ЧИТАЊЕ (НЕ)СЦЕНИЧНОСТИ ДРАМСКИХ ТЕКСТОВА МОМЧИЛА НАСТАСИЈЕВИЋА

Abstract

U ovom radu analizirani su dramski tekstovi Momčila Nastasijevića. Njegove dve muzičke (Međuluško blago, Đurađ Branković) i tri drame u užem smislu (Nedozvani, Gospodar-Mladenova kćer, Kod večite slavine) kritički su iščitavane, uz uvažavanje implicitnih strukturnih i poetičkih specifičnosti svake od njih pojedinačno. U tom smislu, istraživanje ovih dramskih tekstova, rukovođeno prevashodno unutrašnjim, imanentnim pristupom, zahtevalo je izvesni metodološki pluralitet oko čijeg se književnoteorijskog, dramaturgijskog i teatrološkog jezgra okupljaju i različite antropološke i folklorističke teorije, teorije mita i rituala. Imanentni pristup dramskom tekstu praćen je spoljašnjim pristupom, u smislu da dosadašnja recepcijska povest ovih drama, kako u književnom tako i pozorišnom diskursu, takođe predstavlja jednu od okosnica ovog rada. U radu je ukazano na specifične unutrašnje karakteristike Nastasijevićevih dramskih tekstova, na njihove međusobne sličnosti, kao i razlike, da bi se u zbiru mogla ustanoviti noseća načela dramske poetike ovog autora. Kritičkim čitanjem Nastasijevićevih drama u ovom radu rukovodi induktivni metod. Opšte karakteristike literarane poetike Momčila Nastasijevića, onako kako ih je ustanovila nauka o književnosti, nisu uzimane nekritički, kao neupitna datost. U radu je istraživan Nastasijevićev konceptualni mit (koji se u njegovoj literaturi najčešće pojavljuje pod imenom maternje melodije), kao i problem prirode Nastasijevićevog poetskog jezika kao čvorišnog mesta njegove poetike, te je ukazano na izvesnu mitologizaciju, čitalačku intertnost u naučnom pristupu pomenutim poetičkim elementima. Ova su problemska pitanja u radu istraživana prevashodno iz razloga što se upravo njihova demistifikacija, revalorizacija pokazala nužnom za razbijanje tri noseća mita ugrađena u same temelje inertne recepcijske povesti literarne poetike Momčila Nastasijevića. U pitanju su mit o rodnom kao apologiji rasno–nacionalističkog, mit o anahrosti njegovog jezika i njegove celokupne poetike i, na koncu, mit o nesceničnosti njegovih dramskih tekstova. U organizaciji rada rukovodili smo se hronološkim načelom, drame su čitane onim redom kojim su i nastajale. U zasebnom poglavlju istraživanje je fokusirano na poetičke i izvanpoetičke specifičnosti koje su uslovile Nastasijevićevo odsustvo sa pozorišne scene, kao i na promišljanje potencijalnog teatrološkog i teatarskog okvira u kojem bi ove poetske, lirske, muzičke drame mogle da se oslobode stigme nesceničnosti. U završnom delu rad je posvećen zaključnoj sintezi i razmatranjima.

This paper analyzes the plays of Momcilo Nastasijevic. His plays, two music (The Treasure of Medjuluzye, Djuradj Brankovic) and three in a narrow sense (The Unclaimed, Lord-Mladen's Daughter, At The Eternal Tap) had been critically read, taking into consideration the implicit structural and poetic specificity of each of them individually. Hence, the research of these plays, conducted primarily by internal, immanent approach, required a methodological pluralism: literary theory, drama and theater theory, various anthropological and folklore theories, myth and ritual theories. The implicit approach to the plays was followed by an external approach. Thus, the history of reception of these plays, both in literary and theater discourse, also represents one of the frameworks of this paper. The paper examines the specific internal characteristics of Nastasijevic's plays, their mutual similarities, as well as their differences, in order to establish the pillar principles of the author’s poetics. Critical reading of Nastasijevic's plays in this paper was guided by an inductive method. The general characteristics of literary poetics of Momcilo Nastasijevic, as they were established by the literature studies, were not taken uncritically, as unquestionably given. Nastasijevic's conceptual myth (in his literature often named as maternal melody), as well as the problem of the nature of Nastasijevic's poetic language as the main node of his poetics were also investigated in this work. It was pointed out to a certain mythologization and indolence in the scientific approach to the mentioned poetic elements. These issues were investigated primarily because their demystification and revalorization proved as necessary in the process of disintegration of three major myths embedded in the foundations of the inert receptions of the Nastasijevic’s literary poetics. These are the myth of maternal as an apology of racial nationalism, the myth of the anachronism of his language and poetics and, ultimately, the myth that his plays are impossible to be performed on stage. In the organization of the work we respected the chronological order, the plays were read in the order in which they were created. In a separate chapter, we focused our research on the poetic and non-poetic peculiarities that caused Nastasijevic's absence from the theater scene. We also tried to find and suggest the potential theatrological and theatrical framework in which these poetic, lyrical, and music dramas would no longer be seen as impossible to be performed on stage. In the final part, the work is dedicated to the concluding synthesis.