What to Reveal, What to Conceal. The Theatre of the Real and the Confession Under Control

Authors

  • Iulia Popovici

Keywords:

documentary theatre, true story device

Abstract

In the following paper, I will try to analyze the specific strategies used in the case of Romanian socially engaged fact-based productions in order to install the convention of reality on which the spectatorial response is based in the case of such performances, how these strategies and the convention itself can be manipulated and what kind of consequences this manipulation entails, using the example of a theatre piece which aims at questioning the fetishization of truthfulness.

References

CANTRELL, T., 2013. Acting in Documentary Theatre. Basingstoke: Palgrave Macmil-lan.

MARTIN, C. edito, 2010. Dramaturgy of the Real on the World Stage. Basingstoke: Palgrave Macmillan.

MARTIN, C., 2013. Theatre of the Real. Basingstoke: Palgrave Macmillan.

NICHOLS, BILL, 2001, Introduction to Documentary, Bloomington and Indianapolis: Indiana University Press.

REINELT, J., 2011. “The Promise of Documentary”, in Forsyth, A. and Megson C. editors, 2011. Get Real: Documentary Theatre Past and Present, Basingstoke: Palgrave Macmillan, p. 6-23.

ROWELL, E., 2007. The Brothers Grim: The Films of Ethan and Joel Coen. Lanham: Scarecrow Press.

TAYLOR, L., 2013. “Voice, Body and the Transmission of the Real in Documentary Theatre”, in: Contemporary Theatre Review, Vol. 23, No. 3, p. 368-379.

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Published

2020-10-14

How to Cite

Popovici, I. (2020) “What to Reveal, What to Conceal. The Theatre of the Real and the Confession Under Control”, Symbolon, 16(2(29), pp. 100–106. Available at: http://uartpress.ro/journals/index.php/symbolon/article/view/175 (Accessed: 27 April 2024).

Issue

Vol. 16 No. 2(29) (2015)

Section

Articles

License

Creative Commons License
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