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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 theatre
https://atlante.univ-lille.fr/tag/theatre
frSat, 13 Feb 2021 19:03:00 +0100PluXml16.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-robin09.Quand le théâtre caribéen francophone s’empare de « l’Histoire immédiate » : <em>Les Atlantiques amers</em> de Gerty Dambury
https://atlante.univ-lille.fr/quand-le-theatre-caribeen-francophone-sempare-de-lhistoire-immediate-emles-atlantiques-amers-em-de-gerty-dambury.html
https://atlante.univ-lille.fr/quand-le-theatre-caribeen-francophone-sempare-de-lhistoire-immediate-emles-atlantiques-amers-em-de-gerty-dambury.html<p>Axel Artheron<br />Université des Antilles<br />CRILLASH EA 4095<br />p.156-173.</p><p><strong>Axel ARTHERON, Quand le théâtre caribéen francophone s’empare de « l’Histoire immédiate » : <em>Les Atlantiques amers</em> de Gerty Dambury.</strong></p>
<p style="text-align: justify;"><strong>Résumé. </strong>La pièce <em>Les Atlantiques amers</em>, publiée en 2014 par la dramaturge guadeloupéenne Gerty Dambury, interroge le thème historique de la grève sociale de 2009, mouvement d’une ampleur et d’une forme inouïes qui pétrifia les économies insulaires antillaises. Donnant à voir et à penser ce phénomène social et politique, ce drame met en place une dramaturgie qui actualise sur scène la réception de la grève et son effet sur le corps social. Dans cette perspective, Gerty Dambury organise une représentation de l’évènement historique qui s’articule à partir de ses grandes dimensions symboliques et emblématiques ainsi que la mise en place d’une mécanique tragique.</p>
<p><strong>Mots clés. </strong>Théâtre, Caraïbes, francophonie, histoire, grève, tragique, Gerty Dambury</p>
<p><strong> </strong></p>
<p><strong>Axel ARTHERON, </strong><strong>Cuando el teatro caribeño francófono reacciona ante la «Historia inmediata»: <em>Les Atlantiques amers</em> de Gerty Dambury.</strong></p>
<p style="text-align: justify;"><strong>Resumen. </strong>La pieza<em> Les Atlantiques amers</em>, publicada en 2014 por la dramaturga guadalupeña Gerty Dambury, cuestiona el tema histórico de la huelga social de 2009 ; movimiento de gran alcance tanto en su forma como en su amplitud que petrificó las economías de las islas de las Antillas.Ofreciendo ese fenómeno social y político motivo a representarse y a pensar, este drama pone en marcha un teatro que actualiza en la escena la recepción de la manifestación y su efecto en el cuerpo social.En esta perspectiva, Gerty Dambury organiza una representación del suceso histórico que se acopla a sus grandes dimensiones simbólicas, emblemáticas y la instalacion de un mecanismo de lo trágico.</p>
<p><strong>Palabras clave.</strong> Teatro, Caribe, francofonía, historia, manifestación, lo trágico, Gerty Dambury</p>
<p><strong> </strong></p>
<p><strong>Axel ARTHERON, </strong>When French-speaking Caribbean theater takes over the ‘Immediate History’:Gerty Dambury’s <em>Bitter Atlantics</em>.</p>
<p style="text-align: justify;"><strong>Abstract. </strong><em>Bitter Atlantics</em>, published in 2014 and written by guadeloupean playwright Gerty Dambury, questions the historical social strikes of 2009 considered as a large and unprecedented event which petrified the economies of the french caribbean islands. Offering a new way to see and think this social and political phenomenon, this play sets up a dramaturgy which updates, on stage, the reception of the strike and its consequences on the social body. Within this perspective, Gerty Dambury organises a representation of the historical event which articulates around great symbolic dimensions and the set up of a tragic mechanism.</p>
<p><strong>Keywords. </strong>Drama, Caribbean, francophone, history, strike, tragic, Gerty Dambury</p>
<p> </p>
<p><a href="https://atlante.univ-lille.fr/data/images/atlante-10-2/156-173-a.-artheron.pdf">Télécharger l'article complet (Pdf, 216 Kb)</a></p>Fri, 01 Nov 2019 15:25:00 +0100marianne.bloch-robin09. La juste colère. Autour de la <em>Médée</em> de Jean-Bastier de La Péruse
