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Between peril and salvation: water in Michel de Ghelderode’s theatrical world

100%
Niedokos J.
Lublin Studies in Modern Languages and Literature
|
2018
|
vol. 42
|
issue 3
DE
Der Artikel enthält enthält keine Abstracts in deutscher Sprache.
EN
The article analyses the motif of water in theatrical plays of the Belgian writer Michel de Ghelderode. It is demonstrated that in his dramatic texts the motif/image of water is not merely a background to the plot but carries some important meanings, usually oscillating between threat and salvation. The analyses proposed in the article focus on these two meanings, on the basis of four theatrical plays which most visibly emphasise them, giving water a particular place in the presented world.
FR
Le présent article analyse le motif de l’eau dans l’imaginaire théâtral de Michel de Ghelderode. L’examen montre que chez le dramaturge belge la matière hydrique va au-delà d’un simple décor et devient significative oscillant entre la menace et le salut. Les réflexions sont structurées autour de ces deux pôles et prennent pour cible surtout quatre textes qui l’illustrent de façon la plus pertinente ne fût-ce qu’à cause de l’importance que prend cet élément dans l’histoire.
RU
Том содержит аннотацию только на английском и французском языках.
2
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94%
Demby Ł.
Estetyka i Krytyka
|
2009
|
issue 15-16
272-276
3
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Witkacy and Ghelderode: Goethe’s Faust Transformed into a Grotesque Cabaret

71%
Kiebuzińska C.
Estetyka i Krytyka
|
2013
|
issue 4(31)
207-220
EN
The farce, realistic and surrealistic, trivial and yet transfigured, is an essential expression of both Stanisław Ignacy Witkiewicz’s The Beelzebub Sonata and Michel de Ghelderode’s The Tragic Death of Doctor Faustus. Both plays were written in 1925, and the subtitle of each play informs that we are at a great distance from Goethe’s transcendent drama, for Ghelderode’s play is subtitled “ATragedy for the Music Hall” and Witkacy’s “What Really Happened in Mordovar.” This paper explores the deformation of any traces of Goethe’s tragic Faust, as each playwright situates his play in a grotesque cabaret. In both plays the Mephistophelian character has been deprived of his powers of negation, and instead as Diamotoruscant in Ghelderode’s version produces cheap tricks akin to those of Goethe’s “Witches Kitchen” in the music hall. Not only do both playwrights ridicule the potential of a twentieth-century Faust figure, but they also mock Naturalism in the theater and in Witkacy’s play even the possibility of a Theatre of Pure Form.
4
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La marionnettisation des personnages dans le théâtre francophone et polonaise du Vingtie`me Sie`cle

51%
Bocianowski C.
Prace Polonistyczne
|
2016
|
vol. LXXI
237-255
EN
This article is devoted to the use of the aesthetic of marionettes in twentieth-century theatre in Poland, French-speaking Belgium and France. Starting with the treatment of marionettes in Maurice Maeterlinck’s play Interior, the analysis of plays shows the function of the marionettisation of characters and how puppets inspire authors, on different levels, in the representation of metaphysical, political or social issues.
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