Autor/Autorin: Prohászka-Rád Boróka
Boróka Prohászka-Rád, Assistant Professor at the Humanities Department of Sapientia Hungarian University of Transylvania, teaches nineteenth- and twentieth-century American literature and American drama. She completed her Ph.D. on Edward Albee's and Sam Shepard's late plays at the University of Debrecen.
The present study analyzes eight late plays by Albee and Shepard, reading them within the theoretical framework of Turner´s concepts of ritual, rites of passage, liminality, and the liminoid. I hypothesize that the archetypal three-fold ritual structure resurfaces within these dramatic universes in a "mutilated” form with the final, reintegration phase eliminated from the body of the plays and transposed onto the liminoid interaction between performance and audience. I demonstrate how Turnerian concepts of ritual broadened by contemporary subject theory may serve as efficient tools in decoding theatrical texts, inviting a re-interpretation of the Albee and Shepard canons. I also conclude that the "mutilated” ritual structures identified in the plays arise not merely due to the fact that the ideal of coherent communities is discarded as illusion, but also because parody—as an inherent feature of both Albee´s and Shepard´s works—necessarily sets up a hermeneutical circle that demands the constant reinterpretation of the contemplated aesthetic object as well as the continuous readjustment of the observing and interpreting "gaze,” perpetuating the liminal/liminoid experience.
The present study analyzes eight late plays by Albee and Shepard, reading them within the theoretical framework of Turner's concepts of ritual, rites of passage, liminality, and the liminoid. I hypothesize that the archetypal three-fold ritual structure resurfaces within these dramatic universes in a "mutilated" form with the final, reintegration phase eliminated from the body of the plays and transposed onto the liminoid interaction between performance and audience. I demonstrate how Turnerian concepts of ritual broadened by contemporary subject theory may serve as efficient tools in decoding theatrical texts, inviting a re-interpretation of the Albee and Shepard canons. I also conclude that the "mutilated" ritual structures identified in the plays arise not merely due to the fact that the ideal of coherent communities is discarded as illusion, but also because parody-as an inherent feature of both Albee's and Shepard's works-necessarily sets up a hermeneutical circle that demands the constant reinterpretation of the contemplated aesthetic object as well as the continuous readjustment of the observing and interpreting "gaze," perpetuating the liminal/liminoid experience.
Boróka Prohászka-Rád, Assistant Professor at the Humanities Department of Sapientia Hungarian University of Transylvania, teaches nineteenth- and twentieth-century American literature and American drama. She completed her Ph.D. on Edward Albee's and Sam Shepard's late plays at the University of Debrecen.
Über den Autor
Boróka Prohászka-Rád, professore assistente presso il Dipartimento di Scienze Umanistiche dell'Università ungherese Sapientia di Transilvania, insegna letteratura americana del XIX e XX secolo e teatro e dramma americano. Ha fatto il suo dottorato sulle ultime opere di Edward Albee e Sam Shepard ed è attualmente coinvolta in diversi progetti.
Klappentext
The present study analyzes eight late plays by Albee and Shepard, reading them within the theoretical framework of Turner¿s concepts of ritual, rites of passage, liminality, and the liminoid. I hypothesize that the archetypal three-fold ritual structure resurfaces within these dramatic universes in a ¿mutilated¿ form with the final, reintegration phase eliminated from the body of the plays and transposed onto the liminoid interaction between performance and audience. I demonstrate how Turnerian concepts of ritual broadened by contemporary subject theory may serve as efficient tools in decoding theatrical texts, inviting a re-interpretation of the Albee and Shepard canons. I also conclude that the ¿mutilated¿ ritual structures identified in the plays arise not merely due to the fact that the ideal of coherent communities is discarded as illusion, but also because parody¿as an inherent feature of both Albee¿s and Shepard¿s works¿necessarily sets up a hermeneutical circle that demands the constant reinterpretation of the contemplated aesthetic object as well as the continuous readjustment of the observing and interpreting ¿gaze,¿ perpetuating the liminal/liminoid experience.
