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Theatrical Perception

Published online by Cambridge University Press:  23 January 2009

B. Beckerman
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Extract

The theory of literature expounded by Rene Wellek and Austin Warren in 1942 embraces, if somewhat gingerly, the drama. The authors acknowledge – in the apparent afterthought of an endnote – that ‘the whole tendency of dramaturgic doctrine is against any judgment of a play divorced from … its stagecraftness or theaterness’. But in the body of their work, they treat drama as one form of narrative fiction, at one point approaching and then retreating from any substantial consideration of the ‘distinction between play and story’.

Type
Articles
Information
Theatre Research International , Volume 4 , Issue 3 , May 1979 , pp. 157 - 171
Copyright
Copyright © International Federation for Theatre Research 1979

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References

Notes

1. Wellek, Rene and Warren, Austin, A Theory of Literature (New York: 1942), p. 339, n. 18.Google Scholar

2. ibid., p. 238.

3. Culler, Jonathan, Structuralist Poetics (Ithaca, N.Y.: 1975), p. 128.Google Scholar

4. Kowzan, Tadeusz, Litterature et Spectacle (Paris: 1975), p. 25.Google Scholar

5. Eco, Umberto, A Theory of Semiotics (Bloomington, Ind.: 1976), p. 267.CrossRefGoogle Scholar

6. Mounin, Georges, ‘La communication théâlrale’ in Introduction à la sémiologie (Paris: 1970), p. 92.Google Scholar

7. Herodotus (6.21.2). See Sealey, Raphael, A History of the Greek City States 700–338 b.c. (Berkeley, Cal.: 1976), p. 183.Google Scholar

8. Gibson, James J., The Senses Considered as Perceptual Systems (Boston: 1966), p. 97.Google Scholar

9. Bordewijk-Knotter, J. M., ‘Empiric Audience Research, Its Relevance and Applicability’, in Das Theater und sein Pubhkum (Wien: 1977), p. 390.Google Scholar

10. Gombrich, E. H., Art and Illusion (Princeton, N.J.: 1961), pp. 225ff.Google Scholar