Para-espaces dans le théâtre français de la période romantique (1828-1835) [Elektronisk resurs]

• This thesis deals with the functions of prevalent threshold-like spaces such as windows, stairs, doors or balconies in theatre plays from the height of the Romantic era in France (1828-1835). The study coins the concept of « para-espaces » (para-spaces) and elucidates the way they mediate between different divisions of the spatiotemporal structure of a play. It applies a textual approach with a deeper focus on the inherent permeability of para-espaces, rather than merely their capacity to impose physical or symbolic limits. It aims to shed light on the impact of para-espaces on the structures of the dramatic text, to observe how they contribute to a redefinition of the relations between the stage and its surroundings – spatially and temporally, and to discern how they affect the poetics and aesthetics of theatre productions during the Romantic period. The analysis is based on a corpus of 36 plays representing different authors and genres.  The theoretical part of the thesis revisits the fundaments of the notion of “dramatic space” and defines the concept of “para-espaces”, as well as discussing their potential to occupy a key place in global spatiotemporal structures of plays. It investigates how they mediate between the “actual space” (the stage) and “virtual spaces” (its spatiotemporal surroundings). The first chapter of the analysis deals with para-espaces as “spatio-dramatic pivot points”, i.e. as the spatial, actionnal and symbolic anchors of many plays. The second chapter focuses on sound permeability and how para-espaces are used to mediate information and heighten tensions between what is exposed on stage and what is hidden from sight. Para-espaces also convey visual information from the offstage space. The third chapter focuses on the prevalent rhetorical figure of “teichoscopie”, examining the benefits of placing part of the action offstage. It argues that this phenomenon, by allowing for a systematic emphasis on emotional reactions on stage, influences both the type of text it generates (in both monological and dialogical structures) and the relative disappearance of the role of the “confidant” among the  dramatis personae . The fourth chapter addresses the ambiguities of para-espaces as mechanisms for both openness and closeness in the works of Alexandre Dumas, and elucidates how he uses them to build up tension, as well as to deepen the characterization of the protagonists of his plays. The fifth and final chapter discusses the inscription of para-espaces in the predominant aesthetic of “the spectacular”, finding that they often deviate from their original function in order to actualize tensions related to identity and social roles in nineteenth-century France. 

Ämnesord

Humanities and the Arts  (hsv)

Languages and Literature  (hsv)

Specific Literatures  (hsv)

Humaniora och konst  (hsv)

Språk och litteratur  (hsv)

Litteraturstudier  (hsv)

Literature  (uu)

Litteraturvetenskap  (uu)

Romanska språk  (uu)

Romance Languages  (uu)

Genre

government publication  (marcgt)

Indexterm och SAB-rubrik

French literature

theatre

theatre studies

19th century

drama

romantic drama

romanticism

space

spatiotemporality

para-espaces

threshold

permeability

transition

mediation

stage

offstage

windows

doors

staircase

stairs

balcony

Littérature française

théâtre

dix-neuvième siècle

romantisme

drame

drame romantique

espace

seuil

spatiotemporalité

para-espaces

passage

médiation

transition

frontière

limite

perméabilité

contaminations

scène

hors-scène

teichoscopie

portes

fenêtres

balcons

escaliers

Victor Hugo

Alexandre Dumas

Eugène Scribe

Casimir Delavigne

Jacques Ancelot

René-Charles Guilbert de Pixerécourt

Auguste Anicet-Bourgeois

Frédéric Soulié

Alfred de Vigny

Alfred de Musset

Victor Ducange

Felix Pyat

Auguste Luchet.