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The article analyses two dramas by Jarosław Jakubowski: Dożynki and Nowy Legion (New legion), which their author designed as attempts at updating the political frame of Mickiewicz’s Dziady (Forefathers’ Eve), (especially ‘Warsaw salon’), read in the context of the ‘Smoleńsk romanticism.’ The right-wing approach to Mickiewicz’s archdrama offers a diagnosis of the social and political divide (‘two Poland’) in the aspect of the clash between two worldviews: left-wing and liberal versus right-wing. Mickiewicz’s authority is supposed to strengthen the right-wing diagnoses, hence it is easy to spot the numerous attempts at instrumental and anachronic reading of the romantic legacy. At the same time, the analysed dramas show the importance and the textual and ideological productivity of the romantic paradigm.
The aim of this paper is, first of all, to discuss the linguistic sphere in Oleg Bogayev’s comedy works. We would like to pay special attention to the way the characters express themselves. The way Bogayev’s characters create reality is deeply rooted in the spirit of postmodernism, which is reflected primarily in the playwright’s bold experimentation with words, especially in the area of constructed replicas. Language saturated with humour and comical elements can be found in the plays Maria’s field (2004) and Notes of a prosecutor in love (2019). In each of these works, the mode of expression is shaped slightly differently, primarily because of the relationship between the word and the reality presented. They have been constructed according to different genre patterns. The comical and humorous character is most clearly manifested in the former at the linguistic level, while in the latter it is conditioned by the situation. On the one hand, there is humour in Bogayev’s works that can be described as good-natured and comical, directed at human existence and social problems, both as perceived by the author and the characters. On the other hand, there is satirical humour that destabilises the image of the presented world, shattering stereotypes and fixed beliefs. Humour often lurks the tragedy and absurdity of the human world, with all its weaknesses and problems.
Content available Podmiot groteskowy w dramatach Olega Bogajewa
The article analyses three dramas written by Oleg Bogayev (The Russian National Postal Service. A Room of Laughter for a Lonely Pensioner; Bashmachkin and Sansara). The purpose of the work was primarily to expose various forms, due to which we can talk about the grotesqueness of the subject, i.e. the relationship I – Others, the violation of the boundary between the categories of significant and signified, subject-object relations, the subject of the act of behaviour and the act of speech as well as the occurrence of the Voice as a separate unit from the subject. The author emphasises the fact that the contemporary figure of the subject has been reduced to the language level and experiences a crisis of self-identification, which in turn leads to the crisis of the drama itself. Comic characters balance between the real and the fantastic world. Their statements are often pictures-simulations, heavily saturated with irony, the grotesque and absurdity.
The present paper deals with work of three outstanding non-professional playwrights active after 2000, and their home theatre groups: Kazimír Lupinec (real name Jan Červený) and his group V.A.D. Kladno; Petr Macháček and Divadlo Kámen, Prague; and Josef Tejkl and Černí šviháci, Kostelec nad Orlicí. The aim of the study, in case of Lupinec and Macháček, was to cover all aspects of their theatre work, while in case of Josef Tejkl the stress is laid on the dynamic relationship between the author and his group, and the advantages and disadvantages of their tight collaboration. Some general observations on this issue are made towards the end of the paper, while at the start an overall introduction to the context of Czech nonprofessional theatre after 2000 is given, stressing the somewhat paradoxical nature of its theoretical and critical reflection.
Přítomná studie se věnuje dílu tří výrazných amatérských dramatiků, jejich tvorbě po roce 2000 a jejich domovským souborům. Jde o Kazimíra Lupince (občanským jménem Jana Červeného) a soubor V.A.D. Kladno, Petra Macháčka a pražské Divadlo Kámen a Josefa Tejkla a soubor Černí šviháci z Kostelce nad Orlicí. V případě Lupince a Macháčka studie nabízí pokus o celistvé postižení jejich autorského typu, v Tejklově případě spíše zkoumá specifika, výhody a omezení ve vztahu amatérského dramatika a souboru, s nímž stabilně spolupracuje. Na toto téma studie předkládá také několik zobecňujících úvah. „Případovým studiím“, věnovaným jednotlivým autorům, předchází obsáhlý úvod, který líčí obecnější kontexty české amatérské dramatiky po roce 2000 a jistou paradoxnost její odborné a kritické recepce.
The article deals with the combination of classical and innovative artistic techniques in the play Duma by Anna Kashina. Playing with the dramaturgical tradition on different levels is described and it is shown to embrace the system of characters, the content of the stage directions (the insertion of video projections, moving the action to auditorium) and also the composition of the play. Kashina’s play is discussed by the author as a work whose poetics is determined by the aesthetics of modern visual media as well as by the literary tradition. 
В статье анализируется сочетание классических и новаторских художественных приемов в пьесе Анны Кашиной Дума. Описывается игра с драматургической традицией, осуществляющаяся на уровнях: системы персонажей, изложенного в ремарках изобразительного ряда (введения видеопроекций, перенесения действия в зрительный зал), а также композиции произведения. Автор рассматривает пьесу А. Кашиной как произведение, поэтика которого детерминирована как эстетикой современных визуальных медиа, так и литературной традицией.
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