5,389 research outputs found
Du New York de Copeau au Tokyo de Cocteau. Impromptus moliéresques des auteurs modernistes
No full textThe Impromptu de Versailles set an important precedent in the history of theatre. Molière demonstrated that a playwright could go on stage and showcase his talent as an actor by playing himself, all while directing his actors, responding to the accusations of his worst critic, Edmé Boursault, and defending his vision of authentic representations in plays. About three centuries later, this prospect attracted several 20th-century French playwrights who rewrote his impromptu for their theatre company and their times: Jacques Copeau, Jean Giraudoux, Albert Camus, Eugène Ionesco, Jean Anouilh, and Jean Cocteau. Our goal in this article is twofold. First, we want to map these impromptus chronologically to understand how these playwrights rewrote Molière’s impromptu and why they chose it as an hypotext. Did they merely employ it as an apt means to introduce their directorial take on the Molière’s comedy they were staging as the main play on a particular night? Or did they take this chance to address their own Boursaults? And in that case, how did they use this theatrical form as a weapon against their critics? Secondly, we would like to point out the instances where the memory of Molière emerges from these impromptus as a meaningful legacy that we should not get rid of, not even in modern times
Debussy, l’étoffe d’un vrai poète ? La synthèse poétique-musicale des Proses lyriques
No full textPaul Dukas admitted that the greatest influence on his friend and colleague Claude Debussy
was „ that of the literati. Not that of the musicians ”. Indeed, Debussy always walked the line between these two arts, setting to music both poems and Maeterlinck’s play Pelléas et Mélisande.
Although many scholars have already examined these musical adaptations and his preference for prose poetry over classical verse, his attempts at prose poetry remain unknown at best, and ignored at worst. Shortly before setting his lyric opera to music, he conceived the Proses Lyriques, a cycle of four melodies based on his original poems, intended to be accompanied by the piano and sung by a soprano voice. The aim of this article is to shed light on both his poetic prose, which departs from classical verse just as his hexatonic system departs from the classical heptatonic scale, and its original content. While some of the images do not stray far from the symbolist aesthetic, others evoke a suggestive portrait of the lives of his friends and their families at the turn of the century.Paul Dukas admettait que la plus grande influence sur son ami et collègue Claude Debussy était „ celle des lettrés. Pas celle des musiciens ”. En effet, Debussy a toujours parcouru la frontière entre ces deux arts, mettant en musique de nombreux poèmes ainsi que la pièce théâtrale Pelléas et Mélisande de Maeterlinck. Bien que de nombreux chercheurs aient déjà examiné ces adaptations musicales, et sa préférence pour la poésie en prose plutôt qu’en vers classique, ses tentatives de poésie en prose restent le plus souvent inconnues quand elles ne sont pas simplement ignorées. C’est peu avant la mise en musique de son opéra lyrique qu’il conçoit les Proses Lyriques, un cycle de quatre mélodies accompagnées au piano et chantées par une voix de soprano sur ses poèmes originaux. Cet article vise à mettre en lumière d’un côté sa prose poétique, qui s’écarte du vers classique tout comme son système hexatonique s’écarte de l’échelle heptatonique, et de l’autre leur contenu inédit ; en effet si certaines images ne s’éloignent pas de l’esthétique symboliste, d’autres évoquent un portrait suggestif de la vie de ses amis et de leurs familles à la fin du siècle
"Irma Vep". La serialità delle vampire come trasfusione tra letteratura, cinema e vita
No full textQuesto articolo ripercorre le origini culturali, letterarie e cinematografi che della revenante protagonista di Irma Vep (2022), serie TV di Olivier Assayas, per chiarire la sua rilettura del personaggio della vampira. L’analisi richiama la raminga succhiasangue dai poteri soprannaturali nella let-teratura ottocentesca francese, per poi rintracciare la sua trasfi gurazione in umana criminale dello spazio urbano nei Vampires (1915) di Louis Feuillade, serial muto con prota-gonista la ladra dal nome anagrammatico di Irma Vep. La serie di Assayas rivisita tanto la fi gura della vampira quanto la fi lmografi a dello stesso regista: Assayas ripropone infatti, in formato seriale, un suo omonimo fi lm del 1996, ossia il dietro-le-quinte della produzione di una serie remake del serial di Feuillade. Quando l’attrice protagonista del remake si perde nel suo personaggio, lo spirito di Irma Vep si impa-dronisce della sua nuova interprete. L’archetipo della vam-pira si trasforma così in una metafora del rigenerarsi fi lmico. Sfi dato dall’industria delle piattaforme streaming, lo spirito del cinema risuscita insistentemente, impossessandosi di nuovi veicoli artistici e vivifi cando la serialità cinematogra-fi ca à la Feuillade.This article traces the cultural, literary, and cinematic ori-gins of the female revenant starring in Olivier Assayas’ latest TV series, Irma Vep (2022) to clarify his reinterpretation of the female vampire character. It goes back to the wandering supernatural bloodsucker in nineteenth-century French lit-erature, and traces her transfi guration into the criminal hu-man of urban space in Louis Feuillade’s Les vampires (1915), a silent serial starring a thief by the anagrammatic name Irma Vep. Assayas’ series revisits both the vampire char-acter and the fi lmography of the director himself: Assayas presents a serial remake of his 1996 fi lm by the same title, namely the behind-the-scenes production of a remake of Feuillade’s serial. When the lead actress of the remake loses herself in her character, the spirit of Irma Vep completely takes over her new performer. The vampire archetype thus becomes a metaphor for the regeneration of cinema. While challenged by streaming platforms, the spirit of cinema is insistently resurrecting, just like a female vampire, taking possession of new artistic vehicles and enlivening film seriality à la Feuillade
Jean Giraudoux, Essais, articles, récits et témoignages. Tome I: D’une guerre à l’autre
No full textLa miscellanea Essais, articles, récits et témoignages nasce da un’esigenza precisamente esplicitata dai curatori nella loro «Introduction» (t. I, pp. 7-18). Quando negli anni Ottanta e Novanta Gallimard pubblicò la drammaturgia e le Œuvres romanesques di Giraudoux nei tre volumi della «Pléiade», si dovette tralasciare una grande fetta della sua opera composta da numerosi articoli e discorsi di cultura o attualità, nonché da opere a cavallo tra letteratura e testimonianza. Questi scritti tro..
