APA 6th Edition Batušić, N. (2010). Kamo je pobjegao Leone?. Dani Hvarskoga kazališta, 36 (1), 192-203. Preuzeto s https://hrcak.srce.hr/72789
MLA 8th Edition Batušić, Nikola. "Kamo je pobjegao Leone?." Dani Hvarskoga kazališta, vol. 36, br. 1, 2010, str. 192-203. https://hrcak.srce.hr/72789. Citirano 20.06.2021.
Chicago 17th Edition Batušić, Nikola. "Kamo je pobjegao Leone?." Dani Hvarskoga kazališta 36, br. 1 (2010): 192-203. https://hrcak.srce.hr/72789
Harvard Batušić, N. (2010). 'Kamo je pobjegao Leone?', Dani Hvarskoga kazališta, 36(1), str. 192-203. Preuzeto s: https://hrcak.srce.hr/72789 (Datum pristupa: 20.06.2021.)
Vancouver Batušić N. Kamo je pobjegao Leone?. Dani Hvarskoga kazališta [Internet]. 2010 [pristupljeno 20.06.2021.];36(1):192-203. Dostupno na: https://hrcak.srce.hr/72789
IEEE N. Batušić, "Kamo je pobjegao Leone?", Dani Hvarskoga kazališta, vol.36, br. 1, str. 192-203, 2010. [Online]. Dostupno na: https://hrcak.srce.hr/72789. [Citirano: 20.06.2021.]
Sažetak This article analyses the subject of escape on the example of Leone Glembay from Krleža’s play The Glembays. After several remarks about the son’s return home and the meaning that that motive had in European dramatic literature, the author tries to reconstruct Leone’s life outside the family life, the Glembays and their circle, and he tries to explain the reasons of the son’s life choice to be the painter, and at the same time as the possibility to escape from himself. Based on a few lines from the text, the author tries to illuminate stylistic characteristics of Leone’s painting and his possible painting role models (Art Nouveau, Grosz’s caricature, post – impressionism, expressionism, especially Munch), but even more, he tries to illuminate the meaning which the painting had in shaping his dramatic character in dramatic agon: for Leone, the art represents the possibility of existence, and it means to take the clear attitude. In that way, the character of Leone is determined and bound by laws of an artistic discipline; he is dramaturgically consistent and firmly based on the action level in the play. However, the return to his home, into the atmosphere in which Glembay laws are applied, the painting as a refuge and fugue for it becomes more and more insecure and fluid. By returning to the Glembays, Leone loses his support in art, he loses painting as resort and refuge, and becomes the very same from which he was escaping for a long time; he becomes a Glembay who, instead of paint – brush and palette takes scissors.