Les suites du cid xvii siecle a nos jours
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Université Stendhal (Grenoble)Disciplines:
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Abstract EN:
Comeille's el cid is known throughout the world and has been immensely significant ever since it's creation in 1637. Given that the play appeared at the height of theatre's baroque period, at a time when the rules of drama were being redefined with the appearence of each new work. El cid adheres remarkably closely to the rules of a classic tragi-comedy. Corneille omitted the heterogeneous elements of character and situation, the hyperbolic style and the on-stage physical violence which were present in his spanish model, las mocedades del cid, by guillen de castro, concentrating instead on the fantastic love between rodrigue and chimene. However, the reputation gained by el cid was to provoke la querelle du cid a debate which centres around corneille's use of dramatic rules. This thesis presents the adaptations of el cid from 1637 up to the present day, and in the context of the times, shows the various motives of corneille's + continuators ; and the themes which they treated in their adaptations ; the examination starts with the querelle du cid. For the 17th century, a chronological theatrical study is presented on the baroque tragi-comedies of chevreau, desfontaines a,and chillac (1637 - 1639). Also examined are the parodical texts of boileau, mme deshoulieres and gherardi (1665 - 1692), which treat scenes from el cid in a satirical and amusing manner. In the 18th century, j. -b. Rousseau, h. Lekain and f. Tronchin reworked el cid, to bring it into line with classical rules, as well as to counter criticism of the work. Six other writers also produced parodical transpositions of the plot, from a contemporary religious angle or in the bawdy gallic humour of the time. In the 19th century, under the influence of romanticism, and throughout the periods of political instability in france: empire, restoration, republic, p. -a. Lebrun, c. Delevigne, g. Hugelmann, and j. De nittis were inspired by the noble themes in comeille's work: love, duty, heroism. These themes were introduced into patriotic or humanitarian works, keeping on ly the names of the characters while making substantial changes to the plot and characters in the original text and lending the whole work a historical slant: ancient spanish or lacal contemporary. Finally, in the 20th century, apart from the nostalgia for the strict moral code of corneille's time, as represented by m. Morel in his enfant du ci
Abstract FR:
Le cid de corneille de 1637 est connu dans le monde entier. Il remporte, des sa creation un immense triomphe. Car il a paru en pleine periode du theatre baroque, a un moment ou la question des regles dramatiques se construisait, au fur et a mesure, avec chaque nouvelle creation. Cette piece est tres proche de la tragi-comedie reguliere. Car corneille enleve de son modele espagnole les enfances du cid de guillen de castro tous les elements heteroclites des personnages et des situations, le style hyperbolique, et la violence physique sur scene. Il concentre aussi son action sur l'amour romanseque de rodrigue et chimene. Mais la grande vogue du cid pousse a naitre la querelle du cid ; le debat se cristallise sur la facon dont corneille utilise les regles dramatiques cette these presente les suites du cid de 1637 a nos jours. Elle montre, a partir de la querelle du cid, et selon les perspectives du temps, les buts et les donnees des + continuateurs ; de corneille. Au xviie siecle, il ya une etude theatrale chronologique des tragi-comedies de chevreau, desfontaines et chillac (1637-1639), qui sont + baroques ;. Et les textes parodiques de boileau, mme deshoulieres et gherardi (1665-1692), reprennent des scenes du cid dans une tendance satirique, ou divertissant. Au xviiie siecle, j. -b. Rousseau, h. Lekain et f. Tronchin refont le cid, pour le rendre plus conforme aux regles classiques, aussi bien qu'aux critiques dirigees contre le cid. D'ailleurs, six autres ecrivains transposent parodiquement l'intrigue de corneille dans l'actualite religieuse, ou dans l'esprit gaulois du temps. Au xixe siecle, sous l'influence du romantisme, et dans toutes les periodes politiques instables de la france : empires, restaurations, et republiques, p. -a. Lebrun, c. Delavigne, g. Hugelmann, et j. De nittis s'inspirent de themes nobles de corneille, amour, devoir, heroisation, en les introduisant dans une conception patriotique ou humanitaire, gardant seulement le nom du heros cornelien dans leurs titres, mais changeant considerablement l'intrigue et les personnages du texte original, et lui apportant plus de couleur historique espagnole ancienne ou locale recente. Enfin au xxe siecle, a part la reminiscence de la morale stricte au temps de corneille, representee par m. Morel dans son enfant du cid, quelques auteurs se rencontrent, dans des genres varies, afin d'exploiter encore le s