UDC 821.163.41-2.09 Kovacevic D. 821.163.41-95 ELEMENTS OF DRAMA farce Dusan Kovacevic Dragan Besara SUMMARY: The drama of Dusan Kovacevic, often by-reivano as a farce, this paper is treated as an example for use by the old-be comic genre to create a special dramatic quality, which, in the absence of adequate terms, is called a black com edy. From the first piece Kovacevic uses far-sine actions (acceleration action, e xaggeration, betrayal of natural law) to achieve specific - farcical, and thus c omical, stylized. The farce becomes an indispensable element in building the amb ivalent world of drama, in which the tragic and the comic is firmly connected, a nd which aim to cause "trouble rd" uneasy feelings in viewers. This reaction fin ally becomes a fundamental prerequisite for the reaction: this drama does not pr ovide answers, but lead to the questioning. In an interview published 1977th The Duan Kovaevi is already renowned as a playwrig ht with four plays performed {Marathon Family, 1973, Radovan third, 1974, Spring in January, 1977, What is it about being udskom what it takes to drink, 1977), t he pitanie What attracts him farce genre replied: "What I write is a farce. A ce rtain stylization there, but it always comes out of our strange-that mentality. " Mentality in which exaggeration is domesticated and in co-operation "facts oba raju sense", perhaps, Kovacevic says, is "a farce". ' Refutation of the definition imposed by the author himself does not, of course, understood as an essential argument in the discussion of genre affiliation of hi s plays, but as an illustration of the view that non-genre doumice and ambiguiti es associated with this opus from the start. Moreover, in the first critical wri tings about prime eno Kovaevi's drama is that the work of this playwright can think of several ways, the Marathon and cheerful comedy, managed to create a pretext f or a living, lively, entertaining performances, but also play with serious prete nsions.^ A decade later, after showing pieces such as Radovan Third, Balkan Spy and collection center, Vladimir Stamenkovic is the text of dramaturgy Kovaevievoj highlighted some features of these pieces that are somewhat separate from the cl assic comedy and farce of particular, "Heroes Kovac-evih drama have narrowed the inner life, but the person with complex mental organization of married-sometimes (...) and more individualized than allowing nature of comedy, action heroes its form-her plot and the main action is identified with display of life in which e vil triumphs over the good. "^ Therefore, the critic concludes, "In fact, Ko-vaev ieve comedies are based on real drama of the story is woven into the hu-mor, are composed of materials that can be entered in the tragic drama." '* Rhythm of rise and fall, losing and disappearing, a rhythm that is characterized as "tragic," ^ is more or less present in all Kovacevic's pieces. Status hero f rom the early pieces drastic changes just de-hero of the absentees, and his obse ssion upletenou the unfortunate combination of circumstances. The fall is still a natural death or death before the moral decline ve {Radovan third), resignation ( Professional), destroyed health {Balkan spy), or a moment that is just a step aw ay from complete mental and physical collapse (Hilarious tragedy, Larry Thompson ). The actual physical death of the collection centers, however, is perceived as important to a complete loss, since the death of pieces of content "come to eff ect," and existence after death becomes a form of "life", so "doom" Professor Pa vlovic involves primarily a disappointment After knowing the truth about this li fe. The absence of physical death in this tragic drama suspend di-dimension, but is not reversed. At the same time such a muted tragedy enables the establishment ne upadljivije and natural connection with its counterpoint, creating a type of dra ma whose impressiveness lies in its ambivalent character, and we will, in the ab sence of a better term, on-call black comedy. In his book, The Dark Comedy: The Development of Modern Comic Tragedy John Staje n talking about connecting disparate elements into a new dramatic quality, which

is particularly close to the modern viewer. In the last chapter-Stajen real syn thesis prouavag a tragicomedy, which is followed by the beginnings of Moliere and S hakespeare, a flourishing playwriting recognized in the twentieth century, relyi ng primarily on the sensibility of modern viewers who do not meet the rigid sepa ration of the comic and tragic that the ^ ednako intensive wants to live up to i ts heroes on the scene, but also to keep a distance in relation to them: "The pl ay is a microcosm of the specific nature of life. For the sake of their hidden i ntentions he can underline and set aside a special form of reaction, thought, or emotional, or may be Pomet and connect. Some of the best-drama from ekspi rovog mature period, or Moliere greatest successes, as we have seen, are exceptional b ecause of such mixtures. "'' Wanting to present ambivalence of life, the modern dramatist is at an awkward position, which is trying not to belong to neither si de, "He must control our constant mental and emotional commitment (...) Removal of the properties of the comedy-no we are not allowed, nor eiii learning experie nce inherent tragedy.Black comedy with indistinguishable duality comic and tragi c, absurd and realistic, it establishes a new and complex world of drama in whic h the right of each component provides additional shading its antipode. The comi c elements are not, therefore, only "olakpnje" but make a meaningful addition to the tragic. The heroes of these plays, they should be complex and ambivalent-even, "This dou ble response arises when our primary recom-recognition of a clown in his traditi onal role of entertainers included the de-bu denied and denied, if he proves tha t he is able to tolerate it, pat- (...) life, the suffering that would not bothe r him or us that he is artificial. "* Lack of awareness, specific to a farce, wh ere it suffers all-nak, without feeling poslednie, and enduring suffering, is pr ecisely what black comedy avoided. In addition, emphasis on self-consciousness i s not the primary task of black comedy, but creating tension between the extreme elements of the comic and tragic, so that the pursuit of self-awareness actuall y replaced the pursuit of nedoreenosi, or to create dual nerazluivog response to th e dramatic action. Heroes Kovaevievih drama can hardly be without the rest of the TMS-stop in one, pr e-given category: Topalovi family of Marat-naca provokes as much laughter and fea r, Elijah vorovi from Balkanskoe lijuna, although awkward and comical in its inadeq uacy, indeed the carrier of hazardous