{"id":1125,"date":"2021-01-04T16:52:50","date_gmt":"2021-01-04T15:52:50","guid":{"rendered":"https:\/\/wp.unil.ch\/archipelessais\/?page_id=1125"},"modified":"2021-01-11T18:11:03","modified_gmt":"2021-01-11T17:11:03","slug":"volume-29","status":"publish","type":"page","link":"https:\/\/wp.unil.ch\/archipelessais\/volume-29\/","title":{"rendered":"Volume 29"},"content":{"rendered":"\n<p><strong>NOUVELLE PARUTION &#8211; D\u00c9CEMBRE 2020<\/strong><\/p>\n\n\n\n<p><strong>\u00c0 Ch\u0153ur perdu<\/strong><br>Les traces du ch\u0153ur antique dans la trag\u00e9die fran\u00e7aise du XVIIe si\u00e8cle<\/p>\n\n\n\n<p><strong>Josefa Terribilini<\/strong><\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"alignright size-large is-resized\"><img alt=\"\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/wp.unil.ch\/archipelessais\/files\/2021\/01\/COUV-AE-29-DEF_Labelettres-631x1024.jpg\" alt=\"\" class=\"wp-image-1106\" width=\"183\" height=\"297\" srcset=\"https:\/\/wp.unil.ch\/archipelessais\/files\/2021\/01\/COUV-AE-29-DEF_Labelettres-631x1024.jpg 631w, https:\/\/wp.unil.ch\/archipelessais\/files\/2021\/01\/COUV-AE-29-DEF_Labelettres-185x300.jpg 185w, https:\/\/wp.unil.ch\/archipelessais\/files\/2021\/01\/COUV-AE-29-DEF_Labelettres-93x150.jpg 93w, https:\/\/wp.unil.ch\/archipelessais\/files\/2021\/01\/COUV-AE-29-DEF_Labelettres.jpg 740w\" sizes=\"auto, (max-width: 183px) 100vw, 183px\" \/><\/figure><\/div>\n\n\n\n<p>Au XVIIe si\u00e8cle, en France, le ch\u0153ur d\u00e9serte les sc\u00e8nes tragiques. V\u00e9ritable colonne vert\u00e9brale des trag\u00e9dies grecques, il avait perdur\u00e9 jusqu\u2019\u00e0 la fin du XVIe si\u00e8cle et ne r\u00e9appara\u00eetra dans le genre de la trag\u00e9die parl\u00e9e qu\u2019au si\u00e8cle suivant. Mais s\u2019il dispara\u00eet dans l\u2019intervalle en tant que groupe physiquement pr\u00e9sent, l\u2019\u00e9l\u00e9ment choral ne s\u2019absente pas pour autant. <\/p>\n\n\n\n<p>Tel est l\u2019enjeu de cet essai : mettre au jour, \u00e0 partir des r\u00e9critures d\u2019<em>Antigone <\/em>et d\u2019<em>Iphig\u00e9nie <\/em>par Jean de Rotrou et par Jean Racine, les traces du ch\u0153ur antique dans la trag\u00e9die fran\u00e7aise du XVIIe si\u00e8cle. Car l\u2019\u00e9viction et la reconfiguration, dans certaines fonctions, de ce m\u00e9diateur d\u00e9sormais ind\u00e9sirable entre la sc\u00e8ne et la salle, a des cons\u00e9quences d\u00e9terminantes sur la composition de l\u2019action, les caract\u00e8res des personnages et l\u2019exp\u00e9rience du spectateur. L\u2019ouvrage \u00e9claire ainsi sous un angle in\u00e9dit le fonctionnement dramaturgique de la trag\u00e9die classique, tout en invitant \u00e0 s\u2019interroger sur les v\u00e9ritables causes du red\u00e9ploiement du ch\u0153ur dans la production th\u00e9\u00e2trale ult\u00e9rieure.<\/p>\n\n\n\n<p>147 p.<\/p>\n\n\n\n<p><a rel=\"noreferrer noopener\" href=\"https:\/\/wp.unil.ch\/archipelessais\/files\/2021\/01\/AE-29-CHOEUR_BAT_TabMat.pdf\" target=\"_blank\">Table des mati\u00e8res<\/a><br><a rel=\"noreferrer noopener\" href=\"https:\/\/www.fabula.org\/atelier.php?Le_choeur_est_mort_vive_le_personnage\" target=\"_blank\">Lire un extrait publi\u00e9 dans l&rsquo;<em>Atelier de th\u00e9orie litt\u00e9raire <\/em>de Fabula<\/a><br><a rel=\"noreferrer noopener\" href=\"https:\/\/www.fabula.org\/actualites\/documents\/99535_2.pdf\" target=\"_blank\">Lire sur Fabula la postface de Lise Michel, \u00ab\u00a0Une trag\u00e9die d\u00e9saccord\u00e9e\u00a0\u00bb<\/a><br><a rel=\"noreferrer noopener\" href=\"https:\/\/wp.unil.ch\/archipelessais\/commande\/\" target=\"_blank\">Commande<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>NOUVELLE PARUTION &#8211; D\u00c9CEMBRE 2020 \u00c0 Ch\u0153ur perduLes traces du ch\u0153ur antique dans la trag\u00e9die fran\u00e7aise du XVIIe si\u00e8cle Josefa Terribilini Au XVIIe si\u00e8cle, en France, le ch\u0153ur d\u00e9serte les &hellip; <\/p>\n","protected":false},"author":1002007,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_seopress_robots_primary_cat":"","_seopress_titles_title":"","_seopress_titles_desc":"","_seopress_robots_index":"","footnotes":""},"class_list":["post-1125","page","type-page","status-publish"],"_links":{"self":[{"href":"https:\/\/wp.unil.ch\/archipelessais\/wp-json\/wp\/v2\/pages\/1125","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/wp.unil.ch\/archipelessais\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/wp.unil.ch\/archipelessais\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/wp.unil.ch\/archipelessais\/wp-json\/wp\/v2\/users\/1002007"}],"replies":[{"embeddable":true,"href":"https:\/\/wp.unil.ch\/archipelessais\/wp-json\/wp\/v2\/comments?post=1125"}],"version-history":[{"count":0,"href":"https:\/\/wp.unil.ch\/archipelessais\/wp-json\/wp\/v2\/pages\/1125\/revisions"}],"wp:attachment":[{"href":"https:\/\/wp.unil.ch\/archipelessais\/wp-json\/wp\/v2\/media?parent=1125"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}