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Prison et theatralisation.

Tworek, Agnieszka Anna.

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Prison et theatralisation.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Prison et theatralisation./
作者:	Tworek, Agnieszka Anna.
面頁冊數:	209 p.
附註:	Advisers: Ora Avni; Donia Mounsef.
Contained By:	Dissertation Abstracts International68-06A.
標題:	Literature, Romance. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3267372
ISBN:	9780549067320

Prison et theatralisation.
Tworek, Agnieszka Anna.

Prison et theatralisation. - 209 p.

Advisers: Ora Avni; Donia Mounsef.

Thesis (Ph.D.)--Yale University, 2007.

This study examines the representation of incarceration in French and Francophone theater of the twentieth and twenty-first centuries, including authors such as Genet, Sartre, Beckett, Azama, and Chalem, among others. I demonstrate that theater has seen the emergence of prison plays whose characters are prisoners and prison guards and whose action takes place entirely in the cell. In my dissertation, as opposed to offering a purely thematic reading, I study these plays through the prism of four dramatic categories, each with its homologue in the carceral universe: space (cell/stage), spectator (prison guard/theater public), time (sentence/dramatic time), and character (prisoner/actor). There exists a strong parallelism between prison and theater, on the conceptual and aesthetic levels, which I will reveal by examining a visible contamination of one universe by the other and the results of this contamination. The intensified presence of four dramatic categories in the plays allows the spectator to visualize the prison structure on stage and, moreover, allows theater to interrogate itself.

ISBN: 9780549067320Subjects--Topical Terms:

1019014
Literature, Romance.

Prison et theatralisation.
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245 1 0 $a Prison et theatralisation.
300 $a 209 p.
500 $a Advisers: Ora Avni; Donia Mounsef.
500 $a Source: Dissertation Abstracts International, Volume: 68-06, Section: A, page: 2480.
502 $a Thesis (Ph.D.)--Yale University, 2007.
520 $a This study examines the representation of incarceration in French and Francophone theater of the twentieth and twenty-first centuries, including authors such as Genet, Sartre, Beckett, Azama, and Chalem, among others. I demonstrate that theater has seen the emergence of prison plays whose characters are prisoners and prison guards and whose action takes place entirely in the cell. In my dissertation, as opposed to offering a purely thematic reading, I study these plays through the prism of four dramatic categories, each with its homologue in the carceral universe: space (cell/stage), spectator (prison guard/theater public), time (sentence/dramatic time), and character (prisoner/actor). There exists a strong parallelism between prison and theater, on the conceptual and aesthetic levels, which I will reveal by examining a visible contamination of one universe by the other and the results of this contamination. The intensified presence of four dramatic categories in the plays allows the spectator to visualize the prison structure on stage and, moreover, allows theater to interrogate itself.
520 $a The first chapter analyzes the dramatic space of these plays and the conjunction between the stage and the cell. Both of them are heterotopias, spaces without exterior, and spaces of death. The second chapter studies the emergence of a new type of interior spectator - the surveillant, the consequences of his/her presence in the plays, and the striking similarity between the spectator on stage and the spectators watching the play. The following chapter focuses on temporality in prison plays. The chapter examines dramatic time and prison time, both intricately linked with the present. Special attention is given to the concept of waiting that is of central importance in these plays, and to the characters' uneasy relation to the past and to the future. The fourth chapter analyzes the dehumanization of the protagonists of these plays---prisoners---vegetating within the jail walls; transformed from agents into patients, from persona to non-persona. Their ontological status resembles that of the actor in many ways. Confined to the tight space of the cell, the prisoners are acutely confronted with their corporality, as if they were actors on stage.
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