https://shakespeare.edel.univ-poitiers.fr:443/shakespeare/index.php?id=525 Index des publications de auteurs Stéphanie Mercier fr 0 https://shakespeare.edel.univ-poitiers.fr:443/shakespeare/index.php?id=1032 ven., 02 sept. 2016 18:24:43 +0200 lun., 05 sept. 2016 14:21:19 +0200 https://shakespeare.edel.univ-poitiers.fr:443/shakespeare/index.php?id=1032 https://shakespeare.edel.univ-poitiers.fr:443/shakespeare/index.php?id=1031 ven., 02 sept. 2016 18:19:03 +0200 lun., 05 sept. 2016 14:22:27 +0200 https://shakespeare.edel.univ-poitiers.fr:443/shakespeare/index.php?id=1031 https://shakespeare.edel.univ-poitiers.fr:443/shakespeare/index.php?id=1026 ven., 02 sept. 2016 18:01:52 +0200 lun., 05 sept. 2016 14:24:27 +0200 https://shakespeare.edel.univ-poitiers.fr:443/shakespeare/index.php?id=1026 https://shakespeare.edel.univ-poitiers.fr:443/shakespeare/index.php?id=1025 ven., 02 sept. 2016 17:50:29 +0200 lun., 05 sept. 2016 14:43:10 +0200 https://shakespeare.edel.univ-poitiers.fr:443/shakespeare/index.php?id=1025 https://shakespeare.edel.univ-poitiers.fr:443/shakespeare/index.php?id=1022 sam., 09 juil. 2016 21:29:57 +0200 lun., 11 juil. 2016 09:24:06 +0200 https://shakespeare.edel.univ-poitiers.fr:443/shakespeare/index.php?id=1022 https://shakespeare.edel.univ-poitiers.fr:443/shakespeare/index.php?id=997 The Eternal Not (2012)1, a four-character, fifteen minute short film written by Lucinda Coxon and directed by Joe Spray, is a dark comedy about a young married couple – Helena (Antonia Kinlay) and Bertram (Oliver Gomm) – who have been waiting for the birth of their first child for two years. Actually, rejected by her husband, Helena appropriates a strategy worthy of the romance tradition, although she is childless rather than dowerless here. Similarly, the film modernises the Shakespearean Bertram’s plans by having him consult an intermediary who advises him to commit « pseudocide » by running away to Cornwall or Scotland to definitively disappear from his wife’s clutches. Notwithstanding the transformations, the playgoer familiar with Shakespeare’s play All’s Well That Ends Well, written circa 1603-1604 will surely still recognise the nod in the film’s title to the letter that Bertram writes to his mother in act 3, scene 2 of the play – « I have wedded her, not bedded her, and sworn to make the “not” eternal ». The modern cinemagoer, even without any knowledge of the canon, will perhaps be intrigued by the unusual pun in the film’s name. Indeed, the enticing preliminary wordplay sets the scene for an incongruous story-line that is at once indicative of the four-hundred-year-old plot and yet enlarges upon the complexities of the Shakespearean couple’s fraught courtship and marriage. This paper will concentrate on how Spray guides the eye to cross over from seventeenth to twenty-first century fictional considerations and conciliate conventions of romance and satire, page, stage and film. ven., 10 juin 2016 17:48:19 +0200 mar., 03 déc. 2019 22:26:45 +0100 https://shakespeare.edel.univ-poitiers.fr:443/shakespeare/index.php?id=997 https://shakespeare.edel.univ-poitiers.fr:443/shakespeare/index.php?id=775 Dans son spectacle fleuve, captivant et plein d’imagination, Thomas Jolly amène la trilogie d’Henry VI de Shakespeare vers un théâtre résolument populaire. Dans un parti-pris de ne rien prendre au sérieux, pas même la mort, il propose la difficile mise en scène de l’orgueil impérialiste, puis du déchirement intérieur de la « perfide Albion » du quinzième siècle, pour un public français contemporain. Dans cette production – où le contrepoint dépasse souvent le point à bien des égards, y compris dans les scènes habituellement plus « majestueuses » –, Jolly enlève tout héroïsme aux luttes de pouvoir et pointe du doigt le ridicule de la politique à tous niveaux et à travers les siècles. Thomas Jolly transports his captivating and very imaginative epic production of Shakespeare’s Henry VI trilogy within the realm of resolutely popular theatre. In a predisposed decision not to take anything seriously, not even death, he offers up the difficult staging of the colonial pride and then the inner turmoil of the fifteenth century “perfidious Albion” for a contemporary French audience. In this production – where counterpoint often exceeds point in many respects, including scenes typically more “majestuous” – Jolly strips power struggles of all heroism and singles out the ridiculous in politics at all levels and through the ages. mar., 03 mars 2015 17:35:41 +0100 mar., 03 mars 2015 22:45:12 +0100 https://shakespeare.edel.univ-poitiers.fr:443/shakespeare/index.php?id=775 https://shakespeare.edel.univ-poitiers.fr:443/shakespeare/index.php?id=697 Dominic Dromgoole’s curtain raising production of The Duchess of Malfi for the première season in the Globe’s new indoor playhouse is also a fitting first venue for the intimate and haunting circa 1613 play, which was probably initially performed privately at Blackfriars. The transformation inherent to staging a four-century old plot in a cutting edge resurrected theatre, that has nonetheless been rebuilt so that Webster himself might