This chapter considers the theatre of Marina Carr in the light of the feminist thought of French ... more This chapter considers the theatre of Marina Carr in the light of the feminist thought of French writers Helene Cixous and Luce Irigaray, in particular their work on the cultural representations of the feminine-maternal body. Taking the play Woman and Scarecrow as a case-study, the chapter examines Carr’s undermining of the visualist bias of conventional theatre, and demonstrates the extent to which she privileges the auditory in an attempt to confer on the stage a female voice and body.
Le theâtre est un lieu d’ecoute, un lieu acoustique et phonique, il n’a jamais cesse de l’etre. P... more Le theâtre est un lieu d’ecoute, un lieu acoustique et phonique, il n’a jamais cesse de l’etre. Pourtant, sa theorisation recente l’a longtemps ignore en ne s’attachant qu’a la scene visuelle ou charnelle ou a l’œuvre dramatique ecrite. Une telle surdite n’a rien d’exceptionnel : l’oubli de la dimension sonore a touche l’ensemble des sciences humaines et sociales. On a nomme « tournant acoustique » la restauration de l’importance du son par tout un mouvement interdisciplinaire qui a montre que la periode contemporaine n’est pas et n’a pas ete plus visuelle qu’auditive, ce qu’a longtemps masque la proliferation des images et de leurs analyses. Inscrit dans ce mouvement critique, le present ouvrage reunit 35 collaborateurs de 8 pays differents. Theoriciens ou praticiens du son et de la voix, specialistes de theâtre, d’architecture, d’acoustique, de creation sonore, historiens et analystes des techniques, des medias et de la culture, livrent ici un ouvrage total, ouvert a tous ceux qui...
Review(s) of: Les fruits de la Passion: Le theatre de Yasmina Reza, by Helene Jaccomard, Bern: Pe... more Review(s) of: Les fruits de la Passion: Le theatre de Yasmina Reza, by Helene Jaccomard, Bern: Peter Lang, 2013.
nuit, one key episode of which is also studied by Raluca Riquet in terms of myth and symbol, show... more nuit, one key episode of which is also studied by Raluca Riquet in terms of myth and symbol, shows how this novel represents ‘un travail toujours recommencé sur un texte initial et caché’ (p. 207). Benoı̂t Neiss provides a welcome overview of the great range of myths used at different levels by Bosco, drawn from the three main strands of Classical, modern (medieval and later) and popular mythology. Luc Fraisse’s helpful summary of the findings of the volume also points to some fresh pistes that have been opened up, including Bosco’s ongoing dialogue with his sources, his relationship to the visual arts, and further possibilities for narratological/stylistic analysis. This is an informative and stimulating book.
... La Ville Parjure reappropriates the archaic maternal territory in its initial images, and pro... more ... La Ville Parjure reappropriates the archaic maternal territory in its initial images, and proceeds to ... gradual uncovering of selves in the muscle, blood, breath and bone of the writing body. ... the struggles of Cleopatra's younger sister to maintain democracy against the tyranny of her ...
Marguerite Duras developed a theatrical form that both staged a severing of the woman's body/... more Marguerite Duras developed a theatrical form that both staged a severing of the woman's body/ presence from discourse/subjectivity, and gave expression to the distressed source of the woman's voice beyond discourse. This form of theatre appeals to the spectator who is willing to become involved in its uncovering of possible meanings of female identity through a meticulously orchestrated, slow, rhythm-based and essentially uncomfortable sifting and dredging of the processes of memory and desire. In exploring this terrain, Duras went some way toward realizing Irigaray's feminist project of ‘playing with mimesis’, whereby the woman resubmits herself to ideas about her self that are elaborated in/by a masculine logic, in order to uncover the place of her exploitation by discourse.
... Page 10. Mary Noonan ... The gap between orality and textuality is not wide, according to Val... more ... Page 10. Mary Noonan ... The gap between orality and textuality is not wide, according to Valère Nova-rina. Writing is a precipitate of the writer's body, the product of a descent into language, through a process of passivity, of letting go: 'The text becomes food for the actor, a body. ...
