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METATHEATRICALITY, METADRAMATICALITY, AND METATEXTUALITY IN DRAMA (Metateatralnosc, metadramatycznosc, metatekstowosc w dramacie)

100%
Ruta-Rutkowska K.
Pamiętnik Literacki
|
2010
|
vol. 101
|
issue 2
113-138
EN
The article is devoted to the phenomena of metatheatricality, metadramaticality, and metatextuality in drama, without which there is no discussion of 20th century dramatic works, especially the avant-garde and experimental trend in drama. It includes the presentation of the state of research, an attempt to put the terminological chaos in order, and the authoress' proposition to posit the issues in question. Starting point of the paper is the distinction between metatheatricality and metatextuality: the authoress uses the former term to multiplication of levels of the presented world, and the latter term to the actions referring to the body of the text. Resorting to three dramas - Slowacki's 'Kordian', Krasinski's 'Undivine Comedy', and Rozewicz's 'The Interrupted Act' - the authoress demonstrates the various forms of metatextuality and metatheatricality and their mutual relations. Their existence in the drama brings about transformations of the parts of the presented world and dramatic discourse. The drama loses its character of a self-presenting, well constructed machine as Peter Szondi wanted to see it; now rather so-called actions of the subject of the text and conventionality of the presented matter are highlighted. The dramatist is viewed from behind the presented world, puts different masks on, and indicates his/her causation which, due to 'meta' techniques, is constantly put into ironic inverted commas.
2

THE ETHICS OF THE HISTORY OF PRL (PEOPLE'S REPUBLIC OF POLAND) IN WOJCIECH TOMCZYK'S PLAYS (Etycznosc historii PRL w dramatach Wojciecha Tomczyka

100%
Ruta-Rutkowska K.
Przegląd Filozoficzno-Literacki
|
2009
|
vol. 6
|
issue 2(23)
225-237
EN
Wojciech Tomczyk, the author of plays 'Vampire' (2002) and 'Nuremberg' (2005), partcipates in a playwright discussion on the period of PRL. The debate started after the political overthrow of 1989. It aims at recovering history, taken over by 'them' as well as regaining individual and collective identity of Poles, distorted by manipulations of power, and - above all - getting over the trauma of communism. Tomczyk's works show the time of PRL on a macro-scale - the functioning of the state apparatus - and on a micro-scale - the entanglement of the individual in history. What makes those plays interesting and unique, is that - contrary to earlier works raising the topic (e.g. 'Citizen Pekosiewicz' by Tadeusz Słobodzianek) - they do not create a black and white image of reality and they go beyond not much sophisticated poetics of a documentary. Thanks to the complexity of the depicted world and the metatheatrical devices, Tomczyk does not evaluate PRL, but calls for a major, authentic discussion on the moral consequences of the period.
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