Le silence et le cri : Salomé, d’Oscar­­ Wilde à Richard Strauss

Wilde’s play and Strauss’s opera can be considered as the acme of the literary, pictorial and musical currents that have been exploring the theme of Salome since the Middle Ages. The two works are however radically different. Unlike Wilde whose écriture is based on unlikely metaphors and a Maeterlin...

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Main Author: Pascal Aquien
Format: Article
Language:English
Published: Centre de Recherche "Texte et Critique de Texte" 2013-06-01
Series:Sillages Critiques
Subjects:
Online Access:https://journals.openedition.org/sillagescritiques/2908
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author Pascal Aquien
author_facet Pascal Aquien
author_sort Pascal Aquien
collection DOAJ
description Wilde’s play and Strauss’s opera can be considered as the acme of the literary, pictorial and musical currents that have been exploring the theme of Salome since the Middle Ages. The two works are however radically different. Unlike Wilde whose écriture is based on unlikely metaphors and a Maeterlinck-like art of the implicit, Strauss’s music and voices violently express what is more mildly suggested by the play, the primacy of the body over aesthetic constructions. On the one hand, Wilde’s poetical mode of composition is based on his fascination for the unspeakable, on the other hand Strauss’s dramatic expressionism tends to unveil the mystery of sexual desire. Yet, the article will show that the play and the opera broadly converge in the same direction, the issue at stake being in both cases silence beyond language.
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1969-6302
language English
publishDate 2013-06-01
publisher Centre de Recherche "Texte et Critique de Texte"
record_format Article
series Sillages Critiques
spelling doaj-art-b551d136266a43f79c1461fdd7329e342025-01-30T13:46:46ZengCentre de Recherche "Texte et Critique de Texte"Sillages Critiques1272-38191969-63022013-06-011610.4000/sillagescritiques.2908Le silence et le cri : Salomé, d’Oscar­­ Wilde à Richard StraussPascal AquienWilde’s play and Strauss’s opera can be considered as the acme of the literary, pictorial and musical currents that have been exploring the theme of Salome since the Middle Ages. The two works are however radically different. Unlike Wilde whose écriture is based on unlikely metaphors and a Maeterlinck-like art of the implicit, Strauss’s music and voices violently express what is more mildly suggested by the play, the primacy of the body over aesthetic constructions. On the one hand, Wilde’s poetical mode of composition is based on his fascination for the unspeakable, on the other hand Strauss’s dramatic expressionism tends to unveil the mystery of sexual desire. Yet, the article will show that the play and the opera broadly converge in the same direction, the issue at stake being in both cases silence beyond language.https://journals.openedition.org/sillagescritiques/2908voicesilenceOscar WildeRichard StraussSaloméscream
spellingShingle Pascal Aquien
Le silence et le cri : Salomé, d’Oscar­­ Wilde à Richard Strauss
Sillages Critiques
voice
silence
Oscar Wilde
Richard Strauss
Salomé
scream
title Le silence et le cri : Salomé, d’Oscar­­ Wilde à Richard Strauss
title_full Le silence et le cri : Salomé, d’Oscar­­ Wilde à Richard Strauss
title_fullStr Le silence et le cri : Salomé, d’Oscar­­ Wilde à Richard Strauss
title_full_unstemmed Le silence et le cri : Salomé, d’Oscar­­ Wilde à Richard Strauss
title_short Le silence et le cri : Salomé, d’Oscar­­ Wilde à Richard Strauss
title_sort le silence et le cri salome d oscar wilde a richard strauss
topic voice
silence
Oscar Wilde
Richard Strauss
Salomé
scream
url https://journals.openedition.org/sillagescritiques/2908
work_keys_str_mv AT pascalaquien lesilenceetlecrisalomedoscarwildearichardstrauss