Os microdramas de Wolfgang Bauer: o riso como liberação e como provocação
At first glance, Wolfgang Bauer’s microdramas, written in the 1960s, appear to be nothing more than funny little jokes about the dramatic genre and its conventions. Based on the assumption that they also had a considerable provocative – and even political – potential, especially in the conservative...
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2021 |
| País: | Brasil |
| Institución: | Universidade de São Paulo (USP) |
| Repositorio: | Pandaemonium Germanicum (Online) |
| Idioma: | portugués |
| OAI Identifier: | oai:revistas.usp.br:article/176745 |
| Acceso en línea: | https://revistas.usp.br/pg/article/view/176745 |
| Access Level: | acceso abierto |
| Palabra clave: | Wolfgang Bauer Microdramas Comical experience Cômico |
| Sumario: | At first glance, Wolfgang Bauer’s microdramas, written in the 1960s, appear to be nothing more than funny little jokes about the dramatic genre and its conventions. Based on the assumption that they also had a considerable provocative – and even political – potential, especially in the conservative context of Austria in the 1960s, this article proposes a reflection about the relationship between the comical and the provocative dimensions of these texts. Based on studies of the characteristics and effects of Bauer’s work (Antonic [2018; 2019]; Melzer [1981], Waggershauser [2016]), as well as Peter L. Berger’s (1998) and Uwe Wirth’s (1999) studies about the comical human experience, this article proposes that Bauer’s microdramas are not just an example of a very innovative meta-theater. They may elicit a liberating, “redeeming” laughter that can also be felt as a political provocation, especially in social contexts marked by essentialist and/or fundamentalist discourses. |
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