This chapter considers the theatre of Marina Carr in the light of the feminist thought of French ... more This chapter considers the theatre of Marina Carr in the light of the feminist thought of French writers Helene Cixous and Luce Irigaray, in particular their work on the cultural representations of the feminine-maternal body. Taking the play Woman and Scarecrow as a case-study, the chapter examines Carr’s undermining of the visualist bias of conventional theatre, and demonstrates the extent to which she privileges the auditory in an attempt to confer on the stage a female voice and body.
Le theâtre est un lieu d’ecoute, un lieu acoustique et phonique, il n’a jamais cesse de l’etre. P... more Le theâtre est un lieu d’ecoute, un lieu acoustique et phonique, il n’a jamais cesse de l’etre. Pourtant, sa theorisation recente l’a longtemps ignore en ne s’attachant qu’a la scene visuelle ou charnelle ou a l’œuvre dramatique ecrite. Une telle surdite n’a rien d’exceptionnel : l’oubli de la dimension sonore a touche l’ensemble des sciences humaines et sociales. On a nomme « tournant acoustique » la restauration de l’importance du son par tout un mouvement interdisciplinaire qui a montre que la periode contemporaine n’est pas et n’a pas ete plus visuelle qu’auditive, ce qu’a longtemps masque la proliferation des images et de leurs analyses. Inscrit dans ce mouvement critique, le present ouvrage reunit 35 collaborateurs de 8 pays differents. Theoriciens ou praticiens du son et de la voix, specialistes de theâtre, d’architecture, d’acoustique, de creation sonore, historiens et analystes des techniques, des medias et de la culture, livrent ici un ouvrage total, ouvert a tous ceux qui...
Review(s) of: Les fruits de la Passion: Le theatre de Yasmina Reza, by Helene Jaccomard, Bern: Pe... more Review(s) of: Les fruits de la Passion: Le theatre de Yasmina Reza, by Helene Jaccomard, Bern: Peter Lang, 2013.
nuit, one key episode of which is also studied by Raluca Riquet in terms of myth and symbol, show... more nuit, one key episode of which is also studied by Raluca Riquet in terms of myth and symbol, shows how this novel represents ‘un travail toujours recommencé sur un texte initial et caché’ (p. 207). Benoı̂t Neiss provides a welcome overview of the great range of myths used at different levels by Bosco, drawn from the three main strands of Classical, modern (medieval and later) and popular mythology. Luc Fraisse’s helpful summary of the findings of the volume also points to some fresh pistes that have been opened up, including Bosco’s ongoing dialogue with his sources, his relationship to the visual arts, and further possibilities for narratological/stylistic analysis. This is an informative and stimulating book.
... La Ville Parjure reappropriates the archaic maternal territory in its initial images, and pro... more ... La Ville Parjure reappropriates the archaic maternal territory in its initial images, and proceeds to ... gradual uncovering of selves in the muscle, blood, breath and bone of the writing body. ... the struggles of Cleopatra's younger sister to maintain democracy against the tyranny of her ...
Marguerite Duras developed a theatrical form that both staged a severing of the woman's body/... more Marguerite Duras developed a theatrical form that both staged a severing of the woman's body/ presence from discourse/subjectivity, and gave expression to the distressed source of the woman's voice beyond discourse. This form of theatre appeals to the spectator who is willing to become involved in its uncovering of possible meanings of female identity through a meticulously orchestrated, slow, rhythm-based and essentially uncomfortable sifting and dredging of the processes of memory and desire. In exploring this terrain, Duras went some way toward realizing Irigaray's feminist project of ‘playing with mimesis’, whereby the woman resubmits herself to ideas about her self that are elaborated in/by a masculine logic, in order to uncover the place of her exploitation by discourse.
... Page 10. Mary Noonan ... The gap between orality and textuality is not wide, according to Val... more ... Page 10. Mary Noonan ... The gap between orality and textuality is not wide, according to Valère Nova-rina. Writing is a precipitate of the writer's body, the product of a descent into language, through a process of passivity, of letting go: 'The text becomes food for the actor, a body. ...
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