Overview

The Tragicomic Mode of literary discourse has become more prominent in the twentieth century than at any other previous time in Western literary history. Modern tragicomedy consists of four defining categories: an inconclusive double perspective, one lacking resolution, reconciliation or restitution: contradictory, ambivalent or incongruous mood and effect: a problematic and often protean protagonist and the incorporation of destabilizing and non-naturalistic modes or strategies such as surrealism, absurdity, fantasy, and the grotesque. The dualistic nature of tragicomic creation, perception and reflection, has led to a whole new sense of character, structure and the role of the protagonist or hero. These new protagonists reject the notion of reality as a closed system with finite possibilities. Theirs' is a prismatic refraction of the rational and irrational, the mundane and the transcendental, the normative and the anomalous. Their ubiquitous presence in tragicomedy exemplifies our modern penchant for dialectical subversiveness and multifaceted indeterminancy. In twentieth-century tragicomic drama, film and literature, writers, dramatists and filmmakers invariably choose antinomian protagonists or fool figures to embody their explorations of the universal and tragicomic encounter of self and society.

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The Author: Faye Ran-Moseley is the CEO of Inroads Theatre/Film Production Company in addition to serving as Professor of Literature and Communications at Audrey Cohen College in New York City. Dr. Ran-Moseley is a Renaissance woman, a published poet, author and photographer, former Fulbright Fellow in theatre, and Producer-Writer-Director with over 100 Off-Off Broadway Productions to her credit, many of them, in fact, tragicomedies. A recent AFI Screenwriting Fellow, Dr. Ran-Moseley has also produced, written and directed documentaries and narrative films. She possesses seven Masters degrees in the Humanities, (English, Comparative Literature, Theatre, Cinema, Psychology. Asian Studies, and Art History), an MBA in Arts Administration and a doctorate in English and Comparative Literature from Columbia University.

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