REFLECȚII ASUPRA UNOR ASPECTE DEFINITORII ALE MONOLOGULUI DRAMATIC
REFLECTIONS ON SOME DEFINING ASPECTS OF THE DRAMATIC MONOLOGUE

Summary/Abstract: The monologue was often perceived as an obstacle to drama. This „conflict” has been the subject of many reflections, of multiple and successive qualifications, which deal with the problem of the monologue starting with the 18th century. Here we are referring, first of all, to bourgeois drama, romantic drama, or symbolist drama, secondly – to modern drama, and more recently - to the post-dramatic theater, the new drama etc. The definition of the dramatic monologue also seems to obey a recurring pattern of successive oppositions, being approached only through approximations and various confrontations. In other words, it seems easier to say what a monologue isn’t than what it is: it is not a dialogue or a tirade, nor a soliloquy, although we do not know exactly how to distinguish the monologue from the soliloquy, if we stick to the current canons in force. Finally, in order to demonstrate the hybrid character of this problematic discursive form, we will emphasize the presence of the audience and try to highlight its role, which proves to be an essential factor in the process of supporting and hearing a monologue. The article examines the successive oppositions and attempts to determine the current defining aspects of the dramatic monologue.

• Details
• Contents