Conversations après un enterrement: l’exquise obscénité de Yasmina Reza et sa «stratégie des poireaux»
This reflection is built on three fundamental elements: any viewer is a “voyeur”, the scene is essentially exhibitionist, the actors’ verbal interaction displays and strengthens the intrinsic “obscenity” of the theatrical word. Then comes the setting, – as a premise of reading – of the transgressive...
שמור ב:
| הוצא לאור ב: | URI:https://journals.openedition.org/studifrancesi, |
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| מחבר ראשי: | |
| פורמט: | Article ou chapitre numérique |
| שפה: | Français |
| יצא לאור: |
Studi Francesi
2016
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| גישה מקוונת: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| סיכום: | This reflection is built on three fundamental elements: any viewer is a “voyeur”, the scene is essentially exhibitionist, the actors’ verbal interaction displays and strengthens the intrinsic “obscenity” of the theatrical word. Then comes the setting, – as a premise of reading – of the transgressive and at the same time lenitive specificity of Yasmina Reza’s dramatic writing, particularly effective in “Conversations après un enterrement”. Proposed prospective bases will allow the analyst to highlight the dramaturgical formalization of the author’s neutralizing strategy. All spectators, chosen or accepted, despite the existential possibility of a hyper “witness” indifferent to the contingency of reception, is immersed in the speech and in the flesh of the actors in the original obscenity: see and be seen, a kind of architecture to look at. In addition, the viewer becomes accomplice in initial collusion with the writer and actors, with exchanges, “tête a tête”, of beings that boast their affluent talkativeness and unyielding pantomime on the stage. But ultimately, the witty “leeks” strategy will defuse all insubstantial in life. |
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