| Abstract [eng] |
The object of the master’s thesis - J. Glinskis dramaturgy of the soviet and nowadays periods. There are chosen these plays: “Grasos Namai”, “Kingas”, “Pasivaikščiojimas mėnesienoje“, „Baltos lelijos“, „Fokas Lyveris arba Teisėjų nužudymas“, „Vieno tėvo vaikai“, „Muzikėlė“, „Tumbo Tomba ir Dievo vaikelis“, „Gudragalviai‘. Modern plays of lithuanian author Juozas Glinskis are considered in the way of comparing them with the context of Western modern plays of the end of XIXth and the beginning of the XXth centuries. There is chosen the creation context of concrete dramaturgists: Samuel Beckett, Alfred Jarry, Jean Paul Sartre, Jean Anouilh. Dramartugy is realized according to aesthetic principles of the realism and the modernism. The development of the research of this direction was encouraged by the way how plays of this dramartugist are still often analized - though the basis of one also of another theory- where the realism and the modernism are separated. More proper anglysis shows that there ara crossing those two currents of literature in J. Glinskis‘ dramas. That fact lets to suppose problems and the particularity of the language of this author. There is analized how the socialistic, psyhological, magic, historical realism and A. Artaud‘ theatre of the violence, which belongs to the modernism, are crossed in plays. In the(...) there is discussed the modern aesthetic of the game, relating it with an absurd, the social and psychological realism, invoking the most important supports of the depersonalization and the carnivalism of players, seeking to reveal the farcicality, which is dictated by the totalitarian system of that period. There is demonstrated the resistance to standards dictated by the totalitarian system. This resistance comes from national consciousness and is demonstrated by the magic realism, like a faith, based on myth and folklore. The magic realism is constructed by the help of body and space destructions, which are relevant for a modernism. That is how the chaotic pictuce of human being of the XXth century is created. The negativity of the religion is constructed by moderinizing an aesthetic of the realism. The downfall of worths of the nowadays world is expressed by implements of the violence and absurd theatre. The supports, such like freedom of the world, love for a family and close people, disappear when negativity of God appears. The language of plays belongs to principles of the modern one: uncolloquiness, preterition, also nonsense settles down. This is the way to express the state of an irony and the absurd of the world. In plays the social realism is negotiated by the psychological or historical realism, modernizing last – mentioned. These moments and their specific let to realize J. Glinskis as an individual dramaturgist, whose creation expresses the pluralistic view of the socialistic, psychological, historical, the magic realism and the modernism, motivated by ideas of an absurd and the viol. |
