Theatralite de jean giono
Institution:
NantesDisciplines:
Directors:
Abstract EN:
This study is about the idea of theatrality in all its buseness, its availability, as a focus-point allowing as to fin the stakes of playwriting. It may seen surprising that giono should be questioned on a subject so little relevant for these who know his works. We don't want to defend a dramatic writing has too little or too much theatrality. We have decided to, deliberately, look for the mechanisms of invention. Did giono believe, at any time, that be could start a coueer as a playwright ? anyway he gave up quite quickly, however his explanations don't round very convincing. It is easy to denounce the shortcomings of his plays and to state that the novelist didn't want to put on the act of the playwright. This would-in any case-mean to cast out an attempt considered to be unreasonable and that was quickly forgotten. We have drawn our inspiration from these studies that have tried to insert his plays into a chain in order to create a link between the two "manieres". Indeed, we were no taken in by the works devoted to transformation in a work that doesn't admet gaps but shows a continous research for form. We don't limit ourselves to plays only : we consider that writing narrative prose has feed the author from this experience as he has integrated and transformed it into a hidden presence that no stage will ever be able to diminish.
Abstract FR:
Cette etude se propose de faire jouer le concept de theatralite, dans son denuement, dans sa disponibilite, comme un point de cristallisation qui permette de poser les enjeux de l'ecriture dramatique. Il peut paraitre surprenant que nous soumettions jean giono a un questionnement assez peu pertinent pour qui lit son oeuvre. Nous ne nous engageons pas a defendre une production dramatique qui peche par defaut ou exces de theatralite. Nous nous placons deliberement dans une recherche des mecanismes de l'invention. Jean giono a-t'il cru, a un moment donne, qu'il pouvait s'engager dans une carriere d'auteur dramatique ? il y a en tout cas vite renonce, sans que ses explications nous convainquent pleinement. Il est aise de denoncer les insuffisances de son theatre et de constater que le romancier n'a pas voulu jouer le jeu du dramaturge. Mais c'est toujours marginaliser une tentative somme toute peu raisonnable et vite oubliee. Nous nous sommes inspires des etudes qui inscrivent cette production dans la chaine a retablir entre les deux " maniere ", tant nous sommes nourris des travaux consacres aux mutations d'une oeuvre qui ne procede pas par ruptures, mais temoigne d'une recherche permanente de la forme. Nous ne nous en tenons pas cependant a la seule production dramatique : nous estimons que le travail de la forme narrative a rendu cette experience inutile en l'integrant, en faisant un caractere latent qu'aucune scene ne pourra jamais reduire.