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18
Introduction
choreography,musicandthelike[Głowińskietal.1988:564;Fortier
2002:4;DavisandPostlewait,eds.2013:22].Thus,thetheatreisatruly
multi-modalartform,incontrasttoliterature,forexampleprosefiction.
Intriguingly,asasemiotician,Rozikmakesafrequentreferencetothe
theatreperformanceasHtext”andtotheprocessofitsanalysisasHread-
ing.”10HeusesthesetermsHinawidesense,”whichmightsuggestapos-
sibilityofapplyingconceptsderivedfromdifferentliterarymodesifthey
demonstratetheirutilityincurrentanalyticalinvestigations.11
Thedramatictext,anobjectofliteraryanalysis,initsconstruction
andcompositionisfundamentallydifferentfromotherliterary(writ-
ten)texts.Thedifferenceisgroundedinspecificpropertiesthatsuggest
andfacilitatetheabove-mentionedpotentialityofscenicrealisation.
Theseare:immediacy,present-ness(scenicness)andsimultaneity.The
overarchingargumentofthisdissertationisthatthenovelsbyGombro-
wiczandBeckettalludetoorreproducetheconventionsyet,ultimately,
theyareneitherdramaticnortheatricalperse.Theyremainnovelswith
Hdramatic”andHtheatrical”meaninggenerationsystem.Inwhatfollows
IcloselylookattheconceptsofdramaandtheatreandexplainwhyIuse
theminthecontextofGombrowicz’sandBeckett’snovels.
Thefirstdifferencebetweennarrativetextanddramatictexttobe
discussedisimmediacy.AsPfisterargues,Hwhilstthereceiverofadra-
matictextfeelsdirectlyconfrontedwiththecharactersrepresented,in
narrativetextstheyaremediatedbyamoreorlessconcretenarrator
figure”[1988:3;Głowińskietal.1988:96].ThisHhistoricallymostcon-
sistent”propertyofdramastemsfromthespecificHspeechsituation”or
Hthecommunicativerelationshipbetweenauthorandreceiver”[Pfister
1988:2].Thatistosay,adramatextmightbeconsideredHabsolute”
[Pfister1988:247]orHemancipated”[Głowiński,Okopień-Sławińska,
Sławiński1975:392]becauseofitsnon-mediatedcommunicationsitu-
ation.Accordingly,HWhilstthenarrator’sdiscourseandthatofthefic-
tionalcharactersquotedbythenarratoroverlapinnarrativetexts,the
verbalutterancesproducedinthecourseofmultimedialenactmentof
adramatictextarereducedtothemono-ordialogicalspeechesofthe
dramaticfigures”[Pfister1988:5].
Thispropertyofdramaleadstotwoconsequences.Firstly,thereis
nohigherentityframingthecommunicationactanddramaticfigures
speakHontheirownbehalf,”sotospeak.HTheabsenceofanoverarch-
ingnarrativesubjectandcompleteautonomyofspeechis[ł]funda-
