APA 6th Edition Brkljačić, M. (2018). Drama kao balet: Gospoda Glembajevi Lea Mujića
. Književna smotra, 50 (190(4)), 73-86. Retrieved from https://hrcak.srce.hr/213398
MLA 8th Edition Brkljačić, Marta. "Drama kao balet: Gospoda Glembajevi Lea Mujića
." Književna smotra, vol. 50, no. 190(4), 2018, pp. 73-86. https://hrcak.srce.hr/213398. Accessed 17 Jan. 2021.
Chicago 17th Edition Brkljačić, Marta. "Drama kao balet: Gospoda Glembajevi Lea Mujića
." Književna smotra 50, no. 190(4) (2018): 73-86. https://hrcak.srce.hr/213398
Harvard Brkljačić, M. (2018). 'Drama kao balet: Gospoda Glembajevi Lea Mujića
', Književna smotra, 50(190(4)), pp. 73-86. Available at: https://hrcak.srce.hr/213398 (Accessed 17 January 2021)
Vancouver Brkljačić M. Drama kao balet: Gospoda Glembajevi Lea Mujića
. Književna smotra [Internet]. 2018 [cited 2021 January 17];50(190(4)):73-86. Available from: https://hrcak.srce.hr/213398
IEEE M. Brkljačić, "Drama kao balet: Gospoda Glembajevi Lea Mujića
", Književna smotra, vol.50, no. 190(4), pp. 73-86, 2018. [Online]. Available: https://hrcak.srce.hr/213398. [Accessed: 17 January 2021]
Abstracts The article is concerned with the problem of adaptation, i.e. of translating an original from one art form to another drawing on a specific example of the transposition of the dramatic-fictional original (drama The Glembays and fictional fragments On the Glembays) into a ballet performance. Transposition of the original from one art form to another constitutes adaptation. The notion of adaptation (Linda Hutcheon, A Theory of Adaptation, 2013) comprises a newly fashioned work (which is both unique and replicated) and the process of its creation (acts of authorial interpretation and creation). In a comparative analysis of the ballet performance of Krleža's play The Glembays by the choreographer and director Leo Mujić, a question is posed of the semantic equivalence of the original and its adaptation in the context of the semiotics of theater and the theory of drama with an emphasis on visual and non-verbal aspects of performance as key elements in the communication between a specific adapted text and its audience, as well as key elements which make up its adaptation. Ballet The Glembays foregrounds a totality of theatrical performance and dance as a distinctive art while it highlights the visual and scenic materiality of Krleža's textual originals, in particular the drama The Glembays, which carries a virtual theatrical performance (theatrical sign) and foregrounds its theatricality, enabling a theatrical adaptation which even obviates the spoken word.