André Gide's Nouveaux Prétextes PDF

By André Gide

ISBN-10: 2715235879

ISBN-13: 9782715235878

Publié pour l. a. première fois en 1911 dans l. a. continuité de Prétextes, ce quantity contient :

DEUX CONFÉRENCES : L’Évolution du théâtre ; De l’importance du public — CHRONIQUES DE L’ERMITAGE : I. Lettre à M. Édouard Ducoté ; II. Seconde visite de l’interviewer ; III. — PRÉTEXTES : Nationalisme et littérature. (À propos d’une enquête de los angeles Phalange) ; Nationalisme et littérature (second article) ; los angeles licence, los angeles dépravation et les déclarations de M. le sénateur Bérenger ; Mœurs littéraires (Autour du tombeau de Catulle Mendès) ; L’Amateur de M. Remy de Gourmont ; En marge du Fénelon de Jules Lemaître ; Baudelaire et M. Faguet — magazine SANS DATE : I. ; II. ; III. ; IV. los angeles mort de Charles-Louis Philippe ; V. l. a. Jeanne d’Arc de Charles Péguy ; VI. En Espagne ; VII. ; VIII. ; IX. Voyage au Val d’Andorre ; X. — NOTICES : Jules Romains : l. a. Vie Unanime ; Poèmes par un riche novice ; André Rouveyre : Le Gynécée ; Francis de Miomandre : Écrit sur de l’eau ; Francis Jammes : Rayons de Miel ; Henri de Régnier : Couleur du Temps ; Jean Giraudoux : Provinciales ; Léon Blum : Nouvelles Conversations de Gœthe avec Eckermann ; Georges Grappe : Dans le jardin de Sainte-Beuve ; Louis Dumur : Les Trois Demoiselles du Père Maire ; Les représentations russes au Châtelet — APPENDICE : I. Lettre de Jules Renard ; II. Réponse à l. a. lettre de Jules Renard.

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Extra resources for Nouveaux Prétextes

Example text

He does not really like the theater-a t least, the theater as it is conceived throughout the West, which he accuses of being i nsu fficiently serious. His theater would have nothing to do with the aim of pro· viding "pointless, artificial diversion," mere entertain· ment. The contrast a t the heart of Artaud's polemics is not between a merel y literary theater and a theater of strong sensations but between a hedonistic theater and a theater that is morally rigorous. What Arta ud proposes is a theater that Savona rola or Cromwell m ight well have approved of.

But A rtaud's idea of revolution diverges as fa r from that of the Surrealists as his devastated sensibili ty does from Breton's essentially wholesome one. /28 Approaching Artaud Artaud also reta ined from the Surrealists the romantic imperative to close the gap between art ( and thought) and life. " But Artaud insists, more aggressively than the Surrealists ever d id, on that devaluation of the sepa rate work of art which results from attaching art to life. Like the Surrealists, Artaud re­ gards art as a function of consciousness, each work representing only a fraction of the whole of the artist's con­ sciousness.

The prevailing tyranny of some means over others has to be creatively subverted. As Wagner challenged the convention of al­ ternating aria and recitative, which impl ies a hierarchical relation of speech, song, and orchestral music, Artaud de­ nounced the practice of making every elemen t of the stag­ ing serve i n some way the words that the actors speak to each other. Assa iling as false the priorities of dialogue theater which have subordinated theater to "literature," Artaud implicitly upgrades the means that characterize such other forms of dramatic performance as dance, ora ­ torio, circus, cabaret, church, gymnasium, hospital operat­ ing room, courtroom.

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Nouveaux Prétextes by André Gide


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