Metateatralne finały Ibsena
This article brings a comparative reading of the finales of three dramas by Henrik Ibsen: Rosmersholm (1886), Hedda Gabler (1890), and The Master Builder (1892). The metatheatrical techniques used by the dramatist in these three final scenes serve to problematize the situation of the onstage spectat...
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| Format: | Article |
| Language: | English |
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Institute of Art of the Polish Academy of Sciences
2016-09-01
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| Series: | Pamiętnik Teatralny |
| Subjects: | |
| Online Access: | https://czasopisma.ispan.pl/index.php/pt/article/view/2104 |
| _version_ | 1797323084786565120 |
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| author | Ewa Partyga |
| author_facet | Ewa Partyga |
| author_sort | Ewa Partyga |
| collection | DOAJ |
| description | This article brings a comparative reading of the finales of three dramas by Henrik Ibsen: Rosmersholm (1886), Hedda Gabler (1890), and The Master Builder (1892). The metatheatrical techniques used by the dramatist in these three final scenes serve to problematize the situation of the onstage spectators and the theatrical audience with their varied interpretative strategies. Death of the characters is presented in a metatheatrical frame that is constructed a little differently in each drama. The metatheatrical devices complement one another in order to underscore the power of perceptual schemas, to demonstrate the way they operate, and to suggest ways of undermining them. Ibsen does not, however, try to favour one interpretative strategy over any other; he encourages the audiences to take personal responsibility for the meaning of what they see. In all the plays under discussion, the scene of a play within a play involves an instance of repetition. For this reason, the proposed reading makes use of Kierkegaard’s concept of repetition, which enables one to comprehend the theatre as a place of expanding consciousness. Ibsen’s metatheatrical motifs reinforce this function of theatre, yet they also help us understand that both the meaning of a theatrical work or event and the process of its reception involve Kierkegaard’s dialectics of paradox. |
| first_indexed | 2024-03-08T05:23:35Z |
| format | Article |
| id | doaj.art-0dae59265df642be8c2d5f485ab816bc |
| institution | Directory Open Access Journal |
| issn | 0031-0522 2658-2899 |
| language | English |
| last_indexed | 2024-03-08T05:23:35Z |
| publishDate | 2016-09-01 |
| publisher | Institute of Art of the Polish Academy of Sciences |
| record_format | Article |
| series | Pamiętnik Teatralny |
| spelling | doaj.art-0dae59265df642be8c2d5f485ab816bc2024-02-06T12:39:48ZengInstitute of Art of the Polish Academy of SciencesPamiętnik Teatralny0031-05222658-28992016-09-0165311713410.36744/pt.21042962Metateatralne finały IbsenaEwa Partyga0https://orcid.org/0000-0001-7929-2875Instytut Sztuki, Polska Akademia NaukThis article brings a comparative reading of the finales of three dramas by Henrik Ibsen: Rosmersholm (1886), Hedda Gabler (1890), and The Master Builder (1892). The metatheatrical techniques used by the dramatist in these three final scenes serve to problematize the situation of the onstage spectators and the theatrical audience with their varied interpretative strategies. Death of the characters is presented in a metatheatrical frame that is constructed a little differently in each drama. The metatheatrical devices complement one another in order to underscore the power of perceptual schemas, to demonstrate the way they operate, and to suggest ways of undermining them. Ibsen does not, however, try to favour one interpretative strategy over any other; he encourages the audiences to take personal responsibility for the meaning of what they see. In all the plays under discussion, the scene of a play within a play involves an instance of repetition. For this reason, the proposed reading makes use of Kierkegaard’s concept of repetition, which enables one to comprehend the theatre as a place of expanding consciousness. Ibsen’s metatheatrical motifs reinforce this function of theatre, yet they also help us understand that both the meaning of a theatrical work or event and the process of its reception involve Kierkegaard’s dialectics of paradox.https://czasopisma.ispan.pl/index.php/pt/article/view/2104henrik ibsenmetatheaterdrama history 1800-1900dialectics of paradoxsoren kierkegaard |
| spellingShingle | Ewa Partyga Metateatralne finały Ibsena Pamiętnik Teatralny henrik ibsen metatheater drama history 1800-1900 dialectics of paradox soren kierkegaard |
| title | Metateatralne finały Ibsena |
| title_full | Metateatralne finały Ibsena |
| title_fullStr | Metateatralne finały Ibsena |
| title_full_unstemmed | Metateatralne finały Ibsena |
| title_short | Metateatralne finały Ibsena |
| title_sort | metateatralne finaly ibsena |
| topic | henrik ibsen metatheater drama history 1800-1900 dialectics of paradox soren kierkegaard |
| url | https://czasopisma.ispan.pl/index.php/pt/article/view/2104 |
| work_keys_str_mv | AT ewapartyga metateatralnefinałyibsena |