« Le grand art est de se contrefaire » : les comedies de l’aveu dans le theatre du Marquis de Sade
Mots-clés :
secrecyRésumé
“The Grand Art Is to Disguise”: Confession’s Plays in Sade’s Theatre
Far from specific rhetoric of unveiling which would lie in his clandestine work, Sade’s theatre, on the contrary, multiplies concealment strategies. Place of deception and hoax, full of secrets, this baroque theatre cannot help but stage itself, exposing its own codes. Playing comedy is not only a way to avoid censorship but to enunciate: the theatre of Sade has to take on the speech of truth, making the confession a true entertainment. These phenomena of « theatre in theatre » have served as a guideline to this communication, which claims to investigate the way theatre is summoned on stage to compensate the failures of speech and the flaws of language.
Références
Corpus :
SADE, 1957. Historiettes, contes et fabliaux, Paris : Pauvert.
SADE, 1991, Œuvres complètes du marquis de Sade, tome 13 à 15 (Théâtre), Paris : Pauvert.
SADE, 1998. Histoire de Juliette, Œuvres, tome 3, Paris : Gallimard.
Œuvres critiques :
DANGEVILLE, SYLVIE, 1999. Le Théâtre change et représente : lecture critique de l’œuvre dramatique du marquis de Sade, Paris : Champion.
FORESTIER, GEORGE, 1996. Le Théâtre dans le théâtre sur la scène français du XVIIe siècle, Genève : Droz.
KOZUL, MLADEN, 2005. Le corps dans le monde : récits et espaces sadiens, Paris : Pee-ters.
LE BRUN, ANNIE, 1986. Soudain un bloc d’abîme, Sade, Paris : Pauvert.
LE BRUN, ANNIE, 1989. Petits et grands théâtres du marquis de Sade, Paris : Paris art center.
WYNN, THOMAS, 2007. Sade’s theatre : pleasure, vision, masochism, Oxford: Voltaire Foundation.
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