Shakespeare en devenir Description de votre site fr Les 7 Lears de Barker : pour une Généalogie de la Catastrophe How can one write after Shakespeare’s seminal yet terminal play? Howard Barker solves the problem by writing, after Shakespeare, a prelude to King Lear. Barker’s Seven Lears ends where Shakespeare’s King Lear begins and reads less like a rewriting than like a chronological, genealogical, archeological investigation about Shakespeare’s already catastrophic play. Barker here suggests hermeneutical elements to help us understand King Lear but simultaneously deprives them from any justifying impact. Seven Lears proposes to go back to the sources of King Lear but refuses to elucidate the mysteries of the play: Seven Lears seems an impossible attempt to come to terms with logic in a universe obtrusively described as arbitrary. Furthermore, Barker speaks of « literary necrophilia » when it comes to revisiting classical texts, situating his intertextual enterprise on the side of abjection or evil: the barkerian paradox lies in the author’s proclivity to repudiate morals while making use of its codes. Barker, like Gloucester in the play, becomes the lover and not only a mere borrower of the texts he digs up from his macaber pantheon. Thematised, necrophilia is thus turned into one of the prevailing modes of Barker’s Theatre of Catastrophe whose perverse seduction seeks to create, beyond logic and morals, a theatricality in which anxiety is the condition of beauty. dim., 20 févr. 2022 00:00:00 +0100 Edito « Réécritures de King Lear » interprété par Edouard Lekston. Crédits : Edouard Lekston Français Pourquoi l’une des plus sombres tragédies de Shakespeare, dans laquelle comme en prend conscience Edgar « the worst is not / As long as we can say ‘This is the worst’1 », a-t-elle été revisitée au fil des siècles et continue-t-elle à l’être de nos jours ? Dans l’introduction à son édition de King Lear (2001), Stanley Wells souligne l’incroyable phénomène de répercussion, d’accrétion, de continuité, indissociable désormais de la pièce shakespearienne : Shakespeare’s penning of these words [the 25,000 words contained in his first complete manuscript of the play] has had consequences that he cannot have foreseen. It has resulted in countless theatrical performances, many of them in languages that he cannot have known and in countries of which he can have had no inkling. It has enhanced–and occasionally diminished–the reputations of innumerable actors. It has stimulated other writers–playwrights, novelists, poets, essayists–to produce an enormous body of work. It has generated a multiplicity of works by artists in other media–visual art, music, opera, film, and television. It has provoked, especially in the twentieth century, a vast body of scholarly and critical writing2. On s’intéressera aux adaptations, aux révisions, aux transpositions, aux traductions de King Lear de l’époque jacobéenne à nos jours. On pourra s’attacher, en particulier, aux réécritures dramatiques avec The Histor dim., 20 févr. 2022 00:00:00 +0100 Du Roi Lear de Shakespeare aux Lear(s) de Bond (1971) et de Garcia (2001) : écrire, construire, détruire This article concentrates on the novelties introduced in two contemporary rewritings of Shakespeare’s King Lear: Lear by Edward Bond and Rey Lear by the Argentine writer Roderigo Garcia. If war, violence, torture and social injustice are key issues in the three plays, Bond and Garcia make a new use oftwo metaphors, the one of the wall which is not present in Shakespeare’s play and the animal imagery which takes on a different meaning. The wall in Bond’s play appears under three guises, as a rampart, a prison, and a tomb. In Bond’s Lear, the function of protection is illusory: a wall inevitably turns into a prison before turning into a tomb, which strongly links Bond’s play with Sophocle’s Antigone, thus probing the conflict between moral law and political imperative. In Shakespeare’s play, the animal metaphor is used to point out man’s animality which is equated with evil, whereas in Bond’s play the animal represents nature, which is being destroyed by man, and, in Garcia’s play, dogs are the guardians of luxury villas, reactivating the debate about private property as the origin of war. In the three plays, public and private spheres are linked by the theme of blindness, which has three functions : first a political one as evidence of the permanence of violence throughout the ages, then a socio-political one as evidence of the upper classes’ indifference to the lower classes’ plight, and, lastly, a psychological one as a refusal to confess to the incestuous drive, leading to madness whose status has changed from social indictment to pathology since Shakespeare’s day. The overall main difference between Shakespeare and his contemporary counterparts seems to consist in an increase of pessimism today. dim., 20 févr. 2022 00:00:00 +0100 La transmutation du tragique de King Lear dans A Thousand Acres1 de Jane Smiley : échos et écarts signifiants A Thousand Acres by Jane Smiley borrows characteristic structural elements from the plot of King Lear. The father’s legacy to his three daughters at the beginning of the novel (a