The aim of this paper is to reflect on the relationship between dream and theatre through the study of the theory that the dream phenomenon consists of a theatrical representation. The starting point of this path is the study of the dream from the psychoanalytic perspective, turning attention to the transition from Freudian (1899) to Bionian (1962) conceptions and emphasizing the contributions of Jung (1916-1948) and Melanie Klein (1932). This introduction highlights the complexity of the dream and the role it plays in the individual’s life, in serving as a bridge between sleep and wakefulness and in proving to be a mirror of one’s inner world. The core of this thesis is the original metaphor, developed by Salomon Resnik (1982), of the dream as a mise-en-scène, that is, a theatrical re-creation of the dreamer’s unconscious experiences. The central chapter provides a multi-level comparison between the dream experience and the theatrical experience in which the individual, in both cases, participates as a spectator and/or actor. A complex and interdisciplinary overview emerges from this study, in which the possible meeting points between dream and theatre are investigated. The focus of the research is on the analysis of the cognitive and transformative function that characterize both experiences. To conclude, an analysis of how the dream is represented in the theatre is proposed, taking as a reference the quintessential dreamlike play “Midsummer Night’s Dream” (1595), in which Shakespeare deals with the theme of the double and the fine line separating dream and reality.
L’intento di questo lavoro è quello di proporre una riflessione sul rapporto tra sogno e teatro attraverso lo studio della teoria secondo la quale il fenomeno onirico consisterebbe in una rappresentazione teatrale. Il punto di partenza di questo percorso è lo studio del sogno dal punto di vista psicoanalitico, rivolgendo l’attenzione al passaggio dalla concezione freudiana (1899) a quella bioniana (1962) e sottolineando i contributi di altri studiosi, quali Jung (1916-1948) e Melanie Klein (1932). Con questa introduzione, si evidenzia la complessità del fenomeno onirico e il ruolo che esso riveste nella vita dell’individuo, nel porsi come ponte tra sonno e veglia e nel dimostrarsi specchio del proprio mondo interiore. Il fulcro di questa tesi è l’originale metafora, sviluppata da Salomon Resnik (1982), del sogno come messa in scena, ovvero come ricreazione teatrale delle esperienze inconsce del sognatore. Il capitolo centrale fornisce, infatti, un confronto su più livelli tra l’esperienza onirica del sonno e l’esperienza teatrale della veglia a cui l’individuo, in entrambi i casi, partecipa come spettatore e/o attore. Da questo studio emerge un quadro d’insieme complesso e interdisciplinare, nel quale vengono indagati i possibili punti di incontro tra sogno e teatro. Il focus della ricerca verte sull’analisi della funzione conoscitiva e trasformativa che caratterizza entrambe le esperienze. Per concludere, viene proposta una breve analisi di come il sogno viene rappresentato nel teatro, prendendo come riferimento l’opera onirica per eccellenza “Sogno di una notte di mezza estate” (1595), nella quale Shakespeare affronta il tema del doppio e del labile confine che separa il sogno dalla realtà.
Il sogno come teatro: esperienza onirica ed esperienza teatrale a confronto
MONTOLI, LUANA
2021/2022
Abstract
The aim of this paper is to reflect on the relationship between dream and theatre through the study of the theory that the dream phenomenon consists of a theatrical representation. The starting point of this path is the study of the dream from the psychoanalytic perspective, turning attention to the transition from Freudian (1899) to Bionian (1962) conceptions and emphasizing the contributions of Jung (1916-1948) and Melanie Klein (1932). This introduction highlights the complexity of the dream and the role it plays in the individual’s life, in serving as a bridge between sleep and wakefulness and in proving to be a mirror of one’s inner world. The core of this thesis is the original metaphor, developed by Salomon Resnik (1982), of the dream as a mise-en-scène, that is, a theatrical re-creation of the dreamer’s unconscious experiences. The central chapter provides a multi-level comparison between the dream experience and the theatrical experience in which the individual, in both cases, participates as a spectator and/or actor. A complex and interdisciplinary overview emerges from this study, in which the possible meeting points between dream and theatre are investigated. The focus of the research is on the analysis of the cognitive and transformative function that characterize both experiences. To conclude, an analysis of how the dream is represented in the theatre is proposed, taking as a reference the quintessential dreamlike play “Midsummer Night’s Dream” (1595), in which Shakespeare deals with the theme of the double and the fine line separating dream and reality.File | Dimensione | Formato | |
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https://hdl.handle.net/20.500.12608/40393