Browsing by Subject "Reflective character"

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    "Orage mystique" de François de Curel : mise en question de la « pièce bien faite ».
    (Universidad de Murcia, Servicio de Publicaciones, 2021) Kaczmarek, Tomasz
    François de Curelis considered a representative of “problem plays”, though his theatre has fallen into oblivion. However, despite the author’s attachment to the classical tradition, he was criticized for scuttling the very fundamental dramatic art. In fact, when studying Orage mystique (Mystical Storm), it is clear that he disregards the regulatory principles of the fable, principles inherited from Aristotelian conceptions. If the #rst act of the drama seems to comply with the formal constraints of a “well-made play”, in the second, the writer breaks the course of the linear action to focus not on the dynamics of events, but on psychic life of the protagonist. In this way, Curel proposes a new dramatic paradigm, in which intra-subjective confrontations develop within the psyche of the central character, instead of interpersonal con$icts meant to push the action forward.
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    Théâtre d'amour de Georges de Porto-Riche face au nouveau paradigme : « Drame-de-la-vie ».
    (Universidad de Murcia, Servicio de Publicaciones, 2023) Kaczmarek, Tomasz
    Georges de Porto-Riche has passed into posterity as an author of the modern drama of sensual and painful love. Compared to the classical tradition of Racine or Corneille, this work seems at frst sight to conform to the traditional rules of drama, and more particularly of boulevard theatre. However, from the frst plays that are part of the Theater of Love (in this case: Françoise’ Luck, A Loving Wife) we are forced to note that the playwright moves away somewhat from the canonical form, choosing certain formal solutions which announce the new dramatic paradigm (“drama-of-life”). The undermining manifests itself above all through the intrusion of epic elements, the shaking of the fable and a new approach to the characters. Rereading the dramas of Porto-Riche allows us to show how the author attacks the Aristotelian “beautiful animal” and how he replaces the traditional hero with a passive and refective character, processes that anticipate the advent of modern and contemporary drama.