By Christine Olga Kiebuzinska
Intertextual Loops in smooth Drama explores the intertextual conversations and palimpsestuous relatives among smooth and modern eu dramatists akin to Alan Bennett, Elfriede Jelinek, Milan Kundera, Heiner Mu?ller, and Stanislaw Ignacy Witkiewicz, and canonical texts through novelists and dramatists together with Choderlos de Laclos, Denis Diderot,Henrik Ibsen, and Franz Kafka. Witkiewicz and Jelinek characterize avant-garde subversions and transgressions of Ibsen’s theatrical naturalism.
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Her recipe for this intertextual stew is as follows: The best process will be described as take a dozen abstractions, mix with fresh modiﬁers ﬁnely ground, take an injunction, transgress it with a sharp knife and simmer it slowly in a westerly ghoul force four with three blind spots and a soupc¸on of fact. Let it cool and add to the mixture, season, fold it in the froth of ten well beaten tracts and cook for twenty years at romantic agony then allow to cool, serve with frosted doubt. 38 Intertextuality functions as a mechanism for challenging and subverting, in Jean-Francois Lyotard’s words the ‘‘grand narratives,’’ for the introduction of other texts serves the ultimate purpose of calling into question the privileged status of canonical literary texts by implicitly integrating all the texts into unstable relationships.
At every moment of the dialogue, there are immense and unlimited masses of forgotten meanings, but, in some subsequent moments, as the dialogue moves forward, they will return to memory and live in renewed form (in a new context). 27 As Brecht, Witkiewicz, Kundera, Hampton, Mu¨ller, Churchill, and Jelinek well understand, the marked and unmarked quotation marks that proliferate in their texts, far from neutralizing these references to other text, rather convey an awareness of the copresence of the older texts.
Paradoxical in nature, the dramatic text ﬁrst precedes a performance and later accompanies it. Since a theatrical presentation differs from the dramatic text in the reception of the text from readers to spectators, one cannot deﬁne that which occurs between a dramatic text and a theatrical performance as simply a translation but rather as a distinctly separate methodological activity in which verbal signs are communicated by means of signs from nonverbal systems. Simultaneously the spectator’s awareness is split between an awareness of text and awareness of other theatrical presentations of the text.