Abstract
The inner mobility of the theater, doubled by the fast pace of life under the wave of postmodernity at the end of the twentieth century, conditioned not only the re-definition of a new theatrical language, but also the re-writing of dialogic forms specific to theatrical art. Or, in the texts of Constantin Cheianu, Val Butnaru, Nicolae Negru, Mircea V. Ciobanu, Dumitru Crudu, Irina Nechit, Maria Șleahtițchi and Nicolae Leahu, dialogue does not only have the classic role of triggering and motivating the action. The (sub)layers of conflict dialogues and „deaf dialogues”, parallel and echo dialogues, seemingly „absurd” association dialogues and „thesis-antithesis” dialogues, the dialogue monologues and the monologue dialogues evoke the alternation of linguistic registers and the play of languages. Completing and continuing the openness to multiple textual styles, the language of dialogues triggers and finalizes the communicative process between written and spoken, but also between text-show-audience. The „palpation” of the types of dialogues and the „immersion” in the mise en abysses of language give us the revelation of deciphering the symbols and meanings of contemporary national and universal drama and theater.
Highlights
The inner mobility of the theater, doubled by the fast pace of life under the wave of postmodernity at the end of the twentieth century, conditioned the re-definition of a new theatrical language, and the re-writing of dialogic forms specific to theatrical art
În lucrarea dramatică Șase autori în căutarea unui personaj de Val Butnaru, formele de exprimare dialogată sau monologată sunt disputate de către toate personajele „mobilizate” și „aglomerate” într-un spațiu restrâns, fiecare dintre ele „câștigând” posibilitatea unei intervenții mai substanțiale într-o scenă semnificativă la care participă și alți interlocutori
The „palpation” of the types of dialogues and the „immersion” in the mise en abysses of language give us the revelation of deciphering the symbols and meanings of contemporary national and universal drama and theater
Summary
The inner mobility of the theater, doubled by the fast pace of life under the wave of postmodernity at the end of the twentieth century, conditioned the re-definition of a new theatrical language, and the re-writing of dialogic forms specific to theatrical art. În piesele lui Constantin Cheianu, Val Butnaru, Nicolae Negru, Mircea V. Alte valențe ale „tăcerii”, caracteristice literaturii postmoderne, îi sunt familiare și lui Iosif din piesa lui Val Butnaru Iosif și amanta sa, care susține: „Fiindcă știu că muțenia nu e în tăcere, ci în vorbă” [17].
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