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LE THEATRE TARDIVIEN ENTRE DIAIRESIS ET SUNAGÔGÈ

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MUNTEANU E.

Concordia Discors vs Discordia Concors: Researches into Comparative Literature, Contrastive Linguistics, Cross-Cultural and Translation Strategies

2011

vol. 3

111-134

With the aesthetical project in mind of composing a theatre à la well-tempered clavichord (Clavecin bien tempéré du théâtre), Jean Tardieu manages to achieve it due to a couple of oxymoronic gestures, that is diairesis and sunagôgè. If the former suggests an irreverent theatre (the result of the re-writing of a series of transformational operations and of demystification of the collective imaginary) with a major focus on obsolete paradigms (vaudeville, bourgeois drama, boulevard drama), the latter is rather a matter of revisiting or transvaluating these hypotexts in the manner of, say, Matéï Visniec’s theatre. Space, time, language and characters undergo some distortion in order to highlight an outworn scenic chronotope, an old world, and to refer to theatre itself in a self-referential gesture. While showing us to the lounge, certain rough sketches would make the spectator consider a dynamic interpretation performed in Diderot’s, Labiche’s or in Feydeau’s time, but this topos has nothing to do with the function miming offstage workings, since it merely provides a theatrical convention. The spectator, receiver of a didascalic paratext with a metatextual scent, becomes an accomplice in this act of théâtromageiros

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1 Concordia Discors vs Discordia Concors: Researches into Comparative Literature, Contrastive Linguistics, Cross-Cultural and Translation Strategies

1 MUNTEANU E.

1 2011

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LE THEATRE TARDIVIEN ENTRE DIAIRESIS ET SUNAGÔGÈ