Understanding ‘Silence’ and ‘Pause’ in Modern Drama: The Use of Silence and Pause in Harold Pinter’s The Homecoming
2
조회
0
다운로드
0
인용
0
참고문헌
키워드
초록
The paper examines the role ‘Silence’ and ‘Pause’ play and signify in Modern drama or simply Avant-garde theater through the analysis of Pinter’s drama The Homecoming. ‘Silence’ and ‘Pause’ in Modern drama are technical directional elements which transforms the fictive dramatic imagery to a mirrored imagery of reality. They may be defined as extensions of conventional language which are used preferentially to better mimic the reality that is being mirrored. ‘Silence’ and ‘Pause’ are non-verbal communicative tools and are sub-textual in manner. The use has become one of the distinguishing elements that represent and characterize the Modern drama in that they no longer remain as simple directions where needed to stop a continuation of action on stage but accentuate and futhermore demand and bring about an engagement from the audience/reader. The use of ‘Silence’ and ‘Pause’ represent for the dramatist an active recognition as to what an actual reality is and what the stage supposedly should reflect. In conclusion the use of the two elements functions in narrowing the perspective that separates the dramatist and the audience/reader regarding what is actually real and as to how reality be it fictional be represented on stage.
Abstract
The paper examines the role ‘Silence’ and ‘Pause’ play and signify in Modern drama or simply Avant-garde theater through the analysis of Pinter’s drama The Homecoming. ‘Silence’ and ‘Pause’ in Modern drama are technical directional elements which transforms the fictive dramatic imagery to a mirrored imagery of reality. They may be defined as extensions of conventional language which are used preferentially to better mimic the reality that is being mirrored. ‘Silence’ and ‘Pause’ are non-verbal communicative tools and are sub-textual in manner. The use has become one of the distinguishing elements that represent and characterize the Modern drama in that they no longer remain as simple directions where needed to stop a continuation of action on stage but accentuate and futhermore demand and bring about an engagement from the audience/reader. The use of ‘Silence’ and ‘Pause’ represent for the dramatist an active recognition as to what an actual reality is and what the stage supposedly should reflect. In conclusion the use of the two elements functions in narrowing the perspective that separates the dramatist and the audience/reader regarding what is actually real and as to how reality be it fictional be represented on stage.
참고문헌 (12)
- Baxter, Charles, "The Art of Subtext" (2007), Graywolf Press
- Currie, Gregory, "The Nature of Fiction" (2008), Cambridge University Press
- Elam, Keir, "The Semiotics of Theatre and Drama" (1980), Methuen & Co
- Knowles, Ric, "Theatre & Interculturalism" (2010), Palgrave Macmillan
- Mamet, David, "Three Uses of the Knife : On the Nature and Purpose of Drama" (1998), Vintage books
- Pinter, Harold, "Complete Works 1" (1990), Grove Press
- Pinter, Harold, "Complete Works 2" (1990), Grove Press
- Pinter, Harold, "Complete Works 3" (1990), Grove Press
- Pinter, Harold, "Complete Works 4" (1990), Grove Press
- Pirandello, Luigi, "Ecrit sur le théâtre et la littèrature" (1990), Denoël
- Shakespeare, William, "Shakespeare Four Tragedies" (1988), Bantom Books
- Styan. J. L., "Modern drama in Theory and Practice 2" (2002), Cambridge University Press