Abstract
This paper examines the application of the ‘framing’ technique by Dario Fo in his play Trumpets and Raspberries so as to extend the definition and concept of metadrama beyond a self-conscious exposure of theatricality. A variety of frames expose camouflaged power systems forming the ideological bases of representation. This takes place through two stages in Fo’s play: firstly the voluntary destruction of dramatic illusion, and secondly the exposure of the unconscious and paradoxical theatricality of reality.
Keyword(s)
Framing, metadrama, theatrical semiotics, signification, Representation, kinesics, proxemics