Quan la frontera esdevé pantalla… o la teoria dels dispositiusaplicada a l’anàlisi de la relació teatral: Cap a una lectura intermedial de la quarta paret

• Fabrice Corrons ^[1]
  1. [1] Université de Toulouse-le Mirail
• Localización: De fronteres i arts escèniques / coord. por Núria Santamaria, Francesc Foguet i Boreu, 2015, ISBN 978-84-943779-0-7, págs. 417-433
• Idioma: catalán
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• Resumen

  • In this paper, we want to study the concept of frontier based on the most prominent research in the field dealing with the space between stage action and spectatorial reception. Many critics, researchers and artists call this imaginary boundary «the fourth wall», in reference to Denis Diderot’s principle of dramatic creation, which also refers tothe theatrical relationship between any fictional work and its audience. How can we study the relationship this frontier symbolises? The theory of the figurative devices, an analytical tool created and developed by the lla-créatis research group at the Université de Toulouse-le Mirail for over ten years provides a very effective andoriginal perspective on the frontier. It is based on the stage as a fictional device in any artistic expression (novel, theatre, poetry, film, painting, etc.), which is complementary to the story and consists of a displacement of the action outside the space seen directly by the receiver, through the words of the narrator and/or the imagination of the receiver. The scene is generated around the screen set by performers and observer(s). The notion of screen makes the limit-threshold possible and also gives more visibility and consistency to our frontier, allowing for the study of the theatrical relationship in connection with the principle of the camera obscura,with the psychoanalytic perspective (Freud’s theory of dreams and Lacan’s approach to the relationship between eye, object and desire) and/or intermediality. Moreover, the stage can be compared with other audio or video devices. The theory of the devices thushelps us to rethink the boundaries of theatre in relation to the globalization of fiction. In order to illustrate the interest of this analytical tool, we propose a study of Tàlem by Sergi Belbel (1989).