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|Keywords||water, Soulier de Satin, Paul Claudel, Roman Polák, Prague, theatre|
|Abstract||In this paper I consider two essays published in Revue d'Histoire du Théâtre in 2000 dealing with the subject of water in theatre and in the work of Paul Claudel. In particular, I am focusing on the staging of Claudel's Soulier de Satin performed by the National Theatre in Prague in 1993 by a Slovak theatre team headed by director Roman Polák. I am considering his work within the context of one of his most appreciated productions of the last decade, Marivaux's play La Dispute (1988). In this production Polák used real water. By using water on stage he initiated a choice of specific theatricality. For his production, Roman Polák employed Jean-Louis Barrault's adaptation of Claudel's play, but he did not accept his way of theatricality. Instead of watermimed and danced by a choir of ballet, Polák worked with real water on stage. This paper tries to search answers to these questions: what was the reason for such a choice, and why where such solutions part of contemporary theatre aesthetics?|
|Abstract||The present paper is concerned with the question of the substance of language in the work of Marguerite Duras. Her works can be characterised as a fluid passage between the novel, dramatic text and film script. In the French literature, her theatre work is subsumed under the concept of théâtre-récit, which refers to an uncanonical type of theatre, the theatre of narration rather than direct representation. The author created a specific vision of text presentation which was best fulfilled by the director Claude Régy and Duras herself in her own stagings. In fact, this new and alternative way to text presentation was based on telling and not on showing. By telling the text from a distance, all its orality emerges and plays a main role in the performance - the language of Marguerite Duras being a texture of oral, spoken and written style.|