Ofiary – wyobcowane – sprawczynie. Kobiecy punkt widzenia na przemoc i wojnę we współczesnym dramacie i teatrze (post)jugosłowiańskim

Abstract

The bloody confl icts accompanying the collapse of Yugoslavia in 1991–1995 have become one of the extremely interesting, recurrent subject in the (post)Yugoslav drama and theatre. The female artists and playwrights also leap at a chance to abreact the horrors of war. Their engaged art and writing defi ned by a syntagma: (anti)war female dramaturgy arises interest, because it is situated/placed in the opposition to the masculinist mode of describing armed confl icts, their side eff ects and consequences. The paper presents three categories of contemporary (post)Yugoslav female drama heroines who represent three role models in war narratives: Victims – Alienated – Agents. The analytical part of a paper consists of three parts. Firstly, the problem of female victims of ethnic rapes is presented on an example of drama Maria’s Pictures (Slike Marijine, 1992) by Croatian playwright Lydia Scheuermann Hodak. Secondly, the category of alienated heroines is illustrated by a play Finger (Gishti, 2011) by Albanian author Doruntina Basha from Kosovo in which refugees problems and questions evoked by missing persons (husbands and sons) is thematised. Thirdly, there are presented three plays by Croatian author Ivana Sajko representing the fi gures of violence activism: a fi gure of avengeress (Archetype: Medea – monologue for a Women who Sometimes Speak, 2000), a female terrorist (Woman-Bomb, 2003) and an emperess-warrior (Europe – a monologue for Mother Courage and her Children, 2004). The stress is also put on the artvivism as well as on catharctic function of this artistic creativity.