Kovács Ferenc: Olvasópróba előtt (Skenotheke 1. Budapest, 1996)

Felhasznált irodalom

sure: the observer, the spectator, is an active participant and creator of the space of actions enveloping him or her. ANALYSIS OF THE DRAMA I will now apply the dramatic theory sketched above to the Ibsen play, John Gabriel Borkman. We will find that this controversial play is well-suited for discovering the elements of both classical and epic dramatic forms. I don't intend to give a comprehensive analysis, rather, I seek to isolate the main parts plotted by the dramatic curve in John Gabriel Borkman, Ibsen's penultimate play. I would also like to stress that my aim is not a textual or structural analysis of the play

; instead, I will seek to map the main frame of the work and to delineate its key sensitive points. The opening (see figure 3a), especially if it were to be done on television, is the most critical element. When watching television, one lacks the rituals that by way of conventions adequately prepare the cinema or theatre spectator, so that he or she may be "active" from the first moment, in the case of television the overall programming context is unknown: for example, the previous programme, the mood of the potential viewers, commercials if any, whether or not the viewers are brewing coffee. The opening - the very function of which is to capture the attention - I feel, loses its significance on television because of the above factors. It can even have a negative effect, if the inattentive viewer misses important information contained in the opening. At the other extreme, if the opening is uninspiring, the viewer might switch channels. The situa66