Where Does the Piano Disappear?
Kulcsszavak:
storylessAbsztrakt
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?
Hivatkozások
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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