Since 2000 two contemporary plays written by two Polish playwrights have premiered at the Gavella City Drama Theatre in Zagreb, Croatia: Janusz Głowacki’s The Fourth Sister, directed by Samo M. Strelec in 2007, and Tadeusz Słobodzianek’s Our Class, directed by Jasmin Novljaković in 2022. Beyond the venue itself, the two plays are also linked by their Croatian translator, Mladen Martić. In addition to providing an overview of Martić’s translation work for the Croatian stage, the paper focuses on the theatrical renderings of the two plays. Specifically, it examines the role of the directors – who, in both instances, were responsible for both direction and set design – their
approach to spectacle (ironised by Strelec and abandoned by Novljaković) – and their response to the Croatian theatre public.

The Serbian lexeme bre is mostly included in interjection word class, in dictionary definitions laconically defined as an interjection used to draw attention to what is being communicated, often in connection with a threat. The aim of the paper will be to examine the use of this language unit through the prism of translation equivalence established on the basis of a double-text, i.e. the Serbian original and its Polish translation. The paper will also include an attempt to answer the question about the usefulness of the double-text in the study of the meaning of these types of units.

Three translations of the extremely successful Polish project Yugo­ton from 2001, Malcziki, Rzadko widuję cię z dziewczętami and O nic nie pytaj (bo nie pytam ja), and their originals, the songs Maljčiki and Retko te viędam sa devojkama by the Belgrade band Idoli and Uhvati ritam by the Zagreb band Parni valjak, were subjected to comparative sociosemiotic, multimodal, linguistic and stylistic analysis, with the aim of determining what was retained, omitted and added in the translations. The research will also illustrate the usefulness of a multimodal and socioculturally based comparative analysis of original songs and translations, an analysis that includes consideration of non-linguistic, but semiotic, aspects of popular songs, including musical-production aspects, and even visual ones (when the accompanying video is relevant for the analysis), as well as the contexts in which they are produced and received, and comparative research of popular cultural texts in general, especially in cases that have captured exceptional recipient attention, thus telling us more about both the original and target cultures and their dialogues.

The aim of this article is to examine the publishing reception of Polish children’s and young adult literature translated and published in Yugoslavia between 1945 and 1990. Through this analysis, it establishes a publishing chronology and estimates the scale and nature of translation production across specific periods and individual Yugoslav republics. Furthermore, the study also identifies which Polish authors and titles were particularly attractive to Yugoslav publishers and how the structure of the local publishing market and the post-World War II model of children’s and young adult literature influenced the selection of Polish books published in Yugoslavia.