
Contents
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Critical and Linguistic Dialogues with Shakespeare’s tragedy Critical and Linguistic Dialogues with Shakespeare’s tragedy
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From ‘upstart crow’ to the Bard of Liberty From ‘upstart crow’ to the Bard of Liberty
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The Shakespearean School of Tragedy: New Episteme (1949–2010) The Shakespearean School of Tragedy: New Episteme (1949–2010)
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Translating Shakespearean Tragedy: The Path to a Liberated Line Translating Shakespearean Tragedy: The Path to a Liberated Line
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The Stage Reflector: New Directions in the Performance of Tragedy The Stage Reflector: New Directions in the Performance of Tragedy
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Absorbing History Absorbing History
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The Shakespearean Laboratory: Restaging and Reshaping the Viewer The Shakespearean Laboratory: Restaging and Reshaping the Viewer
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From ‘Mingled Drama’ to Mingled Performance From ‘Mingled Drama’ to Mingled Performance
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From Babelism and Bibliocosm to the Aesthetics of Speed and Waste From Babelism and Bibliocosm to the Aesthetics of Speed and Waste
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Transplanted Shakespeares and Refigurative Receptions Transplanted Shakespeares and Refigurative Receptions
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Poetic Refiguration Poetic Refiguration
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Dramatic Transplants Dramatic Transplants
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Select Bibliography Select Bibliography
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44 French Receptions of Shakespearean Tragedy: Between Liberty and Memory
Get accessPascale Drouet, University of Poitiers
Nathalie Rivère de Carles, University of Toulouse
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Published:02 November 2016
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Abstract
The philosopher Alain synthesized the French approach to Shakespeare when he announced: ‘If Hamlet fell down to Earth, naked, without its procession of admirers, the critics would mock it, not without the semblance of a reason.’ Contrasting the quest for the essence of a work of art as opposed to its mere existence, he emphasized an enduring dualism in the French reception of Shakespearean tragedy. Between Voltaire’s rejection and the Romantics’ adoration of the ‘black sun’, Shakespeare generated a dialogue in French art. Starting with the critical reception, this chapter shows how Shakespearean tragedy became the instrument of a reflection on Liberty. The stage dynamic of destruction and regeneration in the treatment of Shakespearean tragedies produced a call for new liberated approaches to French dramatic language. Shakespeare thus became a laboratory where translators, adaptors, stage directors, and actors would put their trade to the test of a protean script and free themselves from the strictures of national tradition.
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