GOVORJENA RAVNINA V KOMEDIJI TONETA PARTLJIČA MOJ ATA, SOCIALISTIČNI KULAK (KORELACIJA MED DRAMSKO PREDLOGO IN ODRSKO OZIROMA FILMSKO IZVEDBO)

Šerbinek, Simon

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Title:	GOVORJENA RAVNINA V KOMEDIJI TONETA PARTLJIČA MOJ ATA, SOCIALISTIČNI KULAK (KORELACIJA MED DRAMSKO PREDLOGO IN ODRSKO OZIROMA FILMSKO IZVEDBO)
Authors:	ID Šerbinek, Simon (Author) ID Zorko, Terezija (Mentor) More about this mentor...
Files:	UNI_Serbinek_Simon_2011.pdf (1,32 MB) MD5: E44156885B49BE2D77B05943476152DF PID: 20.500.12556/dkum/10e00b61-b77f-496a-9a75-af61cb553e55
Language:	Slovenian
Work type:	Undergraduate thesis
Organization:	FF - Faculty of Arts
Abstract:	Diplomsko delo prikazuje vlogo gledališkega lektorja v gledališču in pri filmu. Na konkretnem primeru bridke komedije Toneta Partljiča Moj ata, socialistični kulak se diplomsko delo ukvarja z rabo mariborskega pogovornega jezika v odrski in filmski izvedbi. Korelacija, ki je izpeljana na podlagi izvedb v Slovenskem narodnem gledališču Maribor, Slovenskem narodnem gledališču Drama Ljubljana, Slovenskem ljudskem gledališču Celje in Viba filmu, prikazuje in dokazuje, da vloga gledališkega lektorja ni samo narodno-jezikovno obrambna in jezikovno-normativna, temveč je hkrati tudi poetično-ustvarjalna. Vse kaže na to, da lektor v gledališču ni samo strogi učitelj, ki popravlja napake igralcev, temveč je soudeležen v ustvarjalnem režijsko-dramaturškem konceptu, kjer ustvarja govor kot artefakt. Diplomsko delo se ni ukvarjalo zgolj s praktično funkcijo gledališkega lektorja, temveč je bilo tudi dialektološko zasnovano. Ugotavljalo je vlogo pogovornega jezika, ki je že od petdesetih let prejšnjega stoletja vdiralo v gledališče in na film. Pri tem je bila prikazana kompleksnost mariborskega pogovornega jezika, ki se skuša znebiti duhovitosti, ki ga označuje v slovenskem prostoru, kadar gre za gledališko ali filmsko predstavo. Hkrati ugotavlja, da je raba mariborskega pogovornega jezika zelo variabilna, in sicer glede na govorni položaj igralca in njegov organski govor. Hkrati se ozira na režijsko in dramaturško zasnovo, ki je odvisna od časa in prostora, ko umetniški izdelek nastaja. Diplomsko delo temelji na deskriptivni raziskovalni metodi, ki je podkrepljena z zgodovinsko in komparativno metodo, ter deloma z metodo klasifikacije ter analize in sinteze. Prikazana je živa govorica v slovenskem gledališkem prostoru, v katerega se umešča mariborski pogovorni jezik.
Keywords:	.
Place of publishing:	Maribor
Publisher:	[S. Šerbinek]
Year of publishing:	2011
PID:	20.500.12556/DKUM-17300
UDC:	811.163.6(043.2)
COBISS.SI-ID:	18172424
NUK URN:	URN:SI:UM:DK:TN5GWJD8
Publication date in DKUM:	23.02.2011
Views:	3461
Downloads:	1147
Metadata:
Categories:	FF
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Secondary language

Language:	English
Title:	LANGUAGE LEVEL IN THE COMEDY
Abstract:	This diploma paper discusses the role of the theatre lector in theatre and film. It presents the concrete case of the bitter-sweet comedy Moj ata, socialistični kulak (My Father, the Socialist Kulak), by Tone Partljič, focusing specifically on the use of the Maribor colloquial language on theatre and film stages. A correlation is drawn between performances in the Slovene National Theatre Maribor, Slovene National Theatre Drama Ljubljana, Slovene National Theatre Celje, and Viba film. It proves that the role of theatre lector is not merely nationally-linguistically defensive and linguistically-normative, but also poetically-creative. It seems that the theatre lector not only corrects the mistakes of the performers in their role as strict teacher, but also contributes to the creative stage-management and stage-directing concept, which creates speech as an artifact. Not only does this diploma paper deal with the practical function of the theatre lector, but it also discusses the question of dialect. It determines the role of colloquial language, which has been invading the spheres of theatre and film since the 1950’s. At the same time, the complexity of Maribor colloquial language is presented; the dialect has been trying to shake off the label of “humorous” which distinguishes it within the Slovene theatre and film scene. The paper also argues how variable the use of the Maribor colloquial language is, considering performers’ speech situations and their organic speech. It takes into consideration directive and dramaturgical schemes, which depend on the time and place in which a particular masterpiece is created. The diploma paper is based on the descriptive research method, supported by historical and comparative methods, as well as – partially – the classification, analysis and synthesis methods. What the paper clearly presents is a language which is very much alive within the sphere of Slovene theatre to which the Maribor colloquial language belongs.
Keywords:	.

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