Przestrzenie wewnętrzne w dramacie XX wieku

Abstract

"An internal space", the notion having no concrete definition nor a clearly-established scope of meaning, can refer to both the authors of the performance, and the audience, however, it mainly concerns the theatrical figure. The article raises the issue of changing means of objectivization of this invisible subjective space on the stage — a visible and fairly concrete place — the 20th century drama brings. The choice of a place or places where the individual interior exteriorizes constitutes a tangible expression of the subject conceptualisation. The changes in question are observed within the scope of a traditional box stage, however, the moment the world presented there is shown form one subject perspective, the stage itself reveals the appearance of explicitness, the result of the crisis of the principle of illusionary representation in the 20th century. The lack of transparency of the world, loudly manifested with the creation of the subjective drama, constitutes a kind of a philosophical keystone of many later — different — perspectives of the ego inscenization; the point of reference for different literary poetics. The experience of world strangeness, as well as the collapse of the strong illusion of the substantial subject, are the most significant factors in the search of identity describe in the drama. The fluency of this internal space is tightly related to the questioning of the principle of theatrical reprezentation grounded from the period of Renaissance and Baroque, connected with a logocentric prime of word and faith in the rational order of things. The 20th century drama, taking on the analysis of processes shaping and defining human identity, relies on four perspectives: path, theatrical stage, room and the inside of the human mind. The article discusses the basic indicators and features of these four perspectives on the basis of the European and Polish drama works, among other things, by Strindberg, Arthur Miller, John Osborne, Helmut Kajzar, Michał Walczak, Samuel Beckett, Sarah Kane, and Noelle Renaude.