Abstract
This paper sets out to examine the transformation of comedy in the history of European theatre. Musical performance extends the semiotic space of the original genre into a field of fluid and open meanings and signs incorporating and suggesting many interpretations, some of which are ironic. It is argued in contemporary aesthetics that, on the one hand, art cannot exist without a discourse interpreting it, while on the other, there exists the demand to avoid interpretation, which at once legitimizes the aesthetic effect and castrates the object of art. Provocation is used as an instrument for solving the problems of observing the object of art in a new way and understanding modern reality, and provocation is not complete without irony and self-irony. Wit, irony, and comicality are transformed as fitting into the style of the absurd and deconstructing the border between the funny and the serious. The purpose of such provocations is to put the viewer into a position of uncertainty and aesthetic shock, and this stupor inexorably leads the beholder to encounter the object of art and nurtures a new understanding of their own self. This clash of the spectator’s viewpoint created by provocative shows dispossesses theatre productions of the status of “museum exhibits”. This paper will examine the organicness of elements of the laughter culture and comic devices for musical and dramatic theatre.
Highlights
In classical aesthetics, from Aristotle’s “Politics” right up to the present day, the understanding of art as giving aesthetic pleasure, nurturing and entertaining, has established itself as an indisputable cultural norm
Our study focuses on how the comic articulates itself in musical and dramatic art, its role in building communication between the “work of art” and the “viewer”, the limits of using the comic in modern and post-modern art practices, and how comicality contributes to the retention and/or expansion of the viewer's identity
In accordance with the principles of classical aesthetics, the most frequently performed works skillfully combined elements of high and low genres, the comic being associated with lower culture, and the heroic with the higher
Summary
From Aristotle’s “Politics” right up to the present day, the understanding of art as giving aesthetic pleasure, nurturing and entertaining, has established itself as an indisputable cultural norm. Baroque and Rococo, for example, were more oriented towards hedonism and entertainment, while Classicism, Enlightenment and the so-called “natural school” were more oriented towards education, this did not imply a rejection and neglect of the other functions of art The exit from this matrix took place only in the early 20th century, which was presented by avant-garde artistic searches. The artist renounces the role of teacher, educator, prophet, revealing the world of the transcendent and carrying its truths into the profane space of everyday life This is due to the cultural pivot of the Modern epoch, which in art (as well as in science) is based on a new paradigm that relativizes the claims of absolute significance with the claims of art on its involvement in this world of the Absolute. Our study focuses on how the comic articulates itself in musical and dramatic art, its role in building communication between the “work of art” and the “viewer”, the limits of using the comic in modern and post-modern art practices, and how comicality contributes to the retention and/or expansion of the viewer's identity
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