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The Political Involvement of Myth in Its Stage Adapatations

100%
Budzowska M., Czerwińska J.
Collectanea Philologica
|
2016
|
issue 19
63-75
FR
Les mythes antiques de la culture méditerranéenne deviennent une langue utilisée pour exprimer les angoisses politiques actuelles. Dans le théâtre contemporain mythes sont souvent déconstruites selon au dialogue post-moderne avec la tradition. Cet article est pour analyser deux productions théâtrales du théâtre polonais (Iphigénie par Antonina Grzegorzewska, 2008; Orestie par Michał Zadara, 2010) qui adaptent le plus politique mythe antique des Atréides, dans le contexte de ses versions littéraires anciennes (Orestie d’Eschyle, Iphigénie en Aulis d’Euripide). Les questions politiques discutés comprennent menace du terrorisme mondiale, le communisme, les guerres en Irak et en Afghanistan.
EN
Ancient myths from the Mediterranean Culture often become a language used to express current social and political anxieties. In the contemporary theatre ancient myths are deconstructed and subverted according to the postmodern dialogue with tradition. Aesthetic changes are accompanied by the ideological modifications. This obviously crisis position of myth is associated with the method of de-contextualization when a mythical plot or just a mythical character is involved in the (post)modern political background. This paper is to analyse three theatre productions from Polish theatre (Iphigenia by Antonina Grzegorzewska, 2008; Oresteia by Michał Zadara, 2010; Antigone by Marcin Liber, 2013) which adapt the most political ancient myths of Atreides and Labdacides’ families. Authors will present the ancient literary context of these myths (Sophocles, Euripides, Aeschylus) and compare it with the contemporary stage adaptations. Political issues which will be discussed concern 1) global terrorism threat; 2) communism; 3) political usage of dead heroes and enemies – post-memory; 4) wars in Iraq and Afghanistan; 5) Nazi genocide; 6) media management of death. All these current problems constitute a deconstructed background for ancient myths and authors will consider whether this procedure creates an empty mythical mask for performance or, conversely, it enriches a source meaning of ancient myth.
2
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Between peril and salvation: water in Michel de Ghelderode’s theatrical world

75%
Niedokos J.
Lublin Studies in Modern Languages and Literature
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2018
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vol. 42
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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.
3

Edith Craig (1869-1947): Maverick Stage Pioneer

63%
Moran S.
Beyond Philology: An International Journal of Linguistics, Literary Studies and English Language Teaching
|
2013
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issue 10
157-180
EN
Even a quick look at the life and career of Edith “Edy” Craig (1869-1947) should raise questions as to why she has been denied the recognition granted to her mother and brother, the acclaimed actress Ellen Terry and the scenic designer and theorist Edward Gordon Craig. Despite this ‘handicap’ of birth, she determined to make her own way and not to rely on the potential for nepotism such eminent relations would have permitted. This she did with a skill and passion that earned her, if not her proper place in theatre history, at least the respect of many of her contemporaries. In the light of recent research which goes some way to compensate for the previous neglect, this essay provides a necessarily brief overview of her life and early career, including her work with The Pioneer Players, an independent theatre group she founded in 1911.
FR
Même un regard rapide sur la vie et la carrière d’Edith « Edy » Craig (1869-1947) devrait soulever la question pourquoi on lui a refusé la reconnaissance qu’ont reçue sa mère et son frère – l’actrice acclamée Ellen Terry et le décorateur scénique et théoricien Edward Gordon Craig. En dépit de cet « handicap » de naissance, elle était déterminée de suivre son propre chemin et de ne pas compter sur le népotisme potentiel qu’auraient permis ces relations éminentes. Et c’est ce qu’elle a fait, avec compétence et passion, qui lui ont gagné, sinon une place dans l’histoire du théâtre, au moins du respect de la part de plusieurs de ses contemporains. A la lumière des recherches récentes, qui compensent le manque d’attention précédent, le présent essai montre, de façon sommaire, sa vie et les débuts de sa carrière, y compris son travail avec The Pioneer Players, un groupe de théâtre indépendant qu’elle a fondé en 1911.
4
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Fantaisies et (dé)raisons de l’oubli chez Jean Giraudoux

51%
Coyault S.
Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)
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2020
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vol. XXX
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issue Zvláštní číslo – Le monde de la littérature
101-108
EN
Among the traumas associated with the First World War, Giraudoux was particularly sensitive to amnesia, to the point of making it the main subject of a novel: Siegfried et le Limousin. Adapted to the scene in 1928, this novel contributed to author’s fame and inaugurated his collaboration with Louis Jouvet. In fact, the principle of forgetfulness persists throughout the whole Giraudoux’s work: comical, dramatic or poetic, and it is also the main pretext for a meditation on memory.
5
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La haine de la littérature selon Bernard Lamy

45%
Šuman Z.
Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)
|
2022
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vol. 32
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issue Special Issue
173-189
EN
The paper focuses on Lamy’s reflections on literary fiction and theatre as displayed in his Nouvelles réflexions sur l’art poétique (1678). Bernard Lamy (1640–1715) was a prolific writer, a major Augustinian thinker and a member of the French Oratory. Today, he is mostly known for his La rhétorique ou l’Art de parler (1st edition dates back to 1675), and his numerous works continue to elicit contributions from specialists on rhetoric and literary fiction. Lamy’s reflections on literature, theatre and aesthetics are based on rigorous moral and religious grounds, hence his overriding aim to dismantle and deconstruct the core of what some continue to call the “classical doctrine”. Lamy systematically treats topics such as embellishment, respect for the unities (time, place, action), paradoxes of aesthetical pleasure, verisimilitude, morality of literary and theatrical fiction, etc., all to demonstrate their radical incompatibility with the principles and values of an exemplary pious person. Lamy’s rigorist moral and religious views might well seem shocking to a modern reader, but we aim to show that his analysis of various creative strategies (especially intricacies of rhetorical adaptation and procedures of arousing an emotional/intellectual response) has a great potential to enrich our understanding of early modern fiction and theatre.
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