L’incommunication, moteur de la dynamique théâtrale (notice n° 666829)
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| fixed length control field | 03295cam a2200313 4500500 |
| 005 - DATE AND TIME OF LATEST TRANSACTION | |
| control field | 20250121194353.0 |
| 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 | Caune, Jean |
| Relator term | author |
| 245 00 - TITLE STATEMENT | |
| Title | L’incommunication, moteur de la dynamique théâtrale |
| 260 ## - PUBLICATION, DISTRIBUTION, ETC. | |
| Date of publication, distribution, etc. | 2019.<br/> |
| 500 ## - GENERAL NOTE | |
| General note | 9 |
| 520 ## - SUMMARY, ETC. | |
| Summary, etc. | Au théâtre, l’incommunication est fondatrice. « Quiproquo », « équivoque », « malentendu », « sous-entendu », « obstacle », « ambiguïté », « désaccord », « embarras », « mésentente », « dispute », « dissension », « heurt », « confusion », « méprise »… autant de termes qui balisent la fable dramatique. La représentation théâtrale – du point de vue du texte dramatique et de son énonciation – procède d’un processus d’incommunication entre les personnages. Dans les blancs des mots et les trous de la communication germe le sens. Et c’est le spectateur, de sa place de témoin dans la salle, qui est susceptible de combler les manques de l’incommunication qui se développe sur la scène. À partir d’un certain nombre d’exemples tirés de textes dramatiques classiques – de Shakespeare à Molière ; de Marivaux à Feydeau et de trois pièces contemporaines ( Pour un oui ou pour un non de Nathalie Sarraute ; Art de Yasmina Reza ; Ça va ? de Jean-Claude Grumberg), l’article indique comment le dispositif d’écriture et son énonciation sur scène font de l’incommunication le moteur du développement de la représentation. |
| 520 ## - SUMMARY, ETC. | |
| Summary, etc. | Incommunication is fundamental to the theater. “Crosspurposes,” “equivocation,” “misunderstanding,” “innuendo,” “obstacle,” “ambiguity,” “disagreement,” “predicament,” “discord,” “dispute,” “dissent,” “conflict,” “confusion,” “mistake” : drama is marked by each of these terms. Theatrical representation – from the perspective of the dramatic text and its performance – derives from a process of incommunication between the characters. Meaning blossoms in the spaces between words and the holes in communication. The spectator, bearing witness from his/her seat, is the party who tends to fill in the lacunae of the incommunication that plays out on the stage. On the basis of several examples from classical theater (from Shakespeare to Molière and from Marivaux to Feydeau) and three contemporary plays (Nathalie Sarraute’s Pour un oui ou pour un non [For No Good Reason], Yasmina Reza’s Art, and Jean-Claude Grumberg’s Ça va ? [Are you OK ?]), this article shows how the activity of writing and the recitation of words on the stage make incommunication the motive force of development in the theater. |
| 690 ## - LOCAL SUBJECT ADDED ENTRY--TOPICAL TERM (OCLC, RLIN) | |
| Topical term or geographic name as entry element | illusion |
| 690 ## - LOCAL SUBJECT ADDED ENTRY--TOPICAL TERM (OCLC, RLIN) | |
| Topical term or geographic name as entry element | énonciation |
| 690 ## - LOCAL SUBJECT ADDED ENTRY--TOPICAL TERM (OCLC, RLIN) | |
| Topical term or geographic name as entry element | dispositif dramaturgique |
| 690 ## - LOCAL SUBJECT ADDED ENTRY--TOPICAL TERM (OCLC, RLIN) | |
| Topical term or geographic name as entry element | quiproquo |
| 690 ## - LOCAL SUBJECT ADDED ENTRY--TOPICAL TERM (OCLC, RLIN) | |
| Topical term or geographic name as entry element | équivoque |
| 690 ## - LOCAL SUBJECT ADDED ENTRY--TOPICAL TERM (OCLC, RLIN) | |
| Topical term or geographic name as entry element | communication des œuvres d’art |
| 690 ## - LOCAL SUBJECT ADDED ENTRY--TOPICAL TERM (OCLC, RLIN) | |
| Topical term or geographic name as entry element | cross-purposes |
| 690 ## - LOCAL SUBJECT ADDED ENTRY--TOPICAL TERM (OCLC, RLIN) | |
| Topical term or geographic name as entry element | illusion |
| 690 ## - LOCAL SUBJECT ADDED ENTRY--TOPICAL TERM (OCLC, RLIN) | |
| Topical term or geographic name as entry element | equivocation |
| 690 ## - LOCAL SUBJECT ADDED ENTRY--TOPICAL TERM (OCLC, RLIN) | |
| Topical term or geographic name as entry element | communication in works of art |
| 690 ## - LOCAL SUBJECT ADDED ENTRY--TOPICAL TERM (OCLC, RLIN) | |
| Topical term or geographic name as entry element | recitation |
| 690 ## - LOCAL SUBJECT ADDED ENTRY--TOPICAL TERM (OCLC, RLIN) | |
| Topical term or geographic name as entry element | dramaturgical arts |
| 786 0# - DATA SOURCE ENTRY | |
| Note | Hermès, La Revue | 84 | 2 | 2019-09-24 | p. 151-158 | 0767-9513 |
| 856 41 - ELECTRONIC LOCATION AND ACCESS | |
| Uniform Resource Identifier | <a href="https://shs.cairn.info/revue-hermes-la-revue-2019-2-page-151?lang=fr&redirect-ssocas=7080">https://shs.cairn.info/revue-hermes-la-revue-2019-2-page-151?lang=fr&redirect-ssocas=7080</a> |
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