The Play Within the Play: The Performance of Meta-theatre and Self-reflection
The thirty chapters of this innovative international study are all devoted to the topic of the play within the play. The authors explore the wide range of aesthetic, literary-theoretical and philosophical issues associated with this rhetorical device, not only in terms of its original meta-theatrical setting - from the baroque idea of a theatrum mundi onward to contemporary examples of postmodern self-referential dramaturgy - but also with regard to a variety of different generic applications, e.g. in narrative fiction, musical theatre and film. The authors, internationally recognized specialists in their respective fields, draw on recent debates in such areas as postcolonial studies, game and systems theories, media and performance studies, to analyze the specific qualities and characteristics of the play within the play: as ultimate affirmation of the 'self' (the 'Hamlet paradigm'), as a self-reflective agency of meta-theatrical discourse, and as a vehicle of intermedial and intercultural transformation. The challenging study, with its underlying premise of play as a key feature of cultural anthropology and human creativity, breaks new ground by placing the play within the play at the centre of a number of intersecting scholarly discourses on areas of topical concern to scholars in the humanities.
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actors aesthetic Aloni Ariadne Ariadne auf Naxos audience becomes Bidermann Brecht Cenodoxus century Césaire’s characters colonial comedy comic context critical cultural death device différance drama dramaturgy Eugene Onegin fictional figure film frame Frankfurt/Main French Frisch’s function Genet genre German Gougenot’s Hamlet Hanoch Levin Heiner Müller historical Hofmannsthal illusion implied spectator inner play Israeli Kafka Kleist Kürmann Levin literary literature London meaning Medea metadrama metatheatrical Midsummer Night’s Dream mirror mise en abyme modern Montdory Müller murder musical myth narrative narrator Nissim Aloni Onegin onstage opera opera seria Ostermaier outer play Paris performance play-within-the-play play’s players playwright plot political postmodern present production protagonist Pushkin Queen reality reflection rehearsal representation role Romantic scene Scudéry’s self-referential self-reflexive sense Shakespeare social song spectator’s Spiel stage Stoppard story strategy structure theatre theatrical tion Tom Stoppard tradition tragedy tragic translation troupe University
Strana 16 - Die romantische Poesie ist eine progressive Universalpoesie. Ihre Bestimmung ist nicht bloß, alle getrennten Gattungen der Poesie wieder zu vereinigen und die Poesie mit der Philosophie und Rhetorik in Berührung zu setzen. Sie will und soll auch Poesie und Prosa, Genialität und Kritik, Kunstpoesie und Naturpoesie bald mischen, bald verschmelzen, die Poesie lebendig und gesellig und das Leben und die Gesellschaft poetisch machen...
Strana 34 - And suddenly I realized that I should have to shoot the elephant after all. The people expected it of me and I had got to do it; I could feel their two thousand wills pressing me forward, irresistibly. And it was at this moment, as I stood there with the rifle in my hands, that I first grasped the hollowness, the futility of the white man's dominion in the East. Here was I, the white man with his gun, standing in front of...
Strana 25 - Literature becomes progressively more differentiated from the discourse of ideas, and encloses itself within a radical intransitivity; it becomes detached from all the values that were able to keep it in general circulation during the Classical age (taste, pleasure, naturalness, truth), and creates within its own space everything that will ensure a ludic denial of them...
Strana 34 - For it is the condition of his rule that he shall spend his life in trying to impress the ' natives,' and so in every crisis he has got to do what the ' natives ' expect of him. He wears a mask, and his face grows to fit it.
Strana 25 - ... genres comme formes ajustées à un ordre de représentations, et devient pure et simple manifestation d'un langage qui n'a pour loi que d'affirmer - contre tous les autres discours - son existence escarpée; elle...
Strana 6 - Taint not thy mind, nor let thy soul contrive Against thy mother aught; leave her to heaven, And to those thorns that in her bosom lodge To prick and sting her.
Strana 10 - To assume a pleasing shape; yea, and perhaps Out of my weakness and my melancholy, As he is very potent with such spirits, Abuses me to damn me. I'll have grounds More relative than this: the play's the thing Wherein I'll catch the conscience of the king.