https://shakespeare.edel.univ-poitiers.fr:443/shakespeare/index.php?id=1625 Index de Comédie-Française fr 0 https://shakespeare.edel.univ-poitiers.fr:443/shakespeare/index.php?id=1737 Comment la mise en scène de Roméo et Juliette par Éric Ruf, administrateur de la Comédie-Française depuis 2014, démontre-t-elle une figuration inédite de la tragédie de William Shakespeare et comment transforme-t-elle le mythe tragique en tragi-comédie ? Telle est la problématique à laquelle cet article tente de répondre. Pour ce faire, l’argumentation se divise en deux parties. La première se focalise sur le parti pris singulier d’Éric Ruf face à ce mythe qu’est devenu Roméo et Juliette. Comment le metteur en scène se situe-t-il face au texte shakespearien et quelle interprétation en donne-t-t-il aux spectateurs ? Quel écart constate-t-il entre la source textuelle shakespearienne (dans la traduction de François-Victor Hugo) et les adaptations audio-visuelles de Roméo et Juliette ? En outre, comment Juliette (Suliane Brahim) paraît-elle l’héroïne de cette vendetta familiale alors que Roméo (Jérémy Lopez) semble davantage correspondre au profil de l’anti-héros ? Comment Éric Ruf revisite-t-il la scène du balcon et déjoue-t-il ainsi des stéréotypes largement attestés ? La deuxième partie, quant à elle, s’axe sur le rôle de la musique, chantée et jouée en direct. Comment parvient-elle à renverser le mythe shakespearien et comment rend-elle compte de la vision dramaturgique d’Éric Ruf ? How does the production of Romeo and Juliet designed and directed by Éric Ruf, the administrator of the Comédie-Française since 2014, figure out William Shakespeare’s tragedy in an unexpected way? And how does it transform the tragedy into a tragicomedy? These are questions that the following article tries to answer. The first and major part of the study focuses on Éric Ruf’s parti pris concerning the myth that Romeo and Juliet has become over time. What is the stage-director’s position vis-à-vis the Shakespearean text and what is the interpretation he shares with his audience? What is the gap between the original script – here in François-Victor Hugo’s translation – and the audio-visual adaptations of the play? Furthermore, how does Juliette (Suliane Brahim) seem to be the heroine of a family vendetta while Roméo (Jérémy Lopez) has more of the anti-hero? Finally, how does Éric Ruf compose the mythic balcony scene and thwart the stereotypes about it? The last part of the article deals with the music partition that is omnipresent in the performance. How does it account for Éric Ruf’s dramaturgical vision and contribute to overturn the myth? dim., 08 déc. 2019 14:23:14 +0100 ven., 18 févr. 2022 16:18:38 +0100 https://shakespeare.edel.univ-poitiers.fr:443/shakespeare/index.php?id=1737 https://shakespeare.edel.univ-poitiers.fr:443/shakespeare/index.php?id=1857 Looking at the reception of Shakespearean plays that were produced at the Comédie‑Française from the beginning of the 20th century onward, we are surprised to acknowledge mitigated reactions. At the beginning of the twentieth century when tragedies predominated in the repertoire, apart from Hamlet (adapted by Dumas) and later Emile Fabre’s Coriolanus which was a significant performance in the turbulent year 1933, the adaptations of the Elizabethan classics did not encounter a frank success nor did they remain in people’s memory. After the Second World War, the technical means used in scenography were rather uninventive and the evolution of Shakespeare’s fame was timid until foreign stage‑directors such as Terry Hands, Jorge Lavelli, Luca Ronconi or Luis Pasqual were invited. But even then, the success of the guests’ productions was uneven for various reasons, which would have made us forget them partly had there not been archives to leave traces of them. Hence, one of the questions that should be raised is : what are the material, ideological or phenomenological events contributing to imprint a given production in the memory of a theatre such as the Comédie‑Française ? Today, we are in a good position to analyse what made mythical Shakespearean productions in the « Ruche » (Beehive) in the 20th century because some time has elapsed. In this paper, I would like to discuss the various reasons that contributed to dissociate successful productions of Shakespeare’s plays at the Comédie‑Française from those that have vanished from our minds for ever. Undoubtedly, either inner political conflicts or international preoccupations have influenced the history of Shakespeare’s reputation in Molière’s House but there is more to be said. This analysis should enable us to anticipate whether productions such as Oskaras Korsunovas’ 2007 Taming of the Shrew or Andrés Lima’s 2009 Merry Wives of Windsor will ever become mythical. ven., 27 déc. 2019 18:31:45 +0100 sam., 28 déc. 2019 14:34:47 +0100 https://shakespeare.edel.univ-poitiers.fr:443/shakespeare/index.php?id=1857