THE LIVE PLAY AS A COMMUNICATIVE STRATEGY IN THE WORKS BY JOËL POMMERAT

Authors

DOI:

https://doi.org/10.32689/maup.philol.2024.4.12

Keywords:

Joël Pommerat, a live play, communicative strategy, spontaneous play, experimental theatre

Abstract

The article explores the specifics of Joël Pommerat’s works, and the ways of communication between the playwright, director, actors, and the audience. Joël Pommerat’s works in the vein of experimental theatre. He owns the theatre company La compagnie Louis Brouillard, where he is simultaneously a playwright, director, and producer, which provides the opportunity for experimentation. The method of organizing the communicative process, where the transformed addressee and the text of the message are treated as a living and constantly changing process. It is not something constant and constantly given, it is a living organism that transforms and increases over time. Such a text message is a work-performance at the same time, which is in a state of ambivalence and amorphous-diffuse formation. That makes it a communicative strategy of the text level. The communicative strategy of combining a director and playwright in one person is distinguished by the method of writing texts directly during rehearsals. The actors improvise on stage within the framework of a given dramatic clash, clarifying, and supplementing the main plot line, developing conflict and character characteristics. Productions differ in the manner of performance and dramatic material, thus Joël Pommerat calls his works spontaneous plays. We analysed the production of Joël Pommerat’s play This Child by O. Melnychuk staged in the Transcarpathian Regional Hungarian Theatre. At the turn of the 20th and 21st centuries, the priority in writing a play was not a literary text, but a theatrical one. The use of unusual means of communication, innovative forms, and techniques in communication between the author and the audience demonstrates a new level of interaction between stage art and dramaturgy. Acting is a study, where in a playful and simultaneously tragic and comic form a live play appears before the audience, in the creation of which the audience itself is involved to the greatest extent.

References

Ubersfeld A. Lire le théâtre III. Le dialogue de théâtre. Paris: Belin, 1996. 224 p.

Синявська Л. І. Українська драматургія кінця ХІХ – початку ХХ століття: комунікативні стратегії. Одеса: КП ОМД, 2019. 24 с.

Либо Олена URL: https://www.ukrinform.ua/rubric-culture/3396229-ce-dita-zakarpatskogo-oblasnogougorskogo-teatru-putivnik-topvistavami-ukraini.html.

Pommerat J. Théâtre en présence. Arles: Actes Sud, 2007. 56 p.

Published

2024-12-30

How to Cite

ПОДКОВИРОФФ НАНУШКА, Т. С. (2024). THE LIVE PLAY AS A COMMUNICATIVE STRATEGY IN THE WORKS BY JOËL POMMERAT. Scientific Works of Interregional Academy of Personnel Management. Philology, (4 (14), 71-75. https://doi.org/10.32689/maup.philol.2024.4.12