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Warning: Cannot modify header information - headers already sent by (output started at /var/www/html/core/lib/class.plx.motor.php:349) in /var/www/html/core/lib/class.plx.feed.php on line 266 Atlante - Revue d'études romanes - Tag absurde
https://atlante.univ-lille.fr/tag/absurde
frSat, 13 Feb 2021 19:10:00 +0100PluXml17.Nicanor O’Donnell, révélateur cinématographique des travers de la société cubaine
https://atlante.univ-lille.fr/17-nicanor-odonnell-revelateur-cinematographique-des-travers-de-la-societe-cubaine.html
https://atlante.univ-lille.fr/17-nicanor-odonnell-revelateur-cinematographique-des-travers-de-la-societe-cubaine.html<p>Magali Kabous Duretz<br />Université Lumière-Lyon 2 <br />LCE EA 1853<br />p.330-349.</p><p style="text-align: justify;"><strong>Magali KABOUS, "Nicanor O’Donnell, révélateur cinématographique des travers de la société cubaine".</strong></p>
<p style="text-align: justify;"><strong>Résumé. </strong>Parmi la vague de productions indépendantes remarquable à Cuba depuis les années 90, une série de courts métrages se dégage, en particulier en raison de son succès public. Il s’agit des aventures de Nicanor O’Donnell, un personnage fictif inventé par l’écrivain, scénariste et cinéaste Eduardo Del Llano. Au fil de quinze épisodes entre 2004 et 2019, Del Llano a mis en lumière diverses situations absurdes de la réalité cubaine et les réactions de son personnage, un « Cubain moyen » aux prises avec le système. La personnalité de Nicanor, le fonctionnement des épisodes, l’humour parfois proche du <em>nonsense </em>provoquent chez le spectateur un rire cathartique de résistance.</p>
<p style="text-align: justify;"><strong>Mots clé: </strong>Cuba, cinéma indépendant, politique, subversion, absurde, <em>nonsense.</em></p>
<p style="text-align: justify;"><strong> </strong></p>
<p style="text-align: justify;"><strong>Magali KABOUS, </strong><strong>"Nicanor O’Donnel, Filmic Revealer of some Cuban Society’s dysfunctions".</strong></p>
<p style="text-align: justify;"><strong>Abstract. </strong>Among the independent movies movement that started in the 90’s, a series of short films stand out, first of all because of their popular success: the adventures of Nicanor O’Donnell, a fictional character created by the writer, screenwriter and movie maker Eduardo del Llano. Between 2004 and 2019 and through 15 episodes, Del Llano highlighted numbers of absurd situations based on the Cuban reality, through his main character’s reactions. Nicanor is an average Cuban struggling with the system. His personality, the episode’s structure, the humour verging on nonsense altogether induce a cathartic laughter of resistance.</p>
<p style="text-align: justify;"><strong>Key words: </strong>Cuba, independent movies, politics, subversion, absurd, nonsense</p>
<p style="text-align: justify;"> </p>
<p style="text-align: justify;"><strong>Magali KABOUS, </strong><strong>"Nicanor O’Donnell, revelador cinematográfico de tendencias disfuncionales de la sociedad cubana.</strong></p>
<p style="text-align: justify;"><strong>Resumen. </strong>Entre la ola de producciones independientes desde los años 90, una serie de cortometrajes se destaca, primero por su éxito popular. Se trata de las aventuras de Nicanor O’Donnell, un personaje ficticio inventado por el escritor, guionista y cineasta Eduardo del Llano. Entre 2004 y 2019, a lo largo de 15 episodios, Del Llano subrayó varias situaciones absurdas de la realidad cubana consideradas a través de las reacciones de su personaje, un cubano de a pie, luchando con el sistema. La personalidad de Nicanor, el funcionamiento de los episodios, el humor muy parecido al <em>nonsense</em> provocan en el espectador una risa catártica de resistencia.</p>
<p style="text-align: justify;"><strong>Palabras clave: </strong>Cuba, cine independiente, política, subversión, humor absurdo, <em>nonsense.</em></p>
<p style="text-align: justify;"><a href="https://atlante.univ-lille.fr/data/images/atlante-13/17.-article-kabous-decembre-.pdf">Télécharger l'article complet (pdf, 1 Mb)</a></p>
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<p style="text-align: justify;"> </p>Sat, 13 Feb 2021 19:10:00 +0100marianne.bloch-robin16.Absurde et satire dans le théâtre de Tomaz de Figueiredo : critique et désillusion
https://atlante.univ-lille.fr/16-absurde-et-satire-dans-le-theatre-de-tomaz-de-figueiredo-critique-et-desillusion.html
https://atlante.univ-lille.fr/16-absurde-et-satire-dans-le-theatre-de-tomaz-de-figueiredo-critique-et-desillusion.html<p>Georges Da Costa<br />Normandie Université <br />UNICAEN / ERLIS<br />p.315-329.</p><p style="text-align: justify;"><strong>Georges DA COSTA, </strong><strong>"Absurde et satire dans le théâtre de Tomaz de Figueiredo : critique et désillusion".</strong></p>