obsession which implied nesre a and deep dis appointment, Luke Laban extraordinary professionalism from professional-Nalco se ems disturbing, but at the same time has the form of comic pre-expulsion. White of Thompson's most open Jlapuja clown mask off to reveal the suffering. Speaking about another aspect of black comedy - moralism, John Stajen notes that it is this kind of drama frequently "didactic," but that, unlike the medieval p ieces, moralism of modern dram-tion of texts is not based on a clear separation of good and evil: "In best it does not approve, but ne e lightly blame or condemn vehemently: not povu i strong and sharp lines. "^ Hence the conflicts in the dark comedy rarely abolished, and this drama "does not make decisions for us," but "s timulate its implications". '" The viewer does not have the answers, but the way they are set and broached issues as well as in nerazlui vom-unity "tons" of the Stajenu be defined as a "fourth" unity, in addition to the classical unities pla ce, time and action. In the plays of Dusan Kovacevic identify and expose the serious negative deposit s in the Serbian mentality, and focus on the deep, primal human depravity, which have found fertile ground in the prop-social circumstances. And it is the tende ncy to cause harm in placing concrete social and historical environment in the w orks of Dusan Kovaevi a jostepeno developed: the dark and it seems svevremenih Topa lovia that only the rough outlines of an s-danju environment through Radovan III, whose primitivism have been faced experienced as features of mentality, fostered and developed social si-stem, to which Luke Laban is the potential negative con sequences of the social nakaradnosti. However, in this painting is not allowed t o facilitate conviction seen as a continuous mix concepts of guilt and innocence opportunities, mistakes and redemption. Since the marathon, where in addition t

o pro-farsinog SEDEA that allows the distance is not so easy to condemn unreserve dly Topalovi family, because they recognize the so-styled patterns trijarhalnog m entality, to professional in which the relationship between de-lata and the victi m completely relativized, Kovacevic was his plays almost consistently creating d ual world of dark comedy. " Such an ambivalent character black comedy leads us to go back for a moment, some general definitions of farce, in order to create some separation. Farce is ambi guous genre, which combine different pulses (mechanism of action against the liv ing body, the rye-physical violence, however, has consequences), but such ambiva lence is completely different nature than those which define the black comedy: b ut includes the themselves different and opposing elements, farce manages to exe rt the relationship between them overcome the domination-emphasizing the princip le of vitality, which provides the humor of it. Black co-media, on the other han d, such a potential in the whole farce is taken as a constitutive element-day, w hich is still opposed to another, completely different, with no hints at the exi stence of a superior-the elements that could be understood as a synthesis . What is such a circuit is achieved before and tense because of their nereivosti, attr active duality. Thus, the dark comedy is more likely to be used or functionalizi ng elements of farce in the creation of a new dramatic quality-aunt. '^ A glance at the opus of Duan Kovaevi is sufficient to confirm the writer's tvdrnju said at the beginning of his theatrical work "to 'I work on the unfinished opus of Duan Kovaevi caused the limitation of the study subjects. Therefore, we decided that the last act which falls within the scope of this paper is drama Larry Thompson. 12 Connecting disparantnih elements, and the lack gomenutog superior qual-talit y, which is in the paper associated with the black comedy, stand on the other su ggests another concept - grotesque. Considering that the retention of this conce pt has opened a whole new set of questions, and to question the grotesque Dusan Kovacevic deserves a much wider process, stop-we put on, so to speak, neutral de finition. to what it says is a farce. " This also allows setting the hypo-thesis of engage ment farsinih presedea in this opus to create drama world fundamentally different from the happy world of farce. Opus Dusan Kovacevic, shows what a farce, its sp ecific characteristics, or as the author says - its stylization, can be achieved . 1) Dvoznanos farce - Marathon Family and Radovan third Use elements of farce in the plays of Dusan Kovacevic was never the same, even i n the early pieces, which are mostly, as in the above-mentioned interview, defin ed as farce. Generally, the use farsinih procede is used to create dual and irred ucible world of black comedy, but we tend to argue that the focus of the "harass ment jueg" quality in every piece directed by Kovaevi evom done kle-modified and spe cific meanings. In this sense, dealing with elements of farce in the part of Dus an Kovacevic says the carefully pre-meravanje each segment, we finally looks lik e a good way to something which is not the primary goal of this text, as this is undoubtedly a popular and important work of modern comedy deserves - better und erstanding and proper evaluation. A piece of Marathon Family shows in what way can achieve the aforementioned "sty lization" and to lead to any effect. Far-sini graying in runners mainly manifeste d through genuine farcical overemphasis: Topalovia fact that there are many, and that all long-lived is the multiplication by the character takes on far-sinog exa ggeration. Overstatement or exaggeration in Farsi, REAL-reno by emphasizing a do minant character traits, or through accelerated-n> e movement, supported by auth entic and farcical "harmless Violence", the function is to create a consistent i skonstruisanog world in which to develop fertile ground for ( in Farsi permitted ) exceeding the limits of nature and natural laws of betrayal. Farcical world of such an instrument repeatedly stresses integrity, unreality and izmatanost and d

