By Jean Giraudoux
De 1928, date des premières représentations de Siegfried, à sa mort, en janvier 1944, Jean Giraudoux a écrit une quinzaine de pièces de théâtre qui font de lui, avec Claudel, l'auteur français le plus very important de los angeles première moitié du XXe siècle.
S'il a continué à être joué et lu depuis l. a. guerre, c'est qu'il a été le dernier écrivain à croire que le théâtre faisait partie intégrante de los angeles littérature. Loin de tout réalisme, ce théâtre prolonge jusqu'à nous les prestiges du classicisme français, dont Giraudoux a retrouvé le sort en le teintant d'ironie savante. l. a. tradition, chez lui, ne peut faire oublier son modernisme ni son appartenance à une époque qu'il a voulu placer entre les parenthèses de deux guerres.
Grand créateur de personnages, vus souvent à travers les acteurs prestigieux de l. a. troupe de Jouvet qui les ont interprétés en most excellent, Giraudoux se signale à nous non seulement pas los angeles perfection de l'écriture, mais par une sensibilité qui lui fait retrouver, si abstrait et si raffiné soit-il, l. a. réalité des passions. Son humour léger ne l'écarte pas non plus d'une morale du bonheur, où l'éternel féminin joue un rôle de greatest plan.
Qu'il utilise les grands thèmes classiques ou qu'il invente des occasions et des personnages inédits, le théâtre de Giraudoux, plus grave qu'il ne paraît, veut nous réconcilier avec los angeles vie. man Dumur
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Additional resources for Théâtre complet - Tome 1
Example text
10 Print also came to govern the rhetoric of theatrical performance, the sense that performance derives from the order of print. The iterative nature of print changed the understanding of theatre and its relationship to dramatic writing, giving rise to a sense of theatre as a form of printlike reiteration, and so to a distinctive sense of theatrical (in)fidelity, the notion that theatrical performance is a replaying of an artistic identity held elsewhere, within the printed text of the play. And yet, while print has changed the landscape of performance for ever, installing plays as fixed printed objects to be reiterated in another medium (performance), the first impact of print in the theatre was on a culture that used writing in a specific process of oral transmission, and printed drama remains embedded in a range of oral practices today.
As a result, throughout the book, I discuss performances in some detail: an “experimental” university production of Romeo and Juliet that attempted to theatricalize unspoken features of the q 2 text of that play; the disarming performance of the “mutes or audience” of Hamlet at the Globe Theatre in 2000; Baz Luhrmann’s William Shakespeare’s Romeo + Juliet, and the Grupo Galp˜ao Romeu e Julieta, staged as part of the “Globe to Globe” series; several contemporary films; and the performance of reading hypertext online.
And yet, while print has changed the landscape of performance for ever, installing plays as fixed printed objects to be reiterated in another medium (performance), the first impact of print in the theatre was on a culture that used writing in a specific process of oral transmission, and printed drama remains embedded in a range of oral practices today. “Scribal culture” (Eisenstein’s term) was heavily reliant on “oral transmission” in ways that make a simple opposition between oral and literate cultures suspect.