legacy which is a catalyst of the gradual disintegration of the family), then the apocalyptic storm in the middle of the novel (a time of crisis and unveiling which also marks the father’s lapse into senility), and finally the accidental blindness, which strikes his friend and neighbour, all three elements unequivocally refer to the unfoldingofthetragedy of King Lear’s. Moreover, the novel is based upon a similar cast of the characters and a double plot whose strands are interwoven. The hypotext, which is immediately identifiable, orientates the reader’s horizon of expectation: its tragic strength suffuses Jane Smiley’s novel. As in a tragedy, the reader is emotionally involved in the dramatic intensity of the text. The extreme concentration of the setting, which furthermore is often described as timeless, enhances the tragic dimension of the novel. The reader is also struck by the unusual coexistence of the literal and the metaphorical, theoretically incongruous with the requirements of realistic writing. As in King Lear, the central motifs (power, violence, greed, jealousy...) are intensified by systematically recurrent imagery which for instance equates watching with asserting power. However, in spite of the unmistakable echoes between narrative elements, the tragic is transmuted in the novel. The Shakespearean hypotext is blatantly distanced when the reader discovers that, the hamartia, which is after all minor in King Lear, is an unnatural fault (perpetrated by the father) in Jane Smiley’s novel where it constitutes a stunning paralipsis. The reader is thus led to readjust radically (and retroactively) the reading grid implied by the hypotext, a grid according to which Lear is a victim whose suffering induces compassion, and which therefore appears at complete odds with A Thousand Acres.The very ease of the reader’s ‘re-cognition’ of the original seems integral to Smiley’s writing strategy as does the surprise entailed by the sudden rupture of his/her expectation by irony. The fluctuation of the distance between Shakespeare’s play and its contemporary avatar results in the blurring of meaning and precludes any univocal interpretation. Besides, the tragic undergoes a profound transmutation in the novel where the fault, even when named, remains wrapped in silence. Instead of King Lear’s sudden and spectacular downfall, the reader is witness to a stealthy and ineluctable disintegration which leads to the total implosion of the family whose memory is only kept alive by the eldest sister’s (Ginny’s) narrative. By entrusting one of the two victims with the narration, the novel proves not quite as dark as the play. By handling the narrative, the protagonist learns to see or at least gradually ‘unlearns’ the Law of the father and, in spite of indelible wounds, can at least survive. dim., 20 févr. 2022 00:00:00 +0100 Costume drama: Margaret, Innogen, and the problem of Much Ado About Nothing in modern performance The article argues that despite Shakespeare’s skill at redeploying the familiar narrative materials which inform the main plot of Much Ado About Nothing, and despite its reputation as Shakespeare’s most well-made and thus perennially assimilable comedy, it presents three perhaps insoluble problems for modern producers. One is its depiction of sexual mores which no longer officially prevail among Western theatregoers, which has encouraged directors to set the play in a harmlessly picturesque past – a strategy which transforms the plot of Hero’s defamation from an edgy exposé of the perils of patriarchal marriage into a piece of harmless and perhaps even nostalgic escapism. Another is its handling of Margaret, the maid who agrees to dress in Hero’s clothes and speak with Borachio at Hero’s window the night before the wedding: only careful misdirection of the audience’s attention can allow audiences not to notice the inconsistency of her behaviour and the surprising willingness with which she is exonerated. The ghost character of Innogen, Hero’s non-speaking mother, only foregrounds these problems, and the article concludes by looking at one modern production which tried in some measure to reincorporate her. Cet article montre que, malgré l’habileté que Shakespeare déploie à retravailler les sources narratives bien connues qui parcourent la trame principale de Much Ado about Nothing et malgré la réputation qu’a cette pièce d’être la comédie la mieux construite lui permettant d’être en phase avec toutes les époques, elle présente trois problèmes sans doute insolubles pour les metteurs en scène de notre temps. Le premier concerne les mœurs amoureuses qui n’ont plus cours parmi les spectateurs occidentaux, ce qui a conduit certains metteurs en scène à situer la pièce dans un cadre passéiste aux tonalités pittoresques et insouciantes – stratégie qui transforme l’intrigue concernant la diffamation de Hero, exposé délicat sur les périls encourus lors d’un mariage dans une société patriarcale, en une histoire inoffensive et sans doute même, nostalgique. Le problème suivant est le traitement de Margaret, la servante qui accepte de revêtir les vêtements de Hero et de se tenir avec Borachio à la fenêtre de Hero la veille de son mariage : seul un décentrement efficace de l’attention des spectateurs peut leur permettre de ne pas remarquer l’incohérence du comportement de Margaret et l’empressement surprenant avec lequel elle est acquittée. Enfin, le personnage fantôme d’Innogen, la mère de Hero à qui Shakespeare n’a pas donné de réplique, ne fait que mettre en lumière ces problèmes. En conclusion, l’article se penche sur une mise en scène moderne qui essaie, dans une certaine mesure, de la réintroduire. dim., 20 févr. 2022 00:00:00 +0100 The Classroom as Rehearsal Room: an Evidence Informed Approach to Teaching Shakespeare The article sets out some of the evidence that we have amassed at the Royal Shakespeare Company about the impact that Shakespeare’s language and a pedagogy inspired by rehearsal room practice can have on the attitudes, aspirations and achievement of children and young people. The evidence has been gathered through the RSC’s long-term partnerships with schools and regional theatres across England. Initially this was called the Learning and Performance Network and is now known as the Associate Schools programme. Much Ado About Nothing is used as the exemplar text in the article to illustrate some of the ways we work with students and teachers. Cet article expose certaines des conclusions que nous avons tirées à la Royal Shakespeare Company sur l’influence que la langue de Shakespeare et la pédagogie inspirée par le travail de répétitions peut avoir sur les attitudes, les aspirations et les réussites des enfants et des adolescents. Ces résultats ont été obtenus grâce au partenariat que la RSC entretient depuis longtemps avec des écoles et des théâtres régionaux à travers l’Angleterre. A l’origine, ce lien s’appelait « Learning and Performance Network », à présent il s’intitule « The Associate Schools Programme ». Much Ado About Nothing est utilisé comme texte de référence dans cet article pour illustrer certaines de nos méthodes de travail avec les étudiants et les enseignants. dim., 20 févr. 2022 00:00:00 +0100 Couverture Couverture Crédits : Kiki Lindell dim., 20 févr. 2022 00:00:00 +0100 Introduction Despite the fact that the present volume belongs to a series that has its seat and origin in France (Cahiers Shakespeare en Devenir was founded by Pascale Drouet, University of Poitiers, France), this special-issue branch of its pedigree can be traced to a far more northern clime: it was prompted by a symposium on “Much Ado About Nothing in Performance” at Lund University, Sweden, in June 2017, arranged by Isabelle Schwartz-Gastine (University of Caen-Normandie, France) and Kiki Lindell (Lund University). The symposium brought together an international group of Shakespeare scholars, educationalists and practitioners for three days of enthusiastic wallowing in all things Will: lectures and discussions; a workshop on teaching the plays through performance – facetiously entitled “Taking the Ache out of Shachespeare” and run by Bridget Escolme, Kiki Lindell and Mette Sjölin); rehearsals, and a student performance of Much Ado (at which the photographs liberally studding these pages were taken; it was a promenade performance, taking the audience through the beautiful gardens and historical buildings of Lund’s Open-Air Museum of Cultural History ( We were fortunate and proud to secure as our keynotes the very best representatives of all three fields – research, education and stage: Professor Michael Dobson, Director of the Shakespeare Institute, Stratford-upon-Avon; Jacqui O’Hanlon, Director of Education at the Royal Shakespeare Company; and Lars Romann Engel, Artistic dim., 20 févr. 2022 00:00:00 +0100 « Le Sortilège des Gâtines : une BD pour filles sur fond de songe shakespearien » 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. dim., 20 févr. 2022 00:00:00 +0100 Roméo et Juliette à l’épreuve des jeunes lecteurs Le texte de Shakespeare a été remanié par de nombreux auteurs et médias et, depuis le XIXe siècle, celui-ci a aussi été modifié pour les enfants. Cet article se propose d’analyser six réécritures de Roméo et Juliette dans les albums pour enfants, dont trois en langue anglaise et trois en français. Dans une écriture à quatre mains, nous examinons la façon dont le texte a été changé à la fois au niveau de la forme (du vers à la prose et du théâtre à la fiction) et du fond pour intéresser et captiver un jeune public qui découvre Shakespeare parfois pour la première fois. L’élément pictural ainsi que la place de l’amour charnel, de la violence et de la mort dans ces albums sont également étudiés. Shakespeare’s text has been reworked many a time by many an author but since the XIXth century it has also been made available to children. This article analyses six rewritings of Romeo and Juliet for children in picture-books, three in English and three in French. We examine how the text was modified both in style (going from verse to prose and from theatre to fiction) and content in order to captivate a young audience who may be discovering Shakespeare for the very first time. The addition of pictures will also be discussed as well as the adjustments made for the rendition of lust, violence and death on the page. dim., 20 févr. 2022 00:00:00 +0100