Zeitschriftenartikel zum Thema „Princesses – Drama“

Season one of the acclaimed historical drama Downton Abbey was set in 1912, but a key element of the show’s storyline, known to all dedicated viewers, occurred years earlier, off screen, when a wealthy, young American heiress named Cora Levinson of Cincinnati married the British Robert Crawley, Viscount Downton, the future Earl of Grantham. As part of their marriage contract, Cora’s fortune would be tied to the Grantham family’s failing estate to prevent it from going bankrupt. In return, Cora would eventually earn the title of Countess of Grantham. While Downton Abbey’s Granthams are fictional, the idea of wealthy American heiresses marrying impoverished European noblemen is not. There were by some counts close to 500 of these marriages in the decades between the end of the Civil War and WWI, and several of the brides had ties to NJ. Who were these women? Can we know what motivated them? Did they find happiness? And how did their “loves lives” impact social norms, transatlantic relations, and the U.S. economy?

Korean dramas are increasingly in demand in Indonesia. Its themes related to gender and sexuality are now in great demand, because the issue of gender inequality is increasingly being voiced in South Korea and Indonesia. One of the most talked about dramas in Indonesia when broadcasted was Mr. Queen by TVN (South Korean cable TV channel) in 2020. The drama consists of twenty episodes and can be watched by global fans through video on demand platform Viu, on smartphone and pc. There is even a version that has been dubbed in Indonesian, showing that the drama is very popular within the Indonesian audience. Mr. Queen is a Saeguk (drama set in the Joseon era) and is a remake of the popular Chinese web drama Go Princess Go (2015), which is an adaptation of the novel of the same title. Mr. Queen–like Go Princess Go–can be categorized in the genre of fusion and gender bender, because it tells the story of a male chef named Jang Bong Hwan from the Modern era whose soul crosses space and time until he entered the body of the Queen in the Joseon period (Queen Cheorin), presenting a new depiction of the queen; instead of the traditional feminine queen, Queen Cheorin portrays a masculine woman. Mr. Queen overturns gender and its relation to gender discourse in South Korea. However, using Sara Mills' critical discourse analysis, it is evident that the gender representation in Mr. Queen is paradoxical; as if offering a gender discourse that breaks the dominant discourse, but in fact it still represents woman as passive subject who continues to be exploited.

Resumen. La autora Elfriede Jelinek –ganadora del Premio Nobel de Literatura en 2004– es una incansable creadora de personajes estereotipados. Mediante el empleo de la ironía, Jelinek utiliza a los protagonistas de sus obras para reflexionar de manera crítica sobre el conjunto de acciones y comportamientos sociales que forman parte de las expectativas de lo que el género femenino y masculino deben representar dentro de una sociedad. Un año antes de la mención del Nobel, Jelinek publicaba un conjunto de textos dramáticos reunidos bajo el título La muerte y la doncella I-V. Dramas de princesas (Der Tod und das Mädchen I-V. Prinzessinendramen, 2003). En esta obra, la escritora austríaca reescribía dos de los cuentos de princesas –Blancanieves y La Bella Durmiente– y una leyenda –Rosamunda–, que forman parte de la tradición literaria occidental, para reinventar después la historia de otras mujeres reales del panorama histórico y cultural como son Jacqueline Kennedy Onassis y las escritoras Sylvia Plath e Ingeborg Bachmann. El objetivo del presente estudio es atender al problema que supone en estos Dramas de princesas la existencia de unos cánones de belleza cuando se pretende construir la imagen y la identidad de unas mujeres que han quedado sometidas a la supremacía de poder que la sociedad otorga al varón. Para ello, y siguiendo la senda del psicoanálisis, se prestará especial atención al elemento del espejo, entendido como un instrumento que brinda o niega el reconocimiento a estas princesasPalabras clave: Elfriede Jelinek, teatro posdramático, cuentos de hadas, psicoanálisis, espejo.Abstract. Elfriede Jelinek, winner of the Literature Nobel Prize in 2004, is a tireless creator of stereotyped characters. Through the application of irony, the protagonists of her works are used with the intention of exciting critical thought about the social roles and actions expected to be played by women and men within a society. A year before being awarded the Nobel Prize, Jelinek released a body of plays under the title of Death and the Maiden I-V. Princess Plays (Der Tod und das Mädchen I-V. Prinzessinendramen, 2003). In this work, the Austrian writer rewrote two of the most famous fairytales featuring princesses, such as Snow White and Sleeping Beauty, as well as a legend played by Rosamunde. These tales are part of the core of Western literary tradition. In using them, she reinvents the story of other real characters and women from our historic and cultural panorama: Jacqueline Kennedy Onassis or writers like Sylvia Plath and Ingeborg Bachmann. The main goal of the present paper is to analyse the problem posed by the existence of a beauty canon in these Princess Plays insofar as the construction and depiction of female identity is subdued by the control and supremacy of a patriarchal society. To do so, and following a psychoanalytical approach, the theme of the mirror will be the main focus as an instrument which brings or hinders the acknowledgement of these princesses.Keywords: Elfriede Jelinek, postdramatic theatre, fairytales, psychoanalysis, mirror.

ABSTRACT This article argues that a collection of English play-texts gathered by Princess Augusta Sophia of the United Kingdom (1768–1840), daughter of King George III (1738–1820) and Queen Charlotte (1744–1818), represents the royal family’s intergenerational tradition of women’s book collecting. Located today at the University of North Carolina at Charlotte, the collection comprises nearly eight hundred full texts of comedies, farces, and musical dramas, mostly from the long eighteenth century. Significantly, it reflects the royal family’s theatrical and book-collecting interests, particularly those of Queen Charlotte, who supervised the princess’s education and whose own books Augusta adopted after the monarch’s death. Tracing the library’s reorganization and movements toward a city named after the queen—Charlotte, North Carolina—this article additionally demonstrates how Augusta Sophia’s book-collecting legacy, and her mother’s, have been obscured by patrilineal libraries and academic research priorities, and also what steps might “reconstruct” her library for further inquiry.

The phenomenon of the popularity of R. Strauss's opera "Salome" is explained through the prism of a new paradigm of performing arts, which is due to the rethinking of works of the modern era in the context of postmodern aesthetics. A comprehensive intersectional integrated analysis of musicological, iconographic, culturological, theological, social, psychological and physiological components of the work has been carried out. The methodology of key aspects of the research is determined: features of musical drama — genre-stylistic; content of ancient entertainments —historical and stylistic reconstruction; creation of psychological portraits of characters — system analysis; the concept of dance in opera is an interpretive method. The libretto of the opera is compared with O. Wilde's drama highlighting differences in the image of the main character: in the drama — two "Salome lines", in the libretto — three with the addition of "Dance of the Seven Veils" as an important scene in the conflict, personifying the story of the tragic love of a young princess. The peculiarities of the musical drama of the dance scene in the opera are studied, two opposing points of view on its role and place in the score of the work, the thoughts of the composer R. Strauss on this subject are outlined. The nature of dance entertainment at the courts of ancient rulers, the specifics of the performance of dances "Almeh" and "Ghawazi", which could serve as a prototype of the "Dance of the Seven Veils" performed by princess Salome is described in the article. The stylistics of the "Almeh" dances included a demonstration of highly artistic eroticism, and the "Ghawazi" dances a Bacchic seduction. In the dance scene, it is possible to combine these opposite patterns in the context to solve the musical drama of the work. The psychological and physiological features of Salome's age are analyzed, her characteristic features are explained, which could elucidate the logic of the young princess's actions. Psychological portraits of Salome, Jochanaan, Herodes and Herodias have been made, which directly or indirectly influence the specifics of the interpretation of the dance scene. The key aspects of the architectonics of the specified scene, the content of its parts, the correspondence of the nature of the dance performance to their content are determined, which determines the scientific novelty of the research. The results of the research are compared with modern incarnations of the dance scene in the opera, their partial correspondence is revealed in four out of five parts of dance drama, except for the development of the action. In the latter, there is a loss of tempo due to the mismatch between the gradual growth and decline of the musical drama of the dance scene with its choreographic embodiment. The necessity of using the concept of different branches of knowledge to establish a holistic picture of events in this scene is proved. Prospects for research of the chosen issues through the prism of the latest achievements in the field of musical theater, the attraction of modern interpretations to neo-syncretism are predicted.

The urgency to address to the theme of Salome in conditions of postmodern culture is considered. Some attempts are made to read anew and rethink it in the era of current information technology. Attention is paid to the peculiarities of the interpretation of the image of Salome and the "Dance of the Seven Veils" in the iconographic sources of the 12th – early 21st centuries through the prism of the aesthetics of certain era aimed to find artistic means of expression. An overview of the reflection of the event at the feast of Tetrarch Herod in the Gospel of Matthew and Mark. The content of the young princess's fateful dance, which led to irreparable tragic consequences — the beheading of John the Baptist. The necessity of using the concept of different branches of knowledge in order to establish a holistic picture of the development of events in this scene is proved. The sources that inspired O. Wilde to create the drama "Salome" are identified. The peculiarities of artistic interpretations of the image of the princess by the writer S. Mallarme and the artist G. Moreau are reflected in the article, in addition, the author showed the difference in the interpretation in the author's concept by O. Wilde. The stage version of "Salome" of 1902, directed by M. Reinhardt, is analyzed, the master's innovative approaches to the embodiment of dance are singled out against the background of the original scenography solution of M. Krause and L. Corinth, which became an aesthetic discovery in theatrical art of the modern era. Peculiarities of interpretation of Salome's dance based on O. Wilde's drama to O. Glazunov's music, with L. Bakst's decoration, M. Fokin's choreography, which continued modern experiments on the stage embodiment of the said work, are revealed. Priorities are set by dance director M. Fokin to work with iconographic sources, artistic design of the issue over the analysis of his musical drama. The results of the choreographer's search for new, relevant to the modern era, means of stage expression, their non-standard, bold combination to create an original version of the artistic and holistic spectacle are outlined. The influence of innovative discoveries of M. Reinhardt, V. Meyerhold and M. Fokin on further dance interpretations in R. Strauss's opera "Salome"

Abstract: This article situates James's late nineteenth-century career within the context of the British literary field. Taking The Princess Casamassima (1886) as an example, I recast the novel's socialist drama as an exploration of tensions between aesthetic autonomy and external commitment, especially the pressures of a commercial literary marketplace. While James vies for simultaneous critical and commercial success in mid-career novels like Princess , after its commercial failure he turns to a new "experiment": seeking these polarized incentives in separately designated experimental and marketable works.

