La "Danse devant le miroir" de François de Curel, ou d’une “pièce bien faite” à une “pièce bien défaite”.

• Kaczmarek, Tomasz ^[1]
  1. [1] Université de Łódź (Polonia)
• Localización: Anales de filología francesa, ISSN 0213-2958, Nº. 29, 2021 (Ejemplar dedicado a: Le monde connecté et les approches interculturelles: vers un nouveau paradigme des frontières?), págs. 681-697
• Idioma: francés
• Títulos paralelos:
  • The "Dance in Front of the Mirror" by François de Curel, or from a “well-made play” to a “well-undone play”.
• Enlaces
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• Resumen
  • español

    François de Curel ha pasado a la posteridad como autor de la “obra bien hecha”. Sin embargo, al estudiar su obra, en este caso La Danse devant le miroir (La danza frente al espejo), nos damos cuenta de que el escritor no respeta todas las reglas del arte dramático. De hecho, el escritor parece, en primer lugar, cuestionar la fábula de la forma canónica, que se construye sobre un mecanismo lógico de acción que conduce, a través de una tensión cada vez mayor, al desenlace final. La composición clásica se desvanece en la obra detrás de la evocación de los estados anímicos de los protagonistas, presos de la angustia existencial y, por tanto, notamos el paso de un drama agonista a un drama ontológico. El trabajo de socavar el "drama absoluto" también se manifiesta en un nuevo enfoque del personaje. Desprovisto de sus atributos activos, prefiere cuestionar su vida, repetir sus contratiempos antes que actuar, el personaje en acción deja paso al personaje en reflexión

  • English

    François de Curel has gone down to posterity as an author of the “well-made play”. However, while studying his work, in this case, La Danse devant le miroir (The Dance in Front of the Mirror), we realize that the writer does not respect all the rules of dramatic art. In fact, the writer seems, in the first place, to call into question the fable of the canonical form which is built on a logical mechanism of action leading through ever-increasing tension to the final denouement. The classical composition fades into the play behind the evocation of the protagonists’ emotional states in the grip of existential anxiety and, therefore, we note the passage from an agonistic drama to an ontological drama. The work of undermining the “absolute drama” is also manifested by a new approach to the character. Deprived of his active attributes, he prefers to call into question his life, rehash his setbacks rather than act. The character in action is giving way to the character in reflection.

  • français

    François de Curel has gone down to posterity as an author of the “well-made play”. However, while studying his work, in this case, La Danse devant le miroir (The Dance in Front of the Mirror), we realize that the writer does not respect all the rules of dramatic art. In fact, the writer seems, in the first place, to call into question the fable of the canonical form which is built on a logical mechanism of action leading through ever-increasing tension to the final denouement. The classical composition fades into the play behind the evocation of  the protagonists’ emotional states in the grip of existential anxiety and, therefore, we note the passage from an agonistic drama to an ontological drama. The work of undermining the “absolute drama” is also manifested by a new approach to the character. Deprived of his active attributes, he prefers to call into question his life, rehash his setbacks rather than act. The character in action is giving way to the character in reflection.