Dépossessions : le rôle de la chorégraphie dans A Dance of the Forests et The Bacchae of Euripides de Wole Soyinka
This paper scrutinizes the part played by dancing in two plays by Soyinka where such an artistic practice is rather foregrounded. I shall attempt to understand how theatre might be reinforced by dancing, an immediate, a corporeal art, the intrusion of a dramaturgy that is freed from the text. I wish...
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| Format: | Article |
| Language: | English |
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Centre de Recherche "Texte et Critique de Texte"
2014-06-01
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| Series: | Sillages Critiques |
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| Online Access: | http://journals.openedition.org/sillagescritiques/4098 |
| Summary: | This paper scrutinizes the part played by dancing in two plays by Soyinka where such an artistic practice is rather foregrounded. I shall attempt to understand how theatre might be reinforced by dancing, an immediate, a corporeal art, the intrusion of a dramaturgy that is freed from the text. I wish to show that it provides for a minimization of the necessity to make sense and allows the spectator to access the symbolical realm as understood by Baudrillard. A performance of possession may thus be staged which paradoxically corresponds to an absence both of interpretation and of any possible intention. The dispossession which is entailed by a sequence of dancing allows me to redefine the place as an absence thereof, and mimesis as pure opsis. |
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| ISSN: | 1272-3819 1969-6302 |