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Satirical theory and dramatic practi...

Heinrich, Paul Christopher.

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Satirical theory and dramatic practice: Towards a new model of satire in performance.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Satirical theory and dramatic practice: Towards a new model of satire in performance./
作者:	Heinrich, Paul Christopher.
面頁冊數:	367 p.
附註:	Adviser: Douglas Cole.
Contained By:	Dissertation Abstracts International53-06A.
標題:	Literature, Classical. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9229915

Satirical theory and dramatic practice: Towards a new model of satire in performance.
Heinrich, Paul Christopher.

Satirical theory and dramatic practice: Towards a new model of satire in performance. - 367 p.

Adviser: Douglas Cole.

Thesis (Ph.D.)--Northwestern University, 1992.

As a highly referential art form, stage satire requires a definition of "meaning" that is not limited to formalist focus on the text alone, but extends into the dynamics of the relationship between staged text and audience. Theatrical experience demonstrates that scripts or fables of conventional meaning may conceal surprising audience responses of controversial nature. Moments of crisis, audience recognition, and satirical catharsis can lie relatively hidden within the text. Even though it is integral to the perceived meanings of stage satire, the role of the audience figures only in a minor way in current theories of satire. This study attempts to close the gap between satirical theory and stage practice by introducing the crucial element of the audience in the formulation of a "dynamic" model of satire which might clarify the process of the satirical strategy through the course of the play. Suggested models of "Success" and "Failure Plots" comprise such elements as the interplay of satirist, audience, protagonist, and satirical target (actual or supposed); reaction curves of the audience; and their implication in relation to protagonist, plot structure, catharsis and genre. The models are applied to Aristophanes's Acharnians, Ben Jonson's Every Man In/Out Of His Humour and Volpone, and Dario Fo's Accidental Death of an Anarchist and Can't Pay! Won't Pay! The plays are analyzed against a reconstruction of historical background and audience composition and expectations.Subjects--Topical Terms:

1017779
Literature, Classical.

Satirical theory and dramatic practice: Towards a new model of satire in performance.
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245 1 0 $a Satirical theory and dramatic practice: Towards a new model of satire in performance.
300 $a 367 p.
500 $a Adviser: Douglas Cole.
500 $a Source: Dissertation Abstracts International, Volume: 53-06, Section: A, page: 1729.
502 $a Thesis (Ph.D.)--Northwestern University, 1992.
520 $a As a highly referential art form, stage satire requires a definition of "meaning" that is not limited to formalist focus on the text alone, but extends into the dynamics of the relationship between staged text and audience. Theatrical experience demonstrates that scripts or fables of conventional meaning may conceal surprising audience responses of controversial nature. Moments of crisis, audience recognition, and satirical catharsis can lie relatively hidden within the text. Even though it is integral to the perceived meanings of stage satire, the role of the audience figures only in a minor way in current theories of satire. This study attempts to close the gap between satirical theory and stage practice by introducing the crucial element of the audience in the formulation of a "dynamic" model of satire which might clarify the process of the satirical strategy through the course of the play. Suggested models of "Success" and "Failure Plots" comprise such elements as the interplay of satirist, audience, protagonist, and satirical target (actual or supposed); reaction curves of the audience; and their implication in relation to protagonist, plot structure, catharsis and genre. The models are applied to Aristophanes's Acharnians, Ben Jonson's Every Man In/Out Of His Humour and Volpone, and Dario Fo's Accidental Death of an Anarchist and Can't Pay! Won't Pay! The plays are analyzed against a reconstruction of historical background and audience composition and expectations.
520 $a The approach provides insights into the development of each playwright's satirical strategy over time from the simple "Success One Plot", and highlights the radical and subversive innovation of the Clouds and Volpone. It overturns traditional readings of the Acharnians and gives heightened understanding of the satirical point of other plays, e.g., Volpone. Awkwardness in later revivals of Volpone and Can't Pay! Won't Pay! is linked directly to the difficulty of reproducing the audience-stage alignments of the original performances, and Fo's failure with bourgeois audiences to his disinterest in subversive strategies. Comparison of the three satirists' practices allows a clearer articulation of the structural framework and properties of the satirical strategies underlying their work.
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