PL EN


2016 | 65 | 3(259) | 151-168
Article title

„Nie można obejść się bez teatru”. O poziomach metateatralności w Mewie Antona Czechowa

Title variants
EN
“We Can’t Do Without Theatre”. On the Levels of Metatheatricality in The Seagull by Anton Chekhov
Languages of publication
Abstracts
EN
The Seagull (1896) holds a special place in the oeuvre of Anton Chekhov for the richness of metatheatrical devices deployed in it. It is the only drama by the playwright where one can find all the kinds of metatheatricality distinguished by Sławomir Świontek. It may be worth to add a fourth kind that manifests itself at the level of composition of the dramatic form and has been defined as “a play with genres” (Ewa Partyga) or “quoting of structures” (Danuta Danek). The present study of kinds of metatheatricality reveals Chekhov’s emphasis on the multitude of ways in which the audience can play a creative part in the theatre experience. The dramatist vindicates some elements hitherto considered to be secondary, passive, and weak. At the same time, Chekhov uses the image of the theatre of everyday life in order to expose the inner workings of society’s oppression that crushes its most sensitive individuals. This situation becomes a mirror for the processes going on within the self (as conceived of by the Dialogical Self Theory by Hubert Hermans). The disfunctionality of the world presented in the drama indicates fractures within the human psyche, where weaker personal positions must be suppressed or eradicated. The aim of the metatheatrical devices utilised in The Seagull is to construct a multi-level representation of reality and to display the multitude and changeability of personal perspectives on the reality, which illuminate one another. Out of this multitude of points of view and diversity of personal voices, Chekhov constructs a thoroughly modern representation of the world, whose governing principle combines dialogicality and theatricality.
Year
Volume
65
Issue
Pages
151-168
Physical description
Contributors
  • Instytut Sztuki Polskiej Akademii Nauk
References
  • A. R. Burzyńska, Mechanika cudu. Strategie metateatralne w polskiej dramaturgii awangardowej, Kraków 2005.
  • H. J. M. Hermans, H. J. G. Kempen, R. J. P. Van Loon, The dialogical self: Beyond individualism and rationalism, „American Psychologist” 1992 nr 47.
  • T. Kowzan, Théâtre Miroir. Métathéâtre de l’Antiquité au XXIe siècle, Paris 2006.
  • T. Kowzan. Teatr w teatrze, czyli o dialektyce iluzji scenicznej, „Dialog” 1971 nr 4.
  • E. Partyga, Ibsena i Czechowa gry genologiczne [w:] Oblicza realizmu, red. M. Borowski, M. Sugiera, Kraków 2007.
  • Polifonia osobowości. Aktualne problemy psychologii narracji, red. E. Chmielnicka-Kuter, M. Puchalska-Wasyl, Lublin 2005.
  • M. Puchalska-Wasyl, Nasze wewnętrzne dialogi. O dialogowości jako sposobie funkcjonowania człowieka, Wrocław 2006.
  • K. Rudnicki, Partytura reżyserska Konstantina Stanisławskiego i „Mewa” na scenie MCHT w 1898 roku, [w:] K. Stanisławski, Partytura teatralna. „Mewa” Anton Czechow, przekł. J. Czech, Kraków 2014.
  • K. Ruta-Rutkowska, Metateatralne gry w dramacie współczesnym na przykładzie twórczości Mariana Pankowskiego, „Pamiętnik Literacki” 2000 z. 4
  • L. Senelick, The Lake-Shore of Bohemia. „The Seagull’s” Theatrical Context, „Educational Theatre Jurnal” May 1977.
  • S. Świontek, Dialog – Dramat – Metateatr. Z problemów teorii tekstu dramatycznego, Warszawa 1999.
  • J. M. Thomasseau, Les textes du spectacle, ou la toile de Pénélope [w:] Le théâtre, éd. D. Couty, A. Rey, Paris 1980.
  • W. Zawistowski, Antoni Czechow za kulisami teatru, [w:] A. Czechow, Historie zakulisowe czyli anegdoty teatralne, wybór i posłowie W. Zawistowski, Gdańsk 1997.
Document Type
Publication order reference
Identifiers
YADDA identifier
bwmeta1.element.desklight-06496998-2546-4588-a832-497118c57743
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