iscovers that it is completely artificial life response to the downloaded materi al. Farsinost Topalovi a is provided with such overstate-ing, but the function of the t ime element of farce is not exhaustive. Poro-dica Topalovi his morbid work and un usual composition carries a figure of deep and genuine evil ukoretenog: as owner s of the undertaker who profit from others' deaths, the slogan that "death is th e only secure job," Topalovii are authentic de-constructive force. "Demonic" and given the nature Topalovia dimensions of original or unconditioned social evil be cause there is no temporal precision of sweat and determination of their social origin. Topalovia longevity is the expression of a certain vitalism, which was further fu eled by their feverish activity, the insatiable hunger for life (all of them are afraid of death, and she fiercely resists) and, finally, in the survival of the family clan - the youngest member of the fa mily, despite all attempts to break away, joined the family business, only to be consistently continued. This vitalism, with hyperactivity and energic-ability, on the other hand, an additional coupling with the farce: farce as the formaliza tion of the principle of vitality theme for just being the ability to survive an d to survive. However, just in terms of vitalism and the manner in which it expr esses itself in Topalovia, we can see the fixed point of separation between farino g and "topalovievskog" vitalism: because of its destructive nature vit ^ ism Topa lovi clan is not the quality as- ability to cope farsinog characters - burlesque-S A. Vitalism buffoons, who tries to take the hit "destiny is not" represented by the inexorable machine, and from all the temptations out non-vreen, is primarily a passive character: the hero gets hit, falls ekuje-up to his feet, more trying t o defend herself, but it was resolved to attack. '^ That is why, for example, marathon runners may be seen how farcical an evident f eature can be used and what the meaning of the comic-farcical impetus given to s uch engagement. The graying of this farcical piece has a function to highlight t he vitality Topalovia because it is too ve to suspend or relieve the terrible feel ing that such a nature can cause. This assertion may at first sound paradoxical: a farce, whose quality is important stipulate vitalist principle, to engage in the quality of abolition was nut. The answer lies in the artificiality farsinoj, realized over-emphasis or exaggeration, which is subordinate to and from such-drl jivost, even with a negative sign. In other words, the farce has a function to c hannel negative potential: classic farcical scene, such as that at the end of Ac t I, when all the older family members throwing objects on the "degenerates" Mir ka, and general chaos that follows, along with other arsenal (farsinog ) violence - slapping, cursing and threatening, regulators are farsinog character. Its hars h and irrational impulse of such farcical scenes carry-on battle, almost a prior i seen as farcical, and therefore comical, and as such must bring relief in a fr ightening context. Precisely because of this "recognition" farsinog pulses (preuv e-liavanje, harshness) mogu e the diversion of attention and neglect the true chara cter vitlizma underlying activity Kovaevievih ju-banks. Farcical artifice therefore allows the primordial evil to be somewhat "aestheticized": farcical router gives the illusion izmatanosti some extent, that is, at the same time, undoubtedly com ical. If this function is an element of farce can be defined as, tentatively, an emoll ient (morbid world "marathon" reading through the farce '3 Even the kind of farce by Jessica Milner Davis calls the "humiliation farce" in which the action is straightforward and geared towards the humiliation of th e victim, is just one possible way of establishing a farcical structure, which s till does not mean the destruction of "enemy". Moreover, much of the farcical tr adition weighs just "toning down" the farce which includes passivation hero, its reduction to a "sponge for punishment," according to Jessi-Milner Davis, Farce, London 1978th

as "invented"), it would be wrong to overlook the other connotative layer that i s quite the opposite. The farce hides from-strained relationship between realism and artifice: although zahvaJBujui overly-ing and caricaturing creates the impre ssion of an imaginary life, farcical characters retain a certain amount of attri butes that fail to localize them, such as family status or occupation. Therefore , the use farsinih elements leads to a kind of "realism" pieces: the realist-tial farce, manifested through topalovievski (maksimalizovani - and therefore usable farcical) patriarchal structure, rather recognize tljivu tendency to deceive and thereby specifically spicy homemade "raunchy" atmosphere , provided that "marat hon runners" do not stay on no-miserable away from the viewer, as a mysterious d emons whose actions and sourcing opportunities elude apprehension. The first piece Kovaevi ev Marathon Family reveals the author's ini-cial determinat ion that involves the creation of the ambivalent world of drama, both comic and disturbing. Potential farce were used fully and consistently, in a lifetime as a function of causing the aforementioned "tension": a farcical artificijelnou reduc es the vitality straujui-hero, but because such a reduction on the other side of t he "charge" due process of re-farcical - although stylized-out, forms of patriar chal mentality Topalovia are uncomfortable recognizable. A similar procedure prime en is the next piece of Radovan Trei (1973), with the mod ification of one used "formula" condi-lished primarily the material or so to say - more realistic-nosce displayed. Pieces of the story, the rental, located in t he family circle in which each stage has its own office full of family status: f ather, mother, daughter, Tt, would-be husband. On the crowded space of no-rise bu ilding vobeogradskog this group, which carries the aura of a classic farcical "p eople from the periphery", engages in family battles, and tripping, constantly r evealing primitive, stupid and limited. It is these features, focusing in partic ular "community" in the subject-stop writer's interest, but Kovacevic does not s top just at the "painting flaws local man," which would enable the achievement o f several unek-farce in its authentic form. Farce of the Kovac-piece jokes again gets a double role, in order to achieve and what Kovacevic intention: to show m ercy to "our" mentality can not only be the subject of ridicule, because it is p rimarily dangerous. Farcical procedure notes ^. primarily organized by the dramatic action: dizzying twists, complemented the basic "conflict" with "mr-skim Viloti ima" Manufacturer effect of acceleration, and even the impression that she found more-borne mechan ism of action, but it is run alone, the ear- communist Yugoslavia typically farc ical "illogical logic".''