I'm going to admit: I'm a little lazy *g* but here goes.
I really care much less about invading people's journals than I do lolling about and making with a bunch of squee, and that's the real reason I rarely leave long comments. Thanks so much for taking the time to do so; I really appreciate it because this is fascinating.
without telling his actors which of the four walls he was going to remove during the performance so that the audience could see.
To me that just sounds awful. I would hate not to know where the audience was!
who was certifiable (and spent many years in a nut house),
Most deconstructionists are, imo. Deconstruction is fascinating to me, and what you're saying really adds a whole new demension that I saw before but think I didn't know how to word. As I said, I read a fabulous fic a bit back that addressed the reader, addressed the fact that a fic was being written, and yet made use of that in a way that seemed so integral to the story that I didn't even know it could be done that way and didn't even know how to express it.
Anyway, I think both of these concepts--deconstruction and the fourth wall--are more easily applied to theatre because of, of course, the audience. Shakespeare liked to self-referentiate--even though he rarely got outside the play entirely--with that whole play within a play aspect, or play within a play within a play. It called all sorts of attention to itself which you can't quite manage in the form of published fiction, because...I don't know, you always remain outside of a novel. In a play within a play, the audience of the play within the play merges with the real audience, and the play itself is watching the play. Which is why I'm finding this "play among the audience" of the French guy fascinating.
I'm probably being incredibly simplistic or else just plain indredibly incoherent. I'm not a theatre student and know little of this, only what I learned in my Shakespeare classes (and I did read some Aristophenes, but we didn't really get into the meta aspect--from this angle--too much). Nevertheless, I find the whole thing fascinating as regards fanfiction--because there is more audience participation in fanfiction than there is in published fiction, but less than there is on the stage. I think it bears thinking about.
I see what you mean about Pratchett. And it's funny you mention e e cummings, because I've just been talking about experimentation and spaciality and the visual aspects of text elsewhere with others.
I've never seen the Fresh Prince of Bel Air. There was something wrong with my childhood.
Again, thanks so much for teaching me a little here! I'm sorry if I'm all ramblely, I'm just bouncing ideas around.
no subject
I really care much less about invading people's journals than I do lolling about and making with a bunch of squee, and that's the real reason I rarely leave long comments. Thanks so much for taking the time to do so; I really appreciate it because this is fascinating.
without telling his actors which of the four walls he was going to remove during the performance so that the audience could see.
To me that just sounds awful. I would hate not to know where the audience was!
who was certifiable (and spent many years in a nut house),
Most deconstructionists are, imo. Deconstruction is fascinating to me, and what you're saying really adds a whole new demension that I saw before but think I didn't know how to word. As I said, I read a fabulous fic a bit back that addressed the reader, addressed the fact that a fic was being written, and yet made use of that in a way that seemed so integral to the story that I didn't even know it could be done that way and didn't even know how to express it.
Anyway, I think both of these concepts--deconstruction and the fourth wall--are more easily applied to theatre because of, of course, the audience. Shakespeare liked to self-referentiate--even though he rarely got outside the play entirely--with that whole play within a play aspect, or play within a play within a play. It called all sorts of attention to itself which you can't quite manage in the form of published fiction, because...I don't know, you always remain outside of a novel. In a play within a play, the audience of the play within the play merges with the real audience, and the play itself is watching the play. Which is why I'm finding this "play among the audience" of the French guy fascinating.
I'm probably being incredibly simplistic or else just plain indredibly incoherent. I'm not a theatre student and know little of this, only what I learned in my Shakespeare classes (and I did read some Aristophenes, but we didn't really get into the meta aspect--from this angle--too much). Nevertheless, I find the whole thing fascinating as regards fanfiction--because there is more audience participation in fanfiction than there is in published fiction, but less than there is on the stage. I think it bears thinking about.
I see what you mean about Pratchett. And it's funny you mention e e cummings, because I've just been talking about experimentation and spaciality and the visual aspects of text elsewhere with others.
I've never seen the Fresh Prince of Bel Air. There was something wrong with my childhood.
Again, thanks so much for teaching me a little here! I'm sorry if I'm all ramblely, I'm just bouncing ideas around.