УДК: 821.111-2:792.028

DOI: 10.35852/2588-0144-2024-3-223-243

EDN: XFXLTJ

Full text (PDF): Download

Elena G. Khaitchenko

D. Sc. in Arts, Professor of the Department of History of the Foreign Theatre
Russian Institute of Theatre Arts (GITIS)
Moscow, Russia

Travesty, or the Importance of Being Serious. On the Development of the Genre in English Drama

Abstract

Travesty is the oldest literary genre, originating in antiquity, based on cross-dressing and cross-casting. Its origins go back to the ancient Greek poem Batrachomyomachy. The article traces the history of theatre travesty in British drama, the first experience of which historians consider to be The Love of the Beautiful Thisbe and Pyramus, a short and long drama, a cheerful tragedy in verse, performed by Nick Bottom’s troupe at the wedding of the Duke of Athens (A Midsummer Night’s Dream W. Shakespeare, 1595), and the first multi-act burlesque was The Knight of the Flaming Pestle by F. Beaumont (1607). Analysis of the Shakespearean burlesques of the 19th century, as well as the works of A. Jarry, E. Ionesco and T. Stoppard allows us to identify the main genre features of travesty: it is played out within the framework of a well-known literary plot, the transformation of which occurs in the sphere of language, compositional structure of the play, affects the images of the characters. In travesty, motifs of rehearsals and various types of theatrical performances are actively used, because it itself is a game with known literary material. Travesty is one of the main genres that reflects the literary-centrism of drama and its self-reflection, as well as the determining nature of the development of the play structure of the plot according to the principle of “the theatre within the theatre”.

Keywords

Travesty, burlesque, comedy, English drama, The Importance of Being Earnest, Shakespeare, Fielding, Jarry, Ionesco, Stoppard.

For citation

Khaitchenko E.G. Travesty, or the Importance of Being Serious. On the Development of the Genre in English Drama. Theatre. Fine Arts. Cinema. Music. 2024, no. 3, pp. 223–243.

DOI: 10.35852/2588-0144-2024-3-223-243

EDN XFXLTJ

References

  1. Stoppard T. Travesti [Travesties]. Moscow: Inostranka: BSG-Press, 2002. 488 p.
  2. Bakhtin M. M. Problemy poetiki Dostoyevskogo [Problems of Dostoevsky’s Poetics]. Moscow: Khudozhestvennaya literaturа, 1972. 472 p. 
  3. Zherebin A. I. Travestija [Travesty]. Novyy filologicheskiy vestnik. 2008, no. 2 (7), pp. 29–32. 
  4. Borbotko L.A. Tom Stoppard: avtor “v melochakh” [Tom Stoppard: The Author “In Detail”]. The Humanities and Social Studies in the Far East. 2020, vol. 17, iss. 1, pp. 90–95. 
  5. Pavis P. Slovar’ teatra [Dictionary of the Theatre]. Moscow: Progress, 1991. 504 p. 
  6. Khaichenko E.G. Velikije romanticheskije zrelishcha [Great Romantic Spectacles]. Moscow: GITIS, 1996. 150 p. 
  7. Farquharson Sharp R. Travesties of Shakespeare’s Plays. The Library. 1920, vol. 4, iss. 1, 1st June, pp. 1–20. 
  8. Nineteenth-century Shakespeare Burlesques. Vol. 1. Edit and introduction by S. Wells. London: Diploma Press, 1977. 235 р.
  9. Kozintsev G.M. Prostranstvo tragedii [Space of Tragedy]. Leningrad: Iskusstvo,1973. 232 p. 
  10. Frantsuzskij simvolizm. Dramaturgija i teatr [French Symbolism. Drama and Theatre]. Saint Petersburg: Giperion: Gumanitarnaja akademiya, 2000. 480 p. 
  11. Shervashidze V.V. Poetika patafiziki Alfreda Jarri [The Poetics of Pataphysics by Alfred Jarry]. Novyy filologicheskiy vestnik. 2019, no. 2 (49), pp. 301–308. 
  12. Ionesco E. Teatr [Theatre]. Moscow: Iskusstvo, 1994. 499 p. 
  13. Kott Y. Shekspir — nash sovremennik [Shakespeare is Our Contemporary]. Saint Petersburg: Baltic Seasons, 2011. 351 p. 
  14. Dvoryankina I.S. Poetika i funktsii istoricheskikh personazhey v dramaturgii T. Stopparda [Poetics and Functions of Historical Characters in the Dramaturgy of T. Stoppard]. Dissertation Thesis (Cand. Sc. in Philology). Moscow, 2022. 202 p. 
  15. Huizinga J. Homo Ludens. Chelovek igrajushchij. Stat’i po istorii kul’tury [Homo Ludens. The Man Playing. A Study of Play-element in Culture]. Moscow: Iris-press, 2003. 202 p. 
  16. Bergson H. Smekh [The Laughter]. Moscow: Iskusstvo, 1992. 127 p. 
  17. Ionesco E. Yest’ li budushcheje u teatra absurda? [Is There a Future for the Theatre of the Absurd?]. In: Teatr absurda: sbornik statej i publikatsij [Theatre of the Absurd. Collected Articles and Publications]. Saint Petersburg: Dmitry Bulanin, 2005, pp. 191–195.

Received: 28.02.2024

Revised: 30.04.2024

Accepted: 13.05.2024