On the British stage, political theatre, which emerged in the twentieth century, has been linked with the problems of the working class as initiated in the 1920s until the early 1960s. With the end of the official censorship of theatre in 1968, political theatre in Britain experienced a period in which socialist works marked the stage. Nevertheless, the 1990s challenged the association of political theatre with the conditions of the working class. Considering the current political and social events in Britain and around the world, it is appropriate to underline that political theatre is not only in a constant flux, but its definition has been once again challenged. In this regard, Brexit can be considered as one of the most significant movements to influence the understanding of political theatre in the twenty-first century. Consequently, this study aims to analyse Brexit Shorts: Dramas from a Divided Nation (2017), a co-production by the Guardian and Headlong Theatre Company and discuss their contribution to the changing definition of political theatre. Brexit Shorts will be further explored regarding their influence on the popularity of monologues as a mode of performance.
Hamlet is the play that has ignited the most numerous polemics, and about the Prince of Denmark and his madness, may it be considered real or acted out, thousands of pages have been written. “Hamlet is the absolute character. No other author has ever managed to create something with such a spectacular status. He is an enigma, the only one that has never given anyone the chance to fully decipher it, not one from all the people that had ever come close to it.”1 Hamlet- the actor and the director, this is the perspective from which one will seek answers by following the text and certain unique directorial approaches. One analyzed the monologue from the second scene of the third act. In this “theatre lesson”, one can find guidelines on acting, but also on directing, pieces of advice that are valid today. Hamlet is one of the characters with the most monologues, pages and pages of words that cover the same dilemma – To be or not to be. One proposes to follow the acting lesson, but also the play-within-the-play scene, as they are connected from the actors’ and directors’ perspectives. The monologue presents strict guidelines for actors/directors, exemplifying them, and in the scene of the performance one can notice whether the “lesson” was truly efficient or not. One will follow this specific path in certain productions, considered as being unique.
: Lawrence Erlbaum. Berman, R. A. (2009). Trends in research on narrative development. In S. Foster-Cohen (Ed.), Language acquisition (pp. 294–318). Basingstoke: Palgrave-Macmillan. Berman, R. A., & Slobin, D. I. (1994). Relating events in narrative: A crosslinguistic developmental study. Hillsdale, NJ: Erlbaum. Bokus, B. (1996). Narrative space structuring at the preschool age: Findings on monologic and dialogic discourse. In C. E. Johnson & J. H. V. Gilbert (Eds.), Children’s language , Vol. 9 (pp. 197–207). Mahwah, NJ: Erlbaum. Bokus, B. (1998). Action and its
Shakespeare does not introduce the Fool in his plays by accident or in order to entertain or to amuse. On the contrary, his lines are earnest, filled with undertones, his advices are witty, and their purpose is to amend the one they are aimed at, to point out their mistakes, to warn them, and even to intervene in the play’s plot. The journey of the Fool in King Lear shows that, without this character, the play would be situated somewhere at the border with the Irrational. All the characters seem to be lacking reason, they act without logic. By bringing in the Fool, one is presented the image of the “standstill” in which England’s Royalty was. All the irrationality is transferred to the King. The rest of the characters are, thus, “saved”, their actions being justified by affections that darken their minds and, obviously, accountable for those senseless actions is no one else but Lear.
The disappearing of the Fool in King Lear remains a mystery that directors have “deciphered” in many ways. Shakespeare inserted this character in the middle of the first act and kept him throughout the play until the third act; then, gradually, the king’s fool disappeared. The manner this happens is almost imperceptible.
The productions of this play are not numerous, King Lear, as critic Marina Constantinescu noticed, is, perhaps, one of the most difficult plays of Shakespeare, profoundly philosophical, linguistically complicated, filled with human nuances, sophisticatedly put on page.
The performances to which we will make reference for the monologue of the Fool from King Lear are by Andrei şerban (2008 and 2012, Bulandra Theater) and Tompa Gábor (2006, Cluj National Theater).
