The figure of the narrator as a way to create a “documentary” plot in the historical plays-parables by E. Radzinsky

O. V. Zhurcheva
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Abstract

The article studies the peculiarities of dramatic narration in E. Radzinsky’s plays-parables. Modern theater and dramaturgy strive to reflect the qualitative changes in representative forms and their potential stage possibilities. One of these forms is the reception of dramatic narration, when the event that is being shown is replaced by the event that is being told about. This technique is actively used by the playwright E. Radzinsky in his historical plays-parables “Conversations with Socrates”, “Lunin, or the Death of Jacques”, “Theater of the Times of Nero and Seneca”, “The Executioner, or Conversations on the Way to the Guillotine”. Despite the fact that the plot is based on a documentary (or pseudo-documentary) text: the story of the life and execution of Socrates, described by Plato; “Moral Letters” to Lucilius (procurator of Sicily) by Seneca; “Letters from Siberia” by Mikhail Lunin; “Notes of an Executioner” by Charles Henri Sanson, the famous executioner during the era of the Great French Revolution, the play has a setting for oral speech. The playwright uses various techniques in constructing a plot to introduce this kind of a narrator into the text. The protagonist acts as a narrator, his position, the system of evidence, the testimony that the narrator uses – all these create an attitude of authenticity, the semblance of documentarity.
拉辛斯基历史剧中的叙述者形象是一种营造“纪实”情节的方式
本文研究了拉辛斯基戏剧寓言叙事的特点。现代戏剧和戏剧力求反映代表形式的质变及其潜在的舞台可能性。其中一种形式是戏剧叙事的接受,当正在展示的事件被正在讲述的事件所取代时。剧作家E. Radzinsky在他的历史剧——寓言《与苏格拉底的对话》、《鲁宁或雅克之死》、《尼禄和塞内加时代的戏剧》、《刽子手或通往断头台的路上的对话》中积极地使用了这种技巧。尽管情节是基于纪录片(或伪纪录片)文本:苏格拉底的生活和处决的故事,由柏拉图描述;塞内加写给琉西留斯(西西里检察官)的《道德书信》;米哈伊尔·鲁宁的《西伯利亚来信》;《刽子手的笔记》由法国大革命时期著名的刽子手查尔斯·亨利·桑松创作,该剧设置了口头演讲的场景。剧作家运用各种技巧构建情节,将这种叙述者引入文本。主角扮演了叙述者的角色,他的地位,证据体系,叙述者使用的证词,所有这些都创造了一种真实的态度,一种纪实的表象。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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