The article is devoted to the recurrence of the same motifs in the creative oeuvre of Michel de Ghelderode over the whole period of his literary career. The analysis focuses on the recurrence and evolution of two characters in the dramatic works of the Belgian playwright. The first part of the article charts the evolution of the motif of the resurrection of a dead girl: the writer recollects a story, told by his mother in his childhood, to recreate his own stage version of the Biblical resurrection of Jair’s daughter. The second part deals with the motif of the battleaxe and her literary path in Ghelderode’s dramatic works, from a duplicitous gossip through a lecherous plain girl to a shrew, whose story is riddled with elements of the Belgian founding myth.
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.
The present article aims to analyse Vera Feyder’s text Règlement de contes by placing it in a vast French literary context and by highlighting the links that attach it to its praetexts - works on which it draws and which precede it. The examination carried out reveals that the play presented to the public in 1984 was written after the increased theoretical and literary interest in the tales of the 70s. On the other hand, its original form of radio broadcast revives the care to cultivate the oral tradition. The analysis of the work itself reveals the mix of sources with differen generic membership as well as multiple levels of hypertextuality. The transformations introduced at the level of the constituent elements of the action make it possible to speak of the change in the motivations of the protagonists while the ideological and aesthetic scope of the story is focused on the spirit of resourcefulness and the universality of the genre. Consequently, the adaptation of tales proposed by Vera Feyder (Puss in Boots, Little Red Riding Hood and Sleeping Beauty by Charles Perrault and “Bon conseil aux amants” by Victor Hugo) falls under the art of palimpsest and makes it possible to classify it among the dramatic parodies of tales (according to Béatrice Ferrier’s typology).