This article focuses on the encounter between R. Kalisky and A. Vitez, with specific emphasis on the production of Le Pique-nique de Claretta in 1974. It also examines the reasons of their mutual discovery based on an interest in going beyond the precepts of Brechtian theatre and their common search for a renewal of dramatic forms. Thanks to a large variety of documents (correspondence, unpublished drafts, working papers, newspapers reviews), this work analyses from a dramaturgic point of view the differences between Kalisky’s text and the production of the play. Vitez’s mise-en-scène of Le Pique-nique reveals the Belgian author’s position to evince a wider degree of freedom from contemporary ideological and cultural schemata than might be indicated in the written text. Kalisky aims at a new theatrical model that avoids simplistic, clear-cut structures, and boldly conceives of his theatrical model as a weapon against new forms of Fascism.

"Surjouer" avec le feu: "Le Pique nique de Claretta" et la mise en scène de Vitez

SILVESTRI, AGNESE
2016-01-01

Abstract

This article focuses on the encounter between R. Kalisky and A. Vitez, with specific emphasis on the production of Le Pique-nique de Claretta in 1974. It also examines the reasons of their mutual discovery based on an interest in going beyond the precepts of Brechtian theatre and their common search for a renewal of dramatic forms. Thanks to a large variety of documents (correspondence, unpublished drafts, working papers, newspapers reviews), this work analyses from a dramaturgic point of view the differences between Kalisky’s text and the production of the play. Vitez’s mise-en-scène of Le Pique-nique reveals the Belgian author’s position to evince a wider degree of freedom from contemporary ideological and cultural schemata than might be indicated in the written text. Kalisky aims at a new theatrical model that avoids simplistic, clear-cut structures, and boldly conceives of his theatrical model as a weapon against new forms of Fascism.
Cet article revient sur la rencontre entre R. Kalisky et A. Vitez et sur la mise en scène, en 1974, du Pique-nique de Claretta. Il précise les raisons d’une découverte réciproque dans l’exigence, également ressentie, d’un renouvellement des formes dramatiques, ainsi que d’un dépassement des limites du brechtisme. En s’appuyant sur des sources variées et encore inexploitées (la correspondance entre les deux artistes, leurs brouillons inédits, leurs notes de travail, les nombreux comptes rendus de la pièce), il analyse les différences qui se dessinent entre la dramaturgie du texte et celle de la mise en scène. L’aspiration kaliskienne à un théâtre qui assume des risques pour se libérer d’un manichéisme réducteur et inefficace à lutter contre les nouvelles formes de fascisme, révèle une audace qui, en cette occasion, par rapport aux schémas culturels de l’époque, apparaît plus libre que celle d’Antoine Vitez.
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11386/4676222
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