[automatically translated] As a "communication formed" any theatrical work appears as a crossroads of various contradictions. The moment it is represented or read that happens in the act of communication terminal, the one where the message reaches the recipient, it occurs not only the contradiction between author and audience, determined primarily by the position difference between the two poles of the communicative process , the other a creative receptive, active / passive, but also between the author and the characters, and between the characters and the audience. It is good to see the two distinct moments of the same act of communication that occur both as a contradiction and that the characters have their intermediate point and units. The permanent conflict is understood by the above two moments focuses precisely in the system eminently dialogue of the play, as a line I-TU crossing that between author and audience, as a set of conflicts that bind the characters together, the nature of which is revealed, through dialogue, action they bring it to fruition. The first consequence that he can draw is that we must proceed with the study of plays and poetic dramatic competing with the dialectic, which is the science that studies the laws of contradiction and its movement, as if the tragedy, drama, comedy control, could camouflage condensation, the artistic expression most proper, the most concentrated representation.
|Title of host publication||Il conflitto. Dimensioni storiche, letterarie e linguistiche|
|Publication status||Published - 2005|