FROM EPIC TO POSTEPIC DRAMA
Journal Title: Актуальні питання гуманітарних наук: Міжвузівський збірник наукових праць молодих вчених Дрогобицького державного педагогічного університету - Year 2018, Vol 20, Issue 1
Abstract
The features of the epic drama as the result of drama’s episode have been analysed (the widest use of the drama in both content and formal features of epic) and postepic drama, which not only responded to the problem of figurative pos- sibilities of dramatic action, but also responded to objection means of the epic theatre, combined it’s three different sides. One of them considers the concept of “Lehrstück” as a dramatic form, the purpose of which now is not in the character of the action, but in attracting the spectator to it. There has been outlined a allegorical, Brechtian conditional, game, sym- bolic, farcical, “instructive without purposeful instruction” character of the dramatic edition of Max Frisch, Frederick Dürrenmatt as of Bertolt Brecht’s contemporary writers. They had their own vision of drama, post dramatic and post epic drama. It is worth noting that the latter responded to the problematic features of the dramatic action. Meanwhile, the post epic dramaturgy reacted to the objections of the means of the epic theater, which were introduced by Bertolt Brecht as the elements of materialist aesthetics. As a result, there was a form of perception of the ideas of the epic theatre and forms of some aspects’ denial of B. Brecht’s method and attitude, namely his belief in “the correctness of science, politics, human- ity”. For example the “documentary theatre” and the works of Peter Weiss clarified the proximity of his programmes to the channel of Brecht’s aesthetics: intellectual participation of the viewer in the play, presence of author’s and actor’s assessment of the represented events, inclusion into performance the other works of art – choruses, zongs. And also the characteristic of the gradual distinction of Weiss’ work has been underlined: the denial of the parable, the abstract nature of Brechtian drama. In turn, the dramatic legacy of Friedrich Dürrenmatt not only continued but also strongly disagreed with certain aspects of the Brecht’s theory. This inherent contradiction, which outlined the work of the playwright, was the decisive sign of the development of the drama in the postbrechtian period.
Authors and Affiliations
Natalia VASYLIVSKA
Keywords
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