Le theatre de derision et l'oeuvre de beckett : approches critiques. (these soutenue sur un ensemble de travaux)
Institution:
Université Marc Bloch (Strasbourg) (1971-2008)Disciplines:
Directors:
Abstract EN:
The theatre of derision (1974)deals with three authors: beckett, ionesco and adamov. After defining the present state of critical studies it considers both the heritage rejected by these playwrights and the characteristics of the avant-garde tradition. The next chapters are devoted to themes, characters, structural patterns, style and dialogue. The conclusion sums up the rhetorical and structural techniques upon which the theatre of derision rests. Echo symbolism and strategy in beckett's endgame (1986) is divided into four parts. The first one is devoted to theoretical questions, the second one to a variety of problems: the similarities and dissimilarities between the manuscript and the final text, the esthetics and philosophy of the echo principle, and the dialectical relationship between beckett and nietzsche. The third part focusses on the master-slave dialectics, the coalescence of characters, themes and symbols, and the connection between language and ego symbolism. The fourth part considers the role of humor and play, and the author's recourse to intratextual and intertextual techniques. The conclusion is an assessment of the creative role of schizowriting and of the author's themes and aesthetics. Several of the fifteen articles, interviews and translations i published between 1970 and 1986 deal with the preceding writers, as well as cocteau and jakobson. Others focus on the concept of culture and the relationship between literature and knowledge.
Abstract FR:
Le theatre de derision (1974) aborde trois auteurs, beckett, ionesco et adamov, puis evoque l'heritage refuse par ces dramaturges dans la tradition du theatre d'avant-garde. Vient ensuite l'etude des themes et des personnages, a laquelle succede celle des elements structurels et des formes d'ecriture theatrale. Les structures rhetoriques et les structures de la communication caracterisant le theatre de derision sont alors definies. Le dernier chapitre situe le trio avant-gardiste dans le theatre actuel. Le second ouvrage, echographie de "fin de partie" (1985), comporte quatre partie. La premiere est consacree aux questions de theorie et de methode, la seconde examine successivement les liens entre le manuscrit et le texte final; l'esthetique et la metaphysique de l'echo et le duo-duel beckett-nietzsche. La troisieme aborde l'archetype bourreau-victime, l'enchassement personnages-themes-symboles, puis les rapports entre le langage et la symbolique du moi. La quatrieme partie examine la coexistence du comique et du ludique, puis le recours a une textualite faisant intervenir l'intratextuel et l'intertextuel. La conclusion evalue la thematique, definit la schizocreation et cerne les esthetiques de l'oeuvre. Les quinze articles, entretiens et traductions publies entre 1970 et 1986 portent sur les auteurs precedemment cites, mais aussi sur cocteau et jakobson, ainsi que sur la notion anthropologique de culture et les rapports entre la litterature et la connaissance.