* On the other hand, is more pronounced than in the mar athon, which is the longevity of the critic Vladimir Sta-Menkovi designated as a "comedy exaggeration, but nothing is impossible," '^ farce exaggeration inherent in the Third Radovan completely beyond the scope of reality: an unfortunate Geo rgina was pregnant five years , family members jump from the twelfth floor and c ome back unharmed and suddenly appears long dead relative. Extravagance of farce , co-I allows incredible motivation and abandonment of natural law, Kovacevic ha s helped to create a special, farcical, "hilarious" atmosphere. > However, again, the use of farce is not unambiguous: such dramatic ticized viola tion of natural law reveals the wonders copyright insistira e farce, and the insis tence on the farce. Never-vate motives, therefore, does not mean only intensify farsinog potenii jala-built, but the sign of authorial attitude to the genre or t he author's camera to employ a farce. The reason for this effort just to see the extent-that the procedure applied in the marathon, which can be defined as a tw ofold direction of farce, once implemented, although in this case the slightly m odified. Primitivism hero would be no distance that establishes a farce, too sho wy and veristian because Radovan and his family is very recognizable as a represe ntative of a new class of Belgrade's lack of urban newcomers from the inevitable homeland. However, avoidance is the main motive of verismo - and that such Rado van, who, as we said, can be too easily recognized, is-you are at the same time very dangerous. Although not so much as a demonic figure Topalovii, Radovan carri es the danger that precisely because of its "ordinariness" is terrible. Farce, t

hen, again helping to alleviate the dark and negative side shown, but because of its realistic, the potential meaning of such a deterrent can not be lifted. Author's attitude, which is based on the open ma-handling features of the genre, paradoxically, allows the penetration of "serious" content in the tissue of the drama: as a genre can be consciously used, so it can be abandoned once and prot ects. In such an unusual and not playing with Radovan's "absurd" '^ turn to the end of the play, when the light emerges strikingly negative destructive power of the hero wears. Completion of Radovan Tre e and posledila marathon scene, when Top alovii running around town, trampling everything in sight, shows what happens whe n the instrument is a farce, by this time used, off: destructiveness hero was re leased from custody. Farce of the Third Radovan becomes a catalyst for humor, or a means to ordinarno st shown relative (family and lap n.emu inherent conflicts with opposing clan fa mily) are dramatic and comedy fruitful. Regulator farcical re-suspend the negati ve potential of the characters, freeing the comic impulse, but does not allow Ko vacevic thematic preoccupations - "our problem mentality" - is easily understood . Therefore, the above functions farce (Through suspension activated terrible farcical artifice, and not allowing, agai n through the realistic potential for farce, that such an artifice to remain in the domain of comic play) can add another: the farcical exaggeration to primitiv ism to be fully ogo-tant, and therefore to indicate in its destructiveness. Duri ng machine operation farcical negative content can even, at times, be overlooked , but can not disappear. The final scene of Radovan III in this sense becomes a sort of balance: what is now nagovetavano ot-Kriveni and oscillating between funn y and terrible, in the final instan-ci, fuknciji in the creation of the mentione d "disturbing" situation, which is typical of ka- black comedy. 2) Traces of farce This use of the genre shows that the farce of Kovacevic only one of the availab le resources in the creation of drama, not the dominant genres of jump-determina tion. Some topics outlined in the early pieces, such criticism is dark and primi tive deposits in doma em mentality, which is a farce, as we have seen, specificall y shades, and still be unavoidable e content Kovaevievih drama. However, the dark side and Radovan Topalovia presented more as a residue of the u nconscious, deeply uvreenog and tilted view of the world Ovda snow-man, but they are already specified in the Third Radovan and outline the socio-political envir onment conducive to the development of such a mentality. Therefore, it is quite common units, which are critical of the comedy-ple, Dusan Kovacevic activity rem ained largely ignored, such as Spring in January (1974) and What is it about hum an beings that leads him to drink (1976), which can be understood a pretty bareallegory is about establishing a system of manipulation and control. Through the stories of other people-harvested in the basement, their deception, intimidatio n and exploitation-avanju from Spring in January, or displaying monomanskog expe-r imenta where people used as guinea pigs in what is hitting the human beings that leads him to drink , Kovaevi "examine" the various means of controlling people by the troops of one man or men. Decrees-ing the political "attitude in the dark" or some ideological "experimental mente" to create "better people", and that mod ern history abounds in these plays is more than upado ivo. Writer-usredsree accurac y of the structure of such sstema is practically impossible and completely abolis hed the farce. These pieces Kovacevic came to the end point in the investigation of imposed soc ial framework that establishes a specific "co-it" with negative deposits in the national essence. Finally, in the drama that is also in reference to the works o f Dusan Kovacevic sidelined - Li-munacija, featuring stories written by Stevan S remca, ka-categories of relationship - impulses and consciousness of the masses, on the one hand and government and politics, the druroj, observed the material is most suitable for it, the mentality of the Serbian village. The following pieces of Meeting Point (1982), The Balkan Spy (1983), Klaustrofob

ina komvdija (1987) and Professional (1990) relation of man and the political env ironment will be treated in a way that makes the black co-media: establishes the undifferentiated unity of tragic and comic elements, which does not allow simpl e line drawing razgranienie, allowing only the ambivalent response, which, when i t comes to her characters-understood, means that it is impossible razluti who is t o blame and who is the victim. The most-behind, in a piece of St. George Shoots the Dragon (1986) mentioned the environment becomes a concrete historical moment , heavy with minor discords of political, human petty grievances, complaints or obogaljenosti, spiritual or physical. Comic elements that are necessary to appear in such a union is no longer strictl y farcical, that can be identified only From time to time, and as one of the ava ilable grosedea. The mild irony or under-laughs at the expense of human flaws in the collection center, clumsiness Elias CVO-Rovi gallery bogaJva Sveto from George , which leads to misunderstandings intersection of theater and life in Kgaustrof obinoj comedy, or a bizarre situation in a professional, the bearers of comic