INTERTEKSTUALNO ČITANJE DRAME „ŽUDNJA“ SARE KEJN

Nasleđe 51 (2022), str. 319-332

AUTOR(I): Jovana S. Pavićević

E-ADRESA: jovanapavicevic@yahoo.com

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DOI: 10.46793/NasKg2251.319P

SAŽETAK:

Intertekstualna analiza predstavlja, prema mišljenju bri- tanskog pozorišnog kritičara Aleksa Sirza, jednu od četiri strategije čitanja drame Žudnja. Ovaj rad izdvaja Fasbinderovu dramu Pre raja (Pre-Paradise Sorry Now), Krimpovu dramu Nasr- taji na njen život i Eliotovu poemu Pusta zemlja kao tri dela koja su uticala ne samo na sadržaj već i na formu koju će Kejnova usvojiti za Žudnju. U ovom tekstu Sara Kejn, kao i Fasbinder, pre- lazi sa likova na njihove odnose, ali, nalik Krimpu, prednost daje glasovima četiri lica, obeleženim samo abecednim slovima (A, B, C, M). U igri protivrečnih glasova – kratkih, eliptičnih, emotivno obojenih i naizgled nepovezanih iskaza – kontakti sa Eliotovom poemom teže se uočavaju jer autorka preuzete delove vešto integriše u sopstveni tekst, a često ih i preobražava bez ikakve signalizacije da je u pitanju citat. Ta intertekstualna veza se može dodatno pomeriti ili čak izgubiti prilikom pre- vođenja Žudnje na srpski jezik što je u radu predočeno analizom jednog Eliotovog stiha u prevodu Jovana Hristića i Ivana V. Lalića. Pored motiva pustoši, Žudnja se oslanja i na Eliotovu tehniku spajanja prethodno pokidanog i razdvajanja onoga što je tek spojeno, a kao celina izrasta kroz ritmičku organizaciju materijala – fragmenata, skupina replika, mikrostruktura – u toku samog izvođenja

KLJUČNE REČI:

Žudnja, intertekstualnost, Fasbinder, Krimp, Eliot, dijalogizam, ritam, izvođenje

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