Yeats and Gender Mixing: From the Text to the Stage (notice n° 481079)
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fixed length control field | 01403cam a2200157 4500500 |
005 - DATE AND TIME OF LATEST TRANSACTION | |
control field | 20250121070442.0 |
041 ## - LANGUAGE CODE | |
Language code of text/sound track or separate title | fre |
042 ## - AUTHENTICATION CODE | |
Authentication code | dc |
100 10 - MAIN ENTRY--PERSONAL NAME | |
Personal name | Longuenesse, Pierre |
Relator term | author |
245 00 - TITLE STATEMENT | |
Title | Yeats and Gender Mixing: From the Text to the Stage |
260 ## - PUBLICATION, DISTRIBUTION, ETC. | |
Date of publication, distribution, etc. | 2015.<br/> |
500 ## - GENERAL NOTE | |
General note | 73 |
520 ## - SUMMARY, ETC. | |
Summary, etc. | In the « Theatre of Imagination » conceived by Yeats in the 1890s, the poetic Verb is given the power to create visions through the concrete physicality of its uttering by the performing body of what Georges Banu will later call an “acteur-poète”. This project transforms dramatic writing process into the creation of a multiform object, in which the issue of the drama is brought out by the tension between opposite mediums : theatre on the one hand, singing, dance, tale on the other hand. . . This exploration involves Yeats in original collaborations on stage with composers, musicians, and dancers. In short, these manifestations of an artistic “hors-champ,” far from threatening the drama, become on the contrary the core of its expression, as a new power is, on stage, devoted to the Verb : the extra-ordinary power to arise the pneuma of singing as well as the rhythm of the dancing body. |
786 0# - DATA SOURCE ENTRY | |
Note | Études anglaises | 68 | 1 | 2015-07-08 | p. 56-69 | 0014-195X |
856 41 - ELECTRONIC LOCATION AND ACCESS | |
Uniform Resource Identifier | <a href="https://shs.cairn.info/journal-etudes-anglaises-2015-1-page-56?lang=en&redirect-ssocas=7080">https://shs.cairn.info/journal-etudes-anglaises-2015-1-page-56?lang=en&redirect-ssocas=7080</a> |
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