cou nterpoint to the tragic environment. In some of these elements of farce comedy emerges at more or less indicated and always step up comic counterpoint. Thus the Balkan spy farce recognize the actio ns Elias vorovi a that are similar hipervitalizmu Topalovia; Elijah falling and hurt ing the spying actions of tenants carry potencijaJT farcical because the awkward physical kanava ziae Elijah's that he, like his hero farce, even reckless. taviie, al though the body is exposed to jeopardize-ing, Elijah in his vitality opasiost ig nores this: "When the error-sno in the van, he caught the back of me, and he ref used and ran into the wall. Onel took him to the hospital ... Police arrived, th e rules of investigation. With them, however I have argued in the blood. They at tacked me as I was crossing the street outside of pedestrian crossings (...) I s aid to him, while the nurses threw him in the am-bulantna circuits: 'For this I will drink the blood. You pay my head sooner or later '"{The Balkan Spy and Othe r Plays, 254-255). The figure wears Elijah vorovi comic potential, because of its excellent-"mechaniz ation" of his consciousness, and a rigid posture for an idea that has nothing to do with stvarno u and that it therefore leads to a comic-incapable of reason. This obsession, which is one of the topics which najplodotvornijih-section, however, in the case of Elijah vorovi only partly be cause laughter. Elijah defects are no t recognized as a "small" and harmless, but, like Radovan Topalovic and third, w earing a dark force, jeopardize other-isfactory and subjecting himself the whole personality of Elijah. '^ The term "small" or harmless blemish Henri Bergson and Vladimir Prop defined as crucial to the understanding of comedy and laughter. So Prop says "do not laugh cause all non-shortcomings, but they are only small" and that "Poroia can not po ssibly be the subject of comedy: are they part of some tragedy" (see Prop, Probl emy humor and laughter, trans. Bogdan KosanoPomenuta farcical scenes reveals onc e again the double use of farce, but in a different way: in spite of the injury remains a hero too active and inveterate in their struggle against "imperialist gang", which denies sudbonosnost povreevanja and introduces a farcical, to facili tate pulse-isfactory. However, the very fact that everything happens off stage, which is the natural ambience of farce, such a pulse is substantially suspended. On the other hand, what happens on stage - an obvious obsession with the destru ctive power of Elijah, which destroys both him and his family, as well as the un avoidable fact that Elijah and I suffer, or that he was a victim, so that the ro ot of the obsession with the senses his severe frustrations, marks a significant piece, not allowing his co-farcical momentum-pressure wash. It was under the pr essure of that content, and I must otherwise farcical element to be read, howeve r it is a hyperactive-sti and vitality to the vitality of a negative character. In this context stelaciji elements (the comic potential of a character who is no t an appropriate way to iskori ava comedy, farcical based on negative vitality), to tal distance is impossible to establish. Element of farce to-one with the comic element that is recognized by her obsession with the main banks', so get suspend ed, then, a dual function: it becomes comic relief, which opposes the tragic and

terrible element to obtain an ambivalence of black-humor, and a further the neg ative-called authentic and tragic content, because it reveals the intensity of e nergy that carries the hero. Severely restrict farsinog, which becomes one of a limited segment of the struct ure, marked by a later play, so that in some of them barely can recognize elemen ts of farce. The character Luke Laban from the pros only occasionally hints at e nd suspended element of farce: Lukin professionalism gets somewhat farcical form of overemphasis, Daiei, which can be worked out in a manner appropriate to farc e. Namely, when Luke explains ain exercised its long-nificance, and that gives you the opportunity to adequately disguised as jelly-zniar or dealer, an element of f arce more power: disguised-tion has farcical connotations, as introduced, at lea st and restrained, elements pozorinosti, izmatanosti, but the farcical fraud, or m ake-tion mask. However, the fact that it happens again disguises off stage deter mines the status farsinog important elements: it is reduced almost to zamenarljiv osti, although it retains its obvious comedic role. This limitation farce omogu i will be on the other side razvoe ambivalent world of dark comedy, in which the action slows down, and that of illogical jumps starts gradually and logically to develop. Pre-accented characters get all the feature s realistic contours, so that before they can be defined as "characters" than as "types" which, in acvic, Novi Sad 1984, 41). In a similar way and Bergson says: "It [parsimony] can be used on-tle in the soul, can become masters of the house ca, e still remain a foreigner. -With all the different would be avarice tragic kind. We have seen th at beckoning, absorbed, appropriated by transforming them, the various forces of being "(Bergson, Smc / eh, trans. No basil-Lecic, Zagreb 1987, 93). du dvojakou with black comedy, can not be reduced to one of the dominant trait. Si nce it is arbitrary family, which fully explains its ad-starter functions and op erations of its bringing to full boil as Radovan, one comes up so Luke Laban, wh ose role is difficult to determine because it is perceived as an executioner and as a lifeguard , and as solid as a police officer and keeper of rare literature . Suspension elements of farce in the later plays of Kovaevi's not a total rejection njenihtogunosti, especially since neither of the first pieces of exercise of the genre is not raised as a target. So it is not inexplicable recognition farce in later plays such as Hilarious ragedc / a (1991) and Larry Thompson, the tragedy o f a Youth (1996), because it is a farcical re-utilization of resources in a way that the author considers most appropriate to create an authentic world of drama crnohumornog . 3) Povraak farce Accelerate the pace of farcical action dominates the first part and the second a ct of the chaotic tragedy. The plot of this play is maintained at a turning poin t in the life of a typical Serbian families from the nineties years and thus has a thematic body of work that has often been the subject of farcical treatment: in one place, suddenly, gather all family members, loved and unloved, so that ar e undesirable encounters, which can lead to comical conflict inevitable. It is t he first act of this theme is used the maximum potential use of conventional pro cedures farsinih: clutter, noise, phones ringing and shouting inmates and constan t arrivals and create an atmosphere of seething hostil-native kretad> which is d ue to its overemphasis comical. The heroes, father, mother, and the other actors on stage (uncle, aunt), and cease to look like the creatures that manage their own lives, but the living dolls that runs unknown force. Farcical effect is achi eved and a kind of "masking" characters, or specific forms of their marked-tion - everyone on stage gets a strange mask like face nagaravljeno, bandage or plast er. Iajzad, and is used mou nost farsinog misunderstanding - Milan can not be explai ned with his mentally ill father-sheet, which in turn, thinking that his grandso n is still a baby, buying children's toys. At a time when the euphoric rhythm reaches its peak action, and intervention-ple come to "mute": when it all sickened, Mali Neven, completely sidelined during f

