Mihail Sebastian și poetica romanului proustian by Paul Dugneanu

“…Playwright and modernist novelist, Mihail Sebastian was also an outstanding literary critic, proving, in the same time, remarkable theoretical skills. …”
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La géographie de l’étrange ou l’esthétique du morbide dans le théâtre renaissant by Nathalie Rivère de Carles

“…The spectacle of strangeness in early modern drama underscores a paradoxical dynamic of seduction and repulsion. How can a playwright stage the untenable spectacle of violence and maintain the attention of the audience? …”
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Londres, les années 1620 by Michael Palmer

“…The author examines London corantos of the 1620s and the satirical treatment they received from playwright Ben Jonson, who lampooned the growing appetite for such fanciful and fantastical reports. …”
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Censorship or the Limits of Representation in Terrence McNally’s Gay Theatre at the End of the 20th Century by Xavier Lemoine

“…This paper explores the controversy around two contemporary American plays by acclaimed playwright Terrence McNally, Lips Together, Teeth Apart (1991) and Corpus Christi (1998). …”
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Felix Mitterer et le Volksstück by Marc Lacheny

“…The first part of this contribution examines Mitterer’s vision of the Volksstück; the second analyses the way in which the Tyrolean playwright appropriates this genre by strengthening social criticism. …”
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“O’er-dyed blacks” (1.2.131) : les couleurs dans Le Conte d’hiver by Sophie Chiari

“…This analysis will lead us to question the playwright’s aesthetic values at work in the last scene of the play, which stages the beautifully painted—albeit wrinkled—statue of Hermione.…”
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Rasga Coração, de Vianinha, e Hair: aproximação e distanciamento num contexto de contracultura by Éwerton Silva de Oliveira

“…Considering the plays’ formal and content structure, and the political and cultural movements of the 60’s and 70’s youth  the counterculture among them  in the North - American context and in the B razilian historical process (including the dictatorship present in Brazil in these decades), this article aims to analyze how the musical called Hair (1967), by the American actors James Rado and Gerome Ragni, and Rasga coração (1974), a play by the Brazil ian playwright Oduvaldo Vianna Filho (Vianinha), represent the presence of the counterculture, with its innovations and contradictions, similarities and differences, in Brazil and in the United States. …”
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Du presque-rien au presque-tout : le dévoilement de l’invisible dans Trifles (1916) de Susan Glaspell by Emeline JOUVE

“…In this detective play, the chiaroscuro effect appears as a principle which structures this work in which the playwright literalizes the metaphor of social invisibility to denounce patriarchal oppression and encourage the audience to reflect upon the mechanisms underpinning the norms on which the society of the beginning of the 20th century was based.…”
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L’horreur acoustique musiques « anempathiques » dans le théâtre de Martin Crimp by Aloysia Rousseau

“…The British playwright Martin Crimp suggests an ironic use of music and sounds in his stage directions. …”
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Appropriating the closure of Jesuit missions: Fritz Hochwälder's Das heilige Experiment by F. Hale

“…During the Second World War the Viennese Jewish playwright Fritz Hochwälder, then living in exile in Switzerland, followed in this tradition when he wrote his tragedy, Das heilige Experiment. …”
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Jedermann de Hugo von Hofmannsthal et de Felix Mitterer by Diane de Wrangel

“…It contains a timeless principle that provides the basis for rewritings, as Ein Jedermann (1991) by Austrian playwright Felix Mitterer shows. As morality plays, both works have the same didactic purpose, which is to help the audience to better understand the meaning of existence and the human condition. …”
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Le viol de Lucrèce de Britten : un livret d’opéra qui revisite les fondamentaux du genre by Pascal Terrien

“…What does Duncan borrow from the French playwright André Obey (1892-1975), and from his illustrious predecessors, Shakespeare, Ovid or Livy ? …”
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A Critique of Exaggerated Libertinism in Thomas Shadwell’s The Libertine by Şafak Horzum

“…In this light, the paper will first discuss the playwright’s socio-political position during the upheaval of the Restoration of Charles II. …”
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Richard III palimpseste.  Richard III de Verhelst mis en scène par Lagarde : l'ellipse du champ de bataille by Florence March

“…Flemish playwright Peter Verhelst's adaptation of Richard III - as staged by French director Ludovic Lagarde at the Avignon Festival in 2007 - deletes the entire last act of the play, the act that, in the Shakespearean original, dramatises the battle of Bosworth. …”
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Frames of violence and recent history in Simon Stephens' Motortown by Marion Coste

“…This paper will show how, drawing on In-Yer-Face aesthetics, the playwright subverts the framing of torture and reflects on the anti-war movement.…”
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L’Histoire culbutée : Shakespeare et ses jeux de mots by Jean-Pierre Richard

“…How text and sub-text relate is debatable: was it all done “for recreation sake” (as Falstaff will have it) by a playwright who was also an actor? Or, painfully aware that time was “out of joint”, was he on a crusade against a national history scarred at the time by wars and puritanism? …”
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Quand le théâtre s’inspire du cinéma : Jean Cocteau, Sergueï Eisenstein et Tennessee Williams by Sophie Maruéjouls-Koch

“…For cinema brought about new ways of representing the world, thus providing the playwright with the means of escaping from the realist tradition and creating the “new, plastic theatre” he advocated as early as 1944. …”
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Un opéra français d’après la Salomé de Wilde, l’appropriation d’un drame by Déborah Bonin

“…These different questions allow us to establish how the composer, before setting the text to music, came to understand the playwright’s work in order to write his own libretto.…”
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Osama the Hero (2004) de Dennis Kelly ou pourquoi le théâtre politique n’est pas une « foutue perte de temps » by Aloysia Rousseau

“…This article examines the relationship between theatre and politics based on two texts – one theoretical, the other fictional – by British playwright Dennis Kelly. It throws light on the way the Iraq War is approached in his 2004 play Osama the Hero as well as on the effects produced on the audience. …”
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Tennessee Williams’s post-pastoral Southern gardens in text and on the movie screen by Taïna Tuhkunen

“…This study explores the representation of the American South in the film adaptations of five plays by the Mississippi-born playwright, Tennessee Williams: A Streetcar Named Desire (Elia Kazan, 1951), Baby Doll (Elia Kazan, 1956), Cat on a Hot Tin Roof (Richard Brooks, 1958), Suddenly Last Summer (Joseph L. …”
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