By Pierre Corneille
Ce quantity rassemble six pièces de Corneille, de Rodogune, sa pièce préférée, composée en 1644 au sommet de sa gloire, à Suréna (1674), son ultime tragédie. Trente années d'expérimentation poétique et d'audaces inouïes, au cours desquelles Corneille réinvente son artwork, en misant sur des intrigues savamment élaborées et sur une concept lyrique de plus en plus émouvante. Reines maîtresses de leur ardour ou ivres de vengeance (Tite et Bérénice, Rodogune) ; héros qui voient leurs desseins contrariés par l. a. raison d'Etat (Nicomède, Suréna) ; princes révélés à leurs peuples ou défaits par les dieux (Héraclius, Œdipe) : chacune de ces pièces a valeur de manifeste ; et toutes, poussant un peu plus loin leur infidélité au modèle cornélien canonique - celui d'Horace ou de Cinna -, nous obligent à nous défaire de nos certitudes sur Corneille et sur los angeles tragédie classique.
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Extra resources for Théâtre, tome 3 : Rodogune; Héraclius; Nicomède; Œdipe; Tite et Bérénice; Suréna
Sample text
I am always green. I live for a thousand years! Israel: I am an apple tree. Eva: I am an oak tree. Chaya: (declamatory) I am a cedar tree! I asked the birch tree to meet the pine tree. At first Dina refused, saying that she did not know what to do, but she quickly found her way. ) What is this red stuff coming out of you? Do you drink it? Mottereem: No. Dina: Do you paint with it? Motterrem: No. Dina: Do you cook with it? Confronting the Mask of Ageing 29 Mottereem: No! Dina: So what is it? Motterrem: It’s from God.
What is this red stuff coming out of you? Do you drink it? Mottereem: No. Dina: Do you paint with it? Motterrem: No. Dina: Do you cook with it? Confronting the Mask of Ageing 29 Mottereem: No! Dina: So what is it? Motterrem: It’s from God. You don’t use it for anything! Dina: What sort of thing is it? My sap is white, sweet, very tasty... Motterrem: And my leaves are bigger and more beautiful than yours. ) The second encounter was between the olive tree and the apple tree. Ben-David: I will live a thousand years.
He loved the theatre and was always happy to tell me about the performances that he had seen back in Poland years ago before the Holocaust. He recalled stories about the great actors in those days, how he himself had loved to act, and as a youngster had dreamt of becoming an actor. It was obvious he would like to join the group and become a central participant. Surprisingly, the idea of dramatic playing did not seem strange to them. However, they clearly expressed a lack of confidence in their ability to do something meaningful and to become significant again.