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Le théâtre à l'épreuve de sa haine. Une adversité féconde ?

Abstract : Hatred towards drama and performances and shows, though historically irregular and polymorphic in its illustrations, has not ceased, at least since Plato, to express itself chronically. Traditionally, up to the 18th century, it has mostly been the doing of theology and philosophy.Three reasons motivated this work. First, the belief that antitheatricality forms a much more fertile corpus than it seems at first. Second, the assumption that traditional antitheatricality has, on many levels, provided modern drama tools to establish itself whilst building itself “against”. Third, the relative lack of interest in French performance studies towards traditional antitheatricality – even though other fields have willingly addressed the issue.Thus, one may better understand what the title of this work implies: antitheatricality does not neglect theatre; on the contrary, it proves itself very watchful and well aware of its abilities to disrupt and shake – maybe more than the arguments used to defend and justify the theatre.This PhD work consists of two big parts. The first part identifies and classifies five big sorts of accusations aimed at the theatre: one of the economic kind (the theatre is too much), one of the dynamic kind (it is too fast and too effective), two of ontological kind (it promotes impurity in every sense, and it promotes instability), and finally one of the genetic kind in a metaphorical way (it corrupts the alleged “nature” of things). The second part aims to reemploy antitheatricality to question three domains. The first is political: what does antitheatricality teach us about the theatre’s (problematic and often idealized) relation with society? The second is emotional and sensorial: what are his effects (really and not theoretically) on the audience? The third is aesthetical: what does it teach us about the status and the effects of theatrical images?The work aims thus to study antitheatricality whilst listening to it instead of dismissing it, and to use its arguments in a critical/analytical way – to subject theatre to questioning.
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Submitted on : Tuesday, February 16, 2021 - 2:36:23 PM
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  • HAL Id : tel-03143013, version 1

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Thomas Bruckert. Le théâtre à l'épreuve de sa haine. Une adversité féconde ?. Musique, musicologie et arts de la scène. Université de Lyon, 2020. Français. ⟨NNT : 2020LYSEN046⟩. ⟨tel-03143013⟩

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