The Theatre of Gombrowicz
Bibliographic Data
| ID | 8917992 |
|---|---|
| Authors | Lucien Goldmann (corresponding author) |
| Translators | Patricia Dreyfus |
| Year | 1970 |
| Volume | 14 |
| Issue | 3 |
| Pages | 102-112 |
| Publication date | 1970-01-01 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | The Drama Review TDR (JOURNAL) |
| Journal identifiers | ISSN: 0012-5962 • E-ISSN: 2326-2060 |
| Publisher | The MIT Press (PUBLISHER • US) |
| DOI | 10.2307/1144562 |
| OpenAlex | W2798238331 |
| Language | EN |
| References cited | 1 |
Critics generally have considered Gombrowicz’ plays Ivona, Princess of Burgundia and The Marriage as purely oneiric, incoherent texts whose principal value lies in their grotesqueness and affectivity. Gombrowicz himself interpreted the plays as attempts to present the problem of youth. In contrast to these views, I will try to show that both plays are compelling satires of society. The two plays deal with two different societies. In Ivona, Princess of Burgundia it is pre-World War II European society (the play was written in 1935) or, more precisely, the ruling classes of that society. The Marriage (1946) is about the new society which resulted from the war and from the seizure of power by the communist parties, with emphasis on the events leading up to that seizure
Art · Communism · Literature · Political science · Politics · Power (physics · Principal (computer security · Reflexive pronoun · Sociology · Value (mathematics · Eastern European Communism and Reforms · European Cultural and National Identity · History · Law · Polish Historical and Cultural Studies
| Citation velocity | historical |
|---|---|
| Highly cited | No |