Surrealist playwrights of the twentieth century use black humour in order to express their discontent towards the society in which they live.Parody of everyday life is a way of reaction against the extensive lifestyle...Surrealist playwrights of the twentieth century use black humour in order to express their discontent towards the society in which they live.Parody of everyday life is a way of reaction against the extensive lifestyle.The actions,the choices and the situations,in which the characters of the surrealist dramas are involved,are comic and grotesque.Surrealist dramas reject the rules of the Western theatre;the lack of plot,the absurd,the misunderstanding,the use of poetic symbols,the parody of bourgeois life,the unexpected reactions and the unreasonable behaviour of the characters are some of the factors that cause laughter and surprise the audience.In this paper we will try to reveal the humour that emerges through the surrealist plays of AndréBreton,Philippe Soupault,Louis Aragon and Roger Vitrac.We will also attempt to highlight the key points through which surrealism in theatre uses black humour in an effort to cover the deep melancholy and pessimistic mood of surrealist dramatists.The questions arising are;in which ways is humour a way of revolution?How can humour include dreams,ingenuity and fantasy?展开更多
This paper examines the contemporary theatre of Simos Kakalas, the director of Horos Theatre Company, and his troupe. The object of this study is the performances of the troupe during the period 2004-2016, which incl...This paper examines the contemporary theatre of Simos Kakalas, the director of Horos Theatre Company, and his troupe. The object of this study is the performances of the troupe during the period 2004-2016, which include： （1） the eight different versions of the dramatic idyll Golfo, written in 1894 by Spyridon Peresiadis; （2） the three different versions of the tragedy Erofili, written in Crete in 1595 by Georgios Hortatzis, and （3） the three different versions of the ancient Greek tragedy Euripides＇ Orestes written in 408 B.C. The research shows how these performances bring the young audience closer to the Greek theatre, tradition and identity, and at the same time they lead the audience＇s thought to current issues. It also explores how Kakalas brings the past closer to us to the present time, combining the poetic fifteen-syllable verse, the theatrical codes of the Greek ＂bouloukia＂ （the wandering troupes who used to play at squares in the nineteenth century）, the technique of narration, parody and shadow theatre with postmodern style, manga masks, video projections and anime.展开更多
文摘Surrealist playwrights of the twentieth century use black humour in order to express their discontent towards the society in which they live.Parody of everyday life is a way of reaction against the extensive lifestyle.The actions,the choices and the situations,in which the characters of the surrealist dramas are involved,are comic and grotesque.Surrealist dramas reject the rules of the Western theatre;the lack of plot,the absurd,the misunderstanding,the use of poetic symbols,the parody of bourgeois life,the unexpected reactions and the unreasonable behaviour of the characters are some of the factors that cause laughter and surprise the audience.In this paper we will try to reveal the humour that emerges through the surrealist plays of AndréBreton,Philippe Soupault,Louis Aragon and Roger Vitrac.We will also attempt to highlight the key points through which surrealism in theatre uses black humour in an effort to cover the deep melancholy and pessimistic mood of surrealist dramatists.The questions arising are;in which ways is humour a way of revolution?How can humour include dreams,ingenuity and fantasy?
文摘This paper examines the contemporary theatre of Simos Kakalas, the director of Horos Theatre Company, and his troupe. The object of this study is the performances of the troupe during the period 2004-2016, which include： （1） the eight different versions of the dramatic idyll Golfo, written in 1894 by Spyridon Peresiadis; （2） the three different versions of the tragedy Erofili, written in Crete in 1595 by Georgios Hortatzis, and （3） the three different versions of the ancient Greek tragedy Euripides＇ Orestes written in 408 B.C. The research shows how these performances bring the young audience closer to the Greek theatre, tradition and identity, and at the same time they lead the audience＇s thought to current issues. It also explores how Kakalas brings the past closer to us to the present time, combining the poetic fifteen-syllable verse, the theatrical codes of the Greek ＂bouloukia＂ （the wandering troupes who used to play at squares in the nineteenth century）, the technique of narration, parody and shadow theatre with postmodern style, manga masks, video projections and anime.
