In The Dreaming of the Bones, written after the turmoil of the 1916 Easter Rising, Yeats presents, following the Noh tradition model, a young rebel fugitive confronted by two ghosts, caught half-way ...between past and present, dream and reality. The figure of the past coming to haunt the present thus plays as pivotal a role in the fable as the form in which the writing unfolds. On the one hand, everything in the play is a return, as the events of the Easter Rising re-enact, from the other end of historical time, the event which gave rise to the oppression resulting from the betrayal of the royal couple, Diarmuid and Devorgilla when, dispossessed of their kingdom, they sought the assistance of the Anglo-Normans to reclaim it. On the other hand, through a subtle relationship between the visual and aural, and the new form taken by speech and enunciation, it is the role of the voice, according to defined protocols, to express this presence-absence and this drama of an impossible return. This type of spectral projection is furthermore intensified by the fact that the “theatrical representation” is only conveyed to us through the eyes – or possibly dreams – of a group of musicians, without any stage direction, which might situate this visual and aural universe in a given system of reference. The action that unfolds before the spectator thus becomes a projection of his imaginary landscape, the “music of the lost kingdom” of memory, brought forth by the power of utterance. In this manner the writing itself becomes the place where dreams can emerge through its capacity to conjure up things that are simultaneously shown to be absent. The play is merely a poetic variation on the question “Who’s there ?”.
L’article propose une lecture du drame contemporain qui appelle et mobilise le motif de l’eau – élément façonnant nos imaginaires et à la fonction structurante dans nos sociétés aussi bien ...historiquement, économiquement que symboliquement. De la fable écologique à la pièce-paysage, notamment, quelles sont les modalités de présence de l’eau? Que met l’eau à l’épreuve dans le drame et pour le drame? Au carrefour d’une approche poétique, écopoétique et poïétique, cette traversée des écritures engage à une réflexion sur les écritures de la traversée. Comment les drames de l’eau (au sens dramaturgique) sont-ils poreux ou répondent-ils aux drames de l’eau (au sens politique) et particulièrement aux drames de la mer, dès lors qu’ils s’associent à des dramaturgies de l’exil, du départ ou de la migration?
The article focuses on the rebellious subplot of William Shakespeare’s The Tempest that forms around Caliban, Stephano, and Trinculo, and reads it as a satyr play. Demonstrated is how the Dionysian ...subplot stands in close analogical connection with the play’s main action. It is also argued that the storyline emphasises a dimension of the play that is of high relevance to the analysis of its metatheatrical implications. The correspondences between the main action and the satyr play elements highlight the important role that intemperance, excess and the suspension of control play in the Shakespearean theatrical setting.
This collection examines the phenomenon of the operatic canon: its formation, history, current ontology and practical influence, and future. It does so by taking an international and ...interdisciplinary view: the workshops from which it was derived included the participation of critics, producers, artistic directors, stage directors, opera company CEOs, and even economists, from the United Kingdom, the United States, France, Italy, Ireland, Germany, the Netherlands, Denmark, and Canada. The volume is structured as a series of dialogues: each subtopic is addressed by two essays, introduced jointly by the authors, and followed by a jointly compiled list of further reading. These paired essays complement each other in different ways, for example by treating the same geographical location in different periods, by providing different national or regional perspectives on the same period, or by thinking through similar conceptual issues in contrasting milieus. Part I consists of a selection of surveys of operatic production and consumption contexts in France, Italy, Germany, England, Russia, and the Americas, arranged in rough order from the late seventeenth century to the late nineteenth century. Part II is a (necessarily) limited sample of subjects that illuminate the operatic canon from different—sometimes intentionally oblique—angles, ranging from the influence of singers to the contiguous genres of operetta and musical theater, and the effects of recording and broadcast over almost 150 years. The volume concludes with two essays written by prominent figures from the opera industry who give their sense of the operatic canon’s evolution and prospects.
