Analysis On The Unique Style Of Duerrenmatt’s Tragicomedies

Friedrich Duerrenmatt is one of the most representative writers in the tragicomedy field. This thesis focuses on the unique style of Duerrenmatt’s tragicomedies. In order to show this uniqueness in this thesis, we analyze Duerrenmatt’s dramatic works and drama theories, illustrate his style of tragicomedies by discussing language details of his works, and by comparing him with other traditional comedy writers in the west and the Absurd.Section1discusses Duerrenmatt’s definition of tragicomedy. Duerrenmatt thought dramas, which are performed on the stage and watched by the audience, are the stories about people. He not only stressed the fictionality of drama but also paid great attention to what really happened in the reality. In his opinion, only vivid comedies are able to help people find out what our world really looks like in these ambiguous and chaotic times, while tragic factors can also be shown through comedies. He defined this particular kind of comedies as tragicomedy. Tragicomedy is the promotion of both traditional tragedy and comedy and this kind of drama forms fits the characteristics of the times.Section2discusses Duerrenmatt’s understanding of stages and stories in his dramatic works. Duerrenmatt pursued every single possibility on the stage in order to keep his drama open, inclusive, eclectic, and imaginative. This pursuit of openness to change makes his dramatic works abundant and polysemantic so that this chaotic and complex world will be better expressed in his works. Duerrenmatt also pursued the immediacy and sensibility in his dramatic works in order to attract the audience. In his opinion, the more fictional a drama is, the more detailed backgrounds are needed in this drama. This rule is required by the immediacy and sensibility of dramas. Furthermore, the immediacy in Duerrenmatt’s dramas is not only shown in the clearness of the structure, theme, position of roles, and emotion, but also in the direct discussion of metaphysical problems including death, despair, and justice.Section3discusses the language details in Duerrenmatt’s dramas. Duerrenmatt’s language is lavish and exaggerated while stays condensed. Because he thought highly of the audience and the description of human nature, Duerrenmatt paid close attention to his language in dramas, which is highly connected to his drama style and plays a key part in the description of characteristics of roles. The fabrication of both real and exaggerated language also makes his dramas grotesque.Section4compares Duerrenmatt with other traditional comedy writers. The distinguishing feature of Duerrenmatt’s works is the black, grotesque, deep, and depressed humor. His humor is hard, ironic, exposing and full of vitality. His humor is originated from his close attention to this desperate world and this attention makes his dramas deep, sad, while still a little bit hopeful. Unlike the complete denial and nothingness in theatre of the Absurd, the uniqueness of Duerrenmatt’s tragicomedies is based on his understandings of the world, which is hovering between desperation and hope. His understanding of the world is the cycle between desperation and hope. His understanding of people is the transformation between rationality and emotion. These two understandings make Duerrenmatt’s tragicomedies colorful, hot, thick, and unique compared to the traditional western comedies.In conclusion, the style of Duerrenmatt’s tragicomedies has strong and unique characteristics. The openness in the forms of art and the expression of the reality together make his works abundant and polysemantic. The imaginative and exaggerated language based on the reality and true emotion forms his grotesque, and joy-tempered-with-sorrow artistic style.