La perception de l'insécurité chez les personnages dramatiques de Harold Pinter
Institution:
Aix-Marseille 1Disciplines:
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Abstract EN:
Most of pinter's characters know what it is to be puzzled by a human relationship, to be aware of sudden changes and insecurities in it, finding suddenly boggy ground under their feet or shifting sand where there had been a firm path. They all know how no relationship is static but continually changing and developing, and have experienced the sense of personal insecurity this can give. Nothing in their lives is firm and stable; not their physical contexts nor their own memory. Language is essential in pinter's theatre: often bearing threatening messages, words, spoken or hushed, are all ambiguous and mysterious. Pinter's characteres feels their very selves threatened: and this self is the most important thing there is. They all emerge shadowy, tenuous, menaced, cheating each other, hiding behind a role which is false, shifting their ground in relation to each other in order to pursue their own advantage. Pinter is one of the most perceptive and able dramatists to express human insecurity. Risking his reputation, pinter confesses doing "agit-prop" since 1984, but actually, has always been preoccupied with the way in which people change their roles in any relationship, and with any kind of oppression. Together with its psychological aspect, pinter's theatre. . .
Abstract FR:
L'hesitation, le tatonnement sont les caracteristiques de ce que connait tout personnage pinterien aux prises avec la definition meme de son angoisse. Le contexte materiel des personnages dramatiques de pinter sert souvent de miroir catalyseur a un sentiment deja existant en eux. Ils inventent leur contexte plus qu'ils ne le vivent, ce qui fait de la plupart des pieces de pinter davantage une dramatisation des pensees fluntuantes des personnages. L'insecurite chez l'antagoniste du theatre pinterien est essentiellement d'origine existentielle. Soucieux de preserver son identite, si toutefois il parvient a s'en acquerir une, et excessivement mefiant, il ira jusqu'a mentir, trahir. Meme la memoire devient adversaire lorsqu'elle cesse d'etre un refuge securisant. Le langage est primordial chez pinter, car c7est le moyen dramatique qui revele ou obscurcit le personnage. Le verbe est ambigu, mysterieux. Si la psychologie populaire est basee sur l'estime excessive de soi et si pour certains comme sartre, "l'enfer c'est les autres", pinter, lui, defend farouchement la double sauvegarde des personnalites individuelles et des etres humains en tant que race. L'axe psychologique des pieces de pinter est double d'une dimension sociale et ethique tres active, quoique moins dominante avant 1984. Mais pinter ne se contente pas de denoncer la corruption morale du monde.