AbstractMaurice Maeterlinck, the author of some of the plays associated with the symbolist aesthetic, in which the character is often an unseen presence associated to destiny or death, writes in the first part of his career a collection of dramas in which the heroines seem to appear each time under different guises. At the end of his career, Maeterlinck returns to the mysterious universe proposed in his first text – The Princess Maleine, finishing the circle of love dramas, the dramas of the profound self discovery. The princess Isabelle comes and claims the unfulfillment of her sisters from the previous texts, which she afterwards saves. The obsession of the water, a lethal substance for most of Maeterlinck’s heroines, becomes for Isabelle the unconscious need for purification. Being the last text published during this author’s life, it contains within its structure fragments from almost all his previous work, and thus there is a certain continuity and unity between the obscurity of this author’s beginnings and the light of revelation which precedes the great travel to the unknown.

Gambuh is the oldest Balinese theatrical dance drama, with a rich repertoire of dance movements, music, dramaturgy, and costume design, making it the source of Balinese performing arts that emerged later. The main story is about the journey of Prince Panji to find his lover, Princess Candra Kirana. There are two important female characters, namely Condong (servant) and Putri (Princess), who have different social statuses but have a close relationship and play a key role at the beginning of the drama, making them the determinant of the success of the performance. The research aims to reinterpret the meanings contained in the Gambuh dance drama, especially the relationship between Condong and Putri, to offer a living interpretation of local wisdom, pass them on to the next generations, and contribute to building the character of the nation that has nobility and refinement of character. The research was conducted using a qualitative research method, including a literature review, participatory observation, and in-depth interviews in Batuan Village, Gianyar Regency, Bali. The research process begins with a formal description of the characters, dance movements, costumes, and antawacana (dialogue), then the symbolic meaning analysis is carried out using Aesthetic Theory and HG Gadamer and Paul Ricoeur's Hermeneutics approach. The results of the study show that the relationship between the two characters, Condong and Putri, carries the meanings of dedication, sincerity, ethics, and the strength of women - values that are local wisdom but very relevant to women today. The elements of Rwa Bhineda, which are two opposing forces, Trihita Karana, which is harmony with nature, God, and humans, and the Hindu concept of Satyam Sivam Shundaram, which embodies ethical and pure values wrapped in beauty in the Gambuh dance drama - are the essence of Gambuh that is relevant to the present day, making it universal, transcending time and distance.

Abstract This article explores the history of several anecdotes relating to the theatrical coaching and training of members of the royal family, particularly Princess Anne, the future queen, by professional actors during the last decade of Charles II's reign. These anecdotes are not found in any contemporary archival or printed sources; rather, they were first published in the 1740s in a variety of memoirs and encyclopedic compendia relating to the history of the Restoration stage. The article compares and evaluates these anecdotes, investigating their veracity and seeking to uncover their pre-publication sources in the writings of a number of eighteenth-century antiquarians who annotated their personal copies of earlier printed accounts of the Restoration theatre and monarchy.

This research is a study of psychological approaches that discuss the external aspect of drama King Lear by William Shakespeare. In this study the writer will discuss some of the problems that is (1) What does the king Lear prove his unconditional love to his youngest daughter (2) How does the King Lear’s youngest daughter prove her unconditional love to her father (king Lear) (3) How does the king Lear face the death of his youngest daughter. The purpose of this study is (1) To describe the king Lear prove his unconditional love to his youngest daughter (2) To describe the youngest daughter of king Lear prove unconditional love to his father king Lear (3) To explain the king Lear face the death of his youngest daughter. The theory used in this research is the theory of literary psychology according to Sigmund Freud and Carl rogers. This study used a qualitative method .The object of the study is William Shakespeare's William Lords drama. The data source is divided into two primary data sources and secondary data sources. The primary data source is the drama script itself. The secondary data source is the text of the text and some references related to the research. Data collection techniques are noted. Data analysis technique is descriptive analysis.The results show the following conclusions. First, the true love of a father to his daughter. Second, the true love of a daughter to her father. Third, when a father regrets his past decisions that can not see his daughter's love from the heart and must accept her daughter's gone ever.

The article considers the plays of Elfriede Jelinek in a broad context of postmodern critical discourses, the postdramatic turn and the Austrian drama tradition in the 20th and 21th centuries. The controversy over Jelinek’s work in Austrian culture is a key element in her artistic strategy targeted at the political correctness of modern societies, ideological opressions and the dead end of avant-garde metadrama. A historical nad theoretical discussion is followed by an interpretation of Jelinek’s dramatic cycle Princess Plays.

The article clarifes Stendhal’s aesthetic position. It analyzes the singularity of his interpretation of the term «romanticism», traces the evolution of his critical views from the early notes of the 1800s to the Manifesto «Racine and Shakespeare», which reflected the disputes of his time about drama, as well as to the statements about the purpose of the art in his article «Walter Scott and the Princess of Cleves» and in the novel «Red and Black».

This article is dedicated to a comparative analysis of two works by M. Y. Lermontov, which represent the interpretation of the common biographical context. The subject of this research is the specificity of transformation of the biographical fact into the artistic generalization in the works of M. Y. Lermontov. The object of this research is the drama "Two Brothers" and the novel Princess Ligovskaya” viewed within the paradigm of artistic comprehension of the scenario of unfaithfulness, or destruction of love as conceptually important in the conflict present in the works of M. Y. Lermontov. Such approach, based on interrelation between the creative and biographical, allows making important remarks on specificity of the phenomenon of autobiographism in the works of M. Y. Lermontov. The author analyzes the initial biographical situation (relationship between Lermontov and V. A. Lopukhina), and concludes that two literary texts – drama and novel – represent a distinct system of creative reflection of the biographical fact. It is established that in the process of creating the drama, and the novel later on, Lermontov ensues the need for artistic interpretation and resolution of the situation of unfaithfulness as an instance, and in a broader sense – as an ontological pattern; however, the conflict cannot be settled within the framework of this storyline. Since 1837, autobiographism in Lermontov's works ceases to play the crucial role; in other words, personal situation and its artistic interpretation no longer coincide, which renders impossible to continue the novel. Such circumstance allows realizing the reasons of incomplete works of Lermontov’s early period, which lie in inability to resolve love conflicts with a positive finale.

Abstract What can fictional television drama tell us about politics? Are political events foremost related to the personal crises and victories of the on-screen characters, or can the events reveal some insights about the decision-making process itself? Much of the writing on popular culture sees the representation of politics in film and television as predominately concerned with how political aspects are played out on an individual level. Yet the critical interest in the successful television series The West Wing praises how the series gives insights into a wide range of political issues, and its depiction of the daily work of the presidential staff. The present article discusses ways of representing (fictional) political events and political issues in serialized television drama, as found in The West Wing, At the King’s Table and The Crown Princess.

The première of It Is Never Too Late to Mend at the Princess's Theatre on 4 October 1865 marked the appropriately tumultuous return of Charles Reade to the London stage after an absence of nine years. That night, one of the most memorable disturbances in the nineteenth-century theatre occurred when the drama critics in attendance, led by Frederick Guest Tomlins of the Morning Advertiser, demanded that the play be halted because of its offensive subject matter and one particularly shocking scene. The dispute became a cause celebre among critics, dramatists, and the general public and was recalled (with varying degrees of accuracy) years later by its participants, witnesses, and other interested parties.

This article examines a central tenet of Elfriede Jelinek's work, the perpetuation of myth(s) surrounding gender and the mythologization of contemporary society. Specifically, my reading focuses on the "princess myth." Analyzing Jelinek's rewritings of Snow White and Sleeping Beauty , the first two of a cycle of Princess Plays (1998-2003), I demonstrate how the author exploits the fairy tale reservoir of German High Romanticism and how she scrutinizes its popularization. Furthermore, she appropriates poetic techniques of Early Romanticism. As a result, Jelinek's dramas construct Woman as victim and accomplice of male power, while transgressing this image through linguistic deconstruction and play. By probing the possibility of a "disturbance" in the proliferation of gender identity, Jelinek creates spaces for imaginary (dis-)identification. The article concludes with Jelinek's commentary on the death of Diana, Princess of Wales, and thus traces the powerful impact of the princess myth in contemporary Western society. (BT)

Ms. Yang Liping is a famous dancer and a national first-class actress. She is famous for peacock dance and known as "Peacock Princess". Ms. Yang Liping has many outstanding representative works, such as female solo dance "Spirit of the Bird", dance drama "Yunnan Image" and so on. Among them, the dance "Spirit of the Bird" won the gold medal of Chinese classic dance works in the 20th century. This article mainly analyzes the form and content of the dance "Spirit of the Bird" from the perspective of ecological aesthetics.

Released during the heyday of the costume drama, La princesa de Éboli (That Lady) (Young, 1955) is an Anglo-Spanish co-production about Ana de Mendoza, Princess of Éboli (1540–92), a prominent figure at Philip II’s court who was accused of treason. Based on Kate O’Brien’s novel, the film adaptation was eventually made into two different films for Spanish- and English-speaking audiences owing to the restrictions of Spanish censorship. Modifications to the script, film-edit and ending of the film offered a reversed interpretation of the fate of the protagonist in the Spanish version. Focusing on the costumes of the Princess of Éboli (played by Olivia de Havilland), we explore the shifting meanings that are brought to bear between the Spanish and the English versions. In contrast to costume films of nationalistic glorification in which the heroine sacrifices her personal desires for the more noble cause of patriotic ambitions, the English version disturbed official views of the past by celebrating female pleasure.

