https://shakespeare.edel.univ-poitiers.fr:443/shakespeare/index.php?id=817 Index de A Midsummer Night’s Dream fr 0 https://shakespeare.edel.univ-poitiers.fr:443/shakespeare/index.php?id=1837 Isabelle, l’héroïne de cette bande dessinée intitulée Le Sortilège des Gâtines, est une petite fille qui paraît normale mais à qui il arrive toujours des aventures extraordinaires. Dans cet album, le 10è de la série, Isabelle loge à l’Auberge de la nuit d’été, aux bons soins de M. Bottom, l’aubergiste, qui a fait du théâtre en amateur, tandis que son oncle Hermès et la belle Calendula sont à un congrès de sorcellerie dans les Gâtines. Comme elle est née un dimanche, elle peut voir les fées et autres elfes qui dépérissent depuis qu’une Lamaserie s’est installée dans les Gâtines, sans aucun respect pour la nature et ses habitants extraordinaires. Le Lama est un faussaire qui profite de la crédulité des adultes et punit les enfants qui se rebellent en les enfermant dans des « vaisseaux de méditation ». Lorsque le faux Lama est chassé, les fées reprennent possession de leur domaine, le merveilleux et le rêve imprègnent à nouveau les Gâtines et Isabelle retrouve son oncle Hermès et sa tante Ursule à l’Auberge de la nuit d’été entourée de toutes les fées reconnaissantes qu’elle est la seule à voir. Pour explorer les diverses sources qui s’entrecroisent dans cet album, on se penchera d’abord sur la Lamaserie et son organisation qui rappelle une secte bien précise, puis on ira vers le domaine des fées, c’est-à-dire les Gâtines, et enfin, on analysera les diverses inspirations shakespeariennes. Isabelle, the heroine of this comic book entitled Le Sortilège des Gâtines [The Spell of the Gâtines] is a little girl who looks perfectly normal but who is always involved in extra-ordinary adventures. In this book, number 10 of the collection, Isabelle is staying at an inn called Midsummer Night Inn, under the care of M. Bottom, the innkeeper, who was once a voluntary actor, while her uncle Hermes and pretty Calendula are attending a sorcerers’ Conference in the Gâtines [wild forest]. As she was born on a Sunday, she can see the fairies and the elves who have been wasting away since a strange monastery settled there, taking no care of the surroundings and the mysterious inhabitants living there. The Lama is a forger who takes advantage of the naivety of the adults and punishes the rebellious children locking them in isolation tanks. When the fake Lama eventually runs away, the fairies can enjoy their domain again, fantasy and dream reign over the Gâtines, and Isabelle meets her uncle and her aunt Ursula at the Inn surrounded by the thankful fairies that she alone can see. In order to explore the various sources which compose this story, I will first focus on the Lamasery which recalls a precise religious sect, then, I will deal with the domain of the fairies, the Gâtines, and last I will analyse the allusions to the Shakespearean corpus, mainly A Midsummer Night’s Dream. mar., 17 déc. 2019 22:40:42 +0100 dim., 20 févr. 2022 01:53:19 +0100 https://shakespeare.edel.univ-poitiers.fr:443/shakespeare/index.php?id=1837 https://shakespeare.edel.univ-poitiers.fr:443/shakespeare/index.php?id=814 Max Reinhardt, together with Adolphe Appia and Edward Gordon Craig, contributed to the scenographic revolution that changed thetheatre at the beginning of the 20th century. Although he directed all kinds of genres and formats, there is a common characteristic in his productions that defines his style : they were all visually attractive shows. Although he staged different Shakespearean titles in his career (i.e. The Merchant of Venice in 1905, Macbeth in 1916), Reinhardt´s life‑long obsession was A Midsummer Night’s Dream. He directed more than thirty productions of the play from 1905 until 1939, including the 1935 film version. The purpose of this paper is to briefly analyse Reinhardt´s mythical productions of A Midsummer Night’s Dream, and show how they set the starting point of early 20th century productions. This analysis focuses, above all, on the 1935 film, probably the culmination of Reinhardt´s productions of A Midsummer Night’s Dream. In addition, a number of topics will be analysed successively : the importance of the mise‑en‑scène, the darkness of Oberon and his train, Puck´s evolution, sexuality and the revision of elements from the 19th century tradition. mer., 22 avril 2015 16:14:54 +0200 sam., 28 déc. 2019 14:39:24 +0100 https://shakespeare.edel.univ-poitiers.fr:443/shakespeare/index.php?id=814