<p style="text-align: justify;"><strong>Résumé. </strong>Poète, contiste et nouvelliste, auteur d’une « chronique héroïque », ainsi que d’un « dictionnaire de la langue parlée », Tomaz de Figueiredo (1902-1970) est surtout (re)connu comme romancier, particulièrement pour son premier livre, <em>A Toca do Lobo </em>(1947). Mais il est également l’auteur de textes dramatiques qui, certes, occupent un espace plutôt réduit au sein de son œuvre complète, mais qui sont en droit de réclamer une place particulière dans l’histoire du théâtre portugais. Tomaz de Figueiredo s’inscrit dans une longue tradition d’écrivains, de poètes et de dramaturges satiriques. Pour illustrer les différents procédés utilisés, on s’intéressera en particulier à un personnage-type, figure récurrente de son théâtre : le « Figurão » ou « Importante ». On interrogera ensuite le rôle de l’absurde dans cette entreprise dénonciatrice. Car, si satire et absurde forment un duo implacable pour régler quelques comptes familiaux et tourner en ridicule l’idéologie salazariste triomphante (qui prône le respect absolu – et hypocrite – de l’ordre et de l’autorité), leur coexistence est également le signe d’un rapport plus distancié et plus désabusé au monde.</p>
<p style="text-align: justify;"><strong>Mots-clés: </strong>Absurde, satire, Tomaz de Figueiredo, théâtre, Portugal.</p>
<p style="text-align: justify;"> </p>
<p style="text-align: justify;"><strong>Georges DA COSTA, "Absurd and satire in the theater of Tomaz de Figueiredo: criticism and disillusionment".</strong></p>
<p style="text-align: justify;"><strong>Abstract. </strong>Poet and short story writer, author of a «heroic chronicle», as well as of a «dictionary of spoken language», Tomaz de Figueiredo (1902-1970) is more (re)known as a novelist, especially for his first book, <em>A Toca do Lobo</em> (1947). But he is also the author of dramatic texts which occupy a rather limited space within his complete work but which are entitled to claim a special place in the history of Portuguese theatre. Tomaz de Figueiredo belongs to a long tradition of writers, poets and satirical playwrights. To illustrate the various literary devices used, we will pay particular attention to a typical character, a recurrent figure of his theatre: the «Figurão» or «Important». We will then question the role of the absurd. If satire and absurd form an implacable duo to settle some family accounts and make a mockery of the triumphant Salazarist ideology (which advocates absolute and hypocrite respect for order and authority), their coexistence is also a sign of a more distant and disillusioned relationship with the world.</p>
<p style="text-align: justify;"><strong>Keywords:</strong> Absurd, satire, Tomaz de Figueiredo, theatre, Portugal.</p>
<p style="text-align: justify;"> </p>
<p style="text-align: justify;"><strong>Georges DA COSTA, "Absurdo e sátira o teatro de </strong><strong>Tomaz de Figueiredo: crítica e desilusão".</strong></p>
<p style="text-align: justify;"><strong>Resumo. </strong>Poeta, contista e novelista, autor de uma «crónica heróica», assim como de um «dicionário da língua falada», Tomaz de Figueiredo (1902-1970) é sobretudo (re)conhecido como romancista, especialmente pelo seu primeiro livro, <em>A Toca do Lobo </em>(1947). Mas é também autor de textos dramáticos que, embora ocupem um espaço reduzido no seio da sua obra completa, têm o direito de reclamar um lugar especial na história do teatro português. Tomaz de Figueiredo inscreve-se numa longa tradição de escritores, poetas e dramaturgos satíricos. Para ilustrar os diferentes processos utilizados, interessar-nos-emos em particular por uma personagem-tipo, figura recorrente do seu teatro: o «Figurão» ou «Importante». Em seguida, estudaremos a função denunciadora do absurdo no teatro do autor. Porque, se sátira e absurdo formam um duo implacável para ajustar algumas contas e ridicularizar a ideologia salazarista triunfante (que prega o respeito absoluto – e hipócrita – da ordem e da autoridade), a sua coexistência é também sinal de uma relação mais distanciada e mais desiludida com o mundo.</p>
<p style="text-align: justify;"><strong>Palavras-chave: </strong>Absurdo, sátira, Tomaz de Figueiredo, teatro, Portugal.</p>
<p style="text-align: justify;"><a href="https://atlante.univ-lille.fr/data/images/atlante-13/16.-article-da-costa-decembre-2020.pdf">Télécharger l'article complet ( pdf, 396 Kb)</a></p>
<p> </p>Sat, 13 Feb 2021 19:03:00 +0100marianne.bloch-robin