have recognised it, is thus one that highlights the continuing restless energy of the playwright’s pen. Furthermore, Gemma Arterton’s memorable performance of the un-named Duchess is a fitting evocation of both Webster’s own largely unchartered life and the lingering legacy of his literary works – in this instance a plot performed in period costume, including ruffs and rapiers, and to the original score sheet for authentic acoustic surround – at once a haunting remembrance and an imaginative reshaping of the play. mer., 26 févr. 2014 17:45:10 +0100 ven., 27 déc. 2019 18:42:24 +0100 https://shakespeare.edel.univ-poitiers.fr:443/shakespeare/index.php?id=697 https://shakespeare.edel.univ-poitiers.fr:443/shakespeare/index.php?id=672 Quelle meilleure façon d’exprimer le « méta-théâtre » qu’est Hamlet sinon au sein du microcosme du club-house anglais ; un lieu intime où les mœurs débridées peuvent s’exprimer et où l’alcool coule à flot. L’effet est ici exacerbé – parfois jusqu’à la caricature – par le choix de l’espace-temps des années soixante-dix, une époque où le mot « divorce » était encore prononcé à demi-voix mais où la liberté des mauvaises mœurs était un sport masculin apprécié, y compris par certaines femmes qui y trouvaient l’illusion d’être « libre ». Ce « théâtre dans le théâtre » de la mise en scène de Dan Jemmett ainsi que le jeu de la troupe de la Comédie Française expriment donc de façon admirable à la fois la mise en mots français du texte shakespearien par Yves Bonnefoy1 et les complexités et contradictions de toute une génération. What better way to encapsulate Hamlet’s « seeming and pretence2 » than in the microcosm of the English clubhouse. An intimate place where morals run rife and actors can become caricatures of their own roles. Especially as the period is that of the seventies – a time when “divorce” was still a dirty word, along with “last orders”, and wife swapping was a favoured masculine sport that even managed to give women the feeling they were “liberating” themselves by participating. Dan Jemmett’s production, along with the acting abilities of the members of the Comédie Française, makes this “play within a play” world admirably express both Yves Bonnefoy’s translation of Shakespeare’s text and the complexities and contradictions of an entire generation.     ven., 22 nov. 2013 10:17:12 +0100 ven., 22 nov. 2013 10:18:40 +0100 https://shakespeare.edel.univ-poitiers.fr:443/shakespeare/index.php?id=672 https://shakespeare.edel.univ-poitiers.fr:443/shakespeare/index.php?id=668 The Winter’s Tale is perhaps one of Shakespeare’s plays most concerned with the notions of opacity and transparency: morphing as it does from the opaque closed-in mirror world of Leontes, King of Sicily, through the looking glass of Time and into the open-air transparency of Bohemia. Put differently, Shakespeare takes his audience from a chaos created by the poor linguistics of: « A language which I understand not » (III.2.79), to the constructed intelligibility of theatrically created speech. Stage directors have kept this theatrical momentum up by their own successive re-readings and rewritings of Shakespeare’s page as it is transformed on stage. This paper will thus be looking at how contemporary performances of the play strive to produce the transparency of Shakespeare’s text as understood by twentieth and twenty-first century theatrum mundi. To do this, I will how different productions use both what the text says, and what it does not say – in other words the sounds and silences of the playwright’s drama. In so doing, they give new life to a « sad tale[’s] best for winter » (II.1.25), and allow for the audience’s clear-sighted participation in the dramatic experience of Shakespeare’s Romance. L’opacité et la transparence sont deux thèmes majeurs du Conte d’hiver de William Shakespeare. En effet, au fil de la pièce, nous assistons à la métamorphose de l’univers clos et obscur de Léonte, Roi de Sicile, qui semble passer à travers le miroir du Temps, en un univers ouvert et accessible, celui de la Bohème. Autrement dit, Shakespeare modifie un langage singulier et mal compris — « a language which I understand not » (III.2.79) — en une parole universelle créée par le théâtre. Les metteurs en scène ont maintenu cette impulsion par leurs relectures et réécritures successives de l’écrit quand il est transcrit sur scène. Nous allons donc examiner comment les mises en scène de notre époque œuvrent à reproduire, voire à réinventer, la transparence comme entendu par le theatrum mundi contemporain. Pour ce faire, nous étudierons la question en tenant compte de comment les mises en scène utilisent à la fois ce que le texte dit et ce qu’il ne dit pas — autrement dit, les sonorités et les silences de l’art du dramaturge. Ce, afin de faire voir comment celles-ci donnent une nouvelle vie à un triste conte d’hiver — « a sad tale[’s] best for winter » (II.1.25) — pour faire apparaître avec clarté toute la Romance shakespearienne.   jeu., 17 oct. 2013 15:11:22 +0200 jeu., 17 oct. 2013 15:14:02 +0200 https://shakespeare.edel.univ-poitiers.fr:443/shakespeare/index.php?id=668