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Naslov:IVAN POTRČ V LJUBLJANSKI DRAMI: MED ROKOPISOM, NATISOM IN UPRIZORITVIJO
Avtorji:Bizjak, Anita (Avtor)
Perenič, Urška (Mentor) Več o mentorju... Novo okno
Datoteke:.pdf UNI_Bizjak_Anita_2011.pdf (1,62 MB)
 
Jezik:Slovenski jezik
Vrsta gradiva:Diplomsko delo (m5)
Organizacija:FF - Filozofska fakulteta
Opis:Povzetek V diplomski nalogi sem obravnavala štiri Potrčeve drame (Lacko in Krefli, Krefli, Kreflova kmetija, Na hudi dan si zmerom sam), in sicer so me zanimale spremembe na relaciji med tipkopisom (rokopisom) za uprizoritev in knjižno izdajo; tj. geneza literarnega dela med dvema medijema, gledališčem in knjigo. Spremembe sem spremljala na treh glavnih ravneh, in sicer stilistični, vsebinsko-stilistični in vsebinski. Zanimalo me je tudi, kdo vse v literarnem procesu posega v besedilo na relaciji med uprizoritvijo in knjižno izdajo. V drami Lacko in Krefli prevladujejo stilistične spremembe. Nekatere so vnesene že v tipkopis in so upoštevane v knjižni izdaji, medtem ko se jih večina pojavi šele v knjigi, kar kaže, da gre za avtorjeve (ev. lektorjeve) posege. Tako so skoraj vse spremembe avtorjevi posegi z izjemo dveh primerov, ki sta s strani dramskega osebja. Drama Krefli ima, kvantitativno gledano, največ sprememb izmed vseh obravnavanih dram. V njej prevladujejo vsebinske spremembe, ki jim sledijo stilistične spremembe. V knjigi je odnos med bajtarjem in gruntarjem bolj zaostren (bajtar gruntarju nasprotuje, zagovarja pravice revežev). V knjigi je gruntar prikazan v nekoliko boljši luči (to se kaže npr. v bolj skopih opisih njegove zapitosti). Predpostavljam, da je to posledica spremenjenega pogleda na gruntarja. Prav tako je knjižna izdaja v primerjavi s tipkopisom razširjena v zaključku drame. V tipkopis je sicer vložen še del besedila (vložek), ki je nato upoštevan v knjigi. V Kreflovi kmetiji so spet glavne stilistične spremembe, ki so po mojih predvidevanjih spet večinoma avtorjeve z izjemo štirih primerov, kjer so spremembe vnesene v tipkopis, vendar v knjigi niso upoštevane. Posegi dramskega osebja prevladujejo pri vsebinskih spremembah, in sicer, kjer gre v celoti za črtanje dialogov in didaskalij. Te spremembe so namenjene uprizoritvi in v knjigi niso upoštevane. V drami Na hudi dan si zmerom sam sprememb skorajda ni, a vseeno prevladujejo stilistične in spet kažejo na avtorja. Gledano v celoti, v dramah prevladujejo stilistične spremembe, kar kaže na težnjo po stilističnem izboljševanju besedila. Ena bolj zanimivih ugotovitev je, da je tudi v tipkopis verjetno res največ posegal avtor, kar je nekoliko presenetljivo glede na začetna pričakovanja.
Ključne besede:Ključne besede: Ivan Potrč, Lacko in Krefli, Krefli, Kreflova kmetija, Na hudi dan si zmerom sam, tipkopis (rokopis) za odrsko uprizoritev, knjižna izdaja.
Leto izida:2011
Založnik:[A. Bizjak]
Izvor:Maribor
UDK:821.163.6(043.2)
COBISS_ID:18740488 Povezava se odpre v novem oknu
NUK URN:URN:SI:UM:DK:TJ1E8J35
Število ogledov:1370
Število prenosov:121
Metapodatki:XML RDF-CHPDL DC-XML DC-RDF
Področja:FF
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Sekundarni jezik

Jezik:Angleški jezik
Naslov:IVAN POTRČ IN THE SLOVENIAN NATIONAL THEATRE IN LJUBLJANA: BETWEEN MANUSCRIPT, PRINT AND STAGING
Opis:Abstract My diploma thesis discusses four Ivan Potrč's plays (Lacko in Krefli, Krefli, Kreflova kmetija, Na hudi dan si zmerom sam). In particular, I was interested in the changes in the relation between the typescript (manuscript) for a stage performance and a book; i.e. the genesis of a literary work between two media, the theatre and the book. The changes have been analysed on three main levels, i.e. on stylistic, content-stylistic, and content-related levels. I was also interested in finding out who in the literary process interferes in the text in terms of the relation between a stage performance and a book. In the play Lacko in Krefli (Lacko and the Krefels) stylistic changes prevail. Some changes were already applied to the typescript and included in the book, but the majority of changes appear only in the book, which indicates that they were made by the author (or possibly, a proof-reader). Hence, nearly all changes are author’s interventions with the exception of one, which was applied by the theatre staff. From the quantitative point of view, the play Krefli (The Krefels) has more changes than the other three discussed plays. The majority of changes refer to the content, followed by changes in style. In the book the relationship between the cottager and the major landowner is more strained (the cottager is contradicting the landowner, and speaks in favour of the rights of poor men). In the book the cottager is shown in a somewhat better light (this is indicated, for example, by more meagre descriptions of his drunkenness). I suppose this is the result of the altered view of the cottager. Further, the published book, in comparison to the typescript, includes an extended part of the conclusion of the play. The typescript, however, contains a part of the text (insert), which was afterwards included in the book. Stylistic changes also prevail in the play Kreflova kmetija (The Krefel’s Farm), which were by my observations, to a large extent, applied by the author, with the exception of four examples, where the changes inserted into the typescript have not been included in the book. The changes applied by the theatre staff prevail in terms of content, and namely in parts, where dialogues and stage directions are fully crossed out. These changes are intended for the stage performance and have not been included in the book. In the play Na hudi dan si zmerom sam there are almost no changes, however, the majority of changes are stylistic, and, again, suggest the author. As a whole, stylistic changes prevail in all four plays and this suggests the tendency towards improving the text in terms of style. Another interesting discovery is that the changes in the typescript itself can perhaps predominantly be traced back to the author, which is somewhat surprising with regard to my initial expectations.
Ključne besede:Ivan Potrč, Lacko in Krefli, Krefli, Kreflova kmetija, Na hudi dan si zmerom sam, typescript (manuscript) for a stage performance, book publication


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