amily discussions, in-hear music and watching her relatives as the silent film. The scene that follows the farcical abstraction but hinted crazed acceleration, more power, but an explosion of movement on stage without a sound actually leads to the point that the farce as a genre can go, and we determine-whether as a pi cture of the absurd: "(. ..) father pulls the door of his uncle, the uncle gun w inches, aunt going for them occasionally raises prete inutom crutch, a doctor and mother are introduced into the Rhine ku u, who still si ngs (...) " (Hilarious Tragedy, 70). The moment in which he took a swing is nonsense also mark the moment when prelom nog farce turns into a tragic drama. The farce, which can provide a picture of t he absurd, the absurdity of not allowing ourselves to become all-stan. The culmi nation of zaumnosti Kovacevic placed in the context of motifs that dramatic acti on weft to the tragic implications. This scene Kovacevic had achieved what Bentl ey calls "a special world, illuminated by their own dark and unnatural sun (...) We feel that touch all went into the air. "'Nevena ** The fate of a small, who until then had been an observer, after reaching farcical utterly absurd-sti-come s to the fore. As at the end of Act Nevenovog tragic question of identity is set , so at the end of it becomes completely bare: Grandpa interrogation examines gr andson, who hard-set hyssop-thinking Arguably, losing the last stronghold that h as confused the world-their identity. Farcical pace accelerated from the beginning to the tragic counterpoint necessar ily be interpreted in a different way, because it reveals itself as a stylizatio n which functions not only comic relief, but rather a kind of supplement to the tragic. No matter how farcical graying provides comic impulse items, in the cons tellation with the tragic counterpoint he loses his Beza-zlenost: a crazy world that is not only ridiculous. Neven's not just the tragic consequences of a tilte d view of the world of his grandfather, ve and lack of support in the neighborhoo d, just a "displacement" Neve-a new family is underlined by the farcical "foolis hness" or vision of the world co-ji has lost its purpose and direction. In other words, in a hilarious farce becomes tragedy in a special way "designed" or elem ents of the genre are taken as patterns that would reveal the initial idea. Agai n, therefore, as in the Third Radovan, a functionalization of the genre, and in a way that omogu ava double reading of farce: a farce, this time more pronounced, given the task of entertaining the next smehotvorne role ge is already an interp retation that involves itself opposed the-tent. When such a commitment over the basic concept of farce, which means joy of life and happiness, and the formaliza tion of the principle of vitality, the looming shadow of a very different, farsi improper sense. This procedure, however, does not mean the destruction of farce : a farce if the opposite has helped her in interpreting the images of the world , and must allow itself to its basic idea is "interpreted", which is an eat-or r elatively besopasan way to preserve its comic essence. In such a process element of farce is not changed: to achieve crnohu-Morna ambivalence, it is necessary t hat each segment (funny, farcical or tragic) is complete, and any possible "viol ation" seg-ments coming from the outside, the elements opposed to him. The process of crossing the tragic and farsinog, their more-or inadvertently in p art dramatic action, or direct-nadoveziva EGIS Bentley, The Life of the Drama, New York 1967, 247 tion, Kovacevic applied to the entire piece and the individual motif units. The first mention of the problem of identity at the end of Act One follows immediate ly after the farcical scene the gal, but that scene did not reach the highest po ssible level, so that even the tragic counterpoint is expressed in its most terr ible form. Only in the second act, when he realized his farcical possibilities t o end tragically, by its in-tensity as a comic, it is the most complete to be ex pressed, because it is small at the end of Neven got "the look of a victim who s uffers undeservedly. Mentioned "masking" characters (plaster, bandage) is contradictory semantic core , because on the one hand wearing the mask structure and sometimes can produce c omic effects (clumsiness, walking funny), but at the same time has serious and e

ven tragic sense, since heroes really hurt, and what is unacceptable farce suffe r. Similarly comic misunderstandings from their innocent and harmless forms (sen ile grandfather bought horses, thinking that his grandson is still a baby) get f ear-vite implications (grandfather unukov destroys the identity). After a few pieces in which he gave way to farce, other procedures are or comic with them intensified comic counterpoint Kovacevic is hilarious tragedy again us ed its capabilities in a way that in the very first pieces of runners and Radova n Third was implied, and that meant more or less strong interpenetration of puls es: some motives alike have in themselves and farcical and quite the opposite, a terrible and tragic sense. Unlike Radovan Tre e or marathon in which the farcical mechanism heats up so much that periodically obscures the observation of negativ e or horrible, outrageous tragedy of the relationship of various elements as une -balanced. This results in the suspension of the comic, but on the other side pr ovides a more consistent implementation of the dramatic effect of the snovanog-t ense than the tragic and comic. The productivity of such a procedure posta e visible in the next piece of Dusan Ko vacevic, Larry Thompson, a tragedy of youth, which will build on the theme somew hat Hilarious tragedy. actor who refuses to play and the decadence of the theate r, which is hilarious