https://atlante.univ-lille.fr/09-la-juste-colere-autour-de-la-emmedee-em-de-jean-bastier-de-la-peruse.html
https://atlante.univ-lille.fr/09-la-juste-colere-autour-de-la-emmedee-em-de-jean-bastier-de-la-peruse.html<p>Alessandra Preda<br />Université de Milan<br />p. 163-178.</p><p> </p>
<p><strong>Alessandra Preda, « La juste colère : autour de la <em>Médée</em> de Jean-Bastier de La Péruse ».</strong></p>
<p align="JUSTIFY"><strong>Résumé.</strong> L’analyse de la tragédie de Jean de La Péruse, <em>Médée</em>, développe une réflexion autour de la colère, une passion humaine violente et réactive qui représente, parfois, une forme légitime d’indignation. Cette indignation ‘juste’ provoque l’acte vindicatif nécessaire, à travers un procès d’autocontrôle et d’élaboration que cette <em>Médée</em> de la Renaissance illustre parfaitement. L’analyse met en lumière l’influence d’une production humaniste - la tragédie néolatine Medea de Buchanan, le commentaire de Muret à l’<em>Éthique à Nicomaque</em>, les <em>Emblèmes</em> d’Alciato — qui alimente la réflexion de La Péruse, étudiant de droit, poète et dramaturge, membre de la jeune Pléiade.</p>
<p align="JUSTIFY"><strong>Mots-clé. </strong>Renaissance, Théâtre, Tragédie, Colère, Médée, Emblème.</p>
<p align="JUSTIFY"> </p>
<p align="JUSTIFY"><strong>Alessandra Preda, « The righteous wrath : Jean-Bastier de La Péruse's <em>Médée</em><em> </em>».</strong></p>
<p align="JUSTIFY"><strong><span lang="en-US">Abstract. </span></strong><span lang="en-US">In this article the author seeks to analyse wrath by the means of an examination of La Péruse’s tragedy, </span><em><span lang="en-US">Médée</span></em><span lang="en-US">. Wrath is a violent human and reactive expression which sometimes may represent a legitimate form of indignation. The righteous indignation causes the necessary vindictive act, in a process of self-control and elaboration that is perfectly illustrated by this Renaissance </span><em><span lang="en-US">Medea</span></em><span lang="en-US">. The analysis shows a humanist production – Buchanan’s Neo-Latin tragedy, Muret’s commentary of </span><em><span lang="en-US">Ethica Nicomachea</span></em><span lang="en-US">, Alciato’s </span><em><span lang="en-US">Emblems</span></em><span lang="en-US"> –influencing La Péruse’s tragedy and his reflection on the passion of wrath.</span></p>
<p align="JUSTIFY"><span lang="en-US"><strong>Keywords.</strong> </span><span lang="en-US">Renaissance, Theater, Tragedy, Wrath, Medea, Emblem.</span></p>
<p lang="en-US" align="JUSTIFY"> </p>
<p align="JUSTIFY"><strong>Alessandra Preda, « La giusta collera : a proposito della <em>Médée</em> di Jean-Bastier de La Péruse ».</strong></p>
<p align="JUSTIFY"><strong>Sintesi. </strong>L’analisi della tragedia di Jean de la Péruse, <em>Médée</em>, sviluppa una riflessione intorno alla passione della collera, un sentimento umano violento e reattivo che rappresenta, in alcune circostanze, una forma legittima e salutare di indignazione. E’ tale giusta indignazione a promuovere un atto vendicativo necessario, attraverso un processo di autocontrollo e di elaborazione che questa <em>Medea</em> cinquecentesca interpreta perfettamente. L’analisi mette in luce l’influenza di una produzione umanista - la tragedia neolatina <em>Medea</em> di Buchanan, il commento di Muret all’<em>Etica Nicomachea</em>, gli <em>Emblemata</em> di Alciato - che sedimenta nella riflessione di La Péruse, studioso di diritto, poeta e drammaturgo, membro della nascente Pléiade.</p>
<p align="JUSTIFY"><strong>Parole chiavi.</strong> Rinascimento, Teatro, Tragedia, Collera, Medea, Emblema.</p>
<p align="JUSTIFY"> </p>
<p align="JUSTIFY"><strong><a href="https://atlante.univ-lille.fr/data/images/_articles/ATLANTE_9_10.pdf">Télécharger l'article complet (pdf, 273 Kb)</a></strong></p>
<p> </p>Thu, 16 May 2019 09:21:00 +0200daniel.ramirezmahecha07. La passion du théâtrophobe, entre conversion, contamination et contagion
