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The New Epic Theatre in French: Myth...

Wodnicka, Natalia.

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The New Epic Theatre in French: Myth, History and Contemporary News in the Theatre of Bernard-Marie Koltes, Helene Cixous, Koffi Kwahule and Wajdi Mouawad.

Record Type:	Electronic resources : Monograph/item
Title/Author:	The New Epic Theatre in French: Myth, History and Contemporary News in the Theatre of Bernard-Marie Koltes, Helene Cixous, Koffi Kwahule and Wajdi Mouawad./
Author:	Wodnicka, Natalia.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2013,
Description:	293 p.
Notes:	Source: Dissertation Abstracts International, Volume: 75-03(E), Section: A.
Contained By:	Dissertation Abstracts International75-03A(E).
Subject:	Modern literature. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3602751
ISBN:	9781303559907

The New Epic Theatre in French: Myth, History and Contemporary News in the Theatre of Bernard-Marie Koltes, Helene Cixous, Koffi Kwahule and Wajdi Mouawad.
Wodnicka, Natalia.

The New Epic Theatre in French: Myth, History and Contemporary News in the Theatre of Bernard-Marie Koltes, Helene Cixous, Koffi Kwahule and Wajdi Mouawad. - Ann Arbor : ProQuest Dissertations & Theses, 2013 - 293 p.

Source: Dissertation Abstracts International, Volume: 75-03(E), Section: A.

Thesis (Ph.D.)--New York University, 2013.

This item is not available from ProQuest Dissertations & Theses.

My dissertation articulates a unique trend in contemporary French-language theatre centered on a return to myth, literature and History as well as a strongly structured storyline. This 'New Epic Theatre,' as I have named it, is a theatre which, in a distinct way, tells the story of contemporary man caught in the contradictions and violence of the world around him. In my inquiry, the term 'Epic' refers to an identifying attribute of this theatre, which, through the activation of common mythicoliterary references and a return to lyricism as manifested in the story of one or more central characters, attempts to provide a context through which to grapple with the complex realities of the world. I present four exemplary plays and consider each play's unique variations on the New Epic: Roberto Zucco (1990) by Bernard-Marie Koltes, La Ville parjure (1994) by Helene Cixous, Bintou (1999) by Koffi Kwahule, and Incendies (2003) by Wajdi Mouawad.

ISBN: 9781303559907Subjects--Topical Terms:

2122750
Modern literature.

The New Epic Theatre in French: Myth, History and Contemporary News in the Theatre of Bernard-Marie Koltes, Helene Cixous, Koffi Kwahule and Wajdi Mouawad.
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245 1 4 $a The New Epic Theatre in French: Myth, History and Contemporary News in the Theatre of Bernard-Marie Koltes, Helene Cixous, Koffi Kwahule and Wajdi Mouawad.
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300 $a 293 p.
500 $a Source: Dissertation Abstracts International, Volume: 75-03(E), Section: A.
500 $a Adviser: Judith G. Miller.
502 $a Thesis (Ph.D.)--New York University, 2013.
506 $a This item is not available from ProQuest Dissertations & Theses.
520 $a My dissertation articulates a unique trend in contemporary French-language theatre centered on a return to myth, literature and History as well as a strongly structured storyline. This 'New Epic Theatre,' as I have named it, is a theatre which, in a distinct way, tells the story of contemporary man caught in the contradictions and violence of the world around him. In my inquiry, the term 'Epic' refers to an identifying attribute of this theatre, which, through the activation of common mythicoliterary references and a return to lyricism as manifested in the story of one or more central characters, attempts to provide a context through which to grapple with the complex realities of the world. I present four exemplary plays and consider each play's unique variations on the New Epic: Roberto Zucco (1990) by Bernard-Marie Koltes, La Ville parjure (1994) by Helene Cixous, Bintou (1999) by Koffi Kwahule, and Incendies (2003) by Wajdi Mouawad.
520 $a Common to the works I examine is a confrontation with violent contemporary news stories which ground these plays in a recognizable reality. Whereas plays outside the New Epic present highly gratuitous violence without offering to the spectator any structuring mechanism, the authors of the New Epic Theatre seek precisely to guide the audience's reception. In response to the absence of universal organizing belief systems, Koltes, Cixous, Kwahule and Mouawad reconfigure and repurpose elements from the seminal stories of the Western tradition, at once acknowledging the untenable nature of these grand narratives and drawing on them. In so doing, they suggest the possibility of constructing identity and community based not on meta-narratives, but rather on shared narratives, as re-imagined in the theatre.
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