TITLE

SPECTACLE IN BALE AND HEYWOOD

AUTHOR(S)
Happ, Peter
PUB. DATE
July 1994
SOURCE
Medieval English Theatre;1994, Vol. 16, p51
SOURCE TYPE
Academic Journal
DOC. TYPE
Article
ABSTRACT
Mon propos est de décrire et d’analyser certains éléments du spectaculaire dans les oeuvres de ces deux auteurs, qui ontconnu le succès au cours de la période 1530—40. Au-delà des ressemblances dans les techniques dereprésentation, je tenterai de rendre compte des potentialités spectaculaires de l’interlude à cette époque. Malgré des différences dans leurs orientations politique et religieuse et dans les techniques utilisées par l’un et par l’autre, on pourra examiner la scénographie de ces deux auteurs et l’utilisation qu’ils font des deux vices. Nos auteurs créent une série de situations destinées à séduire le public et à le distraire, jouant adroitement du texte etdes autres signes théâtraux. Quoique de telles scènes soient superficiellement comiques, elles ont en réalité un objectif sérieux. En ce qui concerne Sèdition, je considèrerai la mise en scène de son entrée, et la manipulation originale de son identité par rapport à sa fonction allégorique. Dans le cas de No-Lover-Nor-Loved, j’examinerai son jeu physique, sans oublier par ailleurs que le jeu sur le langage est important dans la stratégie dramatique de J. Heywood. Le long monologue de ce Vice illustre l’étendue de son répertoire comique et met en oeuvre de nombreuses techniques spectaculaires, y compris le dialogue mimétique. Même si la pièce de Heywood n’est pas une allégorie morale au même titre que celle de Bale, elle s’inspire d’une vision morale de l’humanité et utilise les techniques du théâtre moral contemporain. Ma conclusion sera que le spectacle fourni par ces Vices permet d’explorer leur identité théâtrale et différents niveaux d’interprétation grâce à un jeu vigoureux et divertissant.
ACCESSION #
63890187

 

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