Битеф

Jf in presenting ancient tragedy today we were to rely on information and evidence that has survived from that period and on commentaries and statements made by foreign scholars (who more often than not have little knowledge of the art of the theatre on the one hand, and of the Greek charcuter, the customs and spirit of the people who live today on the same land, on the other) we would risk falling into complete misunderstanding.

Very often in our desire to extol the grandeur of Ancient Tragedy, its liturgical and ritualistic character, the stature of the heroes, and in general the art and style of a great poet, we happen to resort to techniques, ways and means alien to the theatre and the contemporary forms oj expression, or to borrowing from foreign schools, now outdated, manners of projection and interpretation which only succeed in distorting and altering the true character, the essence and texture of tragedy.

We shall not find the greatness of the ancient poets in academic prescriptions of design and formations and in grandeloquent styles of declamation and rhetoric but in the creation of a real human, tragic climate which will throw light on the inner scope of the work. We must become aware that a great, eternal and human poet wrote theatre with people and for the people; we must try to see his work with eyes centered on our life and our reality, liberated from the illusory fetters of time which »we ourselves willingly endeavour to put on«.

In this way only shall we be able to grasp the living vigour and the magnitude of the Ancient Greek Tragedy and hear the poet's real voice.

(Karolos Koun)

Dva Atinjanina, Pisteter i Evelpid svuda traie ptice uz čiju pomoć nameravaju da izgrade je dan novi grad, između

sadržaj

neba i zemlje, » hez političara, bez sudava, bez potkazivača «. Vođeni gavranom i vranom, stila do vrha velike planine na kojoj sreču Pupavca jedno vreme Terej, kralj Trakije, dakle, Ijudsko biće koji pticama izlaže svoje planove. Pisteter im objašnjava da su one u dama vremena bile gospodarì svela i nagovara ih da od bogova ponovo traie svoja

and made to touch today s audiences. To achieve this it is necessary that the written poetic word becomes spoken word, that the script takes the form of living speech, organically bound to mind and body so that the actors may fit the projection of the expression to reality and so that dramatic ituations spring from \ direct relative experience. I am afraid there is very little we know about how ancient Greek Tragedy was performed; of this scanty information, there is even less that can be of effective help to us in directing us toward its real revival.

stara prava na vladanje. Sagradivši u vazduhu grad opasan zidinama, sprečiće bogove da budu u vezi sa ljudima. Prinošenjem zríve oípocinje izgradnja novog grada (nazvanog Nubicucculia Pevimaglaj-grad), žrtve koju prekida gomila avanturista, medu kojima se nalaze Pesnik, Prorok, Geometar Metan, Poslanik, Prodavac zakona. Irida, koja je u službi bogova kao glasonoša, putuje prema zemlji da bi oplakivala čovečanstvo koje vise ne prinosi zríve bogovima sa Olimpa. Pisteterje vraéa bogovima; on ter a i prispelu gomilu, medu kojima i Kinesiju,

pesnika ditirambo i Potkazivaca koji lele da postanu gradoni Pevimaglaj-grada, Najzad, Pisteter posavetovan od Prometeja, započinje pregovore o mira sa predstavnicima koje su bogovi postali, a Posejdon, Herkul i Tribal vodili dobrim putem, i übeduje ih da vrate pticama skiptar koji se nalazi kod Zevsa i da se oženi Kraljicom.

Rođen u Grčkoj između )450. i 444. pre naše ere, od oca Filipa Atenjanina,

aristofan

Arisi of an prìpada atinskom demosu iz plemena Pandionida. Počeo je da pise prve komedije kao vrlo miad i izvodio ih je pod tuđim imenom. Tako, pod imenom Kalistrata izv odili su se na sceni »Gosti« (427), »Vavilonci« (426), »Aharnjani«, prva po redu od jedanaest komedija koje su do nas stigle, od 44 koliko mu se pripìsuju. Između 424. i 414, Aristofan je napìsao »Vitezove«, » Oblakinje«, »Zoije«, »P amicare«, »Mir«, » Ptice «, » Lizistratu «, »Tesmoforiazuse«, » Žabe «, »Ekiesiazuse« i »Pluta«. Nije potvrđena godina Aristofanove

smrti misti se da je oko 385. Zaista je vrlo čudno da o čoveku i pesniku koji je jedini za protagoniste svojih drama uzimao ceo atinski narod vrlo malo znamo i to samo na osnovu oskudnih i nesigurnih starih biografija. Aristofan je svakako bio jedini velikipesnik Grčke, dok je ona jos bila miada zemlja, i bez svake sumlje najraznovrsniji. Na trenutak pomislimo da on svoju umetnost stavlja u slulbu opštih ideala, a on odmah poste toga reselo i bez zlobe govori o poroku i porocnima; lini nam se, zatim, da on kao politicar izražava javno mišljenje, a odmah zatim ruga se ì ismejava sve i svakoga; borac protiv Sokrata i Euripida,protiv tradicionalnog vaspìtanja i religije, on je manje sofist od sofista i lesto se smeje bogovima, prikazujući ih na sceni kao plašljivce, pohlepnike i nemilosrdnike.