Chinese costume TV series is a kind of film and television work that carries historical imagination, there is a type of female characters who have never appeared positively but run through the whole play, which not only promotes the development of the storyline as clue characters but also carry the unique meaning closely related to Chinese history and culture. This paper takes the three Chinese phenomenal costume film and television works The Legend of Zhen Huan, Princess Pearl, and Nirvana in Fire as examples and explores the strategies of invisible female characters from multiple perspectives by analyzing the role characteristics of invisible women and excavating the common methods used by creators in creating invisible female characters. Through the study of this paper, it is concluded that the invisible female characters in Chinese court dramas are the epitome of women who were oppressed, disciplined, and demonized by patriarchy under the feudal imperial system. Chinese costume TV dramas reflect the multiple plights of Chinese women in the feudal era to a certain extent.

The paper deals with the issue of forming of fairy tales artistic model in Russian drama. Currently, one considers dramatic fairy tale mainly in a general context of development of the author's literary fairy tale, although it has its own specifics. The study reviews some questions on the style and genesis of the Russian literary fairy tale for children in relation to the development of author's literary fairy tale as such. The author analyzes the influence of poetics of romanticism on the specifics of dramatic fairy tale, as well as the features of dramatic works by V. F. Odoevsky, who significantly influenced children's literature. His play “The Tsar-Maiden,” intended for children, is considered in comparison with a play by E.-T.-A. Hoffmann “Princess Blandina,” with similarities found in the system of characters, motif of matchmaking and some plot features associated with this motif. The fairy-tale play for adults “Segeliel or Don Quixote of the 19th century” analyzes the motifs of personified confrontation of good and evil and the interpenetration of magic and the ordinary, which was characteristic of romanticism in general and embodied both in other works of Odoyevsky and in later, mainly children's fairy-tale drama. The author suggests the possibility of influence of Odoevsky's plays on the development of children's drama. In both plays, we see the conventionality of artistic reality, resonating with humorous or ironic author's intonation. The paper also addresses I. A. Krylov's magical comic opera “Ilya Bogatyr,” revealing many characteristic features of Odoevsky's plays. At the same time, a distinction is made between Krylov's work and romantic direction, since the tradition of classicism is more clearly manifested in it. One may consider a reduction in pathos owing to humorous playing of heroic and mystical motifs as a feature of the comic opera. The analysis of these works allows us to formulate some characteristics of artistic model of the fairy-tale play, including conventionality of a fictional world, unexpected turns, personification of good and evil, unsteadiness of boundaries between the miracle and the ordinary, as well as humor and irony.

Kaija Saariaho's opera L'amour de loin – her first – was completed in 2000 and given its first production at the Salzburg Festival that year; it toured to Paris in late 2001 and to Santa Fe in 2002; it has also been staged in Darmstadt. Its concert presentation at the Barbican on 21 November was thus the first performance without the support of stage business – and, not having seen those earlier productions, one wonders how it can have been staged at all: the work is a drama-less, interiorized dreamscape-cum-ritual which proceeds in the imaginations of its symbolic characters. Those are the troubadour Jaufré Rudel, Prince de Blaye (baritone – on this occasion Gerald Finley), whose idealized love Clémence, Princess of Tripoli (soprano – Dawn Upshaw) lives at a (literally) respectable distance, at the other end of the Mediterranean; the go-between is a pilgrim (mezzo soprano – Beth Clayton); male and female choruses, deployed separately and only intermittently, represent the outside world, their matter-of-factness contrasting with the high-flown unrealism of the principals.

Animated movie "Frozen" tells the story of the adventures of a girl named Anna and her friends against Snow Queen. Snow Queen act coused, freezing in the whole empire and the people suffer from the cold. Snow Queen is actually anna’s sister named Elsa. However, in this story is not to discuss about the adventures of Anna against her sister Elsa, but will discuss the character of Elsa. Character is a person depicted in a narrative or drama. Elsa’s character as a princess of the kingdom in Arendelle is a authoritative, loving, coward and insecure. But on the other hand, as the Snow Queen character she was variably, she is assertive and daring. we know that the attitude and character are very important to describe a certain person, if someone does not have the character that he just became him, nobody. A leader should have the attitude and character of it own self to lead the group, nation or kingdom so that the people in the country or the kingdom prosper.

One of the disturbing issues represented in Williams’ dramas is old age along with aging. The paper analyzes elderly characters in the network of playwright’s selected texts of different periods, in particular, “The Glass Menagerie”, “Sweet Bird of Youth”, “The Night of the Iguana” and “Milk Train Doesn’t Stop Here Anymore” as well as his lesser-known works “The Frosted Glass Coffin” and “This is the Peaceable Kingdom or Good Luck God” from the perspective of literary gerontology. The representative of the literary traditions of the American South, Williams demonstrates in his dramas the vulnerability and fragility of aging. The tragedy of old age in Williams’ plays is detected in the old age/youth antinomy. The character of a lonely aging woman or a spinster takes often the center stage. Williams’s treatment of his female characters’ (Princess Alexandra and Flora Goforth) sexuality challenges the ageist assumption that older women do not have or should not have intimate relationships. The dramatist renders the mentioned above characters sexually visible in the older woman/younger man relationships without pretence or concealing the corporeal transformations. The close reading of six dramas by Tennessee Williams demonstrates the anxiety of aging and old dramatis personae reflecting social ills. The study discerns the foreshadowing of the epigraphs (from poetry by E. Cummings, H. Crane, E. Dickinson, W. Yeats) implying the anxious aspects of aging and “third age” in four major Williams’s works; the dramatist’s late style represented by “The Frosted Glass Coffin” and “This is the Peaceable Kingdom or Good Luck God” manifests the explicit gerontophobia through rather grotesquely realistic than poetic imagery in the texts’ plot-lines.

The article raises the topic of space organization in writings by Frances Hodgson Burnett. The object of analysis is the novel A Little Princess. The novel, addressed primarily to children and teenagers, has many similarities with David Copperfield and the works of Charles Dickens in general. The writer largely follows the literary tradition created by Dickens. The space of the main character is divided into three levels: the Big world (states and borders), the Small world (home, school, city) and the World of imagination. The first two worlds give the reader a realistic picture of Edwardian England, the colonial Empire, through the eyes of a child reveal the themes of unprotected childhood, which the writer develops following the literary tradition of the 19th century. The Big and Small worlds also perform an educational function, being a source of experience and impressions for the main character. In the novel, the aesthetic of realism is combined with folklore and fairy-tale elements: the heroine does not completely transform the surrounding space, but she manages to change it partially and also to preserve her own personality and dignity while experiencing the Dickensian drama of child disenfranchisement, despair and loneliness. The World of imagination allows the reader to understand in full the character of Sarah Crewe, demonstrates the dynamics of her growing up, while for herself it is a powerful protective mechanism that enables her to pass all the tests of life and again become a happy child who can continue to grow up and develop.

The retelecast of Ramayana is presumed to have garnered the record as one of the most viewed television series with about 7.7 million viewers worldwide. Mythologies in India are closely intertwined with the socio-cultural aspects of the people, dictating the way the society functions. Such a massive reception of the mythsafter years of their origin only reiteratesthe significance and influence of mythologies even today. The retelling of mythologies is not a current phenomenon, as evident in the presence of the different versionsof Ramayana and Mahabharata.From films, dramas to television series, the two narratives have provided the blueprint for artists from all fields to explore and re-imagine them.The most significant change, however, occurred in recent times with the emergence of the often marginalized section revisiting the two grand narratives, the most prominent being Feminists and Dalits, and give space tothe often marginalized characters that are assigned the role of the 'other.' Writing and Reading are often considered political. The meaning-making process and what is being told or what is omitted is governed by the hegemonic control of the one in power. Mythology is typically considered as the avenuefor Men. Women represented in the epics hardly play a significant role. The omission of the voice of the women like Supernekha, Draupadi, Mandodari, Sita, Urmillafrom the grand narratives becomes all the more vivid as they representthe voice of the sidelined or marginalized. The right to form history belongs to the one ruling. In this case, it is the patriarchal setup that allows only for the androcentric viewpoint in the process relegating all the other possible views. In this vein, using an overarching lens of Feminism, the paperattempts to see Kavita Kane's The Lanka's Princess, from the viewpoint of the often voicelesscharacters to dismantle the binary structureand subvert Androcentrism.

Celem artykułu jest przyjrzenie się reinterpretacjom klasycznej opowieści o księżniczce Ćitrangadzie w kulturze bengalskiej na przykładzie dzieł Rabindranatha Tagore’a oraz Rituparno Ghosha. Zgodnie z przekazem eposu Mahabharata Ćitrangada była bierną kobietą pozwalającą, by to ojciec decydował o jej cielesności. Nieco inaczej jej historię przedstawia Rabindranath Tagore w dramacie tanecznym z 1892 roku. Jego Ćitrangada staje się kobietą świadomie kształtującą swoją płeć biologiczną i wykraczającą poza sztywne ramy kobiecości sformułowane przez tradycje hinduizmu. Jeszcze dalej w reinterpretacji tej opowieści posunął się reżyser Rituparno Ghosh. Przenosząc historię księżniczki z pałacu do sali operacyjnej, Ghosh wpisał się nie tylko w dyskurs feministyczny, ale też w narrację dotyczącą transpłciowości i miejsca przedstawicieli tzw. trzeciej płci we współczesnym społeczeństwie indyjskim. Reinterpretacje historii Ćitrangady to rezultat zastępowania narracji tworzonej z perspektywy mężczyzn wywodzących się z klas uprzywilejowanych społecznie głosem tzw. Innych: kobiet i osób nieheteronormatywnych. The Crowning Wish and the Truth of Thruth. The Figure of Chitrangada in the Works of Rabindranath Tagore and Rituparno Ghosh. The aim of this article is to look at the reinterpretations of the classic tale of Princess Chitrangada in Bengali culture, based on the works of Rabindranath Tagore and Rituparno Ghosh. According to Mahabharata Chitrangada was a passive woman, who allowed her father to decide about her body. Rabindranath Tagore, in the dance drama from 1892, presents her story in a different manner. His Chitrangada becomes a woman consciously shaping her biological sex and going beyond the rigid framework of femininity formulated by the traditions of Hinduism. Director Rituparno Ghosh went even further in reinterpretation of this story. By moving the story of the princess from the palace to the operating room, Ghosh entered not only into the feminist discourse, but also into the narrative of transgenderism and the place of representatives of the so-called the third sex in modern Indian society. Reinterpretations of the Chitrangada history are the result of replacing the narrative created from the perspective of men from socially privileged classes with the voice of the so-called Others: women and non-heteronormative people.

