Authors Intentions
Tue, 7 Apr 2009, 07:13 pmPaul Treasure39 posts in thread
Authors Intentions
Tue, 7 Apr 2009, 07:13 pmOkay, this is a serious question for me...
A number of different posts recently have gotten quite seriously into Dramatic Theory, and one thing that keeps popping up is "The Author's Intention".
Now, when I was younger I had Roland Barthes' theory of "The Death of the Author" drummed into me.
To try and put it simply - The meaning of any work of art or literature is the meaning that the reader/watcher gets from it, and any interpretation is valid as long as the text bears it out, and what the author originally intended is largely irrelevant...
(My apologies if I put it clumsily, it WAS YEARS ago)
But this was a literary/philosophical theory, not a purely dramatic one.
My question is:
Has Roland Barthes been thrown out and someone forgot to forward me the memo?
or,
As his theory is a general literary theory not a specific dramatic one, has it just not filtered through to the performing arts?
Can't say I'm losing sleep over it or anything, but it has piqued my interest :-)
Intent versus style
Fri, 17 Apr 2009, 06:22 amI think you are both shifting away from the original argument. The discussion about covering songs moves this largely to a stylistic issue rather than an issue of intent. For example Placebo's version of Kate Bush's "Running up that hill." totally changes the rhythm and tempo of the song and increases the pathos without touching Kate's original somg writing intent.
Back to Shakespeare, Macbeth everyone will agree was largely written to flatter James 1st. There's a long and quite boring (to us) section in the England scene discussing the Kings evil (scrofula) which James was absolutely convinced he could cure by laying his hands on the sufferer, and of the course the whole presence of the witches was a nod to his beliefs and to his book "Daemonologie".
But was flattering James his central intent. I don't believe so. His story was one of hubris and the witches simply the medium by which his central character was brought down. We can increase or reduce the degree toward which we focus on the witches we can reset the play in a variety of different milieu but we don't change the central message of the downfall of treachery.
Of course "The Merry Wives of Windsor" was written to please QE1 because she loved Falstaff and wanted to see him in his own play. It is therefore only a vehicle for Falstaff and can only really be played that way. Mind you he still managed to get in a bit about virtue triumphing and lust being down trodden which we cannot avoid.
The basic intent (and I realise that I am guessing) is still served despite stylistic differences.
Intent is more important than style.
Is that all there is? Well if that's all there is my friend, then let's keep dancing.
www.tonymoore.id.au
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