La Figurante de François de Curel. Comédie des apparences ou jeu de rôles
Sur les traces du grotesque pirandellien
Tomasz Kaczmarek | Université de Łódź
François de Curel, mistakenly regarded as an author of the “problem play”, enjoyed a reputation of an innovator in
dramaturgy during his lifetime. By rejecting the canonical form of the drama, he proposes works in which psychological analysis prevails
over the dramatic progression of the action. In fact, in La Figurante, the French writer paints a portrait of the
characters who resemble “marionettes” operated by unknown forces. In order to survive in bourgeois society, they assume the “masks” that
social conventions demand of them and conscientiously play the comedy. However, under the facade and the artifices, the protagonists keep
their existential anxieties which express their inner sincerity. In this context, the analysis of this play will lead us to seek affinities
with the grotesque dimension of the Pirandello theater.
Keywords: François de Curel,
La Figurante
, Luigi Pirandello, “role play”, mask, “appearances comedy”, grotesque
Article outline
- Introduction
- Remarques préliminaires
- Brève présentation de la fable
- « Œuvre manquée »-« œuvre réussie », ou La Figurante selon les critiques
- De la « comédie rosse » au théâtre du grotesque
- Jeu de rôles, ou la propédeutique à l’adaptation à la vie bourgeoise
- Conclusion
- Remarques
-
Bibliographie
Article language: French
Published online: 27 August 2021
https://doi.org/10.1075/rro.20014.kac
https://doi.org/10.1075/rro.20014.kac
References
Bibliographie
Blanchart, P.
Champris, G. de
Comès, G.
Corvin, M.
Faguet, É.
Forster, R.
Goffman, E.
Landis, J.
(2006) : La pièce bien défaite : physique et pragmatique du drame. Loxias, mis en ligne le 14 septembre 2006, URL : http://revel.unice.fr/loxias/index.html?id=1213
Pontiocello, E. E.
Pronier, E.
Sarrazac, J-P.
Sorel, A.-É.