Théâtralité et narration : Le Bonheur dans le crime de Barbey d’Aurevilly
Taking as its example Le Bonheur dans le crime by Barbey d’Aurevilly, this article proposes to discuss the interconnectedness of narrative and theater, the cohabitation of story and performance, and the relationship between “telling” and “seeing”. What lends the third Diabolique its importance in te...
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| Format: | Article |
| Language: | fra |
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Laboratoire Interdisciplinaire Récits Cultures Et Sociétés
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| Series: | Cahiers de Narratologie |
| Online Access: | https://journals.openedition.org/narratologie/594 |
| Summary: | Taking as its example Le Bonheur dans le crime by Barbey d’Aurevilly, this article proposes to discuss the interconnectedness of narrative and theater, the cohabitation of story and performance, and the relationship between “telling” and “seeing”. What lends the third Diabolique its importance in terms of theatricality is the reliance of its plot on the interplay of theater, without which, in the final analysis, the narrative would not exist. Indeed, the originality of the story resides in its association to a theatrical representation. It follows that, in a fictional work, the act of narration is guaranteed by virtue of the existence of fiction. In other words, the story is possible only in so far as it dramatizes itself. This means that what the narrative represents draws its strategy from what is represented. The article will examine the peculiar relationship established between narration and theater and will attempt to shed light on the resulting implications of this relationship. If, thanks to its theatrical nature, the novella’s plot hints at more than it presumes to reveal through the succession of its events, it is that the narration appears to adopt as its objective the denunciation of realist fiction as ineffectual, while upholding the exemplary moral nature to which conforms the poetics of tragedy. Yet, does not the cathartic release through reading, as enunciated in the preface of Diaboliques and suggested by the intense theatralization of the story, find itself contradicted by a denouement that outwardly sabotages the very principles of tragedy? |
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| ISSN: | 0993-8516 1765-307X |