"L’Inconnue d’Arras" d’Armand Salacrou: du «drame-dans-la-vie» au «drame-de-la-vie»

• Tomasz Kaczmarek ^[1]
  1. [1] Université de Łódź
• Localización: Au croisement des cultures, des discours et des langues. Cent ans d'études romanes à l'Université de Varsovie (1919-2019) / Wieslaw Kroker (dir.), Judyta Zbierska-Moscicka (dir.), Vol. 1, 2021 (Études Littéraires), ISBN 978-83-235-5262-8, págs. 233-240
• Idioma: francés
• Títulos paralelos:
  • "The Unknown Woman from Arras" by Armand Salacrou: from «drama-in-life» to «drama-of-life»
• Enlaces
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• Resumen

  • The author of the article studies Salacrou’s play in the context of August Strindberg’s pre-expressionist aesthetic. In fact, this play, somewhat forgotten today, has a number of features which, like the works of the Swede, announce the crisis of traditional drama. Salacrou destroys the canonical form of «drama-in-life», which is based on a dramatic progression of the action and on the character as an active agent ensuring this same progression, by proposing a new paradigm of «drama-of-life» which moves away from classic prerogatives to focus on the inner life of the protagonist. Instead of focusing on episodes that inevitably lead to disaster, the Frenchwriter attempts to embrace «a lifetime» of the character who killed himself. This is how he passes from «agonistic drama» to «ontological drama».