Robert Browning’s “Up at a Villa-Down in the City” is a dramatic monologue, a fact unnoted by criticism. Browning employs irony throughout that undercuts the stated views of the speaker, who is not a person of quality, as the subtitle has announced. The speaker reveals himself to be a man of little experience in art and literature, of meager taste, poor judgement, and in general dull and inflexible. Browning cleverly sets up the clues whereby the reader can distinguish between what the speaker intends and what the reader understands. The speaker’s repudiation of the countryside actually makes clear the virtues of country life, and his praise of city life makes it clear what is undesirable in it. Browning accomplishes this manipulation through imagery, ambiguity in language, and by reference to outside facts.
1918-2018: 100 Years of Theatre Research in Iași
DOI number https://doi.org/10.2478/9783110653823-019
The Monologue in the Dramatic Text and in the Performance
Faculty of Theatre, George Enescu National University of Arts, Iaşi
Abstract: The roots of the word monologue can be found in the Antique Theatre:
monologos = monos (alone), logos (speech); a word-for-word direct translation would be “to
talk alone”. Thus, we can define the monologue as a speech with oneself. In the dramatic text,
the monologue is the speech
References Barnes, Clive. “See I Am My Own Wife, Please.” New York Post 4 December 2003. 13 January 2013 <http://www.iammyownwife.com/review_nypost. asp>. Cooper, Christine M. Worrying about Vaginas: Feminism and Eve Ensler’s _e Vagina Monologues. Chicago: _e University of Chicago Press, 2007. D’Monté, Rebecca. “Voicing Abuse, Voicing Gender.” Monologues - _eatre, Performance, Subjectivity. Ed. Clare Wallace. Prague: Litteraria Pragensia, 2006. 208-32. Davies, Walter A. Art and Politics Psychoanalysis, Ideology, _eatre. London: Pluto Press, 2007. Donnison, Jon
willing to allow inside your head”. Our meetings in the Slovak towns in which people expressed the biggest support to the extreme right-wing Kotleba party confirmed one more thing: the more different the group of debaters in terms of its value orientation, the more complicated the debate is. People can talk to each other if they follow the basic rules of a decent debate; however, if they do not react to each other’s arguments and ideas, it is rather a case of parallel monologues than a dialogue. One of the main problems characterizing these meetings is the fact that a
Yuri Vella (1948-2013) was a well-known personality in Western Siberia’s indigenous world. Unlike most Western Siberia indigenous inhabitants, Yuri Vella was exceptionally skilled with words. He used words in everyday life in order to achieve his goals, among which the main one was to protect his kin and neighbours in the forest from the destructions induced by the oil industry. He was able to hold his own in discussion with the oil industry representatives and to have the last word with them. But how did Yuri Vella use words in private life? That is what months of fieldwork sharing the hut he lived in with his wife allowed me to ascertain. I shall concentrate on patterns of speaking - how? with whom? - and silence in everyday life, outside the attention of an audience. Or was my presence in the hut enough of an audience to change his patterns? These reflections are what this article is about.
This paper compares the literary work of the Albanian writer Ismail Kadare in the communist and post-communist periods, pointing out the stylistic traits that have made his work resistant to the communist rule. In a political context which managed to disfigure literature as a tool of the daily interests of politics, Kadare succeeded in protecting language from an Orwellian absolute repression. During the communist period, Kadare broke out not only of the Albanian political isolation but also of the stylistic limits and literary incapability of Socialist Realism. Yet, scholars such as the eminent Balkan historian Noel Malcolm (1997) have condemned Kadare for opportunistic relation with the regime, and this opinion emerged every time the writer was announced as candidate for the Nobel Prize. The paper argues that Kadare’s narrative style characterized by lack of authoritarianism is the best argument which refutes this condemnation. The stylistic features of his prose are analysed through linguistic indicators such as agency, transitivity, passivation, animacy, free direct and indirect discourse, intensifiers, deictics, thematization, and cohesion. This study points out the internal perspectivism in Kadare’s prose written during the communist period and identifies metafiction and inter-subjective focalization in his post-communist novels.