| Les deux révisions précédentesRévision précédente | Dernière révisionLes deux révisions suivantes |
| oeuvres:normand_chaurette_-_ensemble_de_l_œuvre [2016/07/09 16:46] – Audrey Thériault | oeuvres:normand_chaurette_-_ensemble_de_l_œuvre [2016/07/09 16:58] – Audrey Thériault |
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| DAVID, Gilbert, « Un théâtre à vif : écritures dramatiques et pratiques scéniques au Québec, de 1930 à 1990 », thèse de doctorat, Montréal, Université de Montréal, 1995, 451 f. +++ Thèse de doctorat / mémoire de maîtrise | DAVID, Gilbert, « Un théâtre à vif : écritures dramatiques et pratiques scéniques au Québec, de 1930 à 1990 », thèse de doctorat, département d'études françaises, Université de Montréal, 1995, 451 f. +++ Thèse de doctorat / mémoire de maîtrise |
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| D’ANGER, Tanya Margaret, « New World Visions : A Textual Analysis of the Plays of Normand Chaurette, René-Daniel Dubois and Jean Marc Dalpé, from 1975-1996, Exploring their Growing Preoccupation with the Status and the Role of the Individual in the Western Society », thèse de doctorat, Graduate Centre for Study of Drama, Université de Toronto, 2003, 296 f. +++ Thèse de doctorat / mémoire de maîtrise | D’ANGER, Tanya Margaret, « New World Visions : A Textual Analysis of the Plays of Normand Chaurette, René-Daniel Dubois and Jean Marc Dalpé, from 1975-1996, Exploring their Growing Preoccupation with the Status and the Role of the Individual in the Western Society », thèse de doctorat, Graduate Centre for Study of Drama, Université de Toronto, 2003, 296 f. +++ Thèse de doctorat / mémoire de maîtrise |
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| ###« This thesis proposes the work of francophone playwrights Normand Chaurette, René-Daniel Dubois, and Jean Marc Dalpé as major illustrations of the post-Referendum detachment from sovereigntist politics that characterised the mainstream of French-Canadian theatre from the early 1980s on, and as illustration of a subsequent focus on the status and role of the individual in western society. It explores the evolution of these playwrights' dramaturgy, in selected plays, from their earliest works in 1975, 1979, and 1982, respectively, up to 1996, one year after the second Quebec Referendum, demonstrating evidence of a significant shift within each corpus subsequent to the 1980 Referendum vote. My primary concern is with the texts these authors have produced over the years in question, and the methodology I have chosen offers a close textual analysis that seeks to represent an original contextualisation in the continuum of world theatre. | ###« This thesis proposes the work of francophone playwrights Normand Chaurette, René-Daniel Dubois, and Jean Marc Dalpé as major illustrations of the post-Referendum detachment from sovereigntist politics that characterised the mainstream of French-Canadian theatre from the early 1980s on, and as illustration of a subsequent focus on the status and role of the individual in western society. It explores the evolution of these playwrights' dramaturgy, in selected plays, from their earliest works in 1975, 1979, and 1982, respectively, up to 1996, one year after the second Quebec Referendum, demonstrating evidence of a significant shift within each corpus subsequent to the 1980 Referendum vote. My primary concern is with the texts these authors have produced over the years in question, and the methodology I have chosen offers a close textual analysis that seeks to represent an original contextualisation in the continuum of world theatre. |
| From a methodological perspective, my joint focus on the role of the artist and on questions of identity has led to a consideration of how a playwright's dramatic vision evolves and matures over an extended period of creativity, with particular attention to the reflection of this evolution within the semantic construction of the playtext. What follows is thus an in-depth, chronological analysis of the selected plays of Chaurette, Dubois, and Dalpé, using some of the tools of semiotics in order to focus on the connotative and denotative use of recurring theme, metaphor, and motif. Although any artistic or dramatic construct must eventually stand upon its own merits, I propose that an appreciation of the motives (both conscious and subliminal) that appear to underlie authorial intention serves to enrich both spectatorial and practical interpretation; hence the limitation of this study to an analysis of the playtext alone. » | |
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| //La version PDF de la thèse est disponible pour les membres de communautés universitaires qui ont un abonnement institutionnel auprès de //[[http://www.proquest.com|UMI - Proquest]]### | From a methodological perspective, my joint focus on the role of the artist and on questions of identity has led to a consideration of how a playwright's dramatic vision evolves and matures over an extended period of creativity, with particular attention to the reflection of this evolution within the semantic construction of the playtext. What follows is thus an in-depth, chronological analysis of the selected plays of Chaurette, Dubois, and Dalpé, using some of the tools of semiotics in order to focus on the connotative and denotative use of recurring theme, metaphor, and motif. Although any artistic or dramatic construct must eventually stand upon its own merits, I propose that an appreciation of the motives (both conscious and subliminal) that appear to underlie authorial intention serves to enrich both spectatorial and practical interpretation; hence the limitation of this study to an analysis of the playtext alone. » (Résumé joint à la thèse) |
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| | //La version PDF de la thèse est disponible pour les membres de communautés universitaires qui ont un abonnement institutionnel auprès de [[http://www.proquest.com|UMI - Proquest]].//### |
