AMBIENTUM BIOETHICA BIOLOGIA CHEMIA DIGITALIA DRAMATICA EDUCATIO ARTIS GYMNAST. ENGINEERING EPHEMERIDES EUROPAEA GEOGRAPHIA GEOLOGIA HISTORIA HISTORIA ARTIUM INFORMATICA IURISPRUDENTIA MATHEMATICA MUSICA NEGOTIA OECONOMICA PHILOLOGIA PHILOSOPHIA PHYSICA POLITICA PSYCHOLOGIA-PAEDAGOGIA SOCIOLOGIA THEOLOGIA CATHOLICA THEOLOGIA CATHOLICA LATIN THEOLOGIA GR.-CATH. VARAD THEOLOGIA ORTHODOXA THEOLOGIA REF. TRANSYLVAN
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Authors: MARCO CATALÃO.
DOI: 10.24193/subbdrama.2019.2.11
Published Online: 2019-12-15
Published Print: 2019-12-30
pp. 181-190
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Despite their singularities and divergences, the major dramatic theories of the twentieth century keep the classical tripartition of genres untouched. Our recent research on rhapsodic criticism has evidenced the increasingly appropriation by playwrights of elements traditionally reserved for a fourth genre, as important as epic, lyric and dramatic genres, but left aside by critical reflection because of its traditional association with non-artistic practices: the essayistic genre. A new theory of genres that incorporates this fourth genre into the classical triad may not only illuminate some of the main features of modern and contemporary drama, but it also allows a more accurate understanding of some of the fundamental works of Western drama.
Keywords: essay; contemporary drama; discursive genres; rhapsodic criticism
