diplomsko delo
Iztok Jereb (Author), Vanesa Matajc (Mentor)

Abstract

Diplomsko delo obravnava dramatiko Samuela Becketta, ki je zanimiva zaradi svojega izvirnega pristopa oziroma močnega oblikovnega odstopanja od tradicionalne (aristotelovske) dramske oblike, ki se kaže že v pomanjkanju dejanja in v nedejavnih likih. Kljub temu pa gre pri Beckettu za zavestno opuščanje osnovnih elementov drame - Beckett izloči vse, kar pripada tradicionalni dramski obliki tako, da na koncu ostanejo le najbolj ključni vzorci človeškega obnašanja. Njegove ključne teme, kakor jih razkriva v eseju Proust, so navada, čas in spomin, ki so obravnavane v interpretaciji Beckettovih dramskih del. Interpretacija se osredotoča predvsem na drame Čakajoč Godota, Konec igre in O, krasni dnevi, v manjši meri pa tudi na poznejša dramska besedila ter drami Igra in Krappov zadnji trak. Interpretaciji sledi primerjava Beckettove in Brechtove dramatike kot dveh popolnoma različnih avtorskih pogledov na dramsko obliko. Dramatika obeh avtorjev je izbrana za primerjavo z vidika zgodovinskega konteksta 20. stoletja, kot ga je v delu Dvajseto stoletje obravnaval Alain Badiou. Nazadnje pa diplomsko delo obravnava še Beckettovo umestitev v okvir drame absurda, ki jo Esslin v delu Gledališče absurda (The Theatre of the Absurd) utemeljuje kot logično posledico oz. odraz povojnega časa; in v okvir dramskega postmodernizma oziroma dramskega modernizma in njegovega skrajnega raziskovanja modernistične zavesti.

Keywords

teorija drame;irska dramatika;modernizem;drama absurda;gledališče absurda;diplomsko delo;Beckett;Samuel;1906-1989;Brecht;Bertolt;1898-1956;

Data

Language: Slovenian
Year of publishing:
Typology: 2.11 - Undergraduate Thesis
Organization: UL FF - Faculty of Arts
Publisher: [I. Jereb]
UDC: 821.111(417).09-2Beckett S.
COBISS: 58513250 Link will open in a new window
Views: 870
Downloads: 300
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Other data

Secondary language: English
Secondary abstract: Undergraduate thesis deals with dramatic work of Samuel Beckett, which is interesting because of its original approach or its strong formal deviation from traditional (Aristotelian) dramatic form, which shows yet in lack of action and in non-active characters. Still, Beckett's giving up the basic elements of drama is a conscious act - Beckett excludes everything that belongs to traditional dramatic form in the way that in the end he has only the most crucial patterns of human behaviour left. His key themes, as he unveils them in his essay Proust, are habit, time and memory, which are discussed in interpretation of Beckett's dramatic work. Interpretation focuses mostly on plays Waiting for Godot, Endgame and Happy Days, in less significant measure on his later plays and plays Play and Krapp's Last Tape. Interpretation is followed by comparison of Beckett's and Brecht's dramatic work as two almost completely different authors' views on dramatic form. The dramatic work of both authors is chosen for comparison from historical context of 20th century, as it was issued in Alain Badiou's work Twentieth Century. Last, the thesis deals with Beckett's classification in a framework of theatre of the absurd, which is argued by Esslin in Theatre of the Absurd as a logical consequence or reflection of post-war era; and in a framework of dramatic postmodernism or dramatic modernism and its utmost exploration of modernist consciousness.
Type (COBISS): Bachelor thesis/paper
Thesis comment: Univ. v Ljubljani, Filozofska fak., Oddelek za primerjalno književnost in literarno teorijo
Pages: 40 f.
ID: 10976177