Where Does the Piano Disappear?

Authors

  • Éva Patkó University of Arts Târgu Mureș

Keywords:

poetic, Láng Zsolt

Abstract

The stage needs story, or rather: however fragmented the presented play, the spectator is always connecting the pieces into a story to find a dramatic logic. Lehmann pointed out the way our Aristotelian thinking is embedded in our everyday perception, with his tic-tac analogy: we hear tic (beginning)-pause (drama)-tac (ending), while in fact there is only one sound. The new Zsolt Láng plays are focusing on relations, atmosphere and character, leaving out conflict and storytelling. In “Bartók`s Piano” tension is given by space and verbality, the play is constructed of mosaic pieces with missing elements that wait for the spectator to find them and link them. So: how to tell a story on stage that is not written as a story?

References

ADORJÁNI, Panna, 2016. Kivételes világok. Hentesek, Bolero, Bartók zongorája. Játéktér Theatrical Review. December 2016/4, p. 46-49.

LÁNG, Zsolt, 2016. Bartók zongorája. In Sugárút Szatmári Műhely, 2016/3 p. 33-74.

LEHMANN, Hans-Ties, 2009. A posztdramatikus színház. (Transl. Kiss Gabriella). Budapest: Ballasi.

OSTERMEIER, Thomas, 2016. Teatrul si frica (Le theatre et la peur), Sibiu: Nemira, FITS.

SZABO, Róbert Csaba, 2011. Milyen szag van Erdélyben. Új Magyar Szó, Színkép melléklet. [Acessed: 2016. április 11]. Retrived from:

http://szaborobertcsaba.blogspot.ro/2011/02/milyen-szag-van-erdelyben-lang-zsolt.html.

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Published

2020-08-16

How to Cite

Patkó, Éva (2020) “Where Does the Piano Disappear?”, Symbolon, 17(2(31), pp. 69–73. Available at: http://uartpress.ro/journals/index.php/symbolon/article/view/107 (Accessed: 8 May 2024).

Issue

Vol. 17 No. 2(31) (2016)

Section

Articles

License

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This work is licensed under a Creative Commons Attribution 4.0 International License.

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