Abstract
The fictional drama world differs from the fictional world encountered in other literary genres, and the difference can be traced back to the link of the text with the performance.A general, traditional view is that the fictional world of the dramatic text takes place in a fictional “here and now” .Elam has postulated a theory following a study of the fictional drama world. He uses a term from logical semantics, viz. the “theory of possible worlds” and adjusts this to enable him to speak of a dramatic possible world. Elam mentions three aspects which help towards the establishment of the fictional drama world, viz.the discovery of this world in medias res; the making specific of this world through the fictional characters; and the representation of this world in the performance.Elam’s exposition still does not indicate which aspects of the fictional drama world within the text coincide with or differ from those in the performance. The fictionality of the drama world is linked to the aspect of the ostensible, and it is this link (implied in the text and edited in the performance) which characterizes the specific nature of the fictional in the drama genre and which distinguishes this genre from other literary genres.
Highlights
Elam has postulated a theory following a study of the fictional drama world
The fictionality of the dram a world is linked to the aspect of the ostensible, and it is this link which characterizes the specific nature of the fictional in the dram a genre and which distinguishes this genre from other literary genres
Binne die W esterse kultuur is die fiksionele aard van die dram ateks dus ’n konvensie wat as sodanig deur die beoefenaars van hierdie kultuurverskynsei aanvaar word
Summary
Soos die teicste in die ander literêre genres, as ’n fiksionele teks deur sy leser(s) beskou. Die fiksionele dramawêreld verskil egter van die fiksionele wêrelde wat in die ander literêre genres gevind word - ’n verskil wat teruggevoer kan word na die teks se verbintenis met die opvoering. In der waarheid is dit ook so dat as mens net vassteek by ’n algemene omskrywing van die fiksionele wêreld en nie nagaan in w atter m ate die dram ateks en die opvoering afsonderlik daardeur bepaal word nie, dit moeilik is om op so ’n aanm erking uit te brei. Soos baie ander teoretici verwerp Nicoll (1962:24) ook die veronderstelling dat daar ’n absolute inlewing in hierdie fiksionele wêreld vanaf die kant van die toeskouers is: “the members of the audience enter into the world of illusion without completely leaving their own world of actuality”. By Nicoll en die ander ouer teoretici word min verdere bespreking van fiicsionaliteit in die dramawêreld gevind en is dit eers m et die werk van die drama- en teatersemiotici wat hierdie insigte en ander intensiewer bestudeer word
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