Parallel, Convergent, and Opposing Stories: Drama in Film as an Alternative and Complement to the Story Line
Abstract
Parallel, convergent and opposing vision of the story in theatre and the story in film, which forms its part, are the three, always dialogical versions, of intertextuality of the kind “theatre in film”. Often, the mere mention of the title, a quote or excerpt introduce an important semantic load, which through the diffusion of the senses modifies and complements the meaning of the main action on the screen. A theatrical spectacle, that is included in the film as a “quoted expression”, brings about – depending on the competences of the viewer – a full set of its meaning. Embedded in specific contexts, movie plots in which there are productions of Shakespeare, Goethe or Wyspiański, show how current are the classic texts in our culture, and their message is confronted with the political and social reality. This observation is particularly interesting in conjunction with the historical realities of oppressive power and censorship of the communist period during which most of the films constituting the source material of this text was made.
Keywords:
censorship, theatre, dramaReferences
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Authors
Piotr Dobrowolskikwartalnik.filmowy@ispan.pl
Adam Mickiewicz University, Poznań Poland
Literaturoznawca, estetyk, teatrolog. Absolwent Performance Studies w Dartington College of Arts i polonistyki Uniwersytetu im. Adama Mickiewicza; pracownik naukowy w Zakładzie Estetyki Literackiej Instytutu Filologii Polskiej Uniwersytetu im. Adama Mickiewicza. Zajmuje się problemami współczesnej estetyki w perspektywie performatywnej, politycznej i krytycznej. Krytyk teatralny i literacki, uczestnik i komentator współczesnego życia artystycznego, tłumacz, eseista.
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Copyright (c) 2014 Piotr Dobrowolski
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