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This contribution intends to analyse textually three contemporary narratives: La Quarantaine (1995) by J.M.G. Le Clézio, Guyane: Traces-mémoires du bagne (1994; photographs by Rodolphe Hammadi) and Un dimanche au cachot (2007) by Patrick Chamoiseau. The aim is to explore the way these writers give a “poethic” (Pinson) of the captive body, witness or victim of the colonial yoke. Cell of the Maîtres-békés, Flat Island in quarantine, Guianese penal colony, what tell those concentration-camps to these “ragmen” (Benjamin) of the History? Could the scars of the colonial past be – not “objectified” (Ricœur) – but emotional and synesthesic? As oppressing as the prison is, could it turn to be liberating of self-consciousness and communalism? Which aesthetic and ethical questions the perception and figuration of a palimpsestic body raise about the indescribable of the chained human condition?
Keywords: Chamoiseau, Le Clézio, Corps, Espace, Captivité, Colonialisme, Trace-mémoires, Description, Polyphonie, Devenir-animal, Chamoiseau, Le Clézio, Body, Space, Captivity, Colonialism, Memory Traces, Description, Polyphony, Becoming-Animal
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Keywords: Nelly Arcan, Putain, Kathy Acker, Sang et Stupres au lycée, Théories du genre, Théories queer, Féminisme, Identité discursive, Nelly, Anne Émond, Nelly Arcan, Puta, Kathy Acker, Aborto en la escuela, Estudios géneros, Estudios queer, Feminismo, Identidad discusiva, Nelly, Anne Émond
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Lars von Trier's Dogville is a study in adaptation, laying bare notions such as the adaptability of stage and movie trappings, and even providing a literary presence : a voice over that narrates both the characters and the plot, calling attention to the way the script pulls together the various material components of the movie. Indeed, the fictitious world of Dogville relies on a documentary realism that strengthens the storyline. All these elements will form the basis for, and structure of, this essay.
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AbstractTheatre has always benefited from technological developments and from the inputs of different artistic practices in the staging of effective “representation.” However, intermedial research—precisely based on such complex exchanges between media, arts and technologies—has yet to fully consider theatrical activity. As for theater studies, they are just beginning to really open up to intermedial approaches. And yet, whether by being hypermedia (Kattenbelt) or “combinatory and integrating” media (Elleström), theater could turn out to be, historically speaking, the intermedial practice par excellence. How then to explain such a slow and late encounter between theatre and intermedial approaches? The answer lies in part in the elaboration and in the importance of a media resistance attitude which regards presence—that of the actor and of the spectator—as a distinctive and fundamental aspect of theatre activity. According to such an essentialist logic, reproduction technologies are seen as dangers, and the use of some of them as a “betrayal of theater's ontological promises” (Phelan). Because intermedial approaches give a lot of importance to relationships, they do not tend to consider identity and territorial issues—limits and borders. Intermedial approaches are in turn a threat against the essentialist views that have influenced theatre for almost three quarters of a century.