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Unseating the spectator: The theater...

Roberts, Sarah Charlotte.

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Unseating the spectator: The theater of Eugene Ionesco, Nathalie Sarraute and Marguerite Duras (France).

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Unseating the spectator: The theater of Eugene Ionesco, Nathalie Sarraute and Marguerite Duras (France)./
作者:	Roberts, Sarah Charlotte.
面頁冊數:	132 p.
附註:	Source: Dissertation Abstracts International, Volume: 63-09, Section: A, page: 3188.
Contained By:	Dissertation Abstracts International63-09A.
標題:	Literature, Modern. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3063531
ISBN:	0493824243

Unseating the spectator: The theater of Eugene Ionesco, Nathalie Sarraute and Marguerite Duras (France).
Roberts, Sarah Charlotte.

Unseating the spectator: The theater of Eugene Ionesco, Nathalie Sarraute and Marguerite Duras (France). - 132 p.

Source: Dissertation Abstracts International, Volume: 63-09, Section: A, page: 3188.

Thesis (Ph.D.)--University of California, Berkeley, 2002.

The passive assimilation of fixed meaning, as well as a heterosexual male point of view, are now widely recognized as being the defining characteristics of the "traditional" theatre audience throughout Western society. "Unseating the Spectator" begins, therefore, by exploring not if, but rather exactly how and when such a rigidly conditioned spectatorial position became ingrained in the case of French theatre.

ISBN: 0493824243Subjects--Topical Terms:

624011
Literature, Modern.

Unseating the spectator: The theater of Eugene Ionesco, Nathalie Sarraute and Marguerite Duras (France).
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245 1 0 $a Unseating the spectator: The theater of Eugene Ionesco, Nathalie Sarraute and Marguerite Duras (France).
300 $a 132 p.
500 $a Source: Dissertation Abstracts International, Volume: 63-09, Section: A, page: 3188.
500 $a Chair: Ann Smock.
502 $a Thesis (Ph.D.)--University of California, Berkeley, 2002.
520 $a The passive assimilation of fixed meaning, as well as a heterosexual male point of view, are now widely recognized as being the defining characteristics of the "traditional" theatre audience throughout Western society. "Unseating the Spectator" begins, therefore, by exploring not if, but rather exactly how and when such a rigidly conditioned spectatorial position became ingrained in the case of French theatre.
520 $a A detailed theoretical and historical context is thus established to underscore the particularly extreme and innovative degree to which the French writers Eugene Ionesco, Nathalie Sarraute and Marguerite Duras have, intentionally and unintentionally, entirely reinvented the role of the spectator. Plays by all three, I argue, expose, undermine and block a traditional response, and then go on to take such an "unseating" even further. Ionesco seeks to recreate for the spectator his own personal experience of a euphoric state of "astonishment" that, in his view, enables one to understand in the face of the incomprehensible. Sarraute's plays, largely by dint of her ever-present literary obsession with human "tropisms", encourage the spectator to hear the inaudible. And finally Duras, as a blanchotian analysis of desire and "blindness" in her work reveals, invites the spectator to see the invisible.
520 $a My concluding overview of alternative roles assigned to the French theater-going public since the late nineteenth century acknowledges that Ionesco, Sarraute and Duras are by no means alone in attempting to recondition the traditional spectator. What does, however, distinguish many of their plays from other examples of modernist French anti-theatre is that they push an already unseated spectator to continue to understand/listen/look, despite a complete absence of conventional meaning/speech/images. This dissertation thus demonstrates how (appropriating terms coined by the playwrights themselves) the "astonished", the "tropistic", and the "blind" spectator all occupy a stikingly similar paradoxical and utopian "space" of perception outside language and culture; such that, ultimately, it is absence itself that becomes most palpably present on the French stage.
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