Kas ir kaip pasakoja istorijas šiuolaikinėje dramoje?

LTStraipsnyje kalbama apie iki šiol mažai nagrinėtą dramos naratorių. Apjungdama prozai ir romanui pirmenybę teikusios naratologijos teorijos įžvalgas ir savo pastebėjimus, straipsnio autorė pristato pagrindinius naratoriaus tipus ir jų kalbėjimo būdus. G. Labanauskaitės teigimu, šis naratoriaus instancijos dramoje tyrimas nėra baigtinis, o tik pažintinis naratologinis žvilgsnis į primirštą dramaturgijos teritoriją.

ENGabrielė Labanauskaitė is a last-year PhD student at Lithuanian Music and Theatre Academy. Her article "Who and how is telling stories in contemporary drama?" is analysing the narrator instance in theatre plays. The author is uniting classical narratology theory tools (which so far have been mostly applied to essays and novels) and her own research in order to discover and represent the most popular narrator types in drama. G. Labanauskaitė realised that G. Gennette’s invented typology of narrators (autodiegetic, homodiegetic and heterodiegetic type of narrator) is not enough to explore the essence of the narrator figure in drama. In order to discover the reasons of playwrights using one or another type of narrator, G. Labanauskaitė was examining the functions of the narrator and the results which can be achieved by using various narrative strategies. A new look at the narratological theory is supported by drama examples of worldwide famous playwrights (M. Ravenhill, S. Kane, D. Loher, L. Jenkin, S. Ruhl and others) and Lithuanian writers (L. S. Černiauskaitė, M. Ivaškevičius, J. Keleras, G. Grajauskas). It is interesting to notice that Lithuanian drama is influenced by theatrical laboratories (plays of I. Stundžytė and J. Tertelis).