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• W262006367 abstract "While the novel still remains the most thoroughly investigated field of narratological study, recent research has indicated that the longstanding dichotomy between and is an artificial one. Arguments to discard this dichotomy are not exactly new: in 1988 Brian Richardson--one of the major advocates for the recognition of as a genre--refuted the notion that drama is exclusively a mimetic genre, while fiction combines mimesis and diegesis and concluded his article by claiming that like the novel, is and always has been a mixture of mimetic and diegetic representation, and that any theory of narration that ignores stage narration may be considered needlessly limited, if not seriously impoverished (193, 212; Richardson's italics). And indeed, even though it has long been neglected by narratologists, theories about the relation between narrativity and extend back to Antiquity. Since Richardson's article we have witnessed a slow but steady rise in the inclusion of in narratological research, as narratologists such as Richardson, Monika Fludernik, Manfred Jahn, Ansgar Nunning, and Roy Sommer (see also Nunning and Sommer; Huhn and Sommer) have provided a theoretical framework to support this thesis. By revisiting structuralist concepts such as agency, focalization, narrative and different types of narrators, and by applying these concepts to drama, they have paved the way to more practical research that analyzes experiments set up by contemporary dramatists. In a forthcoming article on Samuel Beckett's radio play Cascando, Tom Vandevelde rightly reminds us that--now that a theoretical framework has been established--there is still a great need for narratological research based on a thorough textual analysis of texts. In most cases, the aforementioned critics have employed the reversed strategy. They have outlined theoretical concepts (e.g. Richardson's generative narrator which will be elaborated on below) that can be used to investigate narrativity in drama, and provided many examples in order to validate them. While this approach suited these critics' needs perfectly at the time, the field now requires a more exhaustive methodology focussing on thorough narratological analysis rather than on listing titles of important diegetic plays. If we wish to keep the narratological study of relevant we must not only identify those plays which make use of narrativity, we must also--and more importantly--investigate the ways in which dramatists explore and eventually transgress the conventional limits of narrativity in their plays. For while the theory enveloping diegetic possibilities and experiments in might still be fairly recent, their practice is not. Many postmodern playwrights have kept their repertoire interesting by experimenting with mediation, voice, time, etc. in their plays, which often leads to the creation of what Jan Alber terms impossible storyworlds: stories [which] transgress real-world frames and urge us to stretch our sense-making strategies to the limit (80). Paula Vogel is one of those playwrights. As a lesbian feminist playwright who often uses feminism and sexuality in her plays, most articles on and interviews with Vogel have focussed on gender-related issues. While this is undoubtedly an important aspect of her work (see Mansbridge; Savran), the significance of experiments with narrativity in her plays has often been overlooked. Two exceptions I have found are Graley Herren's Narrating, Witnessing, and Healing Trauma in Paula Vogel's How I Learned to and Brian Richardson's Voice and Narration in Postmodern Drama. Herren's article is a case study which discusses how the protagonist in How I Learned to Drive employs narration as a coping mechanism to help her confront a traumatic event in the past. Richardson's article on the other hand is a more general treatment of the use of narratological concepts in Postmodern drama. …" @default.
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• W262006367 date "2013-03-22" @default.
• W262006367 modified "2023-09-23" @default.
• W262006367 title "Stretching the Boundaries of Narrativity on Stage: A Narratological Analysis of Paula Vogel's the Baltimore Waltz and Hot 'N' Throbbing" @default.
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