« All the World’s a Stage » : dans les coulisses de l’écriture fowlesienne
The theme of dramatic performance appears conspicuously in the bulk of Fowles’s novels and short stories, illustrating the typical Shakespearian topic of the dramatic quality of the world we live in. However, the supreme illusion conveyed by the theatrical artifice of the masque works towards disclo...
Salvato in:
| Pubblicato in: | URI:https://journals.openedition.org/ebc, |
|---|---|
| Autore principale: | |
| Natura: | Article ou chapitre numérique |
| Lingua: | Français |
| Pubblicazione: |
Études britanniques contemporaines
2019
|
| Accesso online: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Riassunto: | The theme of dramatic performance appears conspicuously in the bulk of Fowles’s novels and short stories, illustrating the typical Shakespearian topic of the dramatic quality of the world we live in. However, the supreme illusion conveyed by the theatrical artifice of the masque works towards disclosing a deeper truth about human identity, and reflects in a mirror game the absence of reality in the protagonists’ everyday lives. As the prisoners of a part depriving them of their genuineness, Fowles’s characters attempt to regain freedom on the borderline between fiction and reality. Far from being limited to a simple imitation of real life, drama is above all sheer optical illusion, a fictitious discourse aimed at leading the reader/spectator to arrange constantly his way of seeing things. The main interest of Fowles’s narrative method lies in the projection of different modes of reading onto the foreground of the textual scene. We will see how the author devotes himself to a « travesty » of fiction writing and lays bare the mechanical devices of his narrative strategies. |
|---|