ウルフの小説に見られる反劇場性 : 『フラッシュ』と『ウィンポール街のバレット家』
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The aim of this paper is to explore how theatrical imagery used in Flush reflects Woolf's antitheatrical attitude by focusing on its connection with The Barretts of Wimpole Street, one of Besier's plays. As Wright has argued, drama stimulated Woolf to enrich her fiction by using theatrical imagery that reminds us of the concept of theatrum mundi. Wright associates this with Wagner's Gesamtkunstwerk. However, it is highly probable that Woolf used theatrical imagery to resist theater. Such resistance is also a feature of modernist antitheatricalism, which Puchner contrasts with Wagner's theatricalism. Out of fear of the masses, antitheatrical modernists resisted theater, which functioned as a public space. One of their strategies was to write closet drama, as opposed to Wagner, who turned theater into a political arena. Taking the same position as those modernists, Woolf not only wrote Between the Acts in narrative and dramatic forms but also attempted to write dramatic prose without adopting the dramatic form. Furthermore, Woolf's theatrical imagery plays an effective role in making her fiction dramatic. A remarkable example is the imagery of theatrum mundi seen in Flush, which can be partly attributed to Woolf's negative response to The Barretts of Wimpole Street. Theatrical scenes dramatically depicted from Flush's point of view imply that theater can hamper imagination and be employed for propagandistic purposes. We find that this insight of Woolf is further developed in her later works.
- 2010-10-30
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