The troupe of actors who play the roles of fictional actors are perfectly aware of the presence of the spectators, and they engage in discussions that range from the (awful) taste of contemporary audiences to the existence of a censorship of an economic and moral nature.ĢThe two examples cited above contrast with the basic tenets of illusionist theatre as they appear codified in a critical tradition that goes from Denis Diderot to Konstantin Stanislavsky. This game or play (the word hra in the title has, in Czech, both meanings) consists in the staging of the conventional plot of love and jealousy by a commedia cast introduced by Prologue, a theatre-manager who is only worried about the economic success of the play. Another good example of this critical practice is Josef and Karel Čapek’s The Fateful Game of Love (1911), a play whose action takes place in a permanent “now,” a present tense to be actualized in every performance. In A Merry Death, Evreinov reveals the subjection of commercial drama to bourgeois mores when the actor who impersonates Pierrot confesses at the end of the play that he has enacted the role of offended husband against his friend Harlequin only because it was the proper thing to do before an audience. This is not an isolated case, as Pierrot recurrently appears as a tragicomic figure during the modernist years embodying the tension between the idea of an autonomous art (art for art’s sake) and a new theatrical praxis. The figure of Pierrot, converted to a disoriented and melancholic character, speaks for the authors who want to redefine the institution of theatre in a time when their artworks are treated as just another commodity. Nikolai Evreinov’s A Merry Death (1909), for example, revisits the legacy of the commedia dell’arte in order to arrive at a new interaction between stage and auditorium. The separation between stage and audience is now a porous one, subject to constant revision. Introduction: anti-illusionism and modernist theatreġA common denominator of modernist dramatic works is the fact that they foreground the conventional nature of the theatrical stage. Mukařovský expandió la Sprachtheorie de Karl Bühler (con las tres funciones Darstellung, presentación Ausdruck, expresión y Appell, apelación), al añadir una cuarta función, la estética, que destaca en un primer plano los componentes estructurales de la obra artística. Para ofrecer una nueva lectura del modelo de Jakobson, propongo un retorno al modelo de cuatro funciones desarrollado por Jan Mukařovský, el crítico más importante del Círculo de Praga, a finales de los años treinta. Al analizar el modelo de Jakobson, argumento que ni la función metalingüística ni la función poética pueden explicar correctamente la existencia de múltiples mecanismos autorreferenciales y antiilusionistas en la dramaturgia del siglo veinte (en mi ensayo, hago mención a algunos ejemplos del periodo modernista). Esta contribución de Abel al campo de los estudios teatrales se basó en el modelo de seis funciones lingüísticas de Roman Jakobson, que Jakobson había presentado en una conferencia en Indiana cinco años antes de la publicación de Metatheatre. Mukařovský expanded upon Karl Bühler’s Sprachtheorie (with the functions Darstellung, presentation Ausdruck, expression and Appell, appeal), by conceptualizing a fourth function, the aesthetic, one that brings to the fore the structural components of the artistic work.Įl presente ensayo examina el hoy muy popular concepto de metateatro o metadrama, que apareció por primera vez en Metatheatre, de Lionel Abel, una colección de ensayos publicada en 1963. In order to shed new light into Jakobson’s model, I propose a return to the four-function model developed by Jan Mukařovský, the most important critic of the Prague School, in the late 1930s. In my review of Jakobson’s model, I argue that neither the metalinguistic nor the poetic function can fully explain the existence of multiple self-referential, anti-illusionist devices in twentieth-century dramaturgies (a few examples from the modernist years are discussed in my essay). Abel’s contribution in the field of theatre studies took place in the wake of Roman Jakobson’s model of six linguistic functions, which Jakobson had introduced in a conference held in Indiana five years before the publication of Metatheatre. This essay reviews the highly popular concept of metatheatre or metadrama, whose first formulation appeared in Lionel Abel’s collection of essays Metatheatre in 1963.
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