Dramatization is a transformation of a literary or non-literary text (predominantly a novel) into a dramatic form, based on which a performance will come to life. The term includes the category of drama which is a fusion and combination of epic and dramatic, and it has been so since the 19th century, when the originally non-dramatic texts were more frequently staged and the term dramatization was theoretically defined (É. Zola). Hence the dramatization of prosaic texts does not only show the relationship between prose and drama and literature versus theatre, but has throughout the history also contributed to their modification. As the transformation between the two literary forms and consequently between the two media demonstrates a different level of connectedness, the terms modification, adaptation and "theatralization" are also used. The aim of this doctoral thesis is to present different approaches to this almost unresearched topic in the Slovenian theatre and literary science, to propose a uniform terminology and so, resulting from studying a restricted number of dramatizations (of the contemporary Slovenian novels), reach some broader insights into the relationship among prose, theatre texts and their staging. The thesis consists of three parts. In the first part I present the theoretical bases to research the method that involves three elements: a novel, a dramatization and the staging. I begin my treatise with the definition of dramatization, followed by the consideration of its status in recent writing practices and stagings, and continue with a comparative listing of prosaic and dramatic elements. By doing that I also point out the appropriateness of questioning the faithfulness of a new-sprung text in comparison with its epic origin and, connected with this, the status of dramatization as an original work of art. In the final chapter of the first part of my thesis I deal with a double (literary and theatrical) character of a dramatic text and with different conceptions of the correlation between literature and theatre, which besides the verbal ones also uses a number of non-verbal ones. Already in the first part of the thesis examples of Slovenian and foreign theatres are used to illustrate the theoretical bases. In the second part, however, I try, on the basis of a number of examples of dramatizations on Slovenian stages from 17th century on, to find out what the (literary and extraliterary) reasons for their coming into existence were, and what influenced the dynamics of their appearances in certain eras and theatres. The chronological order of dramatizations is divided into three periods of time. The first period 311 311 311 is set into the time before the end of the Second World War; for this period it is typical that a large number of dramatizations appears among the rest of dramatic production, with predominantly patriotic, didactic and commercial reasons for the choice of prosaic works and the type of dramatizations that did not pay regard to the specifics of the other medium. In the second period (1945-1980) the number of dramatizations decreased, and different approaches to the use of non-dramatic materials appeared. They were initiated in experimental theatres and helped with the so called "retheatralization" of the Slovenian theatre. With the changing reasons for the choice of lyrical and epic productions, the choice of prosaic texts for stagings also altered - there was much less canonical literature. The third period (1980-2010) is marked by the coexistence of diverse literary and theatre poetics, by a different comprehension of a dramatic text and its dialogue with a prosaic text, and, finally, by the inconsistent scheme of dramatizations in singular theatrical seasons. The second part of the thesis, which is based on the previously listed number of stagings being performed on the basis of non-dramatic materials, already introduces the third part of the thesis, in which the research is focused on the dramatization of the contemporary Slovenian novel. In the third part of the thesis I deal with twelve contemporary Slovenian novels, which were published between the years 1958 and 2010 and were dramatized and staged in the period between 1971-2010: Spopad s pomladjo (1958), Boris Pahor; Nekropola (1967), Boris Pahor - Pilgrim Among the Shadows (1995) translated by Michael Biggins; Mrgolenje prahu (1968), Evald Flisar; Don Juan na psu ali zdrav duh v zdravem telesu (1969), Dušan Jovanović; Resničnost (1972), Lojze Kovačič; Levitan (1982), Vitomil Zupan; Severni sij (1984), Drago Jančar; Filio ni doma (1990), Berta Bojetu; Balerina, Balerina (1997), Marko Sosič; Katarina, pav in jezuit (2000), Drago Jančar; Fužinski bluz (2001), Andrej E. Skubic in Čefurji raus! (2008), Goran Vojnović. In these novels I observe prosaic, dramatic and performative elements and study what happened to them during the transformation into the other literary form and consequently into a performance. Dramatization and directing strategies are evaluated on the basis of originality and the upgrading of the original text (the contemporary Slovenian novel) in the field of the other literary form or medium. Based on the interdisciplinary research of the listed examples, in which the literary and the performative criteria are respected, I arrange the dramatizations into three groups: dramatizations - illustrations, dramatizations with a distinctive authorial approach, and autonomic theatre texts based on the contemporary Slovenian novels. There 312 312 312 is no distinctive border in the typology due to the mingling of both criteria allowing the transition of one type into the other. The contemporary Slovenian novel after 1990, when it reached the phase of the most recent novel - a modified traditional novel, turned out to be a kind of original text that did not evoke especially innovative literary or theatrical writings, which is related to literary and extraliterary reasons. More innovation may be noticed in theatrical adaptations based on the contemporary Slovenian novel with the elements of modernism. Despite this sort of examples, however, it can be concluded that the contemporary Slovenian novel keeps
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