Entretien avec le dramaturge Yoshiji Yokoyama à propos du travail du metteur en scène français Claude Régy, et en particulier des représentations de ses spectacles au Japon (SPAC, Shizuoka), dont la création (en japonais) d'Intérieur, de Maeterlinck.
Homme de théâtre russe, universellement connu pour sa méthode de formation de l’acteur « le Système », co-fondateur et directeur du Théâtre d’Art de Moscou, acteur, metteur en scène, pédagogue, Konstantin Stanislavski (1863-1938) a laissé une importante correspondance qui témoigne de son trajet théorique et de sa longue pratique théâtrale. Les lett...
The Belgian Symbolism is as important as the French one, and the French poet Villiers is a mentor, particularly for Maeterlinck. Yeats also acknowledges Villiers as the main Symbolist influence on him. But Villiers is not the only French Symbolist he knows and certainly not the first he discovers. Not being really familiar with France's literary li...
The symbols of crumbling towers, deep wells or fountains, and impassable thresholds belong to Yeats as much as they belong to Maeterlinck, indeed as they belong to a whole generation. So, this paper focuses on similarities and disparities in the symbolism of Yeats and Maeterlinck, that is, in their conception and use of symbols. In their essays, Ye...
“That ceaseless revery about life which we call wisdom”: a comparison of Yeats’s and Maeterlinck’s dramaturgy Abstract ArianeMurphy William Butler Yeats read extensively the French Symbolists and the plays of the Belgian playwright, Maurice Maeterlinck, before there were widely known in the English and Irish literary world. However, Yeats made a po...
Glavni namen simbolistične dramske tehnike je pošiljanje sporočil, ki so dostopna predvsem intuitivnemu zaznavanju, največja nevarnost pa tem sporočilom grozi s strani materialnega. Še bolj določno: dramo utegne uničiti igralec in sicer zaradi svoje materialne in naključne subjektivitete. Odtod sledijo trije obrambni ukrepi: 'statično gledališče' (...
This paper examines intercultural relationships between so-called peripheries, more exactly between the Basque Country and Belgium, in late 19th century and early 20th century. Divided into three parts, this paper analyses the Basque translation of Hendrik Conscience, investigates (often unknown) connections between Miguel de Unamuno and the (Frenc...
Maeterlinck's drama is mostly a static drama, where there is very little action and this little is hesitant. This empirical aspect is connected to another (less evident) realization: in Maeterlinck's theatre the future is never made pertinent, it is rather a representational impasse. Castles are ruins, but they don't collapse; kings are old and dec...
