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Article Dans Une Revue Critical Stages Année : 2010

Effet-dibbouk, effet-spectre

Carole Guidicelli

Résumé

The contemporary stage offers a wide range of ghostly apparitions, especially when dealing with traumatic events of recent History. Three recurring modes are here analyzed, through different examples of textual or scenic processes. The first one (by Müller, Visniec, Kantor) is to mix or fragment the individual identities of these ghosts; the second one (by Müller, Mesguich, Castellucci, Mouawad, Pinter) is to use sound effects or shifting voices to suggest mental images of traumatic events, a kind of “dibbuk-effect” as staged in An-Ski’s famous play The Dibbuk; the third one (by Vinaver, Müller, Mouawad, Complicite) is to create “spectral effects”: a splitting of time and space which aims to represent post-traumatic mental dissociations, but can also be used to re-create a community with the audience.
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Dates et versions

hal-03067099 , version 1 (15-12-2020)

Identifiants

  • HAL Id : hal-03067099 , version 1

Citer

Didier Plassard, Carole Guidicelli. Effet-dibbouk, effet-spectre : le théâtre de la mémoire douloureuse. Critical Stages, 2010, 2, pp.n.c. ⟨hal-03067099⟩
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