Le théâtre de Jean Genet
Le théâtre de Jean Genet
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About This Book
"Le théâtre de Jean Genet (1910-1986) se compose d’une poignée de pièces : Les Bonnes, Haute surveillance, Elle, Splendid’s, Le Balcon, Les Nègres, Les Paravents… Cette œuvre majeure a suscité le scandale tout autant qu’elle a intéressé parmi les plus grands metteurs en scène du XXe siècle : Roger Blin, Peter Brook, Peter Stein, Peter Zadek, Victor Garcia, Patrice Chéreau… Elle ne ressemble qu’à elle-même. Lyrique, poétique, anti-réaliste, elle exacerbe le "fictif," le semblant, l’illusion. Elle est politique mais d’une drôle de politique, acharnée à arpenter le territoire du négatif. Elle est, en effet, écrite "contre:" contre les Blancs, l'ordre, la société, contre Genet lui-même. Mais elle se révèle être aussi un fabuleux chant d’amour adressé au théâtre. Car si Genet n’a jamais caché son indifférence ou son mépris pour les spectacles de son temps, il l’a fait au nom d’une idée unique de ce que le théâtre devrait être. "Que perdrait-on si l’on perdait le théâtre?," demandait-il en 1967. Une telle question ne se pose pas moins aujourd’hui. Le Théâtre de Jean Genet essaie, tant que faire se peut, d’y répondre et, pour cela, de suivre les pistes qu’indiquent ses pièces et ses nombreuses réflexions (lettres, préfaces, essais) sur le théâtre"--
The theater of Jean Genet (1910-1986) consists of a handful of pieces: Les Bonnes, Haute surveillance, Elle, Splendid’s, Le Balcon, Les Nègres, Les Paravents ... This major work has aroused scandal as much as it has interested the greatest directors of the twentieth century: Roger Blin, Peter Brook, Peter Stein, Peter Zadek, Victor Garcia, Patrice Chéreau ... Lyric, poetic, anti-realistic, it exacerbates the "fictitious", the semblant, the illusion. His work is political but funny, eager to pace the territory of the negative. It is, in fact, written "against": against the Whites, order, society, against Genet himself. But it turns out to be also a fabulous love song addressed to the theater. For if Genet never hid his indifference or contempt for the spectacles of his time, he did it through a unique ideal of what the theater should be. "What would we lose if we lost the theater?" he asked in 1967. Such a question does not arise today. The theater of Jean Genet tries, as much as possible, to answer that question. In order to do so, this book examines his plays and his numerous reflections (letters, prefaces, essays) on the theater.
The theater of Jean Genet (1910-1986) consists of a handful of pieces: Les Bonnes, Haute surveillance, Elle, Splendid’s, Le Balcon, Les Nègres, Les Paravents ... This major work has aroused scandal as much as it has interested the greatest directors of the twentieth century: Roger Blin, Peter Brook, Peter Stein, Peter Zadek, Victor Garcia, Patrice Chéreau ... Lyric, poetic, anti-realistic, it exacerbates the "fictitious", the semblant, the illusion. His work is political but funny, eager to pace the territory of the negative. It is, in fact, written "against": against the Whites, order, society, against Genet himself. But it turns out to be also a fabulous love song addressed to the theater. For if Genet never hid his indifference or contempt for the spectacles of his time, he did it through a unique ideal of what the theater should be. "What would we lose if we lost the theater?" he asked in 1967. Such a question does not arise today. The theater of Jean Genet tries, as much as possible, to answer that question. In order to do so, this book examines his plays and his numerous reflections (letters, prefaces, essays) on the theater.
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