Celem artykułu jest przyjrzenie się reinterpretacjom klasycznej opowieści o księżniczce Ćitrangadzie w kulturze bengalskiej na przykładzie dzieł Rabindranatha Tagore’a oraz Rituparno Ghosha. Zgodnie z przekazem eposu Mahabharata Ćitrangada była bierną kobietą pozwalającą, by to ojciec decydował o jej cielesności. Nieco inaczej jej historię przedstawia Rabindranath Tagore w dramacie tanecznym z 1892 roku. Jego Ćitrangada staje się kobietą świadomie kształtującą swoją płeć biologiczną i wykraczającą poza sztywne ramy kobiecości sformułowane przez tradycje hinduizmu. Jeszcze dalej w reinterpretacji tej opowieści posunął się reżyser Rituparno Ghosh. Przenosząc historię księżniczki z pałacu do sali operacyjnej, Ghosh wpisał się nie tylko w dyskurs feministyczny, ale też w narrację dotyczącą transpłciowości i miejsca przedstawicieli tzw. trzeciej płci we współczesnym społeczeństwie indyjskim. Reinterpretacje historii Ćitrangady to rezultat zastępowania narracji tworzonej z perspektywy mężczyzn wywodzących się z klas uprzywilejowanych społecznie głosem tzw. Innych: kobiet i osób nieheteronormatywnych. The Crowning Wish and the Truth of Thruth. The Figure of Chitrangada in the Works of Rabindranath Tagore and Rituparno Ghosh. The aim of this article is to look at the reinterpretations of the classic tale of Princess Chitrangada in Bengali culture, based on the works of Rabindranath Tagore and Rituparno Ghosh. According to Mahabharata Chitrangada was a passive woman, who allowed her father to decide about her body. Rabindranath Tagore, in the dance drama from 1892, presents her story in a different manner. His Chitrangada becomes a woman consciously shaping her biological sex and going beyond the rigid framework of femininity formulated by the traditions of Hinduism. Director Rituparno Ghosh went even further in reinterpretation of this story. By moving the story of the princess from the palace to the operating room, Ghosh entered not only into the feminist discourse, but also into the narrative of transgenderism and the place of representatives of the so-called the third sex in modern Indian society. Reinterpretations of the Chitrangada history are the result of replacing the narrative created from the perspective of men from socially privileged classes with the voice of the so-called Others: women and non-heteronormative people.

Nyi Roro Kidul, Nyai Loro Kidul, or Nyai Ratu Kidul is a character of folk legend which has existed all along south coast of Java land: from East Java, to Middle Java and Jogjakarta, then to West Java and Banten. People along the south coast of Java island believe to myth of this legendary character as a beautiful and supernatural woman who has authority of devil realm in Indonesian Ocean (Indian Ocen) or Segoro Kidul (South Sea). The popularity of Nyi Roro Kidul has also become motivation for national film-making and TV media to produce many films and drama about this character. Although there are many similarities about the revelation, among regions, legend and mass culture (film, TV); the representations of Nyi Roro Kidul show differences in theme emphasis. In East Javanese people, Nyi Roro Kidul is emphasized on the intention of people seeking wealth pesugihan (with the helping from devils) by sacrificing human soul for antidote. In Middle Javanese people, Kanjeng Ratu Kidul is representated as the take turn-wife of Sultans from Mataram, Sultan Panembahan Senopati to Sultans of Jogjakarta in the present time. The west Javanese people represents this figure as the princess of Pakuan Pajajaran Kingdom who is betrayed and abused, and throw away herself to jump into South Sea, then she incarnates as a beautiful and undefeated supernatural queen. On film and television, Nyi Roro Kidul is presented as a beautiful, sexy, cruel and sexual adventurer woman.

Following the success of The Gondoliers (1889), Gilbert wrote to Sullivan: ‘It gives one the chance of shining right through the twentieth century.’ However, while this prophecy was largely fulfilled, clouds of cultural disapproval have darkened over the Savoy operas since the start of the present century, especially with regard to the mockery of women's education at the heart of Princess Ida (1884) and, most pointedly, the demeaning and ostensibly racist depiction of the Japanese in The Mikado (1885). On the other hand, the largely overlooked Utopia, Limited (1893) has experienced a boom in productions over the last decade, seemingly due to its subject matter, which, as one recent critic put it, make it ‘an anti-colonialist, anti-capitalist comic opera’. He also argues that, while some of the traditional performance practices associated with The Mikado ought to be re-evaluated, recent objections to the spirit of the opera as a whole are not entirely justified, and that a re-evaluation of the validity of some (but not all) of the performance practices traditionally associated with The Mikado is both just and timely. Alan Fischler is a Professor of English at Le Moyne College, Syracuse. He is the author of Modified Rapture: Comedy in W. S. Gilbert's Savoy Operas (University of Virginia Press, 1991) and ‘Drama’ in the Blackwell Companion to Victorian Literature and Culture (2014), among many other articles on Gilbert and nineteenth-century theatre.

The fictionalized account in the recent film The Queen of Tony Blair's coaching of Her Majesty into a more voter-friendly response to the death of Princess Diana, largely through the medium of television, is a pertinent reminder of how the presentation of self on television subtly modifies the presentation of self in everyday life. In this article, Ian Watson considers how the now-ritualized debates between the main contenders in American presidential elections are stage-managed to enhance what their supporters suppose to be their candidate's most sympathetic features – supposedly learning the lessons of the first such debate, between John F. Kennedy and Richard Nixon, which displayed Nixon in such an unappealing light. However, what are ostensibly strengths or weaknesses may be read as quite other by an audience attuned to reading signifiers in film or television drama – or simply empathic towards what others perceive as failings, as in the case of reactions to George W. Bush's inarticulacies, awkward mannerisms, and failed jokes, which some read not as signs of ineptness but of an endearing humanity. Ian Watson, who is a Contributing Editor of New Theatre Quarterly, teaches at Rutgers University, Newark, where he is the Acting Chair of the Department of Visual and Performing Arts. He is author of Towards a Third Theatre: Eugenio Barba and the Odin Teatret (Routledge, 1993) and of Negotiating Cultures: Eugenio Barba and the Intercultural Debate (Manchester University Press, 2002). He edited Performer Training across Cultures (Routledge, 2001), and has published numerous articles on theatre in scholarly journals.

ABSTRACT Cormac McCarthy has stated that tragedy is central to human experience and that “the core of literature is the idea of tragedy.” Furthermore, he maintains that the tragic genre probes how humans “deal with” the bad things that happen to them. McCarthy’s duology, The Passenger and Stella Maris, locates its main narrative concerning Alicia and Bobby Western’s taboo love within the framework of romantic tragedy. Incest has been a much-revisited topic within Western tragedy. Consider the dramas of Sophocles, Euripides, Seneca, John Webster, John Ford, Henrik Ibsen, and Eugene O’Neill. In McCarthy’s treatment, incest is an impediment to reciprocal love. This tragic fatedness crosses any expectations Alicia and Bobby court of mutual happiness and fulfillment. The duology explores the siblings’ ways of dealing with their tragic condition, the romantic Alicia’s all-or-nothing, self-destructive passion and the ascetic Bobby’s attitude of self-denial and endurance. Two tragic antecedents further inform McCarthy’s examination of forbidden love: William Shakespeare’s Romeo and Juliet (1597) and the Nahua myth of the warrior Popocatépetl and the princess Iztaccíhuatl. The article concludes by proposing that, despite the duology’s preoccupation with the tragic human condition, the narrative tentatively gestures to a state of being that might, perhaps, lie beyond tragedy.

The author considers the relevance of the appeal to the Salome image in the realities of the new wave of expressionism at the beginning of the 21st century. The research was carried out with a comprehensive analysis of the dramaturgical, musical, plastic and choreographic, scenography components of the stage incarnations of Jewish princess image in Richard Strauss's opera "Salome". The author determined the methodology of the key aspects of the study: the interpretation of the image of Salome by O. Wilde and Richard Strauss, that provides a basis for conducting a comparative and analytical examinations. The study of musical dramaturgy peculiarities in this opera leads to a genre-stylistic analysis. The most significant stage incarnations of the 21st century relate to interpretive investigation. Two concepts of the justification of the main conflict that led to the death of the Prophet are outlined. The first concept is political, since the Herodians' expectation of a Messiah from their dynasty was hindered by the prophecies of John the Baptist; the second concept is biblical, it is the rejection of Herodias's image of the Prophet for accusing her of incest and vices. The author proved the similarity of the text of Richard Strauss's opera libretto and O. Wilde's play on the theme of Salome, but he found stylistic differences between the two works: O. Wilde's is a drama of a symbolic direction, Richard Strauss's is an expressive and psychological musical poem. As a result of the analysis, the author proves that the dramaturgical structure of the opera is built on the Wagnerian principle of subordinating musical, poetic and scenic elements to the development of the storyline and reinterpreting leitmotif in terms of its individualization. Three versions of the opera performance "Salome" staged by Norwegian, German and Ukrainian directors are described, they are solved in the aesthetics of postmodernism with the extrapolation of the time and place of action to the present, an ironic attitude to the operatic images of the characters, and the synthesis of traditional and innovative means of expression. It was established that the Norwegian version is more characterized by the use of the latest art technologies in the formation of the artistic image of the performance; German production gravitates to the creation of a psychological drama with Freudian undertones; the Ukrainian performance based on Richard Strauss's opera "Salome" has a hi-tech solution. Prospects for further research in the aspect of integration of traditional theater and modern multimedia technologies are outlined.

