Forme comunicative alternative nel teatro e nella scrittura simbolista e naturalista francese
Teatro simbolista e suggestioni drammaturgiche baudeleriane
Giuseppe Bernardelli
Langages et anti-langages dans l'esthétique théâtrale de Théophile Gautier; quelques aspects précurseurs des théories symbolistes
Giovanna Bellati
La Pantomime, une structure poetique et dramatique
Marisa Verna
Éléments scéniques et facteurs supragmentaux entre théâtre
et roman: l'exemple de Renée et de la curée de Zola
Paola Paissa
Poesia e realtà nella scrittura drammaturgica di Henri Céard
Mariangela Mazzocchi Doglio
Le théâtre rodenbachien: structures et formes
de la signification
Maria Teresa Moia
Le naturisme au théâtre
Mariacristina Pedrazzini
L'héritage symboliste dans Tête d'or (1889) de Paul Claudel
Simonetta Valenti
Esotismi linguistici nel teatro finanziario tra fine '800
e inizio '900
Cristina Brancaglion
Comptes-rendus
Revue de presse de Linguistique Générale
dirigée par Mario Baggio et Maria Cristina Gatti
Revue de presse de Didactique des Langues
dirigée par i Bona Cambiaghi
Revue de presse de Linguistique Française
dirigée par Enrica Galazzi
Revue de presse de Linguistique Anglaise
dirigée par Margherita Ulrych
Revue de presse de Linguistique Russe
dirigée par Anna Bonola
Revue de presse de Linguistique Allemande
dirigée par Giovanni Gobber et Federica Missaglia
Abstracts
Giuseppe Bernardelli
TEATRO SIMBOLISTA E SUGGESTIONI DRAMMATURGICHE BAUDELAIRIANE
As everyone knows, the interest in the theatre accompanied almost all Baudelaire's life, but - from a creative point of view - it turned just into some drafts, around which the critics' interest has occasionally revolved. The present article does not take into consideration the objectively scarcely relevant sketches mentioned above, but tries to reconstruct the complex Baudelairian reflection on theatre, generally made in indirect way but with great consistency through hints scattered throughout his works, particularly in his critical essays on art. Foundations of Baudelaire's conception are the idea of theatre as prefomativity, mimic-gestual and scenic suggestion rather than as verbal construction, and especially the need to overcome the mimetic, veristic principle, which represents the main aspiration of the French theatre of the second half of the nineteenth century - at least untill 1890. On account of these two aspects Baudelaire can certainly be regarded as one of the fundamental figures of the symbolistic theatre of the end of the century and of the dramatic experimentations which got going from it.
Giovanna Bellati
LANGAGES ET ANTI-LANGAGES DANS L'ESTHETIQUE THEATRALE DE THEOPHILE GAUTIER ; QUELQUE ASPECTS PRECURSEURS DES THEORIES SYMBOLISTES
The critical work of Théophile Gautier in “La Presse”, from1836 to 1855, contributed to the formulation of an aesthetics of theatre. Although his work was not developed into a full and comprehensive theoretical system, his approach was definitively innovative for his time and still inspiring today. This paper namely analyses the aesthetics of theatrical genres focusing on communicative forms different from language, i.e. ballet, opera, féerie and pantomime.
Marisa Verna
LA PANTOMIME, UNE STRUCTURE POETIQUE ET DRAMATIQUE
Between 1820 and 1846 the mime actor Jean-Gaspard Deburau was Pierrot in the Parisian Théâtre des Funambules. His reckless and impassable acting style was read as a new poetic and dramatic pattern by two generations of poets.
The Romantic Jules Janin and Théophile Gautier created the myth of the ‘white man', whose melancholic and cruel gesture interpreted the disease and the spiritual vacuum of an entire group of artists in search for a new ‘poetic drama'. It was nevertheless Charles Baudelaire who built a new theory of drama out of this mute play mode: his essay De l'essence du rire et généralement du comique dans les arts (1855) defines pantomime as the life synthesis, quintessence of comedy, pure comic element: the grotesque. Pantomime shows human tragic greatness, balanced between the vacuum of reality and the light of dream.
