Dans ce bref rapport, nous présentons le projet Lecture dramatique et FLE de l'Université Fédérale de Pelotas et les différentes étapes de la création d'une lecture dramatique de La Voix humaine ...(1930) de Jean Cocteau tenue en 2021. Les étudiants et les professeurs de la Licenciatura en portugais et français et de la Licenciatura en Théâtre ont créé une adaptation du monologue de Cocteau et de la mise en scene de sa lecture. L'analyse et l'appropriation des significations possibles du texte théátral ont joué un rôle fondamental dans la recherche d'une expressivité capable de transmettre au public l'atmosphere des scenes, les caractéristiques et les intentions du personnage. Les difficultés causées par la pandémie de Cov'd 19 ont représenté un grand défi puisque toutes les réunions se déroulaient a distance via une plateforme web et que le spectacle a été présenté au public par la chaîne YouTube du projet.
This is a well-known story: a few days before the first performance, Maeterlinck had no words hard enough to describe the opera that Debussy created from Pelléas et Mélisande, the dramatist's ...masterpiece. The critics, however, are too much inclined to reduce the causes of Maeterlinck's anger to the expulsion of Georgette Leblanc, his mistress, who was to perform the first female role. The text of the play, which the composer almost always followed to the letter, has actually been cut and some amendments made by Maeterlinck to its 1892 text have not been taken into consideration. This paper aims at showing that, despite the apparent fidelity of the musical adaptation, the few variants inserted by Debussy generate a semiotic system and lead us to see the opera as a true translation, that is to say the transformation of a subordinate work into a source context and its adaptation to a target context. All typically "Belgian" aspects are blurred and attempts to make the unconscious emerge, as defined by Eduard von Hartman as early as 1869, are annihilated by the use of the leitmotif.
Phénomène cellulaire de sculpture du vivant par la mort, l'apoptose est adaptée au théâtre par le metteur en scène français Claude Régy. Cet essai analyse les conséquences poétiques, scéniques et ...spectatorielles de cette adaptation à travers trois créations, où l'apoptose en scène devient un dispositif artistique.
Paul Dukas' work cannot be reduced to his most famous piece, L'Apprenti sorcier. Having also published in many journals, he stands out as an author with original and individual style different from ...Debussy's. In Arianne et Barbe-Bleue, maliciously considered as just a response to Pelléas et Mélisande, his biggest concern remains the transformation into music of Maeterlinck's poem, the way of bringing the internal music out of written language.
Allusions to dance are rife in Beckett's work, and the early development of his choreographic imagination owes much to late nineteenth-century Symbolist appreciations of dance. Symbolism's aesthetic ...outlook was crucially shaped by the choreographic proclivities of its key practitioners: a group that included Stéphane Mallarmé, W. B. Yeats, and Maurice Maeterlinck. In Divagations (1897), Mallarmé declared that both ballet and modern dance perfectly modeled the union of content and form that Symbolist poetics sought to achieve. Early Beckett texts including “Dante… Bruno. Vico.. Joyce” (1929) and Dream of Fair to Middling Women (1932) reveal his interest in Mallarmé's theory of “corporeal writing,” while also repurposing Symbolist dance forms in relation to the techniques practiced by dancers Beckett knew, including Peggy Sinclair and Lucia Joyce. These forms are condensed and developed in the late work Quad I + II (1984): an abstract play for four dancers.
The first section of the article demonstrates how through a great part of the XIX th century the prevailing attitude of fantastic on European stages is a spectacular one, aiming at direct effects of ...marvel or fear on its audience. In this case the dramatic and scenic space works like a boîte à merveilles , a container of well visible supernatural events. Only towards the end of the century, in the plays of some great authors a more refined attitude of fantastic emerges, where the supernatural, besides assuming a strong symbolic value, creeps into the “real world” in a less evident, but more effective and disquieting way. Thus, the second part of the article focuses on the transformation of the emblematic set of the bourgeois drama, the domestic interior, into an uncanny space, which Death besieges from outside or occupies as a secret parasite. This hypothesis is verified through a detailed analysis of dramatic space in The Intruder by Maurice Maeterlinck and in The Ghost Sonata by August Strindberg. In the first play a domestic space is made unheimlich by the atmosphere of alarmed wait by which the characters get involved; here, like in other Maeterlinck’s plays, the sounds become a fundamental element of the transformation of space and of its assumption of a fantastic dimension. In Strindberg’s drama a “normal” house acquires sinister characteristics, till it reveals itself, without any resort to conventionally supernatural images, a refuge of living dead and a place where everything is weakened by a sort of vampire haunting.
Given the zeal and religiosity with which socialist politics were pursued during the closing decades of the nineteenth century (including the emergence of a number of small-scale experiments in ...cooperative living), Malet's reluctance to align her faith and economic ideas might seem surprising.2 To the contrary this article contends that Malet, believing in man's fallenness, came to regard the idea of a perfect social whole as apocryphal in any terrestrial sense of the term. With reference to The History of Sir Richard Calmady (1901) and The Far Horizon (1906), this discussion explores Malet's developing economic ideas around the time of her conversion, arguing that bee and hive motifs, alongside other, structurally similar corporate figures (including the human body and city banking house) operate as figurative shorthand for the idea of "the whole" in its social and spiritual appearances. According to Richard, unity in the form of socialist activity is foredoomed "because material conditions are perpetually changing, while man in his mental, emotional and physical aspects remains precisely the same. The novel anatomises a life in which the lion's share of the social, professional and emotional activity has been undertaken within, and in the service of, a corporate body. ...Malet wants to posit an institutional dynamic within the banking sector that is a correlative of the socialistic hive-mind explored in Sir Richard Calmady.
Este artículo se propone analizar el uso literario que el joven Maeterlinck hace del francés a partir de la pregunta por la lengua del narrador de su "nouvelle" Onirologie (1889), entendiendo que no ...se trata de una silly question. Primero, establecemos las coordenadas genéricas del cuento y mostramos una de sus intertextualidades mayores. En segundo lugar, reflexionamos acerca de la representación ficcional de la lengua extranjera, para plantear, por último, el bilingüismo maeterlinckiano como un caso de extraterritorialidad.
Our approach is focused on the issue of the markers of absence as well as on the expression and materialization of that absence in a corpus of works comprising the following plays: L'Intruse, Les ...Aveugles, Intérieur by Maurice Maeterlinck. The approaches of the concept of "absence" received throughout our analysis are parts of the phenomenon of progressive alienation seen, for instance, as separation (stressing the idea of distance and departure), or as solitude, then omission (in the sense of forgetting), and culminating with the inability of perception that anticipates isolation, physical imprisonment and announces death (designated through a privative prefix) as an absence that is always present and obscurity. We attempt to reveal the "markers" of absence on the level of certain constituents of the play: the character, formed of a discursive feature, infinitely simple and repetitive, much more diminished and developing without individuality, like a silent, mysterious ghost; and the action that is rather inaction that represents our primary direction of research. As a secondary direction, we consider the markers of absence in a language that, in the case of Maeterlinck, is remarkably pure and lacks any syntactic or lexical complication, from lexical structures (the reassessment of short expressions makes the utterances seem captivatingly strange, revealing, beyond words, unutterable, unspeakable) and the grammar, especially the Semantics of its forms - the 3rd person pronouns, a form we may consider as deprived of referential content, the indefinite pronouns which indicate absence-, the Semantics of punctuation, especially that of the suspension points. PUBLICATION ABSTRACT
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