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Tvivel - replikernas poetik

Ouzounidis, Christina LU (2016)
Abstract
A departing assumption in my work is the idea about a particular kind of conflict inherent in the theatrical line, produced by its situatedness in the specific relational doubt created in the speaking, performing voice and body, a space articulated already in the written line, as writing intended to be spoken. To the inherent self-contradiction in such utterances are added the layers of conscious and unconscious intent, discrepancies and dissonances emerging in relation to those who witness the act of speaking. The theatrical line thus entails a very particular kind of poetic possibility, that of the self listening to the premises for its own existence: attempting, questioning, reverting, resisting, and repositioning herself in doing so;... (More)
A departing assumption in my work is the idea about a particular kind of conflict inherent in the theatrical line, produced by its situatedness in the specific relational doubt created in the speaking, performing voice and body, a space articulated already in the written line, as writing intended to be spoken. To the inherent self-contradiction in such utterances are added the layers of conscious and unconscious intent, discrepancies and dissonances emerging in relation to those who witness the act of speaking. The theatrical line thus entails a very particular kind of poetic possibility, that of the self listening to the premises for its own existence: attempting, questioning, reverting, resisting, and repositioning herself in doing so; the mythical is operating on the level of the line. My exploration of these specific aspects of the dramatic line unfolds in three parts: »Voices«, »The Negotiations of Antigone« and »Prescripts«, each applying different literary modes and methods to the exploration. These parts nevertheless all use and constitute the repetitions and variations to be experienced, which are essential to the specific subject – lines written to be spoken by actors. Voice, situation, difference, myth, non-presence, polyphony, identity and time are investigated and set into action in the first part »Voices«, thinking with, among others Gertrude Stein, Walter Benjamin and Nathalie Sarraute. In »The Negotiations of Antigone« I use Sophocles drama as well as different readings and interpretations of the actions and lines of Antigone as a prism through which to further explore and complicate the notion of doubt and reflection inherent in a dramatic conflict. »prescripts«, finally, in dialogue with Inger Christensen’s Det (1969) probes the spatial and relational frameworks suggested by the theatrical concepts the stage, the action and the text in 533 subsequent lines for us who listen and observe, for her who acts and speaks; entangled in constitutive transformations. (Less)
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author
supervisor
opponent
  • Nilsson, Ulf Karl Olov, Poet
organization
publishing date
type
Thesis
publication status
published
subject
keywords
prescripts, Antigone, voices, doubting, poetics, situation, polyphony, myth, text, drama, theatrical line, Gertrude Stein, Simone de Beauvoir, Walter Benjamin, Nathalie Sarraute
pages
272 pages
publisher
Glänta produktion, Göteborg, Sweden
defense location
Malmö Theatre Academy
defense date
2016-04-22 13:00
ISBN
978-91-86133-79-5
language
Swedish
LU publication?
yes
id
85ed1b7a-036d-46ef-9c13-ac37e2d4d849 (old id 8865785)
date added to LUP
2016-03-22 14:50:46
date last changed
2016-09-30 11:21:05
@misc{85ed1b7a-036d-46ef-9c13-ac37e2d4d849,
  abstract     = {A departing assumption in my work is the idea about a particular kind of conflict inherent in the theatrical line, produced by its situatedness in the specific relational doubt created in the speaking, performing voice and body, a space articulated already in the written line, as writing intended to be spoken. To the inherent self-contradiction in such utterances are added the layers of conscious and unconscious intent, discrepancies and dissonances emerging in relation to those who witness the act of speaking. The theatrical line thus entails a very particular kind of poetic possibility, that of the self listening to the premises for its own existence: attempting, questioning, reverting, resisting, and repositioning herself in doing so; the mythical is operating on the level of the line. My exploration of these specific aspects of the dramatic line unfolds in three parts: »Voices«, »The Negotiations of Antigone« and »Prescripts«, each applying different literary modes and methods to the exploration. These parts nevertheless all use and constitute the repetitions and variations to be experienced, which are essential to the specific subject – lines written to be spoken by actors. Voice, situation, difference, myth, non-presence, polyphony, identity and time are investigated and set into action in the first part »Voices«, thinking with, among others Gertrude Stein, Walter Benjamin and Nathalie Sarraute. In »The Negotiations of Antigone« I use Sophocles drama as well as different readings and interpretations of the actions and lines of Antigone as a prism through which to further explore and complicate the notion of doubt and reflection inherent in a dramatic conflict. »prescripts«, finally, in dialogue with Inger Christensen’s Det (1969) probes the spatial and relational frameworks suggested by the theatrical concepts the stage, the action and the text in 533 subsequent lines for us who listen and observe, for her who acts and speaks; entangled in constitutive transformations.},
  author       = {Ouzounidis, Christina},
  isbn         = {978-91-86133-79-5},
  keyword      = {prescripts,Antigone,voices,doubting,poetics,situation,polyphony,myth,text,drama,theatrical line,Gertrude Stein,Simone de Beauvoir,Walter Benjamin,Nathalie Sarraute},
  language     = {swe},
  pages        = {272},
  publisher    = {ARRAY(0xb64be60)},
  title        = {Tvivel - replikernas poetik},
  year         = {2016},
}