Parodies en scène
Parody is usually described as a textual phenomena, a comic travesty of written and well-known authorities. The strong mental frames of Western Medieval Culture designate this period as especially favourable to this posture. But, between Middle Ages and Renaissance, new genres use parody, and among...
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| Опубликовано в: : | URI:https://journals.openedition.org/crm, |
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| Главный автор: | |
| Формат: | Article ou chapitre numérique |
| Язык: | Français |
| Опубликовано: |
Cahiers de recherches médiévales
2011
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| Online-ссылка: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Итог: | Parody is usually described as a textual phenomena, a comic travesty of written and well-known authorities. The strong mental frames of Western Medieval Culture designate this period as especially favourable to this posture. But, between Middle Ages and Renaissance, new genres use parody, and among them, the drama. Our understanding of parodic plays implies the knowledge of textual but also contextual structures. Pierre de Lesnauderie’s plays, performed in Caen in 1493 and 1496, are not only an example of academic performance in France. They both show a complex parodic style, based on the usual ironic pastiches of classical mythology and religious literature, and on satirical imitation of the theatrical structures themselves. The public debate is on stage: an academic riot against the central power; the epidemy of French disease in Europe. Giving new perspectives to parody, the humanistic french drama aims to constitute himself as a political and cultural authority. |
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