This article demonstrates the extent and significance of exchange between English and French poets in the years leading up to World War I, a crucial period for the development of modern Anglophone ...poetry. Through archival research, I trace the growing interest in French poetry of Imagist poets F. S. Flint, Ezra Pound and Richard Aldington, exhibited in various little magazines including the New Age , Poetry Review , Poetry and Drama , Poetry , the New Freewoman and the Egoist . Moreover, I show that such interest was reciprocated by contemporary French poets, notably Henri-Martin Barzun and Guillaume Apollinaire, who published works by English poets in their respective little magazines Poème et Drame and Les Soirées de Paris . This suggests that not only were modern English poets influenced by their French counterparts, but they were also given a voice in the Francophone artistic world, resulting in a unique moment of cross-channel poetic exchange before the war.
Si le drame subsiste au xxe siècle, il s'en trouve profondément transformé car l'inflation du monologue rend peut-être toute parole solitaire et désolée, mais il manifeste surtout sa propension à ...rendre compte de la pluralité des voix du monde. Le monologue se présente de plus en plus comme un lieu de résistance, se fait le laboratoire d'écritures et de pratiques scéniques sans cesse renouvelées. Ce mouvement exploratoire travaille ce qui constitue le drame dans son rapport au monologue, à la fois comme un constituant dramatique – « contre » le drame : dans une immédiate proximité – mais aussi comme une force, et une forme, d'opposition offensive, faisant s'ébranler cette assise en réinvestissant ce qui fait l'action : l'acteur et sa parole – « contre » le drame : dans une opposition frontale. Si certains critères de dramaticité ne sont plus pertinents (vraisemblance, cohérence de l'action), certains constituants s'en trouvent réactivés (l'adresse, le rapport à la parole, le corps de l'acteur), qui revendiquent une proximité retrouvée. Il se pourrait qu'aujourd'hui encore le terme de drame soit efficient en s'inscrivant au cœur d'une forme – le monologue – qui explore la parole quand elle se fait action, et ce, quel que soit le caractère hétérogène des écritures textuelles et scéniques qu'elle emprunte, à l'aune du théâtre dit postdramatique.
Résumé: L’article adopte une approche dialogique entre les études décoloniales et les études historiques et esthétiques théâtrales. Il met en exergue ce que la modernité/colonialité produit en termes ...d’hégémonie non pas seulement épistémique, mais bien esthétique, et constate l’incapacité du théâtre postmoderne à sortir de la matrice coloniale du pouvoir. L’étude de cas de la pièce Kay pacha, du dramaturge et militant équatorien Juan Francisco Moreno Montenegro, permet de discerner les caractéristiques d’une œuvre décoloniale, procédant à un déplacement épistémico-esthétique. L’approche empirique souligne enfin le caractère eurocentré des outils d’analyse dramatique, qui manquent leur objet, quand celui-ci est décolonial.
Abstract: The article consists in crossing decolonial studies, history and aesthetics. I highlight how the Modernity/Coloniality dualism not only creates an epistemic hegemony but also an aesthetical domination, and I show the postmodern theater unability to untangle itself from the colonial roots of power. Through the analysis of Kay pacha - written by the equatorian activist and playwriter Juan Francisco Moreno Montenegro - I determine the defining features of a decolonial work. In doing so I carry out an epistemic and aesthetic. The kind of empirical approach stresses the european bias of the tools dramaturgical, which are useless to comprehend a decolonial piece of work.
Resumo: O artigo adota uma abordagem dialógica entre os estudos decoloniais e os estudos históricos e estéticos teatrais. Ele expõe o que a modernidade/colonialidade produz em termos de hegemonia não apenas epistêmica, mas também estética, e constata a incapacidade do teatro pós-moderno de retirar-se da matriz colonial do poder. O estudo de caso da peça Kay pacha, do dramaturgo e militante equatoriano Juan Francisco Moreno Montenegro, permite distinguir as características de uma obra decolonial, operando um deslocamento epistêmico e estético. Por fim, a abordagem empírica destaca o caráter eurocêntrico das ferramentas de análise dramática, inaptas para tratar obras decoloniais.
La représentation des Noirs brésiliens dans le théâtre brésilien moderne a presque toujours été influencée par l'idée que les noirs ne sont pas confrontés à des problèmes susceptibles d'entraver ...réelement leur développement spirituel, physique et matériel, les Noirs étant supposés vivre dans une sorte de “paradis racial”. En 1948, cette représentation des Noirs évolue, en particulier avec Ange noir, de Nelson Rodrigues. Cet article examine la façon dont le dramaturge traite le Noir dans ce drame.
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