The avant-garde approach in the processing of dramatic motifs in the literary work of Miodrag Žalica once pointed to the possibility of a different and more modern expression in Bosnian drama production. Miodrag Žalica›s artistic expression shows an obvious change in the structuring of the play, as well as in the stylistic orientations, which made him the reference writer of the late modern era in Bosnia and Herzegovina. This work presents a review of the positioning of Miodrag Žalica within the framework of modern literary and theatrical aspirations. “Poetically colored meditation”, dramatic characters of the universal type and the choice of themes have provided him with a prominent place in our dramatic literature.

Novi pravci u političkom ustrojstvu svijeta, krajem XIX i početkom XX vijeka, u prvi plan, istaknuće društvenu klasu buržoaskog-kapitalističke provijencije, pod prepoznatljivim nazivom - građansko društvo. Direktna kritika tog “novog društva” i njegovog poretka, postaće okosnica tematskog opredjeljenja, gotovo u svim oblicima književnog izražavanja. Realan prikaz svih negativnosti, koje su obilježile ovo razdoblje u razvoju čovječanstva, prezentiran je, između ostalog, i kroz ilustraciju porodične dekadencije: bluda, prevara, zločina; što pokreće proces demistifikacije socijalnog fenomena “skladne i bezprijekorne zajednice”, osnovne jedinke društva, porodice. Potreba za apsolutnom iskrenošću i priznanjem istine o stvarnom stanju u kome se našlo europsko društvo, pokrenuće, nove smijernice u umjetničkom predstavljanju stvarnosti.Ovaj rad pokušava da dokaže značaj umjetničkog prezentiranja velikih promjena koje su se dešavale u sudaru vijekova i početku turbulentnog vremena, u kojima se našlo čovječanstvo. Kao specifikum u književnom žanru, odabrana je drama, koja je eksplicite mogla predstaviti ključna događanja scenski, a tematskim specifikumom, ostati veoma aktuelna u vremenu kome nastaje, a potom i u savremenom dobu. Glembajevski ciklus Miroslava Krleže pisan je, po uzoru “nordijske škole” devedesetih godina, avangardnih pisaca tog vremena, Henrika Ibsena (1828-1906) (porodične drame) i Augusta Strindberga (1849-1912) (drame snoviđenja); koji će u idejnim opredjeljenjima pokrenuti niz promjena, ne samo u književnosti, nego i u cjelokupnoj umjetničkoj projekciji. Teme, koje tretiraju odnos između društva i porodice, njihovog razjedinjavanja i izolacije individue postavljene u centar tragičnih događanja, usmeriće dramu ka potpuno novim opredjeljenjima. Pored direktnog utjecaja H. Ibsena i A. Strindberga, i komparativne determinante u prednosti M. Krleže, u odnosu prema njima, u ovom radu se želi pokazati, utjecaj društveno-politikih previranja na umjetničko stvaralaštvo dramskih pisaca na prijelazu XIX u XX vijek.

To link the themes of late epochs in literature in this region, which are at enormous historical discrepancy with the continuity of the expected sequence of dominant epochs and authors, (from romanticism, through realism and naturalism, to symbolism and expressionism, very important directions for the development of contemporary art), it required a very broad knowledge of all that was going on in European and world business. Miroslav Krleža (1893-1981) did not have many choices regarding his local predecessors as creators, but he carefully selected European role models as contemporaries, while following developments in world literature. It is this "disorder" in the order of literary directions that occurs in the overall creation of this author that will characterize him as a great artist in the written word, who does not slave by constraints but creates by intuition, but inserts in the text his own reproduction of the problems that surround him and which are current. Krleža had to systematically select models and, in his artistic background, offer texts that mate with the most representative works from this period, which in their final form were completely followed by avant-garde aspirations in literary creation. The desperation of the fate of a nation whose fate is marked by tragic events and whose future is a vain hope of a past without desires and needs, has opened, to this great writer, new avenues for creation. Reality is both experienced and portrayed in a whole new way, the writer tends to enter the consciousness of man and come to terms with his intimacy. His characters go beyond stereotypes and classifications. They clash and fight within their urges and aspirations for a more harmonious future, and give the work its undivided human significance, "The Black Word" is a normal, ordinary word for Krleža, as well as for many modern European writers, especially those who treat war-related subjects for, to express the horror of war is to be brutal, strong, with unveiled elements of dread. Each new event or appearance of a new personality predisposes a form that is skillfully incorporated into an exhibition of unusually combined and desperately credible black paintings and representations. Krable's works last through epochs, because they are predisposed by the constant of tragedy and suffering, both of man as an individual and of humanity. Within stylistic diversity, Krleža's thought developed and identified with events that she described herself. The universality of themes and motives of his works that last through epochs is recognizable in different human destinies, determined by the category of existence through suffering, fear and eternal uncertainty.

The second half of the 20th century in Bosnian literature is marked by the new tendencies of avant-garde writers, who will create their work through a different form of artistic creation, compared to the one that was presented at the beginning of this period. It is important to clarify the specificity of the various procedures that have positively directed dramatic creativity towards the modern lines of European literary circles. Derviš Sušić (1925-1990.), the Bosnian-Herzegovinian tradition and the reality of images, presented in a completely new artistic vision, make oscillation, in the writer's creation, between the determinants of historical facts and the legacy of oral tradition. Derviš Sušić Within the avant-garde tendencies of contemporary writers of the regional region, which appear in the mid-20th century, Sušić dominates in his virtuous creations of dramatic situations and dilemmas, in which his protagonists act. In a specific presentation of crucial culmination points, within the framework of the process of "drama of the flow of consciousness," a modern process in the conduct of drama, this writer analytically approaches the individual's dialectical duplication. Through artistically shaped fragments taken from historical records, this literary virtuoso presents in his texts a culmination point of Bosnian survival, very picturesque dramatic shaped historical characters and crucial events. It is symptomatic that Susić's characters become prototypes of stage characters, without temporal or location restrictions, transmitting a universal message of a unique attitude about the value of human activity and existence, outperform stereotypical models recognizable in the additional drama literature. Through the colorful of seeing and a range of specific dramatic characters, without the diversity of their differentiation in national status or sociopolitical affiliation, this writer creates a special ambient effect in the construction of his poetic fabrics based on historical background. The task of this paper is to prove the causality and conditionality of altruistic (social) and egoistic (individual) agonies in the actions and actions of Sušić's characters, in the examples of dramatic texts "Veliki vezir" (1969) and "Posljednja ljubav Hasana Kaimija "(1973), as well as the influence of emotional indicators on the concrete initiation of the dramatic conflict. It is therefore very interesting to explore and verify the models that will dominantly dominate the regional scene for almost half a century and be accepted as models in the way of writing its contemporaries, among the readers' population, but also at the same time with very successful placement in the theater audience.