Michel Vinaver

Ces études portent sur l’ensemble de l’oeuvre de Michel Vinaver (ou sur trois oeuvres ou plus). Les oeuvres datant d’avant 1980 ne seront pas considérées ici.

HATZIG, Ina-Patricia, Der Moderne Kapitalismus im Theater, Tübingen, Francke (Mainzer Forschungen zu Drama und Theater), 2005, 383 p. +++ Monographie

ELSTOB, Kevin, The Plays of Michel Vinaver, New York, Peter Lang (American University Studies), 1992, 215 p. +++ Monographie

###« While investigating a wide spectrum of political issues, the theatre of Michel Vinaver concentrates on the everyday “le quotidien” using the contemporary situation as its major point of articulation. His theatre distances itself, however, from ‘slice of life’ realism since his plays are not exact imitations of the characters and manners of a given social class; they are extracts from everyday speech and activities, which illustrate circumstances and conditions. Relying on montage rather than linear story line, Vinaver attempts to jolt his audience from a position of passive consumption by portraying the familiar environment of home and work in an unexpected light.

We begin our analysis by comparing Vinaver’s theatre to other twentieth-century political theatre in France; our subsequent study divides Vinaver’s plays thematically in order to show the scope of his political scrutiny.

Written and set in the 1950s, his early plays portray France as a splintered nation whose sense of political community “la patrie” is severely compromised by colonial wars. In his later plays Vinaver focuses on industrial capitalism showing, on one had, the successful beginnings of multinationalism in France ; the productive forces no longer guarantee the development of capital and property, yet capitalism draws its web tightly around people, binding them to its system through the economic and social necessities of work. On the other hand, Vinaver shows how multinational administration gradually replaces the astute marketing campaigns of competitive capitalism. Capitalism expands its global influence, but the drive to dominate the world market alienates employer as well as employee. Consequently, the confidence displayed by management withers and the capitalist system reaches a crisis point.

In our final chapter we consider the extension of market-place values into the home, and the political implications of family conflicts Vinaver situates the private realm of domestic life in a political context, which illustrates the connections between domestic confrontation and the unequal power relationships and injustices of the wider society. Through fragmented plot, dialogue, and stage space Michel Vinaver creates a subversive montage of government politics, industrial capitalism, and daily life in contemporary France. »

(Résumé disponible via UMI-Proquest) ###

GHANAM, Oussama, « Le théâtre de l’“ailleurs et autrefois” de Michel Vinaver », thèse de doctorat, département de littérature française, Université de Paris VIII, 2005, 274 f. +++ Thèse de doctorat / mémoire de maîtrise

###« La thèse a pour sujet le théâtre de l’ “ailleurs et autrefois” de Michel Vinaver. L’oeuvre de Michel Vinaver est un projet d’un théâtre de l’ “ici et maintenant” en France à part quelques exceptions : des pièces qui présentent un ailleurs (Les Coréens, Iphigénie hôtel, l’ordinaire) un autrefois (Portrait d’une femme) ou un ailleurs et autrefois (King) et (L’Objecteur). Ces pièces, écrites entre les années cinquante et la fin des années quatre-vingt dix, constituent le corpus de cette thèse dans laquelle deux questions sont traitées : celle de la représentation de l’ “ailleurs et autrefois” et celle de l’intertextualité. Les deux grands axes selon lesquels le corpus est analysé, c’est-à-dire la représentation de l’ “ailleurs et autrefois” d’une part et l’intertextualité d’autre part, nous permettent de voir dans ces deux des dernières pièces de Vinaver : Kinget L’objecteur, ces oeuvres testamentaires et ultimes. Elle permet aussi de comprendre la relation de l’Idéologie et l’écriture mais aussi l’idéologie de l’écriture dans cette oeuvre pour parvenir finalement à constituer dans sa richesse et complexités la vision vinavérienne du monde. » (Résumé disponible sur SUDOC###

BRADBY, David, The Theater of Michel Vinaver, Michigan, Ann Arbor (The University of Michigan Press), 1993, 170 p. +++ Monographie

LE PORS, Sandrine, « Le théâtre des voix dans les écritures dramatiques contemporaines : Jon Fosse, Sarah Kane, Patrick Kermann, Daniel Lemahieu, Rolan Schimmelpfennig, Michel Vinaver », thèse de doctorat, département d’études théâtrales, Université de la Sorbonne Nouvelle Paris III, 2007, 423 f. +++ Thèse de doctorat / mémoire de maîtrise

ROHDE, Timothy Wayne, « Four Stages from Michel Vinaver, an Intertextual Study », thèse de doctorat, Department of French and Italian, University of Texas (Austin), 1993, 247 f. +++ Thèse de doctorat / mémoire de maîtrise

###Corpus retenu : Iphigénie hôtel, Dissident, il va sans direet L’Ordinaire.

