« Peut-on encores entendre de toy troupe quelque voix ? » Le choeur tragique au XVI ͤ siecle, ou la renaissance d'un medium antique = <> The Chorus on the Early Modern Stage, the Renaissance of an Ancient Artifact / Lauriane Guihard.

Format:

Book

Thesis/Dissertation

Author/Creator:

Guihard, Lauriane, author.

Contributor:

University of Pennsylvania. Francophone, Italian, and Germanic Studies, degree granting institution.

Language:

English

Subjects (All):

French literature.

Archaeology.

Theater.

Theater history.

Francophone, Italian, and Germanic Studies--Penn dissertations.

Penn dissertations--Francophone, Italian, and Germanic Studies.

Local Subjects:

French literature.

Archaeology.

Theater.

Theater history.

Francophone, Italian, and Germanic Studies--Penn dissertations.

Penn dissertations--Francophone, Italian, and Germanic Studies.

Physical Description:

1 online resource (505 pages)

Contained In:

Dissertations Abstracts International 85-12A.

Place of Publication:

[Philadelphia, Pennsylvania] : University of Pennsylvania, 2022.

Ann Arbor : ProQuest Dissertations & Theses, 2024

Language Note:

French

Summary:

Peut-on encores entendre de toy troupe quelque voix?, ainsi s'apostrophe le choeur dans Cleopatre captive d'Etienne Jodelle, premiere tragedie francaise ecrite sur le modele antique. Bien qu'heritee de l'Antiquite, la tragedie qui se developpe au XVIᵉ siecle ne reprend pas toutes les fonctions de la tragedie antique. En faisant renaitre la tragedie au XVIᵉ siecle, les auteurs cherchent a adapter et s'approprier le modele tragique antique. Le choeur fait partie de cet heritage antique remanie par les auteurs du XVIᵉ siecle. La presente etude analyse les facons dont les poetes du XVIᵉ siecle ont reinvente la tragedie en langue francaise dans leurs pratiques dramaturgiques du choeur. En redefinissant le role du choeur dans la tragedie du XVIᵉ siecle, les auteurs concoivent un nouvel usage de la tragedie antique, elaborant ainsi de nouveaux types de tragedie. Adoptant une approche archeologique, notre travail suit un questionnement tripartite : Qu'est-ce que le choeur renaissant ? Comment fonctionne-t-il dans les tragedies du XVIᵉ siecle (et comment etait-il mis en scene) ? Pourquoi n'a-t-il pas perdure dans la tragedie du XVIIᵉ siecle ? Nous proposons des elements de reponse suivant trois axes : le caractere spectaculaire du choeur (dans sa forme et sa representation) ; l'identite du choeur personnage (en tant que personnage collectif et genre, gravitant autour d'un protagoniste ou non) ; et le choeur en tant que medium re-mediatise dans la France du XVIᵉ siecle (en tant que moyen de communication utilise par les auteurs pour vehiculer un message au public du XVIᵉ siecle, notamment dans le contexte des guerres de religion). Medium provenant de l'Antiquite, le choeur subit au cours du XVIᵉ siecle une re-mediation a la fois dramaturgique, lyrique, psychologique, historique et ideologique qui resulte en sa substitution au profit de l'emergence de nouveaux media (didascalies, personnage du confident, opera, regle des trois unites, etc.).

"Can we still hear some voice from you, troop?", this is how the chorus address itself in Etienne Jodelle's Cleopatre captive, the first French tragedy written on the ancient model. Although inherited from Antiquity, the tragedy that developed in the 16th century did not take up all the functions of ancient tragedy. By reviving tragedy in the 16th century, authors seek to adapt and appropriate the ancient model. The chorus is a part of this ancient heritage adapted by 16th -century authors. This study analyzes the ways in which 16th -century poets reinvented tragedy in the French language in their dramaturgical practices of the chorus. By redefining the role of the chorus in 16th -century tragedy, authors conceive of a new use of ancient tragedy, thus developing new types of tragedy. Adopting an archaeological approach, our work follows a tripartite questioning: What is the Renaissance chorus? How does it function in 16th -century tragedies (and how was it staged)? Why did it not persist in the tragedy of the 17th century? We propose elements of response along three axes: the spectacular nature of the chorus (on stage, in its form, and in its representation); the identity of the character of the chorus (as a collective and gendered character, and its relation to the protagonist); and the chorus as a re-mediated medium in 16th -century France (as a means of communication used by authors to convey a message to the 16th -century public, particularly in the context of the wars of religion). A medium originating from Antiquity, the chorus undergoes a dramaturgical, lyrical, psychological, historical, and ideological remediation during the 16th century which resulted in its elimination in favor of the emergence of new media (stage directions, character of the confidant, opera, the three unities, etc.).

Notes:

Source: Dissertations Abstracts International, Volume: 85-12, Section: A.

Advisors: Buron, Emmanuel; Francis, Scott; Committee members: Prince, Gerald; Del Soldato, Eva; Clement, Michele; Goeury, Julien.

Department: Francophone, Italian, and Germanic Studies.

Ph.D. University of Pennsylvania 2024.

Local Notes:

School code: 0175

ISBN:

9798382834573

Access Restriction:

Restricted for use by site license.

This item is not available from ProQuest Dissertations & Theses.