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'THE CONSTRUCTION IS DRAMATICALLY THEATRICAL': FROM THE (META)THEATRICALITY OF THOMAS BERNHARD'S DRAMAS TO THE (META)THEATRICALITY OF NEW TEXTS FOR THE THEATRE

100%
Barelkowska A.
Ruch Literacki
|
2008
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vol. 49
|
issue 3(288)
309-324
EN
Thomas Bernhard's (1931-1989) dramas are virtually saturated with role-playing, disguises, make-believe games, acting and stage performances. This article analyzes the metatheatrical mechanisms involved in this extraordinary accumulation of dramatic devices and compares their use with techniques which have become popular with contemporary dramatists. Reading their texts against the background of Bernhard's work offers a striking proof of the extent to which the choice of metatheatrical techniques is subject to current cultural influences. However, the claim that contemporary drama at last confronts us with reality must be taken with more than a grain of salt. It would be truer to say that it tends to steep the identities of its characters and situations in irresolvable ambiguities and to open up to the visual arts, even at the cost of disregarding questions of theatricality, ie. a critical preoccupation with the fundamentally problematic nature of the theatre. Yet in spite of its distinct quality contemporary drama seems to draw on the same theatrical categories that can be found in Bernhard. Likewise, formal differences should not obscure the fact that plays continue to be constructed with an eye to the 'dramatically theatrical'.
2
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THEATRICALITY OF FILM LANGUAGE IN BAZ LUHRMANN’S FILMS

75%
Malíčková M., Malíček J.
Slovenské divadlo (Slovak Theatre)
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2020
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vol. 68
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issue 3
209 – 228
EN
The aim of the study is to identify such strategies that reveal the theatrical quality of film language in the movies of Australian director, screen writer, and producer Baz Luhrmann, and to examine how they reflect the development of his poetics as an auteur. Theatricality defines his first three film projects Strictly Ballroom (1992), Romeo + Juliet (1996) and Moulin Rouge! (2001), therefore they are together referred to as the so called Red Curtain Trilogy. The explication of ties to theatre that characterizes Luhrmann’s oeuvre reveals the connection between various types of stage, and staging, as well as the specific qualities and development of Luhrmann’s directorial style, and his understanding of film, and its language. Luhrmann’s film image is a complex in the semiotic reading, each detail has an aesthetic, and semantic value often due to the disposition of film language. Luhrmann’s artworks remain in a number of cases saturated by his performative vision of the world. The degree and specific quality of film language such as ostension (manifested as illusionism, meticulously arranged mise-en-scène, and aestheticized sets, and costumes or pompous carnivalesque musical and dancing show), camp, and citations are closely examined in feature films such as Australia (2008) and The Great Gatsby (2013), in the series of short staged interviews between two icons of fashion world Schiaparelli and Prada: Impossible Conversations (2012) and in the TV series The Get Down (2016 – 2017). These cultural products also confirm their connection to theatre and their author’s interest in various stage forms reflecting on culture based on a play principle.
3

FAMILY MEAL AS FICTION

75%
Corbí J. E.
Organon F. medzinárodný časopis pre analytickú filozofiu
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2020
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vol. 27
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issue 1
82 – 105
EN
Stacie Friend’s theory of fiction departs from those approaches that seek to identify the necessary and sufficient conditions for a work to count as fiction. She argues that this goal cannot really be achieved; instead, she appeals to the notion of genre to distinguish between fiction and nonfiction. This notion is significantly more flexible, since it invites us to identify standard—but not necessary—and counter-standard features of works of fiction in light of our classificatory practices. More specifically, Friend argues that the genre of fiction has the genre of nonfiction—and only that genre—as its contrast class. I will refer to the particular way in which Friend elaborates this claim as the contrast view. I have, nevertheless, the impression that this view unnecessarily narrows down the array of perspectives and attitudes from which we can approach works of fiction. I will thus develop a line of reasoning to the effect that the contrast view should rather be construed as picking out a particular way of relating to works of fiction that lies at the end of a continuum defined by different degrees of reflectivity and estrangement. This implies that the contrast view is false as a general claim about how we experience works of fiction, even though this view may appropriately depict a specific way of approaching such works.
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