Alina Sorina Masgras: Staging Princess Plays

für den Nachwuchsworkshop 2022

The paper I propose will function as a theatre director’s book, or director’s notes, that originally stand between drama-text and staging.  My reading and analysis will focus on the Elfriede Jelinek’s rewritings of Snow White and Sleeping Beauty fairy tales myths, the first two of the Princes Plays, for their postdramatic deconstruction, and the convey of the feminist articulation.

The theoretical part, concentrated on speech acts and linguistic analysis of the texts, will provide the surface for the director staging notes. The linguistic analysis of the texts will be the theoretical research paper that will define the ways in which I am interested in staging the plays, as a theatre director, with the observation, reflection, intermedial transposition, construction and expression.

The interest for theatrical strategies of staging Jelinek’s plays comes from the difficulty of the process, driven by the narrative deconstruction, the disconnection between the character that the actor embodies, and the “surface” function of Jelinek’s texts, recalling what Hans Lehmann observed about the postdramatic theatre, in the confrontation with the possibilities “beyond drama”, and the problems of representation that the theatre needs to face.

The theatrical strategies, for staging Elfriede Jelinek’s Princess Plays, need to derive from a hybrid representation (visually, linguistically, corporeality and musically), with intermediality notes.

The present day theater, that uses juxtapositions and interlockings, has to give voice to the gender performance of the feminine „I“’s, which, as Gita Honegger said, are submerged in “the planes of language” of Jelinek’s performance texts, as virulent embedded “speech acts”, creating a programmatic “anti-theater”.

As a conclusion, the exploratory approach will be situated in an in-between – the staging transposition of  the two plays, and how the deconstruction of representation functions in Jelinek’s plays, at the language level, in a postdramatic way, as the princess myths of the feminine are destroyed to be rebuilt in a new performance of the gender.

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