak ID:
287996
URI
Datum izdavanja:
21.12.2022.
Posjeta: 842 *