Andhe Andhe Lumut is a folktale that derived from many versions of Panji tales. Andhe Andhe Lumut is the popular one amongst Indonesian, especially Javanese cultures. In popular culture, there are many works in various media that derived from Andhe Andhe Lumut story. Originally, as one of Panji tales, Andhe Andhe Lumut background story takes place at Kediri Kingdom era, but most of visual works like comics, picture story books, animations, drama costumes, etc use far more modern era style of traditional Javanese culture. Beside of that, from original text, Andhe Andhe Lumut folktale is designed for adult audiences, however most Indonesians have identified that folktale is a bedtime story for children. That’s why people can’t find visual works from Andhe Andhe Lumut story for adult audiences. As mentioned before, Panji tales have many versions. They are also already popular since Majapahit era. This is proven by carvings about some scene from Panji tales at Penataran Temple Complex which most of stuctures are built at Majapahit era. Panji tales themselves are semi fictional stories. Prince Panji or Inu Kertapati is inspired from King Kameswara II, seventh king of Kingdom of Kediri, and Princess Candra Kirana is inspired from Queen Kirana from Jenggala, but in Panji tales, their origins are opposite. Panji is from Jenggala and Candra Kirana is from Kediri. Ancient Javanese temple carvings could shows anything, but always showed environmental situations when the carvers live.”Teras Pendopo” building, where Panji tales carvings are located, was built at Majapahit era, when King Hayam Wuruk reigned. It is about 100 years after fall of Kediri, so the carvings are the closest visualization of Kingdom of Kediri daily life.Visualization of Andhe Andhe Lumut folktale based on original text and Panji tales characters at Penataran Temple Complex has never done before. Panji tales at Penataran Temple itself does not tell Andhe Andhe Lumut version of Panji. This comic design, if done properly can gives a new point of view about Andhe Andhe Lumut and can be the first comic of Andhe Andhe Lumut for adult audience with some historical accuracy.

Among the numerous travelogues describing southern Dalmatia, Dubrovnik, and its surroundings, the booklet called Lacroma merits special attention. Its author was the widowed Crown Princess Stephanie (1864-1945) and the illustrations were provided by Anton Perko, seascape painter at the court and the former governor of Lokrum. The first edition was published in 1892 in German, followed by an Italian one five years later. This article focuses on the first, German edition. Painter Anton Perko (1833-1905) stayed on the island of Lokrum from January 1879 until the beginning of 1881, with minor absences. The following year, he spent the entire winter on the island, and when the princely couple moved to Vienna, he also moved there in 1883. After the Mayerling drama, when Rudolf and his young mistress Marie Vetsera were found dead under mysterious circumstances, Perko’s life changed as well, yet he remained in the service of the widowed princess until 1896, when he retired. Anton Perko did not write an autobiography, but his important position in the royal household is evident from the fact that Stephanie and her daughter took care of his widow after his death in 1905. In 1892, a volume on Dalmatia was published as part of the complex work Die österreichisch-ungarische Monarchie in Wort und Bild, initiated by Prince Rudolf and continued by his widow Stephanie, which must have also inspired her to write a separate book on Lokrum with its rich historical, cultural, and natural heritage. Her description of Lokrum is intended for future tourists, potential visitors from the north, and introduces the reader to this insular Arcadia with descriptions of its position in southern Dalmatia and Dubrovnik, after which she turns to the history of Lokrum and its monuments, with reference to two written sources: the Apendius chronicle and the Memorie storiche sull’isola Lacroma, published in Vienna in 1861. Illustrations by Anton Perko are completely subjected to the text, eternalizing scenes described by Princess Stephanie and faithfully presenting the details that intrigued the author. The German version of Lacroma was published shortly before the end of Perko’s active life, spent largely next to the Crown Prince and his wife. It may thus be understood as a sort of sublimation for his work as the court secretary and painter. Sketches for the nineteen illustrations in the Lokrum booklet were probably made in the previous decades, while Perko was still the governor of the island. Among his works donated to the libraries of Dubrovnik, there are three drawing folders of small dimensions titled Lacroma and dated to 1879 and 1880 respectively, as well as a number of drawings and watercolours showing Lokrum’s landscapes. As a passionate sketcher, Perko must have made a far larger number of drawings on the island, but they must have been acquired by Stephanie after his death, which is why the Dubrovnik collection possesses only a small segment of his oeuvre. With its historical overview, descriptions of architecture and vegetation, and especially the contemporary details, this travelogue offers a precious insight into the appearance and life of the island in the 19th century. Especially valuable details include those referring to the interior of the summerhouse, inscriptions on the walls of the monastery, and Maximilian’s poetry, which Stephanie recorded preserving it from oblivion and making it available for a wider audience. Perko’s illustrations carefully follow the text, completely subjecting themselves to the author’s tone and introducing us to the solitude of island vistas and their hidden beauty in the conservative artistic tradition of the late 19th century. The painter has drawn with utter precision the architecture and the vistas of the island, the imperial residence, and the coastline, including the rare inhabitants in the serene solitude of their isolation, in the spirit of AustroHungarian Orientalism that he adhered to, yet he also gave us an image of the island that is nowadays almost unrecognizable owing to the rich vegetation. This paper analysis the textual and visual segments of the travelogue and their contribution to our knowledge of the island’s recent history, including the imperial residence and the natural resources.

The article develops the problem of Ivan Turgenev’s perception of Walter Scott’s non-historical novel SaintRonan’s Well (1824) with the focus on the comparative study of Turgenev’s ClaraMilich (1883), whose composition reflects Walter Scott’s motifs and images. Forty years after reading Saint Ronan’s Well in the original, Turgenev turns to it within the framework of his own plan. In Clara Milich, the English novel and its author are brought into focus of deep artistic reflection. Turgenev’s Clara Milich genetically ascends to Walter Scott’s Clara Mowbray, which proves that Turgenev creatively interacted with the English novel. The dialogue between the two authors is mediated by William Shakespeare. Following the logic of the English novel, steadily leading to a dramatic denouement, Turgenev creates a brief story of a woman’s loving soul, yearning for sincere understanding and responsiveness, yet doomed to death. Taking Walter Scott’s novel as a model, Turgenev draws a parallel between Clara Minich’s life and the tragedy of Shakespeare’s Ophelia, putting the main mail character in the position of Hamlet. Twice compared to Shakespeare’s heroine, Scott’s Clara Mowbray repeats Ophelia’s suffering path in its pivotal points: collapse of happiness in love - loss of a lover -madness due to the experienced shock - death resulting from melancholy and madness. Turgenev gives no direct textual references to Ophelia, but transfers the essential elements of this image to his Clara Milich, which manifests not only in the motif of madness, but also in the general design of the tragic love story. A theatrical production in Saint Ronan is based on A Midsummer Night’s Dream - the story of Athenian lovers parallels the collision of Tyrrel and Clara. Tugenev’s epic also includes a play with similar overtones: a small performance about a tragedy of love is arranged in the house of the Georgian princess. Like Walter Scott, Turgenev uses the metaphor “all the world’s a stage” to create a narrative subtext that enhances and deepens the human drama. Following Scott, Turgenev accepts Shakespeare’s concept of the tragic state of the world and, in order to unfold the tragedy of the human, introduces a fantastic element into the story in a similar vein. For Turgenev’s Aratov, the intrusion of the unreal leads to admitting his guilt and, at the same time, reveals a hitherto unknown feeling. However, like Shakespeare and unlike Scott, Turgenev uses the otherworldly image not only as a sign of disaster, but also as the hero’s hope for an imaginary salvation. The author declares no conflicts of interests.

Background. Analyzing the origins of the school of Kharkiv Academic Theater of Musical Comedy, we cannot ignore its founders. People’s Artist of the UzSSR O. Ivashutych was a director, head of the theatre (during the 1940s), drama actor from the year of its founding (1929) to 1971. Methods and novelty of the research. The research is based on historicalchronological, biographical, typological, and comparative methods with an element of performances and roles reconstruction. Not much is known about O. G. Ivashutych. The only encyclopedic reference about him (from the “Encyclopedia of Modern Ukraine”) does not shed light on the director’s method, indirectly giving an idea only of the acting range. The work of Yu. Stanishevsky (1970) on the first forty years of musical comedy theaters of Ukraine (“Colors of Ukrainian operetta”) has several useful elements of reconstructions of the roles in the early period of O. Ivashutych’s work. N. Yermakova’s (2012) monograph “The Berezil Culture…” contains facts and important assessments of O. Ivashutych’s activity as a member of the Berezil Art Association. The author of this paper has collected more than 30 articles in the funds of scientific libraries and Specialized music and theater library of Kharkiv, as well as in the archives of KhATMK, and for the first time the information about the work of O. Ivashutych is analyzed. In addition, the actresses who worked with O. Ivashutych were interviewed. Therefore, this study is the first to reveal and systematize peculiarities of the creative path of O. Ivashutych, an actor, director, head of Kharkiv Theater of Musical Comedy. The director made about 40 productions on the stage of Kharkiv Theater of Musical Comedy and in Central Asia, where he was later evacuated. As an actor, O. Ivashutych played more than 100 versatile roles. The article aims to identify and characterize the main stages of the creative path of O. Ivashutych as well as differences between his acting and directing in different aesthetic eras. Results. O. Ivashutych’s creative individuality leaned towards the tragicomedy of Charlie Chaplin and Maryan Krushelnytsky. As a student of Les Kurbas in the Berezil Art Association and a member of the director’s laboratory of this theater, Les Ivashutych mastered the method of the famous avant-garde company, Les Ivashutich mastered the stage method of the famous avant-garde company, skillfully building rhythm of a performance and a role, turning to circusize, grotesque sharpening of images. In his directing work on the stage of the Musical Comedy Theater, O. Ivashutych, as a pupil of “The Berezil”, sought to consistently develop two repertoire trends: the embodiment of the best European classics (often exclusive in the country salon repertoire) and Ukrainian works (musical comedies and operettas by M. Verykivsky, M. Lysenko, O. Riabov). In our opinion, during these years L. Ivashutych drew a dash line of the European repertoire in his theater: he presented unique in the history of Kharkiv Theater of Musical Comedy operettas “The Borgia’s Garter” by K. Kraus, “Jeanne Who Cries and Jean Who Laughs” by J. Offenbach, “Ball at the Savoy” by P. Abraham (1940), “The Marriage Market” by V. Jacobi (1947), “The Eagle Feathers” by F. Farkas (1957), “Fraskita” by F. Lehár (1959), “The Waltz King” by J. Strauss (1961) and the first productions of famous operettas “Rose Marie” by G. Stotgardt and L. Friml (1942), “The Circus Princess” (1947), “Zorika (Gypsy Love)” by F. Lehár (directed by O. Ivashutych in the year of the composer’s death). In addition, O. Ivashutych staged four performances based on the musical comedies of the classic of Ukrainian operetta O. Riabov. The only performance, which could directly reveal the methodology of “The Berezil” was a fantastic comedy “Viy” (1951). The director also impressed with frank theatricality in circus scenes from the Milyutin’s operetta “Circus lights the fires” – together with choreographer A. Gulesco he managed to set up the style related to “girls” from “The Berezil” revues. Conclusions. Olexandr Ivashutych’s acting naturally evolved from the avantgarde of the 1920s – early 1930s, when he created, in particular, an eccentric image of Orpheus in the production of J. Offenbach, to the realistically psychological roles of 1950–1960, performed in a soft comedic manner (Amadeus in “The Bat”, Rooster in “Akulini”, Underwud in “The Kiss of Cianita”). L. Ivashutych worked as a director only during the period of the theater of “socialist realism”, which resulted in the corresponding realistic principles of his productions. However, even in such circumstances the director appreciated and skillfully used bright elements of theatrical imagery (fantasticality in “Viy” by M. Gogol, choreography in the spirit of the revue in “Circus lights the fires”). O. Ivashutych’s activity in Kharkiv Theater of Musical Comedy was based on the significant personal culture of the artist and his worldview of an intelligent leader.

