Szaleństwo w kostiumie. Metateatralność Henryka IV Luigiego Pirandella

The aim of this article is to explore the theatrical nature of madness in one of Luigi Pirandello’s most famous characters: Henry IV. For the purposes of this paper I denominate his state “madness in costume”, for a number of reasons. First of all, the costume, an inherent attribute of the main char...

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Main Author: Aleksandra Koman
Format: Article
Language:deu
Published: Pomeranian University Publishing House 2021-10-01
Series:Polilog: Studia Neofilologiczne
Subjects:
Online Access:https://polilog.pl/index.php/polilog/article/view/454
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author Aleksandra Koman
author_facet Aleksandra Koman
author_sort Aleksandra Koman
collection DOAJ
description The aim of this article is to explore the theatrical nature of madness in one of Luigi Pirandello’s most famous characters: Henry IV. For the purposes of this paper I denominate his state “madness in costume”, for a number of reasons. First of all, the costume, an inherent attribute of the main character, becomes a determinant of the fictional and theatrical dimension in the drama. It therefore refers to thinking about madness in terms of theatricality: not only because of a certain kind of artistry in the act of madness, but also because the simulation of the insanity made Henry an actor who plays his role within the fictional world-stage he has created. The awareness of the fictional nature of that world testifies to the metatheatrical character of the play, in which the unconcealed artificiality of the presented world is emphasized by the theat- rical costume accompanying Henry from his memorable fall during the masquerade until the resolution of the plot.
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spelling doaj.art-f136dbe5204e444e900abb5b46b6f5f22022-12-22T03:52:48ZdeuPomeranian University Publishing HousePolilog: Studia Neofilologiczne2083-54852021-10-011125926810.34858/polilog.11.2021.356640Szaleństwo w kostiumie. Metateatralność Henryka IV Luigiego PirandellaAleksandra Koman0Uniwersytet Pedagogiczny im. KEN w Krakowie Kraków, PolskaThe aim of this article is to explore the theatrical nature of madness in one of Luigi Pirandello’s most famous characters: Henry IV. For the purposes of this paper I denominate his state “madness in costume”, for a number of reasons. First of all, the costume, an inherent attribute of the main character, becomes a determinant of the fictional and theatrical dimension in the drama. It therefore refers to thinking about madness in terms of theatricality: not only because of a certain kind of artistry in the act of madness, but also because the simulation of the insanity made Henry an actor who plays his role within the fictional world-stage he has created. The awareness of the fictional nature of that world testifies to the metatheatrical character of the play, in which the unconcealed artificiality of the presented world is emphasized by the theat- rical costume accompanying Henry from his memorable fall during the masquerade until the resolution of the plot.https://polilog.pl/index.php/polilog/article/view/454pirandellohenry ivcostumemadnessmetatheatricality
spellingShingle Aleksandra Koman
Szaleństwo w kostiumie. Metateatralność Henryka IV Luigiego Pirandella
Polilog: Studia Neofilologiczne
pirandello
henry iv
costume
madness
metatheatricality
title Szaleństwo w kostiumie. Metateatralność Henryka IV Luigiego Pirandella
title_full Szaleństwo w kostiumie. Metateatralność Henryka IV Luigiego Pirandella
title_fullStr Szaleństwo w kostiumie. Metateatralność Henryka IV Luigiego Pirandella
title_full_unstemmed Szaleństwo w kostiumie. Metateatralność Henryka IV Luigiego Pirandella
title_short Szaleństwo w kostiumie. Metateatralność Henryka IV Luigiego Pirandella
title_sort szalenstwo w kostiumie metateatralnosc henryka iv luigiego pirandella
topic pirandello
henry iv
costume
madness
metatheatricality
url https://polilog.pl/index.php/polilog/article/view/454
work_keys_str_mv AT aleksandrakoman szalenstwowkostiumiemetateatralnoschenrykaivluigiegopirandella