AVANT-GARDE ITALIAN DRAMA: FUTURISTS, "I GROTTESCHI," AND PIRANDELLO.
Item
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Title
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AVANT-GARDE ITALIAN DRAMA: FUTURISTS, "I GROTTESCHI," AND PIRANDELLO.
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Identifier
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AAI8312334
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identifier
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8312334
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Creator
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O'KEEFE BAZZONI, GEORGIANA FRANCES.
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Contributor
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Charles Gattnig
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Date
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1983
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Language
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English
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Publisher
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City University of New York.
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Subject
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Theater
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Abstract
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This paper studies Futurism, the Theatre of the Grotesque, and Pirandello as important examples of experimentation and innovation in Italy during the period 1915-1925. Though Pirandello is recognized as the major figure in the Italian avant-garde drama of this period, this study documents important correlations between his work and the work of the Futurists and i grotteschi. Fifteen full-length plays and over twenty-five sintesi are discussed together with several Futurist manifestoes. A close study of these representative plays is used in order to demonstrate similar characteristics in the kinds and treatment of character, the use of a syncopated structure, and the deliberate attempt to give the audience a more active performance role.;Characters in these plays are frequently seen as types, rather than individuals, as puppets whose actions are feeble and without effect, or easily manipulated by others. Often, the plays use one character as the author's voice, or io epico, allowing such characters to directly influence the stage action while commenting upon it. Two groups of characters--those who "pull the strings" and those "being animated--are assigned" descriptive names in this study in order to more clearly define them. The animators are called (1) "watchers," (2) "puppet masters," and (3) "testifiers." Those being animated are referred to as (1) puppets and puppet-like characters; (2) split personalities; (3) repertory regulars; and (4) machines, objects, and ambiences.;Syncopation is a hallmark of the modern rhythm of these plays. The effect of syncopation is produced by the consistent use of several structural elements in combination. These elements are: (1) simultaneity and dynamism; (2) contraction/compression of story line; (3) alternating tight and multiple focus; (4) deliberately interrupted and confused plot line; and (5) a preference for endings which are ambiguous, absurd, or unresolved and which are not satisfied by any definitive interpretation.;Finally, a deliberate theatricality in the plays is used to destroy the fourth wall convention and invite the audience to participate in a new way. By addressing the audience, using actor/spectators, and capitalizing on the element of surprise, the playwright demands that the audience become part of the action.
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Type
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dissertation
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Source
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PQT Legacy CUNY.xlsx
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degree
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Ph.D.
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Program
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Theatre