Théodore de Banville and Jules Champfleury took up (?) Baudelaire's suggestions and elaborated two dramatic theories that would be seminal for Symbolist and Naturalist Drama.
Paola Paissa
ÉLÉMENTS SCÉNIQUES ET FACTEURS SUPRASEGMENTAUX ENTRE THÉÂTRE ET ROMAN: L'EXEMPLE DE RENÉE ET DE LA CURÉE DE ZOLA
This study aims first to illustrate which stage elements in the “tragédie bourgeoise” Renée (a theatre adaptation of the novel La Curée) can be considered innovative and functional to the aesthetics of naturalist drama (for example, lighting, maximization of space on stage, eye gaze of actors and audience). Second, this study focuses on the use of suprasegmental and gestural features in the theatrical version and in the novel.
These features appear to be less prominent in the theatrical version than in the novel. Here, the gestural component crucially reveals the main characters' real intentions and reinforces an ironic view and a mythical distortion of reality.
Finally, the two versions will be examined in the light of their different approaches to mimesis.
Mariangela Mazzocchi Doglio
POESIA E REALTÀ NELLA SCRITTURA DRAMMATURGIACA DI HENRI CÉARD
The first dramatic piece by Henry Céard, Pierrot spadassin (1876), shares with Pierrot sceptique (1881) by Huysmans and Hennique a widely spread Nineteenth century pessimism
and unhappiness. These features are also present in one of Céard's main plays, Les Résignés (1889), which is, in spite of its traditional subject – love and marriage – and of its
bourgeois setting, a Schopenhauerian musing on mean life aiming at psychological insight.
Maria Teresa Moia
LE THEATRE RODENBACHIEN : STRUCTURES ET FORMES DE LA SIGNIFICATION
This work is a semiotic reading of Rodenbach's theatre: a reading which will attempt to establish a mediation between the continental structuralist tendency and the conception of the semiotic according to Pierce. The semiotic is taken here as the general picture in which some fundamental aspects are to be analysed, as for example : the visual presentation of characters in the performance, the words, the construction. The aim is to describe the functioning of the literary work and its system of signs in the socio-cultural network of “fin-de-siècle” Belgium. Works studied include: Le Pour et le Contre, La Petite Veuve, Le Voile and Le Mirage
MariaCristina Pedrazzini
LE NATURISME AU THEATRE
We seek to explore the main features of Naturist theatre through analysis of its dramatic frameworks and in the light of judgements by contemporary or roughly later writers such as Lanson, Le Senne and Florian-Parmentier.
After a brief historical overview of the Naturist movement itself by the time of its origin and literary début, we focus on the first Naturist play, La Victoire. We then illustrate how Naturist plays deal with the subject of revolution and how Naturism reveals both Naturalist and Symbolist inheritance.
Simonetta Valenti
L'HÉRITAGE SYMBOLISTE DANS TÊTE D'OR (1889) DE PAUL CLAUDEL
Critics and specialists of Claudel's theatre generally consider Tete d'Or (1889) as the first masterpiece of this author. In the econonomy of Claudel's production, this piece marks in reality a transition, from the works of the first period - clearly influenced by Symbolism - and the great dramas of Claudel's maturity, which fully manifest his originality and his definitive conversion to the Catholic faith.
From a structural view point, Tete d'Or presents several elements which reveal Claudel's debt to Symbolist culture, but, at the same time, the piece contains some aspects which can be seen as the overcoming of Decadent nihilism, and the discovery of a new horizon of hope: the one offered by Grace.
Cristina Brancaglion
ESOTISMI LINGUISTICI NEL TEATRO FINANZIARIO TRA FINE '800 E INIZIO '900
This study aims at analyzing linguistic "exoticisms" in French realistic and naturalistic drama at the end of the XIXth century and at determining which strategies are used to create them. In the first part I consider how playwrights insert foreign languages in order to portray characters that originally come from other countries. In the second part I examine linguistic representations of internal variation in the French language, which occur in the replies of popular and rural characters. Finally, I attempt to identify the factors which encourage the introduction of these "exoticisms" and which depend on thematic content, character portrayal and action setting