tragedy was only part of the social context nagovetenog, La rry Thompson to become the central theme. The interweaving of theater and the "l ife" scene, and smooth-playing kidno levels of reality, which began in the claus trophobic comedy in this play is concrete. Theatre this time does not warp buzzlife ve life and theater constantly bicker, set conditions-the social-historical situation. At the level of procedure Kovacevic was able to re-use of farce, or mechanisms t hat are seen in a hilarious raGvdiji: jurnja-va, shouting, screaming and running a theater staff wearing farcical ri-tam acceleration and losing control. The eve nts behind the lowered curtain, Chaos-term and aggressive, because of the lack o f "painting" effect achieved, such as the "mute" the chaotic tragedy, abstract a nd unreal movement. However, this time it's not a comic element to yourself to g ive way to tragedy, but still closer than the tragedy of urns-Besna, pervasive e lements: the absence of pictures, due to the elimination of obvious access to th e scene, leaving room for nedorenost uncomfortable feeling filled with trepidatio n . The spectator, who, despite the excitement evoked term vigor and aggressiven ess, which has its farcical connotation-it, is not razuveren when it comes to th e innocence of such a scene. Finally, no matter how farcical chase behind the sc enes, the very fact that this does not undermine the idea vidy farce, which is a lways linked to the scene as "the most posi-riniji from all genres of drama." '^ The procedure that we observed in the Balkan spy and professionals, which can be defined as a suspension of farce, it is through its removal from the scene-njan ja, here becomes modified. Namely, if the Balkan spy and professionals such acti on is introduced as a comic farce ease-provement, which, again, not allowing mom entum to Larry Tomsponu is precisely through such events on stage, insisting on the indistinguishable blend of tragic and comic elements. Barge policemen on the scene again is a sign of permeation farsinog and tragic: f ound at the scene, a policeman suddenly imposed inserted in his role. As the hol der of state power as a function of "protection order" miliconar puts himself in a theater type, or as a holder of a dominant characteristics that determine pan -Chi personality, and because of that reduction to a single line of characters b ecomes farcical usable. In this sense, his "intrusion" into the role takes on an ambivalent meaning that both read as "putting the mask", as it de facto "means" someone on the scene, but as a kind of "removing the mask," because it reveals that the mask the right person. Because of its occurrence, despite farsinog poten tial, and carries its own antithesis, as the discovery that a man is reduced to a mask or role, this time in the context of life, not just theater, it is the kn owledge that stifles farcical momentum. On the other hand, in the form of White in the same way to summarize the dialogu e metralni dramatic elements, costumed and masked, White carries a picture of th e theatrical imaginary world, but the image is degraded and dangerous broached. His persistent effort to animate "najstrpljiviju audience in the world" are in t

he form lakrdijakog orientation, flipping and dancing to popular entertainment, b ut what is behind all verbal acrobatics performed by White see more than clear, despair and hopelessness. Blonde and White police officers as a mechanism to reveal the author starts from the comic to make it immediately devaluate, creating a huge majority of you and tense amalgam of opposing elements that provoke contradictory reactions: irrati onal, vitalistic laughter is disabled, but also a need senost inherent tragedy. Some procedures used in the first, "najfarsinijim" pieces Kovacevic will be used and the Larry Thompson, as multipliko'9 According to the definition of Erika Bentlija the farce "quintessence of th eater" (The Life of the Drama). ing hero or border crossing possible. Tripling the hero (three twin brother marr ied with three twin sisters), except that the sign is farcical improbability, an d has often exploited comedic plot structure based on a misunderstanding, but th is time such a possibility has become completely unused. Presentation neobi-term couples that has only comic form, but without ade-quantum content. An incredible number of deaths that jiu insane speed, on the other hand, it seems tragic counterpoint, especially since many of the scenic solution is much like a classic tragedy, the bodies on stage, or non-high school behind her. However, the introduction of motifs volebnog revival brings back a piece of indeterminate fon black comedy, in which even interfere with one more element - a parody, beca use it meets a tragic form netra-ginim content. The revival of the dead means tha t eventually all the pieces really survive, so in that sense is reflected in the farcical nesvaki danjem vitalism-hero. This procedure was re-sign the copyright of measuring engagement farce: the heroes are resurrected to realizovav farcical and vitality to this form of comic rhythm made in one piece. In this comic rhyt hm simply can not develop by the end of me, because, formally, its movement does not come from within, from the law of the genre, but outside, some kind of inte rvention eh deus machina. Finally, since neither the contents of "raising the de ad" is not absolute and the revitalization of the stabilization-or full recovery in life, because they are "saved" just became "apparently living people," vital istic principle, and therefore farcical momentum become seriously disturbed . The ultimate effect of such fullest and najdoslednijeg mixing comic and tragic ( the tragic scene, which is still brought up "sre nog end") is an indefinite state of mind necessary to attempt to ra-cionalizuje reduced and ambiguous meanings. W e believe that it is precisely the attempt resolving the tension lies in what we have listed as excellent house-black comedy in moralism. The existence of appar ently living people, the end-it instances, reference is to the drastic devaluati on of human life in the current reality and artistic diagnosis of deep social, p sychological, and historical and political problem-third of the week. This highl y artificial reference, at a glance away from the scene of absurd faced man in s uch an environment, which recognizes the contemporary viewer almost as verismo ( empty dream theater-trot, the theater without electricity, drinking marathon ser ies while in the vicinity of a self-consuming life) clearly reveals the hours-n of p olitics and social structure that allows such a degradation. Cause of the tragic events, that is, the author neither here nor in other pieces, not seen in the a bstract or the fate of doom, but it identifies the social and political system. However, Kovacevic does not dwell on criticism and negation of the one-way syste m, without giving any indication of "ideal" political kataktera, which implies t hat should replace the dis-occupations. Just keeping the individual destinies, a nd indistinctionall liv linking the tragic and comic, Kovacevic does not allow svr-dards of his plays in satire. Heroes Kovaevievih drama of Elijah vorovi to Luke Laban, no unambig uous definition, because it is not clear whether they are arbitrary such system or its creators, or whether they are making human resources upon which such syst em is based. Krivda for the negative effects Kovacevic because not only found in the social system and ideology, but also in the individual and mentality. Also, despite the "krinice" Kovaevievih heroes, and often expressed their suffering, fr

