Critical Theory: theatre and post-structuralism

Type :

Presentation

Pages :

6 pages

Format :

.doc

Published date :

01/22/2007

Category :

Arts & media

Sub category :

Arts and art history

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Summary :

Introduction
The title Blue Heart
1. The ingredient which makes all plays
2. The necessity of reducing the unique
3. From 'How do you do?' to 'Blue do you Blue'
A universally felt anxiety
Knowledge taken from language
Repetition in Heart's Desire
The conception of time and space
This frustration developed by the deconstructionist approach
Conclusion
Bibliography

Abstract

post-structuralism derives from philosophy , ' a discipline which has always tended to emphasise the difficulty of achieving secure knowledge about things' (Barry;1995:63) .Philosophical writing, although following the structure thesis, anti-thesis then a synthesis of both, always comes back to the question, never achieving a single answer, a single truth, and opening the conflict even more.
Elaine Aston (1997: pg.un) has expressed that because of 'her experimental approach to dramatic and theatrical form, Churchill's theatre is not just a question of politics, but a politics of style'. In Blue Heart, which presents two short plays, one featuring the relationship between a father and daughter and the other between mother and son, form and content are constantly interrogated through a deconstruction of the concepts of plot, language and structure.
In Heart's Desire, where a couple awaits their daughter's return from Australia, the action is set back and altered. In Blue Kettle, a middle-aged man looks for his biological mother and as the action evolves, the words 'blue' and 'kettle' appear in the dialogue. Common to both pieces however is the questioning of the unity in the text and structure. This is why we can explore the contradictions that are exposed both in the language and structure of Blue Heart.