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L’Arabe dans le théâtre d’Henri-René Lenormand : un personnage « exotique » ?

100%
GREGORIO A.
Planeta Literatur. Journal of Global Literary Studies
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2014
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issue 1. Europe - Maghreb: exchanged glances / L'Europe et le Maghreb: les regards croisés
69-84
FR
Chez Lenormand, la représentation de l’Afrique ne relève en rien de l’engouement passager ou de l’effet de mode. L’Autre, le colonisé, le renvoie presque douloureusement à sa position de Français colonisateur de métropole. Si son regard est fait de distance fascinée, de curiosité, de préjugés et de mauvaise conscience, quelle image son théâtre donne-t-il de l’Arabe, du Touareg ou du métis ? Est-il un personnage « exotique » ? Et surtout, quel sens donner à l’« exotisme » dans l’œuvre de Lenormand, notion qui a nourri d’importants débats littéraires et extralittéraires, et qui fait l’objet d’une réévaluation au XXe siècle ?
2
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To break “the Black Wall”. The motif of fear in plays by Henri-René Lenormand

76%
Kaczmarek T.
Acta Universitatis Lodziensis. Folia Litteraria Polonica
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2020
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vol. 57
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issue 2
27-38
PL
Henri-René Lenormand odnowił teatr wyznaczając mu jako domenę tajniki duszy ludzkiej. We wszystkich swych sztukach dążył do wyjaśnienia tajemnicy życia wewnętrznego, do rozwikłania zagadki, jaką jest człowiek dla samego siebie. Dramaturgia była więc dla autora Wariatki z niebios nie tylko środkiem ekspresji literackiej, ale i swego rodzaju terapią, pozwalającą mu zwalczyć depresję. W niniejszym artykule przywołano trzy dramaty: Czas jest snem, Wykolejeńcy, Tchórz, w których Francuz diagnozuje przypadki melancholii, opisując świat psychotyczny z perspektywy cierpiących postaci. Ukazuje on swoich bohaterów w zamknięciu, odizolowanych od reszty świata, duszących się w klaustrofobicznych mansardach, które symbolizują ich nadwerężony stan psychiczny. Poza tymi ścianami fizycznymi istnieje też w utworach Lenormanda niewidzialna dla oka, choć wszechobecna „czarna ściana”, przed którą staje zupełnie bezbronny, załamany psychicznie człowiek, szukający w niej chociażby najmniejszej szczeliny umożliwiającej mu wydostanie się na zewnątrz z urojonego świata.
EN
Henri-René Lenormand refreshed theatre, defining a new domain for it: the mysteries of the human soul. In all of his plays, he strived to explain the secret of internal life, as well as to solve the mystery that people are to themselves. Therefore, dramaturgy was for the author of La Folle du Ciel not only a means of literary expression, but also a kind of therapy, enabling him to combat his depression. In this article, three plays are discussed: Le Temps est un songe, Les Ratés, and Le Lâche, in which the French playwright diagnosed cases of melancholia by describing the psychotic world from the perspectives of the suffering protagonists. He presented them in closure, isolated from the rest of the world, suffocating in claustrophobic rooms under mansard roofs which symbolised their strained mental conditions. Apart from physical walls, in Lenormand’s works there is also the invisible to the eye yet pervasive “black wall”, in front of which a human being stands completely defenceless and mentally broken, trying to find in it even the slightest crack enabling them to escape the delusional world.
3

Le « théâtre d’évasion » de Gaston Baty, ou comment dépasser la sécularité

75%
Kaczmarek T.
Romanica Wratislaviensia
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2019
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vol. 66
69-80
EN
In this article, we study the works of French playwrights from the 1920s and 1930s who adhere to Gaston Baty’s theatrical aesthetics, without explicitly declaring themselves as believers. While remaining wary of dogmas symbolized by the Church, writers such as Henri-René Lenormand, Simon Gantillon and Jean-Victor Pellerin note the loss of transcendence that inevitably leads “modern man” to his downfall. The rejection of the teaching of institutionalized religion does not mean a total disappearance of the sacred in their texts. In the face of demonic civilization, dramatic authors make a somewhat pessimistic diagnosis in search of remedies likely to fill the “ontological vacuum.” Undoubtedly, according to these writers, drama is the place where expectations and religious disappointments that agitate this tormented generation of the interwar period crystallize.
4
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Le vagabondage moderne dans le théâtre de Henri-René Lenormand

71%
Kaczmarek T.
Quêtes littéraires
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2014
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issue 4
76-84
EN
The motif of the wanderer is not new in the French theatre, but in the first half of the twentieth century due to the general crisis of values, some authors refer to it in order to display the plight of modern man. One of them is H.-R. Lenormand, an author not very well-known to a wider audience nowadays, who under the influence of Strindberg writes plays which refer to the expressionist aesthetics. He creates a lot of works in which he employs the technique of the station drama.. It is this form that allows him to focus on the evolution of the character and his metamorphosis. While in Les Ratés he shows buffoons heading for the brink of despair and finally their certain death, in L'Homme et ses Fantômes he focuses on the inner journey of the main character, who is looking for the reason for his suffering in his own soul.
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