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OmniScriptum L'oralité dans le théâtre contemporain: Herbert Achternbusch, Pierre Guyotat, Valère Novarina, Jon Fosse, Daniel Danis, Sarah Kane (Omn.Univ.Europ.)

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Description

Quand la scène se vide de ses personnages, quand la fiction ne soutient plus l'action dramatique, que reste-t-il au théâtre? L'oralité. Une parole qui déplace le drame pour le situer au c?ur du langage et faire des lecteurs les acteurs du texte. Étudier les manifestations de l'oralité, c'est montrer comment un mode d'énonciation spécifique s'encode dans une écriture et se transmet au lecteur. Définie par ce qui demeure du corps dans la langue quand la voix s'en absente, l'oralité rehausse la dimension sonore et rythmique de l'écriture. Elle donne ainsi à la matérialité de la langue un rôle décisif dans la constitution du sens, et renoue avec la physique de la parole. Bouleversant les codes linguistiques, elle travaille aux frontières du langage et se sert de celui-ci pour sonder l'inconnu. Par elle, le théâtre est appelé à être un lieu où l'expérience redevient possible. Située à la croisée de la stylistique, de la linguistique, de la poétique et de l'esthétique, l'oralité invite aussi à repenser les catégories fondatrices du théâtre. Notion transversale, l'oralité interroge enfin la théâtralité même de la parole dans les divers genres littéraires. About the Author Marion Chénetier-Alev, maître de conférences à l'Université François Rabelais de Tours, directrice du Département des Arts du spectacle. Ses recherches portent sur le théâtre contemporain, sur l'histoire de la critique dramatique, et sur l'archéologie du théâtre.

Product Specifications

Format
Paperback
Domain
Amazon UK
Release Date
09 September 2010
Listed Since
09 July 2010

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