How can we conceive of applying genetic criticism to a theatrical work, since drama is characterised by its inherent mutability and necessary incompletion? How can we analyse the genesis of a play which only becomes real on the evening of its performance? How can we defi ne the genesis documents when we know they are unstable, heterogeneous and ephemeral by defi nition? A requisite condition: the persons involved in stage direction as well as theatrical archives should be encouraged to preserve the fragile traces of the birth of a performance (logbooks, administration notebooks, rehearsal records, sketches for the sets, and so on). This study outlines a framework wherein the complex, dynamic relationship between the construction of a text and that of its performance can be exploited.
The article is devoted to the phenomenon of “collaborative creative process,” understood as cooperation between more than one causal subject. Various historical examples of co-creativity are considered, starting from the situation in which the author takes into account the advice of a proofreader to the formal co-creation of two (or more) writers. Reflection on the collaborative specifity of the creative process goes beyond literary issues, referring also to the specificity of other arts, especially architecture.
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