ustration and hopelessness- enost, inhibition external circumstances, which gives them a tragic dimension. Tense coexistence of tragic and comic elements that challenges your-ambivalent r eaction definitely get another element that could be called satirical, but even then, in the sense that implies implies the "negative view of social phenomena t hat they prome-nile", because actually it is not clear from which to start. In o ther words, even if it involves a change in society and change man, Kovaevi pre-fo rmulated answers do not give them any hints. Kovac-tube, now speak, moralism mea ns taking photographs of all aspects of life, actual and recognizable from sever al angles, leading to the cre-tion of tension between the disparate elements, ne ither of which domi-nes fully. This tension is that feeling that the author feel s that he must leave the viewer - this is the "moralism" that does not really "m ust-kill" - uncomfortable feeling which may be a prerequisite for per-placement issues, and perhaps the answer. The drama of Dusan Kovacevic shows how this can be a farce funionalizovana or how some procedures, typical for the genre, can be utilized. True, engaging farce, to achieve the dual world of dark comedy, leads to elements of different genres have pressure, the tragic content. It's not about to change element of farce, as Kovacevic, when it comes to heroes vitalism or some other farcical elements (ac celerated movement, masking), just as such a need. It is especially hard on conn ecting with something that farce is a farce, which leads to each motif, and dram a in general, can be read out twice. Dual function farsinog element in any piece is not completely identical (farce, for example, does the exact same function in the marathon, and Radovan Third Balkan spy, but is related to negative hyperact ivity), or, if you look and as a means of comic relief (farcical arti -ficijelno st uscostavljanje as a means of distance), it becomes to some extent. The farce pbstaje and "interpreted" by its own counterpoint, as in a hilarious tragedy, wh en just under the pressure of the tragic content of the farcical Radlje, which, therefore, is a farce-chan left, reads differently. The basic principle of the old genre of comic farce - the principle of vitality and continuity of the irrational and impulsive feelings of life - can be taken a s the last available control instrument in determining the "kovaevievske" farce, o r to check the author's tough-n> e, listed at the beginning, that his plays not a farce. The principle of vitality in the works of Dusan Kovaevi a, hire them, is s eriously compromised: ci-June to the end pieces are alive (even when it becomes fully revive the fantastic as Larry Thompson), but deeply hurt, devastated and d isappointed. The unconscious and amoral mechanisms imposed by broaching, typical of the farcical clown as authentic heroes, heroes Kovacevic is inappropriate: n egative vitalism, the one-ostrich, or threatened vitalism, on the other hand, pr event the full realization of farce. Use elements of farce, and without the inte gral of the genre-reujueg quality, indicating that Kovaevi his plays and not trying to talk about survival and ability to survive, but that, in accordance with the principles of black comedy, posgavi question of how one can to live better. Dragana Besara THE ELEMENTS OF FARCE IN Dusan Kovacevic's DRAM AS S umm aga In the dramatic work of Dusan Kovacevic we can observe the utiJization of those old and popular genre of farce comlc for the purpose of a new dramatic quality, here named black or dark comedy. Although Kovacevic's first plays were consider ed as far-ces, the author himself in his interviews denied such determinations. From the first dra-mas (Marathon Family Radovan or third) Kovacevic used the ele ments of farce never to create pure comic effects, but rather to evoke disturbin g reactions, unable to be easily determined as comical, farcical or tragic, that kind of effect is realized by connecting the opposite tight elements. The functions of farce in the first plays is ambivalent: farce became the regu lator of horror, by activating its unrealistic potential (farce as an artificial dramatic form), on the other side, with its realistic qualities (word of farce is always familiar) the distance from the represented world is made impossible. As a result of such proceed, those dra-mas produce comic effects, but they still

avoid detachment in the characters of those plays can be recognized some patter ns of patriarchal mentality. That kind of mentality is drawn not just in the bro ad lines (for that the elements of farce are much helpful), but also as dangerou s and destructive. Creation of ambiguous world of dark comedy is continuing in this body of work, even when the comical elements, as a comic to the tragic balance contrariety, ar e not only farcical. In the plays like Balkan Spy Professional or elements of fa rce are much suspended, and its function is to provide the "comic relief, or to intensify the comic element. The latest plays of Dusan Kovacevic show that this orientation toward black com edy is a constant of his dramatic work: the connection betvveen tragic and comic elements are much stronger, and sometimes it is very difficult to separate them . Neverthe-less, the quality of these elements stayed unchanged: the only "chang e" of one element is coming from its opposite. Farce can be "read" differently, under the pressure of the other (tragic) motives. Unpleasant feeling which these dramas are evoking can be determined as some kin d of "didacticism," as characteristics of a dark comedy: the aim of such "didact ic" mission is to provoke audience to react, and to pose question. These questio ns are considered as a primary condition for betterment of human life, and as th e final task of dramatic writer.