Resumen de "Orage mystique" de François de Curel: mise en question de la « pièce bien faite ».
- English
François de Curelis considered a representative of “problem plays”, though his theatre has fallen into oblivion. However, despite the author’s attachment to the classical tradition, he was criticized for scuttling the very fundamental dramatic art. In fact, when studying Orage mystique (Mystical Storm), it is clear that he disregards the regulatory principles of the fable, principles inherited from Aristotelian conceptions. If the first act of the drama seems to comply with the formal constraints of a “well-made play”, in the second, the writer breaks the course of the linear action to focus not on the dynamics of events, but on psychic life of the protagonist. In this way, Curel proposes a new dramatic paradigm, in which intra-subjective confrontations develop within the psyche of the central character, instead of interpersonal conflicts meant to push the action forward.
- français
François de Curel, whose theater has fallen somewhat into oblivion, is considered a representative of “problem plays” However, despite the author’s attachment to the classical tradition, he was criticized for scuttling the very fundamental dramatic art. In fact, while studying Orage mystique (Mystical Storm), we are forced to note that he resolutely turns his back on the regulatory principles of the fable, principles inherited from Aristotelian conceptions. If the first act of the drama seems to comply with the formal constraints of a “well-made play”, from the second, the writer breaks the course of the linear action to focus not on the dynamics of events, but on psychic life of the protagonist. In this way, Curel seems to propose the new dramatic paradigm, where, instead of interpersonal conflicts meant to push the action forward, we see intrasubjective clashes unfolding within the central character’s psyche.
