Le Theatre d’Harold Pinter
Strategies de l'indicible : regard, parole, image
by Ann Lecercle
(Paperback) (Published)
(February 2006)
ISBN: 9782252034194
Price: $46.00
Out of stock
Harold Pinter (Prix Nobel de litterature 2005) est sans conteste le dramaturge anglais qui a le plus marque le theatre britannique de l’apres-guerre. Sa dramaturgie, tout en nuances et sous-entendus, met en…
Harold Pinter (recipient of the 2005 Nobel Prize in Literature) is, without a doubt, the English playwright who has most influenced the post-war British theatre. His approach to dramatic art – all in nuances and innuendos – involves a discursive stage strategy based on evasion and diversion, if not deviance. Behind this strategy, one can discern, in the background, the deconsecrated Name of God : unpronounceable, as in Jewish tradition.In France, where people have a tendency to associate him (wrongfully so) with Beckett, his dramatic art form does not adapt well to the stage, where it bears too close a ressemblance to vaudeville. The main reason for this misrepresentation has to do with the important role of innuendo in his plays. Unlike Beckett’s theatre, Pinter’s plays and scripts are deeply rooted in English society, with all of its rites, taboos, and things better left unsaid. If they are finding it hard to cross the Channel, it is because these are, for the most part, encrypted texts.In exploring the overlapping between the various forms of Pinter’s writing (lyrical, narrative, dramatic, cinematographic), this work proposes an analysis of his dramatic art and provides a radically new explanation for it.
- By (author) Ann Lecercle
"Anne Lecercle a choisi de prendre ses distances vis-a-vis de ses predecesseurs, et vise a rendre a Pinter toute son originalite. Elle va ainsi s'attacher a deceler dans le texte cette dramaturgie de la nuance et du sous-entendu, cette strategie de l'esquive et de la diversion qui lui paraissent constituer le coeur du theatre pinterien.Harold Pinter (Prix Nobel de litterature 2005) est le dramaturge anglais qui a le plus marque le theatre britannique de l'apres-guerre. Sa dramaturgie, tres particuliere, est toute en nuances et sous-entendus. Derriere cette strategie se profile en toile de fond, desacralise, le Nom de Dieu imprononcable de la tradition juive. L'ouvrage d'Anne Lecercle propose un decryptage de la dramaturgie de Pinter et fournit une interpretation radicalement nouvelle de sa coherence et de sa specificite."
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