Background. As a notion, an opera theater led by a stage director has a strong presence in modern artistic practice, as it puts forward its own range of cognitive and evaluative tasks that undergo criticism. The fi rst task is related to compliance of the proposed rendition with the composer’s concept and music drama of a particular opera music piece. The second one is related to the director’s vision and understanding the peculiarities, which allows us to form an opinion about the comprehension degree of an author’s idea and the individuality of its implementation. The relevance of the designated semantic constants is reinforced by the variety of opera classics incarnation on famous opera stages. Objectives. The purpose of the article is to study and analyze the scenographic techniques that allow M. Marelli with his bright talent as a director to embody the opera plot and uncover incentive-psychological motifs that defi ne the deep content layer of G. Puccini’s “Turandot” opera. Methods. The study is based on a comparative method of analysis, with the help of which the validity of M. Marelli’s directorial concept by the dramatic concept and the semantic lines peculiarities of G. Puccini’s opera is revealed. Results. The stage performance of “Turandot” by G. Puccini on the famous opera stage of the Lake Constance was timed to coincide with the 70th anniversary of the Bregenz festival. For the implementation of this project, the Swiss stage director and designer Marco Arturo Marelli was invited for the fi rst time to organize it. The specifi c features of the huge stage forced all the natural conditions to be considered: wind, water, its level, and the weight of the theatrical scenery elements. Therefore, before creating the intended environment, M. Marelli built several preliminary models in search of the only solution that would combine the oriental fl avor and plot intrigue, hidden psychologism and bare emotions, intimacy and pompous mass scenes. The dramatic composition of the scenario, created by M. Marelli, makes it possible to tell how deep his comprehension of Puccini’s music is, as we observe its semantic components and the interaction of contrasting fi gurative lines, author’s remarks in the score, personal circumstances in the composer’s life, his letters, the conditions for creating an opera and a long search of ways to cut the knot of plot contradictions in the Finale part. The techniques he used reveal his artistic and aesthetic principles. This allowed him to create an organic fusion of intense musical and dramatic action, defused by ensemble, choral and dance scenes, visual effects that decode psychological subtext, and the theatrical scenery itself, which specifi es the exact place of events, complements the missing verbal commentary, allowing the stage area to look massive and versatile. As a result, the ideological concept of M. Marelli appears in the interdependence of the internal and external planes; their content is determined by his understanding and vision of the opera “here and now”, that is, as a single musical and theatrical piece. The internal plane is directly connected with the events of the fairy-tale plot, interpreted by the stage director’s individual consciousness. The external one forms the design of the performance through the variety of static and mobile forms, transformed according to the sequence of light effects, and the silent video by A. Kitzig, which gives a slight expressionistic taste. M. Marelli’s intellectual and emotional immersion in the “history” of the opera contributed to the formation of a symbolic by-plot through two fi gures: Puccini and Calaf (a character of the opera). It is played on a small platform at the bottom of the main stage, depicting the “blue room” (O. Schmitt), where you can see the instrument with the scores on the music stand, a table with a jewel-box on it, an armchair, and a bed. The man that appears clearly personifi es the composer, who “looks for” music ideas. As the events are unfolding, Calaf appears in the “room”; he is tormented by the desire to melt the cold heart of Turandot and feverishly looking for a way out of this situation. The novelty of interpreting a well-known fairy-tale plot lies in a fundamentally different motivation for the behavior of Turandot. She identifi es herself with Lou-Ling, who was tortured and murdered by a man long ago, so Turandot is driven by a thirst for revenge. The story about the cry of the miserable princess Turandot, which she constantly hears inside of her, looks differently as if she becomes one with her distant ancestor. By the end of the story, she appears as in a cocoon shell, unattainable and invincible. This is followed by a scene of puzzles that move events to a turning point in the plot twists and turns and mark a kind of a going-back fl ow of time. The director increases of effect of the symbolic line in the performance by adding the silent video by A. Kitzig. The parallel dynamics of the stage action and the metamorphosis of the masks visualizes the psychological component of Puccini’s opera. The whole set of plot and scenery means exists only with the purpose of revealing this psychological component. As a result, the scene of the test Calaf must pass acquires a different dimension, delineating the fate twists of both heroes. Again and again, the pieces of clothes fall down from Turandot like scales of a snake. This is accompanied by the transformation of the previously unfi red face of the mask, which ultimately cracks like a clay cast and fi nally collapses. The heroine remains in a thin silky dress shirt and tries to cover her bare shoulders with her hands. Her nakedness is akin to defenselessness, the loss of solid ground under your feet. This way, M. Marelli resolved not only the problem of the impossibility to show a psychological degeneration of personality on the huge stage by traditional acting techniques, but also contradictions of plot twists that haunted the composer. Conclusions. The experience of the Bregenz version shows that an important role played by the conditions of the stage space, which was used by a talented stage director and designer as a component of the multi-level system, where everything goes with accordance to the hierarchical subordination of the play. This seems to be the masterful combination of M. Marelli’s personal artistic and aesthetic philosophy, the features of the last opera by J. Puccini and all theatrical resources of a unique theatrical scene of the Lake Constance.

In this study, the researcher traced the beginnings of Arabic drama and literary drama. He also highlighted dramatists turn out to write history plays. Shawki was a good case in point. He made active use of sources in his composition of The Princess of Andalus, the only prose play composed. He mated between the historical events and the imaginative plot. failing to create eternal prototypes in the theatrical characters, and portray the internal conflict in the heroes themselves. Therefore, the images of these historical heroes have remained, in history books clearer, stronger and more effective. Moreover, Shawki did not commit himself to one of the article disciplines. He clearly sympathized with el-Mu'tamid Ibn Abbad, the hero, not because of his conviction of his just cause but because Abbad was a poet close to Shawki. The Egyptian poet, Shawki, found it an opportunity to identify himself with Abbad. The researcher concluded his study by investigating the reason for writing his play. تتبع الباحث في هذه الدراسة بدايات المسرح العربي وظهورا الأدب المسرحي، وبين أسباب إقبال الكتاب على كتابة المسرحية التاريخية، ثم تعرض إلى المصادر التي استقى منها شوقي مسرحيته الثرية الوحيدة" أميرة الأندلس"، وكيف زاوج فيها بين الوقائع التاريخية والقصة الخيالية. وأوضح أن شوقي لم يستطع أن يخلق من شخوص مسرحيته نماذج خالدة، ولم ينجح في تصوير الصراع الداخلي الذي كان يعتمل في نفوس إبطاله؛ لذلك بقيت صورهم في كتب التاريخ أكثر وضوحا وأقوى تأثيرا، ولم يتقيد بمذهب واحد من المذاهب الفنية؛ وكان متعاطفا مع بطل مسرحيته "المعتمد بن عباد" لا لاقتناعه به، بل لكونه شاعرا قريبا إلى نفسه. وفي نهاية الدراسة حاول الباحث أو يوضع الدوافع التي كانت وراء كتابة شوقي لهذه المسرحية.

Indian culture considers Sanskrit as “Devabhasha”(language of God). It was the dominant language of Indian writings. Kalidasa is the greatest Sanskrit poet. His all compositions are immortal. He shows a new path to the world literature. Kalidasa was a great scholar and he showed his genius through his works. His compositions show his knowledge on the Vedas, the Puranas, the Ramayana, the Mahabharata, the Alamkarashastra, the Vyakarana, Philosophy etc. In the drama Malavikagnimitra also the poet very beautifully delineated the female characters. This is about the love story of Malavika,princess of Vidarbha and Agnimitra, the King of Vidisaha. The heroine of the nataka is princess of Vidarbha, Malavika. Queen Dharini is the symbol of ideal Indian woman. She is very chest woman. She can understand the fickle minded king Agnimitra. Iravati is a beautiful woman. She is a conceited beloved. On Malavika, she is very jealous. Because of jealousy, She scolds Vidusaka and Malavika’s friend. She becomes very upset when she sees that king is charmed by Malavika. Madhavasena’s minister Arya Sumati’s sister is Panditakausiki.When her brother lost his life in the hands of dacoits, she feels very sad and becomes a ‘sanyasi’. In this article we are going to discuss about the female characters of Malavikagnimitra.

