""À la base de cette étude se trouvent des questions très simples, mais tellement fondamentales qu'on oublie souvent de les poser. Pourquoi le théâtre français est-il tellement "français", par exemple lorsqu'on met en scène un auteur comme Racine? Quelles constructions identitaires, quelles catégories idéologiques étayent cette pratique? Et quels facteurs contextuels, à la fois politiques et sociaux, influencent, contestent, contaminent ces constructions? Abordant à la fois des questions liées à l'histoire du théâtre et des problèmes qui touchent à l'analyse culturelle, Le mythe de l'authenticité analyse l'impact de certains facteurs contextuels sur le processus de canonisation et les modes de représentation d'une seule pièce canonique : Britannicus de Jean Racine (1669). Quel serait le lien entre le personnage de Néron et le roi de France? Qu'aurait pensé Napoléon de l'interprétation de ce même personnage par son acteur favori Talma? Quels facteurs furent à la base de l'interprétation psychosexuelle et puis psychanalytique (à la française) de cette piè̀€ce? Et comment l'interprétation de Britannicus par André Antoine pourrait-elle être appelée queer? Le mythe de l'authenticité démontre ainsi comment cette tragédie romaine fut, depuis sa création jusqu'à nos jours, déconstruite et reconstruite par des artistes aussi divers que Le Kain, Talma, Mounet-Sully, André Antoine, Michel Hermon, Antoine Vitez, Brigitte Jaques-Wajeman et bien d'autres."--Publisher's website."
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Drame fran{cedil}cais 17e si{grave}ecle Histoire et critique.
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