https://shakespeare.edel.univ-poitiers.fr:443/shakespeare/index.php?id=797 Index de Falstaff fr 0 https://shakespeare.edel.univ-poitiers.fr:443/shakespeare/index.php?id=2511 Orson Welles a toujours été associé à Shakespeare, dès ses premiers pas sur scène jusqu’à ses adaptations cinématographiques. Le personnage de Falstaff est notamment appréhendé comme son double. Avec son dernier film F for Fake (1975), l’intertextualité shakespearienne semble moins évidente. Nous nous proposons pourtant d’analyser ce dialogue et la dialectique du vrai et du faux, de l’original et de la copie. Ne pourrait-on lire dans F for Fake un hommage à Falstaff, aux faussaires et autres illusionnistes, et finalement un miroir de Welles ? De F for Fake à F for Falstaff, ce film-essai questionne la mort de l’auteur et les puissances du faux. Ce testament artistique s’amuse de la différenciation entre les hommes et les mythes, les vérités et les mensonges. Orson Welles has always been associated with Shakespeare, from early stage when acting to his cinematic adaptations. Falstaff is seen as his double. With his latest film, F for Fake (1975), the Shakespearian dialogue is not so obvious. The aim of this article is to analyse this dialogue within the dialectic between truth and fake, the original and the copy. Can we read in F for Fake a homage to Falstaff, to forgers and illusionists and finally a mirror for Welles? From F for Fake to F for Falstaff, this essay film is questioning the death of the author and the power of the false. It is an artistic will to play with the differentiation between men and myths, truths and lies. sam., 21 nov. 2020 23:00:45 +0100 sam., 28 févr. 2026 12:41:41 +0100 https://shakespeare.edel.univ-poitiers.fr:443/shakespeare/index.php?id=2511 https://shakespeare.edel.univ-poitiers.fr:443/shakespeare/index.php?id=788 Among the dozen settings of Shakespeare’s domestic comedy to music, few have stood the test of time. Only three have remained on the stage and enjoy various degrees of popularity: Otto Nicolai’s Lustigen Weiber von Windsor (1849), a fantasy comic‑opera in three acts on a libretto by Herman Salomon Rosenthal, Giuseppe Verdi’s Falstaff (1893) on a libretto by Arrigo Boito based on the Bard’s comedy and Ralph Vaughan Williams’s SirJohn in Love (1930) on a libretto of his own after Shakespeare’s play. As the study of emblematic scenes of the play set to music indicates, –the basket scene and the forest episode, for example –, each opera apprehends Shakespeare at different times and for different purposes. Nicolai’s singspiel, whoselibretto sticks fairly close to the original, via the A. W. Schlegel and Ludwig Tieck translations, belongs to the Romantic period of Mendelssohn, Weber and Lortzing, vindicates women. Boito’s libretto for Verdi’s opera, which drastically condenses the play in six scenes and incorporates material from Henry IV, derives from Boito’s desire to give the fat knight the more subtle substance of the historical play as a way to claim the Bard as part of Italy’s European culture. Vaughan Williams’s Sir John springs from his experience as musical director to Frank Benson’s 1913 Shakespeare’s company at Stratford which included the Merry Wives and liberally interpolates Elizabethan lyrics and English folksong when needed to emphasize his opera’s love interest and thus paint a « Mermaid Tavern » picture of England’s mythical Golden age, all contributing to the Shakespeare myth. mer., 22 avril 2015 15:30:57 +0200 sam., 28 déc. 2019 14:48:55 +0100 https://shakespeare.edel.univ-poitiers.fr:443/shakespeare/index.php?id=788