https://atlante.univ-lille.fr/07-la-passion-du-theatrophobe-entre-conversion-contamination-et-contagion.html
https://atlante.univ-lille.fr/07-la-passion-du-theatrophobe-entre-conversion-contamination-et-contagion.html<p>François Lecercle<br />Sorbonne Université<br />Labex Obvil, CRLC, EA 4510<br />p. 132-147.</p><p> </p>
<p><strong>François Lecercle, « La passion du théâtrophobe, entre conversion, contamination et contagion ».</strong></p>
<p><strong>Résumé. </strong>Les polémiques sur le théâtre de l’Europe moderne ont fait une assez large place aux passions. Les théâtrophobes héritent d’une conception négative de la passion comme trouble du jugement et perturbation de l’âme. Mais ils développent deux conceptions spécifiques, en réponse à l’action de conversion et d’épuration (catharsis) que la pensée théâtrophile emprunte à Aristote pour démontrer les bienfaits du théâtre. Le premier modèle est frontal et singulier : la représentation agit par un processus de contamination individuelle qui est le contraire de la catharsis. Le second est latéral et collectif : le spectacle provoque une contagion qui, de proche en proche, pervertit les spectateurs. Ces deux modèles supposent deux visions du public, envisagé tantôt comme collection d’individus isolés, réagissant aux impressions que l’action scénique produit en leur for intérieur, tantôt comme communauté soudée par la circulation des affects.</p>
<p><strong>Mots-clé. </strong>Théâtre, Polémique, Catharsis, Contagion, Contamination.</p>
<p> </p>
<p><strong>François Lecercle, « Theatrophobe passion, between conversion, contamination and contagion ».</strong></p>
<p><span lang="en-US">Abstract. </span><span lang="en-US">Passions have played a notable role in the quarrels about the stage of modern Europe. Theatrophobes inherit a negative conception of the passions as judgmental disorder and disturbance of the soul and they develop two specific concepts, in order to counter the ideas of conversion and purification (catharsis) that theatrophiles borrow from Aristotle in their defense of the benefits of the stage. The first model is that of a contagion – a direct and individual response which is the opposite of catharsis. The second is lateral and collective: performances pervert spectators by a process of contamination. These models are based on two conceptions of the audience: either as a collection of isolated individuals reacting to the impressions aroused by the performance, or as a community unified by the circulation of strong emotions. </span></p>
<p><strong>Keywords. </strong>Theatre, Polemics, Catharsis, Contagion, Contamination.</p>
<p> </p>
<p><strong>François Lecercle, « La passione del teatrofobo, tra conversione, contaminazione e contagione ».</strong></p>
<p><strong>Sintesi. </strong>Le passioni hanno svolto un ruolo fondamentale nelle polemiche sul teatro dell’Europa moderna. I teatrofobi sono eredi di una concezione negativa della passione come disordine delle facoltà intellettive e disturbo dell’anima. Ma essi sviluppano due concezioni specifiche, in risposta all’azione di conversione e di purgazione (catarsi) che il pensiero teatrofilo riprende da Aristotele per dimostrare gli effetti positivi del teatro. Il primo modello è frontale e singolare : la rappresentazione agisce tramite un processo do contaminazione individuale che è il contrario della catarsi. Il secondo è laterale e collettivo : lo spettacolo provoca una contagione che passando dall’uno all’altro pervertisce gli spettatori. Questi due modelli presuppongono due visioni del pubblico, concepito talvolta comme un insieme d’individui isolati che reagiscono alle impressioni in essi suscitate dall’azione scenica, oppure come una comunità unita dalla circolazione delle emozioni.</p>
<p><strong>Parole chiavi. </strong>Teatro, Polemiche, Catarsi, Contagione, Contaminazione.</p>
<p> </p>
<p><a href="https://atlante.univ-lille.fr/data/images/_articles/ATLANTE_9_8.pdf"><strong>Télécharger l'article complet (pdf, 197 Kb)</strong></a></p>Wed, 15 May 2019 18:56:00 +0200daniel.ramirezmahecha