Publication: Armand Salacrou: de la “dédramatisation” à la “redramatisation” du drame.
Authors
Kaczmarek, Tomasz
item.page.secondaryauthor
item.page.director
Publisher
Universidad de Murcia, Servicio de Publicaciones.
publication.page.editor
publication.page.department
DOI
https://doi.org/10.6018/analesff.422991
item.page.type
info:eu-repo/semantics/article
Description
Abstract
Resumen: El autor del artículo analiza dos piezas de Ar-mand Salacrou, L’Inconnue d’Arras y Sens in-terdit, que, a diferencia del “drama absoluto”, forman parte del nuevo paradigma de “drama-de-la-vida”. Al renunciar a la forma canónica del drama, el escritor francés deconstruye la fá-bula clásica para llamar la atención del público no a la acción en el sentido tradicional de la pa-labra, sino al estudio del alma humana. Además, desafía el carácter individual, definido por una psicología, a favor de un personaje enajenado con múltiples facetas. Por lo tanto, estamos presenciando un drama que ya no es agonistasino ontológico, el “personaje de actuación” da paso al “personaje pasivo”. La implementación de algunas operaciones de “desdramatización” (retrospección, anticipación, descomposición del personaje) no apunta a la aniquilación del género, sino a su ampliación, lo que le permite (después de las crisis que sufre) reinventarse (redramatización) para expresar mejor las de-cepciones del hombre moderno.
Résumé: The author of the article analyses two pieces by Armand Salacrou, L’Inconnue d’Arras et Sens interdit, which, contrary to “absolute drama”, are part of the new paradigm of “drama-of-the-life”. By renouncing the canonical form of drama, the French writer deconstructs the classic fable to attract public’s attention not to action in the traditional sense of the word but to the analysisof the human’s soul. What is more, it challenges the individual character, defined by a psychology, in favor of an alienated character with multiple facets. Thus, we are witnessing a drama which is no longer agonistic but on-tological, the “acting character” giving way to the “passive character”. The implementation of some operations of “dedramatization” (retrospection, anticipation, decomposition of the character) does not aim at the annihilation of the genre, but at its enlargement which al-lows it (following crises which it undergoes) to reinvent itself (redramatization) and to bet-ter express the disappointments of the modern man.
Résumé: The author of the article analyses two pieces by Armand Salacrou, L’Inconnue d’Arras et Sens interdit, which, contrary to “absolute drama”, are part of the new paradigm of “drama-of-the-life”. By renouncing the canonical form of drama, the French writer deconstructs the classic fable to attract public’s attention not to action in the traditional sense of the word but to the analysisof the human’s soul. What is more, it challenges the individual character, defined by a psychology, in favor of an alienated character with multiple facets. Thus, we are witnessing a drama which is no longer agonistic but on-tological, the “acting character” giving way to the “passive character”. The implementation of some operations of “dedramatization” (retrospection, anticipation, decomposition of the character) does not aim at the annihilation of the genre, but at its enlargement which al-lows it (following crises which it undergoes) to reinvent itself (redramatization) and to bet-ter express the disappointments of the modern man.
publication.page.subject
Citation
Kaczmarek, T. (2020). Armand Salacrou : de la « dédramatisation » à la « redramatisation » du drame. Anales de Filología Francesa, 28, 433–448. https://doi.org/10.6018/analesff.422991
item.page.embargo
Collections
Ir a Estadísticas
Este ítem está sujeto a una licencia Creative Commons. http://creativecommons.org/licenses/by-nc-nd/4.0/