ABSTRACT

Among numerous interests of dramaturgy, intense performativity of literature, on the one hand, and possible textual aspirations of a stage event, on the other, may be considered – in times when artistic autonomy of theatre is taken for granted – particularly stimulating. There is no danger now that literature and literary studies aspire to subordinate theatre and the whole range of theatre studies, dramaturgy included. Distinct as they are, literary and theatre studies are, to a certain degree, interconnected and may be, in particular aspects, mutually instructive. Literature, in its entire variety, has remained one of the major inspirations for theatre; even when treated instrumentally, or deconstructed, literature institutes a point of (negative) reference for a theatrical event. There is, of course, a group of performances which deliberately ignore all possible allusions to the literary, the textual, and the written, but this group is not the subject of the present research.