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| Dossier « Normand Chaurette », //Voix et images//, vol. 25, no 3 (no 75 - printemps 2000), p. 419-615. +++ Dossier de revue | Dossier « Normand Chaurette », //Voix et images//, vol. 25, no 3 (no 75 - printemps 2000), p. 419-615. +++ Dossier de revue |
| More specifically, my research examines recent works from 1980 until the present by the avant-garde group Momentum, by a controversial playwright, Normand Chaurette, and by a director, Denis Marleau. In Quebec, the 1980's are recognized as a pivotal point in theatrical production, coinciding with the rise of individual artistic quest rather than search for national consciousness, a theme that dominated Quebec's theater in the 1970's. Attracted by the dichotomy on which theater lies, my thesis subjects explore the presence of the body, which is both present and absent, true and fictitious. Their theater work asks questions about cultural and personal identity: what it means to be somebody and to be a body, also how do we look and how are we looked upon? | More specifically, my research examines recent works from 1980 until the present by the avant-garde group Momentum, by a controversial playwright, Normand Chaurette, and by a director, Denis Marleau. In Quebec, the 1980's are recognized as a pivotal point in theatrical production, coinciding with the rise of individual artistic quest rather than search for national consciousness, a theme that dominated Quebec's theater in the 1970's. Attracted by the dichotomy on which theater lies, my thesis subjects explore the presence of the body, which is both present and absent, true and fictitious. Their theater work asks questions about cultural and personal identity: what it means to be somebody and to be a body, also how do we look and how are we looked upon? |
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| In Chapters One and Two, I treat the ritual aspect of Momentum's twelve month-production, Douze messes, and Les Laboratoires Crête. Momentum uses ritualistic forms of representation or 'medical' proceedings, a sort of sadomasochist ceremony, to explore the borders between reality and fiction. Chapter Three examines Chaurette's theatrical corpus in which the recurring figure of sacrificial child symbolizes the relationship between life and death, reality and art. Finally, chapter Four analyses Marleau's treatment of the ghostly presence of the actor's body. I argue that dramatic writing like that of Chaurette or performances such as those of Momentum and Marleau, by figuratively maiming and slashing bodies (including the body of the text) unfold the mechanisms of representation, language and physical presence. » (Résumé joint à la thèse) | In Chapters One and Two, I treat the ritual aspect of Momentum's twelve month-production, //Douze messes//, and //Les Laboratoires Crête//. Momentum uses ritualistic forms of representation or "medical" proceedings, a sort of sadomasochist ceremony, to explore the borders between reality and fiction. Chapter Three examines Chaurette's theatrical corpus in which the recurring figure of sacrificial child symbolizes the relationship between life and death, reality and art. Finally, chapter Four analyses Marleau's treatment of the ghostly presence of the actor's body. I argue that dramatic writing like that of Chaurette or performances such as those of Momentum and Marleau, by figuratively maiming and slashing bodies (including the body of the text) unfold the mechanisms of representation, language and physical presence. » (Résumé joint à la thèse) |
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| La thèse est en français. | La thèse est en français. |
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| //La version PDF de la thèse est disponible pour les membres de communautés universitaires qui ont un abonnement institutionnel auprès de //[[http://www.proquest.com|UMI - Proquest]]. | //La version PDF de la thèse est disponible pour les membres de communautés universitaires qui ont un abonnement institutionnel auprès de [[http://www.proquest.com|UMI - Proquest]].// |
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| * [[http://www.archipel.uqam.ca/id/eprint/3926|Beaudry, 2011, PDF]] ### | * [[http://www.archipel.uqam.ca/id/eprint/3926|Beaudry, 2011, PDF]] ### |
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| | GODIN, Jean Cléo, « "Le texte est sur la table..." : Chaurette et la primauté du texte », //L'Annuaire théâtral//, nos 50-51 (automne 2011-printemps 2012), p. 115-124. +++ Article de revue |
| GODIN, Jean Cléo, « "Le texte est sur la table..." : Chaurette et la primauté du texte », //L'Annuaire théâtral//, nos 50-51 (automne 2011- printemps 2012), p. 115-124. +++ Article de revue | |
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| ### « À partir d’une indication scénique de //Provincetown Playhouse// — "Le texte est sur la table" —, cet article analyse les multiples aspects de la primauté du texte, souvent posé comme hypotexte de sa propre représentation, dans l’oeuvre de Normand Chaurette, dont l’écriture "musicale" engendre des récits se développant selon une étrange logique et dont la genèse réserve des surprises. » (Résumé joint à l'article) | ### « À partir d’une indication scénique de //Provincetown Playhouse// — "Le texte est sur la table" —, cet article analyse les multiples aspects de la primauté du texte, souvent posé comme hypotexte de sa propre représentation, dans l’oeuvre de Normand Chaurette, dont l’écriture "musicale" engendre des récits se développant selon une étrange logique et dont la genèse réserve des surprises. » (Résumé joint à l'article) |
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| [[http://id.erudit.org/iderudit/1017316ar|Godin, 2011-2012, PDF]] ### | * [[http://id.erudit.org/iderudit/1017316ar|Godin, 2011-2012, PDF]] ### |
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| RIENDEAU, Pascal, « Normand Chaurette face à Shakespeare ou Traduisez //Comme il vous plaira//... », //L'Annuaire théâtral//, no 24 (automne 1998), p. 17-34. +++ Article de revue | RIENDEAU, Pascal, « Normand Chaurette face à Shakespeare ou Traduisez //Comme il vous plaira//... », //L'Annuaire théâtral//, no 24 (automne 1998), p. 17-34. +++ Article de revue |