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Making the familiar strange in theat...

Jestrovic, Silvija.

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Making the familiar strange in theatre and drama: From Russian Formalist avant-garde to Brecht (Bertolt Brecht, Germany, Viktor Shlovsky).

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Making the familiar strange in theatre and drama: From Russian Formalist avant-garde to Brecht (Bertolt Brecht, Germany, Viktor Shlovsky)./
作者:	Jestrovic, Silvija.
面頁冊數:	310 p.
附註:	Source: Dissertation Abstracts International, Volume: 65-05, Section: A, page: 1595.
Contained By:	Dissertation Abstracts International65-05A.
標題:	Theater. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=NQ91883
ISBN:	0612918831

Making the familiar strange in theatre and drama: From Russian Formalist avant-garde to Brecht (Bertolt Brecht, Germany, Viktor Shlovsky).
Jestrovic, Silvija.

Making the familiar strange in theatre and drama: From Russian Formalist avant-garde to Brecht (Bertolt Brecht, Germany, Viktor Shlovsky). - 310 p.

Source: Dissertation Abstracts International, Volume: 65-05, Section: A, page: 1595.

Thesis (Ph.D.)--University of Toronto (Canada), 2001.

This work explores the idea of distancing the familiar within the context of modernism. It particularly focuses on Russian Formalist notion of defamiliarization (ostranenie), on the experiments of the Russian avant-garde theatre, and on Bertolt Brecht's theory and practice of estrangement ( Verfremdung). The idea of making the familiar strange can be traced from Aristotle and Horace to Hegel and Marx. However, the avant-garde of the 20's and 30's established this notion in the language of the epoch. In 1917, Russian Formalist scholar Viktor Shklovsky coined the term ostranenie to describe the artistic technique of making the well-known as if seen for the first time. Ostranenie is translated into German as Verfremdung, a word that became the cornerstone of Bertolt Brecht's concept of epic or non-Aristotelian theatre. Contemporary scholars and practitioners too readily ascribe the label Brechtian and post-Brechtian whenever a distancing device is used on stage. Various forms of stylization and conventionality (in Schopenhauer, Russian Symbolism, Russian Formalism and Meyerhold), as well as devices of theatricality and metatheatre (Evreinov, Russian Futurists) were also means to break theatrical illusions and to encourage a new seeing of the well-known. Russian Formalist concept of ostranenie has been most often viewed within the framework of literary theory, while its interdisciplinary nature and its parallel development with the experiments of the Russian avant-garde have rarely been addressed. This work takes ostranenie from the field of literature into the domain of avant-garde theatre in order to distinguish different variants of making the familiar strange: intertextual, perspectival and grotesque as well as instances of theatricalization of life as means of defamiliarizing the habitual. Theoretical and practical aspects of both Shklovsky's ostranenie and Brecht's Verfremdung involve in different ways the examination of the role of aesthetic choices in determining ideological and political effects of an artwork and its relationship to extra-artistic reality. The idea of making the familiar strange is context-specific and even within the same historical and cultural framework it has dissimilar aesthetic and ideological variants. Very different artists, therefore, from Marinetti to Mayakovsky and from Brecht to Pound, used this technique to various aesthetic and ideological ends.

ISBN: 0612918831Subjects--Topical Terms:

522973
Theater.

Making the familiar strange in theatre and drama: From Russian Formalist avant-garde to Brecht (Bertolt Brecht, Germany, Viktor Shlovsky).
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