Le théâtre de J. -M. Synge (1871-1909) : recherches pour une esthétique du récit dramatique
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Montpellier 3Disciplines:
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Abstract EN:
A survey of trends of today's criticism, as well as a detailed ana-lysis of jm synge's plays (with a line-by-line commentary of riders to the sea) and using semiotics, as a stepping-stone this thesis aims at defining, for dra-ma, a "special methodology". The perspective is definitely an aesthetic one, and we try to show that the text of a play is riddled with "blank spaces" which suggest that there is no finite meaning in a play. We come to define 1) the principle of the "dramatic and aesthetic sanction" 2) the "critical masses" of dialogue (from the example of in the shadow of the glen 3) both the polemic and the dialectic aspect of that "sanction" 4) the "aes-thetic lozenge" 5) some "complicity" between "actants" and signs. With the well of the saints, we try to examine the relationship between what is known as "deep sense" and the text's "stage-elements? does the director of a production "play" on the "mediate textuel meaning " ?shouldn't critics try to open the "textual stage and link it up with the theatrical one, in order to assess the "immediate effect" of a performance? the conclusion of this thesis deals with the critical reception and the public reception -semiotic binarity and the "strry-effeet" and "charcater-effect", the "aesthetic binarity" of the familiar and the strange. We seek to bring closer together the text of a play and the performan-ce (what are the signs, and the limits, of possible alterations of dramatic narration?) ; textual semiotics and th eatrical semiology : we have tried to put together a few hypotheses and to "design" some critical "vistas" in rather empirical way, and we are consequently aware that this project of a comparative assessment of critical and public reception, in relation to the role of of stage-di
Abstract FR:
Panorama des tendances actuelles de la critique, examen detaille des pieces de j. M. Synge (dont un commentaire ligne a ligne de riders to the sea), s'inspirant de la narratologie semiotique, ce travail cherche a definir, pour le theatre, un "esprit methodologique sur me-sure". Optant pour une perspective esthetique, l'analyse tente de montrer que le recit dramatique est concu pour la scene, et que le texte de theatre est plein de "lieux ouverts" qui en "compromettent" le sens. Elle definit ainsi : 1)le principe de la "sanction dramatico-estheti-que" 2)les "masses critiques" du dialogue (avec l'exemple de on the shadow of the glen) 3) l'aspect polemique et dialectique de cette "sanction" 4)le "losange esthetique" 5)une "complicite" entre actant et signe. Avec the well of the saints, nous nous interrogeons sur la relation entre le sens dit "profond" et les "valeurs sceniques". Ou la mise en scene pourra-t-elle "jouer" sur le "sens textuel mediata"?ne fau-drait-il pas ouvrir la "scene du texte" vers celle du theatre, et apprecier "l'effet de sens immediat" de la representation? ce travail se conclut par une opposition entre "reception critique" et "reception publique" -entre la "binarite semiotique" et "l'effethistoire" et "l'effet-personnage" -la "binarite esthetique" du famili-er et de l'etrange. Nous cherchons donc a reunir texte et represen-tation (quels sont les signes textuels, et les limites, des possibi-lites de devenir du recit dramatique?) ; semiotique textuelle et semiologie de la representation : "construction d'hypotheses" et "tra-ce" de perspectives, assez empiriques pour que ce projet d'evaluation comparative de la reception critique et publique, par rapport au(x) traitement(s) possible(s) de la mise en scene, nous fasse ressentir, et constater, le besoin d'une methodologie "speciale",qui reste donc a concevoir et a mettre a point.