« The study investigates the plural nature of the structural patterns and intertextual fragments that can be isolated in four plays by contemporary French playwright, Michel Vinaver : Iphigenia Hotel(Iphigenie Hotel), Overboard(Pardessus bord), Dissident, / goes without saying(Dissident, il va sans dire), The Everyday(L’Ordinaire). Drawing from four plays and from critical commentaries on them, a variety of types of intertextuality that appear in these plays are analyzed in terms of three basic structural paradigms found in Vinaver’s writing as a whole: the archeological, the historical, and the lyrical. The “archeological” nature of intertextuality is investigated in Vinaver’s Iphigenia Hotel. Henry Green’s novel, Loving, is studied as the primary “archeological relic,” or intertextual counterpart to Iphigenia Hotel. Green’s Lovingis the intertext that underlines how literary, cinematic, mythical, and everyday patterns have been woven into the overall fabric of Vinaver’s play. A wide variety of these intertextual fragments, including those from twentieth century artists (Picasso, Dubuffet, Y. Klein, Oldenberg), scholars (Dumezil, Brown, Cornford), classical authors (Shakespeare, Rabelais, Montaigne, Swift), as well as twentieth century texts based on contemporary corporate affairs, Nazi S S “aktions” during World War Two, Happenings in the 1960s, contemporary social concerns and religious mythology are all examined in respect to four principal characters in Overboardto show how the dual meanings of “historical,” as in “History” and “his (the playwright’s) story,” appear in the play. Four main characters are investigated as four partially abstracted, fractured, and interconnected self-portraits of the playwright in search of a sense of meaning while living in the highly volatile 1960s. The poetry of the spoken and the unspoken dimensions of dialogue in one of Vinaver’s short “chamber plays,” Dissident, / goes without saying, focuses on a mosaic of potential meanings that can be drawn from Vinaver’s use of grammar and syntax. The study investigates how lyricism works on broader metaphorical levels by looking at three intertextual counterparts found in The Everyday, Vinaver’s equivocal portrait of contemporary corporate dynamics. Literary, socio-political, corporate, mythological, and everyday patterns woven into The Everydayserve as focal points for the investigation of intertextual debris. » (Résumé disponible via UMI-Proquest) ###

BOST-ROBERT, Bernadette, « Michel Vinaver, au bord du rire », Recherches et Travaux, vol. 67 (2005), p. 251-257. +++ Article de revue

COOK, Pamela Margaret, « Perspective in Realistic Representation », thèse de doctorat, Department of French, Yale University, 1991, 206 f. +++ Thèse de doctorat / mémoire de maîtrise

###« Herein we demonstrate that many playwrights who have considered themselves “realists” have found it necessary to have recourse, not to some form of unmediated direct observation of the real, but instead to styles of painters who were their contemporaries. We have chosen to illustrate this pattern by examining the ways in which borrowing from painterly perspectives has influenced the eighteenth century in the work of Denis Diderot, the nineteenth in that of Emile Zola, and the twentieth in the plays of Michel Vinaver. We survey two plays of each author under the five headings of “tableau”, “perspective”, “spectator”, “frame”, and “portrait”, which taxonomize the links between painting and the theatre. While Diderot and Zola are not primarily remembered for their plays, this does not mitigate the pattern of looking to the pictorial arts to construct reality, but rather merely indicates that each subsequent age does not accept the reality of its predecessor, not the least in part because of the evolution of painting in the interim. We fully expect to see this trend continue. » (Résumé joint à la thèse)

La version PDF de la thèse est disponible pour les membres de communautés universitaires qui ont un abonnement institutionnel auprès de UMI - Proquest.###

LESTER, Gideon, « Industrial Art : The Theater of Michel Vinaver », Theater, vol. 28, no 1 (1998), p. 69-73. +++ Article de revue

###L’article s’intéresse à la thématique du monde du travail dans les pièces de Vinaver. ###

BRADBY, David, « A Theatre of the Everyday : The Plays of Michel Vinaver », New Theatre Quarterly, vol. 7, no 27 (août 1991), p. 261-283. +++ Article de revue

LAMONT, Rosette C., « “Des petits ébranlements capillaires…” : The Art of Michel Vinaver », Modern Drama, vol. 31, no 3 (septembre 1988), p. 380-394. +++ Article de revue

BRADBY, David et Annabel POINCHEVAL (dir), Le théâtre en France de 1968 à 2000, Paris, Honoré Champion, 2007, 752 p. +++ Collectif

###« Ce livre marque la conclusion d’un projet de recherche sur le théâtre contemporain en France mené par David Bradby, professeur à l’Université de Londres et auteur de plusieurs livres et articles à ce sujet, et Annabel Poincheval, docteur de l’Université d’Aix-Marseille. »

(Information disponible via Fabula)

Le Chapitre 12 de cet ouvrage s’intitule « Metteurs en scène et auteurs modernes : Koltès et Vinaver ». ###

EIGENMANN, Éric, La Parole empruntée. Sarraute, Pinget, Vinaver : théâtres du dialogisme, Paris, L’Arche, 1996, 256 p. +++ Monographie