000			01337cam a2200157 4500500
005			20250112060643.0
041			_afre
042			_adc
100	1	0	_aLoisel, Gaëlle _eauthor
245	0	0	_aShakespeare at the crossroads of debates on staging
260			_c2020.
500			_a17
520			_aDuring the XIXth century, Shakespeare’s tragedies were performed on many a stage. As they had to be adapted and even modified to fit in with the constraints of the various playhouses, they found themselves entangled in the disputes over stage direction. Dramatic categories were then turned upside down while new performing possibilities were arising, which gave critics and directors food for thought and brought them to ponder over the roots of dramatic illusion, as this theatre was originally played without any scenery: were not the material means used more and more extensively during the XIXth century a hindrance to illusion? Some of them opposed visual to fantasy theatre, the latter calling for the audience’s imagination. In that context, Berlioz’s dramatic symphony Romeo and Juliet can be considered as a means to revive the grass roots of Elizabethan aesthetics.
786	0		_nRomantisme | o 188 | 2 | 2020-06-11 | p. 49-59 | 0048-8593
856	4	1	_uhttps://shs.cairn.info/journal-romantisme-2020-2-page-49?lang=en
999			_c223556 _d223556