ABSTRAKFilm Posesif dikategorikan sebagai film romantic suspense pertama di perfilman Indonesia. Posesif menjadi salah satu dari banyak sisi kehidupan remaja yang dieksplorasi dan dikemas dalam bentuk film layar lebar. Posesif menawarkan keunikan cerita dari drama cinta remaja kebanyakan yang terlalu picisan dan sangat kental dengan stereotipe happy ending. Penelitian ini merupakan penelitian kualitatif dengan pendekatan deskriptif dengan mendeskripsikan cerita dalam bentuk treatment dan mengarakteristikan tokoh Lala. Adegan yang telah direduksi dipaparkan dalam bentuk potongan gambar dari film Posesif terkait peran karakter tokoh Lala. Selanjutnya menemukan hambatan, resiko serta foreshadowing sebagai pembangun suspense pada setiap adegan. Kemudian menganalisis keterkaitan dua variabel tersebut dengan teori yang menjadi landasan penelitian. Hasil kajian ditemukan ditemukan adanya peran karakter dalam narasi pada tokoh Lala diantaranya: Donor, Penolong, Pengirim, Putri, dan Pahlawan Palsu. Setiap perubahan yang terjadi membangun adanya suspense yang menimbulkan gerak dramatik pada cerita, sehingga menciptakan suatu keadaan dimana perhatian penonton menjadi lebih tinggi. Kata Kunci: Film Posesif, Karakter, Suspense, Vladimir Propp ABSTRACT“Posesif” film is categorized as the first romantic suspense movie in the Indonesian film industry. Possessive become one of many teenage life facets that are explored and packed in a big-screen movie form. “Posesif” offers a unique story from teenage love dramas that usually are too cheap and thick with the stereotype of a happy ending. This research is qualitative research with a descriptive approach by describing the story in a treatment form and characterized Lala’s character. The scene that has been reduced is presented in the form of pictures cut from the “Posesif” film related to the characteristic role of Lala’s character. Next find obstacles, risks, and foreshadowing as suspense builder in every scene. Then analyze the correlation between these two variables with the basic theory of the research. The results of the study found a character role in the narrative of Lala’s character, including Donor, Helper, Dispatcher, Princess, and False Hero. Every change that occurs develops suspense that raises dramatic motions to the story, which creates a situation where the audience’s attention becomes higher. Keywords: Film Posesif, Character, Suspense, Vladimir Propp

