De la gargouille au monstre de foire : poétique de l’excroissance dans The Man Who Had Three Arms d’Edward Albee
Acknowledged by its author as “one of his most spectacular commercial disasters”, Edward Albee’s The Man Who Had Three Arms introduces a bitter acrimonious conference speaker who encountered fame and success thanks to a now resorbed and regretted third arm. If theatre is etymologically a genre dev...
محفوظ في:
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| التنسيق: | Article ou chapitre numérique |
| اللغة: | Français |
| منشور في: |
2019
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| الموضوعات: | |
| الوصول للمادة أونلاين: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| الملخص: | Acknowledged by its author as “one of his most spectacular commercial disasters”, Edward Albee’s The Man Who Had Three Arms introduces a bitter acrimonious conference speaker who encountered fame and success thanks to a now resorbed and regretted third arm. If theatre is etymologically a genre devoted to showing, Albee revels in frustrating its audience’s voyeuristic drive by limiting the presence of the mysterious appendage to the spiteful and anger-ridden monologic storytelling of a man who once used to be a freak. This paper seeks to focus on the mechanisms of linguistic inflation produced by this morphologic growth, which engages with the limits of the body – of the actor and of the text – and questions our definitions of monstrosity. |
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