Review article
https://doi.org/10.21857/mjrl3ug569
The Unique Difference of Bourek’s Creations
Zdenka Đerđ
; Lutkarsko kazalište „Za bregom”, Zagreb, Hrvatska
Abstract
Throughout his artistic activity, from the earliest days, Bourek linked in his specific manner logical combinatorial skill and the aesthetics of ugliness, with grotesque as its principal determinant. As a means of contrast, the form of grotesque is the richest source of art, as it creates the horrible and the monstrous on the one hand, and the comic and the farcical on the other. Regardless of the expression he chose – painting, drawing, sculpture, design, stage or costume design for theatre and film – the author always remained loyal both to the character and to the necromantic and juggling possibilities of the chosen expression. In 1977, by joining all this, Bourek created his unique theatre of freaks, in his directions, and in the performances he authored or co-authored. In the latter creations, the protagonists were modernised character-figures of the once lively Osijek cabaret and market-place stage from the first half of the 20th century, such as Vesela Mica (Merry Mica), Pop (The Blackcoat), Žandar (The Gendarme), The King, Janoš Paprika (Pepper Janos), Vrag (The Devil), Jesus, and The Death. The Death as the figure character is one of the protagonists in classic commedist repertoire staging. Bourek created a unique poetics / aesthetics of the theatre of freaks in 1981 by directing Tom Stoppard’s Hamlet at the ITD Theatre in Zagreb. Bourek’s syncretism of the puppet theatre was furthermore reflected in the puppetry workshop entitled Od jedan do nule (From One to Zero), which in 2003, he realised with theatrical amateurs – educational workers.
Keywords
character-figure; grotesque; aesthetics of ugliness; theatre of freaks; Z. Bourek.
Hrčak ID:
284544
URI
Publication date:
7.10.2022.
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