Le théâtre de Jean Rotrou et ses personnages : étude sur la dramaturgie et l'esthétique de l'identité (1628-1649)
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Abstract EN:
The characters in rotrou's plays are generally confined to certain "types" who, for the most part, have very little morphological individuality. The best exemplary "type" is that of the hero and heroine. They are fully conscious of their superiority and are either singled out for their physical feats or almost flawless biological make up which are exemplified in their beauty, presence, courage and high moral virtues. Of course, love is what makes "greats hearts" beat. They are placed in love scenes, which are present in rotrou's work as dramatic necessity. The mutual love shared by the heros must be strong enough to break down all barriers, if not there would not be a play. The opponents whose decision making power risk endangering the young couple's happiness, are played by the king, the father, the rival, and the old man in love. Opposing them, there are servants whose role is defined as that of the confidant, "adjuvant" and their masters "double"; they also play a part in the setting of the scene and the denouement. Finally, there are the traditional and social characters, like the braggart, the doctor, the parasite, and the poet, who make their appearance on the scene for the sole purpose of making the audience laugh. The main objective of this paper is to bring out the existence of an aesthetic element in the personalities of rotrou's characters by giving vivid and precise description based on a character analysis.
Abstract FR:
Les personnages de rotrou se bornent generalement aux "emplois" ou aux "types", qui n'ont qu'une pauvre individualite morphologique. L'un des plus caracteristiques est le type du heros et de l'heroine. Ceux-ci, pleinement convaincus de leur superiorite, se distinguent par la superiorite physique, sinon biologique, qui se manifeste par la beaute, la prestance, le courage, et par la superiorite de la vertu morale. Certes, l'amour est l'affaire de ces "grands coeurs". Ils se situent toujours devant l'amour, qui est present comme une necessite dramatique. L'amour reciproque des heros doit heurter aux obstacles, sans quoi il n'y aurait pas de piece. Les opposants dont les decisions risquent de compromettre le bonheur des jeunes amoureux, sont incarnes par le roi, le pere, le rival et le vieillard amoureux. En fce d'eux, il y a des subalternes, dont la fonction est definie comme celle de confident, d'"adjuvant", de "double" de leur maitre et colle qu'ils tiennent dans l'exposition et dans le denouement. Enfin, les types traditionnels et les types sociaux, comme le soldat fanfaron, le medecin, le parasite et le poete, apparaissent sur scene dans un seul but de faire rire, tirant de leur vocation de bouffon l'utilite dramatique. Le but de ce travail est de faire apparaitre l'existence d'une esthetique de l'identite et d'en donner une description concrete et precise sur la base d'une analyse faite a travers les personnages le rotrou.