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http://worldcat.org/entity/work/id/29974952

André Gide et le théâtre

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  • "André Gide"
  • "ANDRE GIDE AND THE THEATRE"

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  • "UN BILAN EXHAUSTIF DES ACTIVITES THEATRALES DE GIDE PERMET DE SOULIGNER COMMENT SE DESSINE A L'INTERIEUR DE SA CARRIERE LITTERAIRE UNE VERITABLE CARRIERE DRAMATIQUE ET COMBIEN LE THEATRE EST RESTE POUR LUI UNE TENTATION. L'EXAMEN DE SES IDEES SUR LE THEATRE FAIT APPARAITRE UNE CONCEPTION EXIGEANTE DE L'OEUVRE DRAMATIQUE CENTREE SUR LA NOTION DE "CARACTERES", SEUL MOYEN DE PROPOSER DE NOUVELLES FORMES D'HEROISME. SI GIDE ACCORDE TOUTE SON ATTENTION AUX VERTUS LITTERAIRES DU TEXTE FRAMATIQUE, IL A EXPRIME EN REVANCHE BEAUCOUP DE RETICENCES A L'EGARD DES EXIGENCES DE LA REPRESENTATION THEATRALE ET IL LUI A ETE DIFFICILE DE S'Y SOUMETTRE SANS QU'IL Y AIT ETROITE CORRELATION, SES IDEES AIDENT A COMPRENDRE SES PROPRES OEUVRES DRAMATIQUES QUI, PAR DELA LA DIVERSITE DE LEURS FORMES, SE CARACTERISENT PAR UNE FORMULE DRAMATIQUE ORIGINALE : UNE FIGURE CENTRALE FORTE DE CE QU'ELLE INCARNE DE SA PENSEE, DES PERSONNAGES SECONDAIRES QUI NE SE COMPRENNENT QUE PAR RAPPORT A CETTE FIGURE, UNE ACTION INTERIORISEE, UNE DESINVOLTURE A L'EGARD DES PERIPETIES AU PRODIT DE LA NECESSITE INTERIEURE QUI GUIDE LES HEROS. LES OEUVRES DRAMATIQUES DE GIDE REPRESENTENT, COMME SES RECITS, UNE EXPERIMENTATION DES POSSIBLES, UNE EXPERIENCE VECUE PAR PROCURATION ; ON Y RETROUVE LES MEMES PREOCCUPATIONS MORALES, RELIGIEUSES ET POLITIQUES. MAIS L'OBJECTIVATION PROPRE A LA FORME DRAMATIQUE,LEUR INCARNATION DANS DES FIGURES ANTIQUES OU BIBLIQUES, LES DETACHENT DE L'AUTEUR QUI POURTANT NE PEUT S'EMPECHER DE MANIFESTER INDIRECTEMENT SA PRESENCE PAR LE BIAIS DES PROCEDES IRONIQUES."
  • "AN EXHAUSTIVE SURVEY OF GIDE'S ACTIVITIES RELATED TO THE THEATRE SHOWS HOW, WITHIN HIS LITERARY CAREER, A GENUINE DRAMATIC CAREER EMERGED AND WHAT ATTRACTION DRAMA ALWAYS EXERTED ON HIM. GIDE HAD AN EXACTING CONCEPTION OF DRAMATIC PRODUCTION, CENTRED ON THE NOTION OF 'CHARACTERS', WHICH TO HIS MIND WERE THE ONLY MEANS OF PROPOUNDING NEW FORMS OF HEROISM. WHILE HE ATTACHED GREAT IMPORTANCE TO THE LITERARY QUALITIES OF THE DRAMATIC TEXT, HE EXPRESSED MUCH RELUCTANCE TO SUBMIT TO THE CONSTRAINTS OF THE THEATRICAL PERFORMANCE AND FOUND IT DIFFICULT TO COMPLY WITH THEM IN PRACTICE. HIS IDEAS THROW LIGHT ON HIS DRAMATIC PRODUCTION, THOUGH THERE IS NO DIRECT CORRELATION BETWEEN THE TWO. THESE WORKS, HOWEVER DIVERSE IN FORM, ARE CHARACTERISED BY ONE ORIGINAL DRAMATIC FORMULA : A CENTRAL FIGURE EMBODYING SOME OF GIDE'S OWN IDEAS IN A FORCEFUL WAY, SECONDARY CHARACTERS TO BY UNDERSTOOD ONLY IN RELATION TO THE CENTRAL FIGURE, AN INTERIORISED ACTION, A DISREGARD FOR PERIPETIAE TO THE BENEFIT OF THE INNER NECESSITY WHICH GUIDES HEROES. IN HIS DRAMATIC WORKS, AS IN HIS NARRATIVES, GIDE EXPERIMENTS WITH POTENTIALS, LIVES EXPERIENCES BY PROXY. THE SAME MORAL, RELIGIOUS AND POLITICAL CONCERNS ARE TO BE FOUND IN THEM. BUT THE OBJECTIVATION INHERENT IN THE DRAMATIC FORM, AND THE EMBODIMENT OF THESE VALUES IN HEROES FROM THE ANTIQUITY OR BIBLICALTIMES, TEND TO SEVER THESE CONCERNS FROM THE AUTHOR, EVEN THOUGH GIDE CANNOT REFRAIN FROM MANIFESTING HIS PRESENCE THROUGH IRONY."

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  • "André Gide et le théâtre"
  • "ANDRE GIDE ET LE THEATRE"
  • "André Gide et le théatre"
  • "Andre Gide et le theatre"

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