{"title":"Matei Vișniec. Spațiul românesc al dramaturgiei postdecembriste – teatrul postdramatic","authors":"Ioana Toloargă","doi":"10.51391/trva.2023.05-06.15","DOIUrl":null,"url":null,"abstract":"The present paper proposes the analysis of the dramatic work of Matei Vișniec – a Romanian poet and prose writer, built and validated by the French center as an internationally exportable playwriter, by following the aesthetic-political relationship. I question, above all, the reasons why the parabolic formula is the favorite in the author’s dramaturgy – its causes and effects, in relation to the ideological level and the thematization of the trauma of the communist (/totalitarian) regime. The thesis of my article is that, behind the parable (which implies a form of mediation) and the discursive metaphorism, respectively an apparent aesthetic gratuity, there is a political thesis that can be reinterpreted, reframed by both target audiences: Eastern and Western. Thus, the playwright built at the center and imported by the Romanian periphery accumulates symbolic capital from both territories, defined as a successful as a transnational author.","PeriodicalId":39326,"journal":{"name":"Revista Transilvania","volume":"1 1","pages":""},"PeriodicalIF":0.0000,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Revista Transilvania","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.51391/trva.2023.05-06.15","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q1","JCRName":"Arts and Humanities","Score":null,"Total":0}
引用次数: 0
Abstract
The present paper proposes the analysis of the dramatic work of Matei Vișniec – a Romanian poet and prose writer, built and validated by the French center as an internationally exportable playwriter, by following the aesthetic-political relationship. I question, above all, the reasons why the parabolic formula is the favorite in the author’s dramaturgy – its causes and effects, in relation to the ideological level and the thematization of the trauma of the communist (/totalitarian) regime. The thesis of my article is that, behind the parable (which implies a form of mediation) and the discursive metaphorism, respectively an apparent aesthetic gratuity, there is a political thesis that can be reinterpreted, reframed by both target audiences: Eastern and Western. Thus, the playwright built at the center and imported by the Romanian periphery accumulates symbolic capital from both territories, defined as a successful as a transnational author.