No woman’s land. Suzanne et le Paris d’avant Sarajevo
No full textBetween her childhood in Bellac and her time as a castaway on an islet in the middle of the Pacific, the protagonist of Suzanne et le Pacifique becomes a solitary wanderer in the streets of Paris, in a chapter that evokes the favorite haunts of Giraudoux’s youth before the Great War. This article aims to analyze the “three Parises” present in his novel: the transitory space between the French mainland and the exotic island; the unruly capital that remains incomprehensible to those from the provinces; and the beating heart of a homeland that must be defended.Entre son enfance à Bellac et son naufrage dans l'îlot au milieu du Pacifique, la protagoniste de Suzanne et le Pacifique se transforme en promeneuse solitaire à Paris, dans un chapitre évoquant les lieux de la jeunesse de Giraudoux avant la Grande Guerre. Cet article vise à analyser les trois Paris présents dans ce roman : la terre de transition entre la campagne et l'île exotique, la capitale sauvage qui demeure incompréhensible pour les provinciaux, et le cœur battant d’une patrie à défendre
Undine e(s)t Ondine, la nymphe de Giraudoux refait surface au cinéma
No full textUndine, film allemand de 2020, est une réécriture du célèbre mythe romantique allemand qui, pour sa résonance transculturelle, mérite d’être confrontée à la pièce de Giraudoux autant qu’aux sources allemandes. En effet, c’est à partir d’Ondine (1939) que l’on peut retracer cette Undine contemporaine, « femme humaine par goût ». Loin de l’ancienne représentation dichotomique entre ange et monstre, cette ondine est cultivée, entreprenante et libre de choisir de tuer Hans pour aimer Bertram
Pensiero della folla. Pensiero dell’inconscio. Un dibattito franco-italiano (1875-1895)
No full textQuando nel 1895 Gustave Le Bon pubblicò la Psychologie des foules, un vero best seller all’epoca, si affermò come l’inventore della psicologia delle folle. Tuttavia, una genealogia concettuale di questa scienza ormai scomparsa ci rivela che Le Bon non inaugurò la stagione del pensiero scientifico sulla folla, ma bensì la concluse, subordinando l’analisi delle folle a quella delle “razze” e dei “popoli”. A ben vedere, furono invece dei giuristi italiani a formalizzare questa disciplina qualche anno prima di Le Bon, coniugando un discorso determinista, volto a controllare la folla, con un discorso progressista in favore dell’emancipazione delle classi dominate. Un’analisi delle origini di questa scienza sociale ci permette di mettere in discussione, da un lato, la leggenda che attribuisce a Le Bon il ruolo di ispiratore dei grandi dittatori del XX secolo e, dall’altro, la riduzione della psicologia delle folle a ideologia reazionaria, offrendo un nuovo sguardo su questo campo delle scienze sociali ormai dimenticato
Jeanyves Guérin, Camus, “La Peste” et le coronavirus. Contribution à des humanités citoyennes
No full textLo scorso 5 maggio 2023 l’Organizzazione Mondiale della Sanità ha ufficialmente dichiarato la fine della pandemia Covid-19, circa tre anni dopo averne dichiarato l’inizio, l’11 marzo 2020. In questo periodo, diversi giornalisti, traduttori e professori hanno cercato di tracciare un rapporto tra la nostra emergenza sanitaria e quella descritta nel romanzo novecentesco diventato, suo malgrado, il bestseller di questi anni: La peste (1947) di Albert Camus. Tra queste produzioni comparatistiche ..
Overspinning a Kerr black hole: The effect of the self-force
No full textWe study the scenario in which a massive particle is thrown into a rapidly rotating Kerr black hole in an attempt to spin it up beyond its extremal limit, challenging weak cosmic censorship. We work in black-hole perturbation theory, and focus on nonspinning, uncharged particles sent in on equatorial orbits. We first identify the complete parameter-space region in which overspinning occurs when backreaction effects from the particle’s self-gravity are ignored. We find, in particular, that overspinning can be achieved only with particles sent in from infinity. Gravitational self-force effects may prevent overspinning by radiating away a sufficient amount of the particle’s angular momentum (“dissipative effect”), and/or by increasing the effective centrifugal repulsion, so that particles with suitable parameters never get captured (“conservative effect”). We analyze the full effect of the self-force, thereby completing previous studies by Jacobson and Sotiriou (who neglected the self-force) and by Barausse, Cardoso and Khanna (who considered the dissipative effect on a subset of orbits). Our main result is an inequality, involving certain self-force quantities, which describes a necessary and sufficient condition for the overspinning scenario to be overruled. This “censorship” condition is formulated on a certain one-parameter family of geodesics in the limit of an extremal Kerr geometry. We find that the censorship condition is insensitive to the dissipative effect (within the first-order self-force approximation used here), except for a subset of perfectly fine-tuned orbits, for which a separate censorship condition is derived. We do not obtain here the self-force input needed to evaluate either of our two conditions, but discuss the prospects for producing the necessary data using state-of-the-art numerical codes
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