La contrainte comme artifice sur la scène anglaise contemporaine : Tom Stoppard, Martin Crimp, et Caryl Churchill
Among the most innovating experimental dramaturgies of this new millenium, constrained (verbatim or post-wittgensteinian) theatre ranks first. To opt for the artifice of constrained writing for the stage is the way that Martin Crimp or Caryl Churchill have elected, after Tom Stoppard, to confess the...
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| Format: | Article |
| Language: | English |
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Centre de Recherche "Texte et Critique de Texte"
2009-12-01
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| Series: | Sillages Critiques |
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| Online Access: | http://journals.openedition.org/sillagescritiques/1877 |
| Summary: | Among the most innovating experimental dramaturgies of this new millenium, constrained (verbatim or post-wittgensteinian) theatre ranks first. To opt for the artifice of constrained writing for the stage is the way that Martin Crimp or Caryl Churchill have elected, after Tom Stoppard, to confess the difficuty there is to use language in our post-Adornian world. If there no longer is an adequacy between the tragic feeling and the form of tragedy, one has to elaborate new modes of tragic expression. It will be my contention here to demonstrate that the literary constraints summoned by Crimp or Kane, these rules or patterns artificially forced on the text from an exterior stance, enable these playwrights to open the breach for a new tragic place within the text. |
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| ISSN: | 1272-3819 1969-6302 |