The curtain rose. The howling of desert wind filled the performance hall in the Shanghai Grand Theatre. Into the center stage, where a scenic construction of a mountain cliff and a desert landscape was dimly lit, entered the character of the Daoist priest Wang Yuanlu (1849–1931), performed by Chen Yizong. Dressed in a worn and dusty outfit of dark blue cotton, characteristic of Daoist priests, Wang began to sweep the floor. After a few moments, he discovered a hidden chambre sealed inside one of the rock sanctuaries carved into the cliff.Signaled by the quick, crystalline, stirring wave of sound from the chimes, a melodious Chinese ocarina solo joined in slowly from the background. Astonished by thousands of Buddhist sūtra scrolls, wall paintings, and sculptures he had just accidentally discovered in the caves, Priest Wang set his broom aside and began to examine these treasures. Dawn had not yet arrived, and the desert sky was pitch-black. Priest Wang held his oil lamp high, strode rhythmically in excitement, sat crossed-legged in a meditative pose, and unfolded a scroll. The sound of the ocarina became fuller and richer and the texture of the music more complex, as several other instruments joined in.Below is the opening scene of the award-winning, theatrical dance-drama Dunhuang, My Dreamland, created by China’s state-sponsored Lanzhou Song and Dance Theatre in 2000. Figure 1a: Poster Side A of Dunhuang, My Dreamland Figure 1b: Poster Side B of Dunhuang, My DreamlandThe scene locates the dance-drama in the rock sanctuaries that today are known as the Dunhuang Mogao Caves, housing Buddhist art accumulated over a period of a thousand years, one of the best well-known UNESCO heritages on the Silk Road. Historically a frontier metropolis, Dunhuang was a strategic site along the Silk Road in northwestern China, a crossroads of trade, and a locus for religious, cultural, and intellectual influences since the Han dynasty (206 B.C.E.–220 C.E.). Travellers, especially Buddhist monks from India and central Asia, passing through Dunhuang on their way to Chang’an (present day Xi’an), China’s ancient capital, would stop to meditate in the Mogao Caves and consult manuscripts in the monastery's library. At the same time, Chinese pilgrims would travel by foot from China through central Asia to Pakistan, India, Nepal, Bangladesh, and Sri Lanka, playing a key role in the exchanges between ancient China and the outside world. Travellers from China would stop to acquire provisions at Dunhuang before crossing the Gobi Desert to continue on their long journey abroad. Figure 2: Dunhuang Mogao CavesThis article approaches the idea of “abroad” by examining the present-day imagination of journeys along the Silk Road—specifically, staged performances of the various Silk Road journey-themed dance-dramas sponsored by the Chinese state for enhancing its cultural and foreign policies since the 1970s (Kuang).As ethnomusicologists have demonstrated, musicians, choreographers, and playwrights often utilise historical materials in their performances to construct connections between the past and the present (Bohlman; Herzfeld; Lam; Rees; Shelemay; Tuohy; Wade; Yung: Rawski; Watson). The ancient Silk Road, which linked the Mediterranean coast with central China and beyond, via oasis towns such as Samarkand, has long been associated with the concept of “journeying abroad.” Journeys to distant, foreign lands and encounters of unknown, mysterious cultures along the Silk Road have been documented in historical records, such as A Record of Buddhist Kingdoms (Faxian) and The Great Tang Records on the Western Regions (Xuanzang), and illustrated in classical literature, such as The Travels of Marco Polo (Polo) and the 16th century Chinese novel Journey to the West (Wu). These journeys—coming and going from multiple directions and to different destinations—have inspired contemporary staged performance for audiences around the globe.Home and Abroad: Dunhuang and the Silk RoadDunhuang, My Dreamland (2000), the contemporary dance-drama, staged the journey of a young pilgrim painter travelling from Chang’an to a land of the unfamiliar and beyond borders, in search for the arts that have inspired him. Figure 3: A scene from Dunhuang, My Dreamland showing the young pilgrim painter in the Gobi Desert on the ancient Silk RoadFar from his home, he ended his journey in Dunhuang, historically considered the northwestern periphery of China, well beyond Yangguan and Yumenguan, the bordering passes that separate China and foreign lands. Later scenes in Dunhuang, My Dreamland, portrayed through multiethnic music and dances, the dynamic interactions among merchants, cultural and religious envoys, warriors, and politicians that were making their own journey from abroad to China. The theatrical dance-drama presents a historically inspired, re-imagined vision of both “home” and “abroad” to its audiences as they watch the young painter travel along the Silk Road, across the Gobi Desert, arriving at his own ideal, artistic “homeland”, the Dunhuang Mogao Caves. Since his journey is ultimately a spiritual one, the conceptualisation of travelling “abroad” could also be perceived as “a journey home.”Staged more than four hundred times since it premiered in Beijing in April 2000, Dunhuang, My Dreamland is one of the top ten titles in China’s National Stage Project and one of the most successful theatrical dance-dramas ever produced in China. With revenue of more than thirty million renminbi (RMB), it ranks as the most profitable theatrical dance-drama ever produced in China, with a preproduction cost of six million RMB. The production team receives financial support from China’s Ministry of Culture for its “distinctive ethnic features,” and its “aim to promote traditional Chinese culture,” according to Xu Rong, an official in the Cultural Industry Department of the Ministry. Labeled an outstanding dance-drama of the Chinese nation, it aims to present domestic and international audiences with a vision of China as a historically multifaceted and cosmopolitan nation that has been in close contact with the outside world through the ancient Silk Road. Its production company has been on tour in selected cities throughout China and in countries abroad, including Austria, Spain, and France, literarily making the young pilgrim painter’s “journey along the Silk Road” a new journey abroad, off stage and in reality.Dunhuang, My Dreamland was not the first, nor is it the last, staged performances that portrays the Chinese re-imagination of “journeying abroad” along the ancient Silk Road. It was created as one of many versions of Dunhuang bihua yuewu, a genre of music, dance, and dramatic performances created in the early twentieth century and based primarily on artifacts excavated from the Mogao Caves (Kuang). “The Mogao Caves are the greatest repository of early Chinese art,” states Mimi Gates, who works to increase public awareness of the UNESCO site and raise funds toward its conservation. “Located on the Chinese end of the Silk Road, it also is the place where many cultures of the world intersected with one another, so you have Greek and Roman, Persian and Middle Eastern, Indian and Chinese cultures, all interacting. Given the nature of our world today, it is all very relevant” (Pollack). As an expressive art form, this genre has been thriving since the late 1970s contributing to the global imagination of China’s “Silk Road journeys abroad” long before Dunhuang, My Dreamland achieved its domestic and international fame. For instance, in 2004, The Thousand-Handed and Thousand-Eyed Avalokiteśvara—one of the most representative (and well-known) Dunhuang bihua yuewu programs—was staged as a part of the cultural program during the Paralympic Games in Athens, Greece. This performance, as well as other Dunhuang bihua yuewu dance programs was the perfect embodiment of a foreign religion that arrived in China from abroad and became Sinicized (Kuang). Figure 4: Mural from Dunhuang Mogao Cave No. 45A Brief History of Staging the Silk Road JourneysThe staging of the Silk Road journeys abroad began in the late 1970s. Historically, the Silk Road signifies a multiethnic, cosmopolitan frontier, which underwent incessant conflicts between Chinese sovereigns and nomadic peoples (as well as between other groups), but was strongly imbued with the customs and institutions of central China (Duan, Mair, Shi, Sima). In the twentieth century, when China was no longer an empire, but had become what the early 20th-century reformer Liang Qichao (1873–1929) called “a nation among nations,” the long history of the Silk Road and the colourful, legendary journeys abroad became instrumental in the formation of a modern Chinese nation of unified diversity rooted in an ancient cosmopolitan past. The staged Silk Road theme dance-dramas thus participate in this formation of the Chinese imagination of “nation” and “abroad,” as they aestheticise Chinese history and geography. History and geography—aspects commonly considered constituents of a nation as well as our conceptualisations of “abroad”—are “invariably aestheticized to a certain degree” (Bakhtin 208). Diverse historical and cultural elements from along the Silk Road come together in this performance genre, which can be considered the most representative of various possible stagings of the history and culture of the Silk Road journeys.In 1979, the Chinese state officials in Gansu Province commissioned the benchmark dance-drama Rain of Flowers along the Silk Road, a spectacular theatrical dance-drama praising the pure and noble friendship which existed between the peoples of China and other countries in the Tang dynasty (618-907 C.E.). While its plot also revolves around the Dunhuang Caves and the life of a painter, staged at one of the most critical turning points in modern Chinese history, the work as a whole aims to present the state’s intention of re-establishing diplomatic ties with the outside world after the Cultural Revolution. Unlike Dunhuang, My Dreamland, it presents a nation’s journey abroad and home. To accomplish this goal, Rain of Flowers along the Silk Road introduces the fictional character Yunus, a wealthy Persian merchant who provides the audiences a vision of the historical figure of Peroz III, the last Sassanian prince, who after the Arab conquest of Iran in 651 C.E., found refuge in China. By incorporating scenes of ethnic and folk dances, the drama then stages the journey of painter Zhang’s daughter Yingniang to Persia (present-day Iran) and later, Yunus’s journey abroad to the Tang dynasty imperial court as the Persian Empire’s envoy.Rain of Flowers along the Silk Road, since its debut at Beijing’s Great Hall of the People on the first of October 1979 and shortly after at the Theatre La Scala in Milan, has been staged in more than twenty countries and districts, including France, Italy, Japan, Thailand, Russia, Latvia, Hong Kong, Macao, Taiwan, and recently, in 2013, at the Lincoln Center for the Performing Arts in New York.“The Road”: Staging the Journey TodayWithin the contemporary context of global interdependencies, performing arts have been used as strategic devices for social mobilisation and as a means to represent and perform modern national histories and foreign policies (Davis, Rees, Tian, Tuohy, Wong, David Y. H. Wu). The Silk Road has been chosen as the basis for these state-sponsored, extravagantly produced, and internationally staged contemporary dance programs. In 2008, the welcoming ceremony and artistic presentation at the Olympic Games in Beijing featured twenty apsara dancers and a Dunhuang bihua yuewu dancer with long ribbons, whose body was suspended in mid-air on a rectangular LED extension held by hundreds of performers; on the giant LED screen was a depiction of the ancient Silk Road.In March 2013, Chinese president Xi Jinping introduced the initiatives “Silk Road Economic Belt” and “21st Century Maritime Silk Road” during his journeys abroad in Kazakhstan and Indonesia. These initiatives are now referred to as “One Belt, One Road.” The State Council lists in details the policies and implementation plans for this initiative on its official web page, www.gov.cn. In April 2013, the China Institute in New York launched a yearlong celebration, starting with "Dunhuang: Buddhist Art and the Gateway of the Silk Road" with a re-creation of one of the caves and a selection of artifacts from the site. In March 2015, the National Development and Reform Commission (NDRC), China’s top economic planning agency, released a new action plan outlining key details of the “One Belt, One Road” initiative. Xi Jinping has made the program a centrepiece of both his foreign and domestic economic policies. One of the central economic strategies is to promote cultural industry that could enhance trades along the Silk Road.Encouraged by the “One Belt, One Road” policies, in March 2016, The Silk Princess premiered in Xi’an and was staged at the National Centre for the Performing Arts in Beijing the following July. While Dunhuang, My Dreamland and Rain of Flowers along the Silk Road were inspired by the Buddhist art found in Dunhuang, The Silk Princess, based on a story about a princess bringing silk and silkworm-breeding skills to the western regions of China in the Tang Dynasty (618-907) has a different historical origin. The princess's story was portrayed in a woodblock from the Tang Dynasty discovered by Sir Marc Aurel Stein, a British archaeologist during his expedition to Xinjiang (now Xinjiang Uygur autonomous region) in the early 19th century, and in a temple mural discovered during a 2002 Chinese-Japanese expedition in the Dandanwulike region. Figure 5: Poster of The Silk PrincessIn January 2016, the Shannxi Provincial Song and Dance Troupe staged The Silk Road, a new theatrical dance-drama. Unlike Dunhuang, My Dreamland, the newly staged dance-drama “centers around the ‘road’ and the deepening relationship merchants and travellers developed with it as they traveled along its course,” said Director Yang Wei during an interview with the author. According to her, the show uses seven archetypes—a traveler, a guard, a messenger, and so on—to present the stories that took place along this historic route. Unbounded by specific space or time, each of these archetypes embodies the foreign-travel experience of a different group of individuals, in a manner that may well be related to the social actors of globalised culture and of transnationalism today. Figure 6: Poster of The Silk RoadConclusionAs seen in Rain of Flowers along the Silk Road and Dunhuang, My Dreamland, staging the processes of Silk Road journeys has become a way of connecting the Chinese imagination of “home” with the Chinese imagination of “abroad.” Staging a nation’s heritage abroad on contemporary stages invites a new imagination of homeland, borders, and transnationalism. Once aestheticised through staged performances, such as that of the Dunhuang bihua yuewu, the historical and topological landscape of Dunhuang becomes a performed narrative, embodying the national heritage.The staging of Silk Road journeys continues, and is being developed into various forms, from theatrical dance-drama to digital exhibitions such as the Smithsonian’s Pure Land: Inside the Mogao Grottes at Dunhuang (Stromberg) and the Getty’s Cave Temples of Dunhuang: Buddhist Art on China's Silk Road (Sivak and Hood). 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Karya ini mengadaptasi folklor “Ande-Ande Lumut” sebagai ide dasar penciptaannya. Folklor ini dituangkan dalam pementasan teater berjudul “Kemuning”. Folklor “Ande-Ande Lumut” merupakan turunan dari cerita Panji yang menceritakan pengembaraan Raden Panji mencari Putri Candrakirana. Cerita Panji tidak hanya dikenal di Indonesia, tetapi dikenal hingga Asia Tenggara dan Jepang. Perkembangan teori adaptasi begitu pesat, apapun kini bisa dijadikan obyek adaptasi, puisi, novel, drama panggung, lukisan, tarian, dan video games. “Kemuning” ini dikemas dengan konsep pemanggungan teater epik Brecht. Hal ini merupakan suatu upaya mencari bentuk baru (pembacaan) dalam cerita “Ande-Ande Lumut”. Teater Epik menolak salah satu unsur utama dari drama Aristotelesyang telah dikembangkan dengan metode Stanislavsky, yaitu harus adanya empati (rasa ikut mengalami) dalam sebuah pementasan. Menurut Brecht proses ini telah menyebabkan suatu akibat yang mestinya dihindari, karena mengakibatkan sikap pasif dalam diri penonton. Maka ia membuat teori tentang menghancurkan ilusi, cara interupsi, dan tetap mengontrol emosi. Brecht identik dengan tema-tema sosial dalam karyanya. khususnya tema yang mengangkat nasib orang kecil yang harus menderita karena kebijakan penguasa. Biasanya kisahnya seputar persoalan buruh dan majikan. Pementasan “Kemuning” ini mengangkat kehidupan para pelacur yang masih identik dengan hal-hal negatif. Padahal mereka dibutuhkan dalam masyarakat. Tapi kadang kala mereka menjadi kambing hitam yang harus selalu disalahkan. Secara tersirat pementasan ini bertujuan memperjuangkan kehidupan para pelacur. Penonton diajak melihat sudut pandang yang lain tentang kehidupan pelacur yang selama ini dianggap buruk oleh masyarakat. Menurut Brecht teater yang baik dan yang dituntut dalam jaman moderen adalah teateryang dapat menggugah aktifi tas berfi kir yang kritis pada diri penonton. Maka pentas ini diharapkan mendorong para penikmat seni untuk melahirkan penafsiran yang penuh dengan kesadaran terhadap lingkungan sosial dan bisamenimbulkan suatu gerakan atau perubahan pada masyarakat.Kata kunci: Folklor, Ande-Ande Lumut, Adaptasi, dan Teater Epik BrechtABSTRACTAnde-Ande Lumut: The Adaptation of Folklore to the Epic Theater of Brecht. This theatrical work is adaptedfrom a popular folklore entitled Ande-Ande Lumut that is as a basic idea of its work. This folklore is performed in theatricalperformance entitled Kemuning. Ande-Ande Lumut is a story derived from the story of Panji which tells us about PrincePanji’s journey to look for Princess Candrakirana. This story is not only popular in Indonesia but also in South East Asiaand Japan. The adaptation theory is developing well; everything can be used as an adaptation object, poems, novels, dramas, paintings, dances, and video games. Kemuning is performed by the performing concept of Brecht’s epic theater. However, this is an effort to fi nd out the new form of reading in Ande-Ande Lumut story. The epic theater against one of the main elements in Aristotle’s drama that has been developed by Stanislavsky’s method; there should be an empathy in every aspect of performance. According to Brecht, this process has caused an effect which should be avoided because it brings audience’s passive attitude. Therefore, he tried to make a theory of destroying the illusion, of interrupting method, and of controlling emotion. Brecht’s identical works focus on the social themes, especially on the themes that show the poor people who are suffering from the authority’s policy. The common problems between the master and its worker are refl ected on hisstory. The Kemuning performance has tried to show the prostitutes’ life that is closed to any negative things. In fact, they are still being needed by the society. Unfortunately, sometimes they become the source of scapegoats to any troubles and are always blamed to. Implicitly, this performance is aimed to fi ght for the prostitutes’ life. The audience is invited to see the other points of view about their life that are often regarded as negative by the people. Moreover, Brecht said that a good and demanded theater in this modern era is a theater that can arouse the audience’s critical thinking activities. Therefore, this performance is supposed to be able to motivate the arts lovers in producing a critical analysis to any social awareness and in creating a new movement to any signifi cant changes in society.Keywords: Folklore, Ande-Ande Lumut, Adaptation, and Brecht’ Epic Theater