@article{article_194540, title={REPRESENTING THE “OTHER” ON STAGE: A DRAMATURGICAL APPROACH TO FRANZ KAFKA’S “THE WARDEN OF THE TOMB” AND “THE HUNTER GRACCHUS”}, journal={Tiyatro Eleştirmenliği ve Dramaturji Bölümü Dergisi}, pages={57–81}, year={2010}, author={Dinçel, Burç}, keywords={REPRESENTING, OTHER, STAGE}, abstract={<p>It would not be an overstatement to see the twentieth century as one of the most dynamic periods in the history of humankind thanks to the revolutions, the two world wars, the technological <br />advances, and the other radical changes affecting almost every aspect of human life that the century saw. As far as the aesthetic movements of the twentieth century are concerned, one can take this statement even one step further, and regard this epoch as the most vigorous period of the history of art due to the mutinous features of the innovative genres that emerged in this century which posed serious challenges to the established theories and perceptions of the preceding ages. Indeed, a brief glance at the aesthetic movements of the twentieth century either from the vantage point of literary works or from the perspective of visual arts supports such an argument: The literary pieces introduced by a group of authors (such as James Joyce, Virginia Woolf, Marcel Proust) who today are recognized as the key figures of modernism, and the theatrical changes comprising new methods of staging (e.g. the theories of Adolphe Appia, Vsevolod Meyerhold, Edward Gordon Craig, Antonin Artaud) have all contributed in one way or another to the constitution and formation of the contemporary understanding of the very word art. What made all these artistic movements quite influential was their specific characteristics which were pleading for various interpretations of different critical approaches, therefore triggering the research that would shed light on them. <br /> </p>}, number={15}, publisher={Istanbul University}