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            <title xml:lang="fr">L’écriture chorégraphique comme matrice structurelle de Love’s Labour’sLost</title>
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                <title xml:lang="fr">L’écriture chorégraphique comme matrice structurelle de Love’s Labour’sLost</title>
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              <p>This article examines the importance of dance in William Shakespeare’s Love’s Labour’s Lost. Even if dancing is not intended for performance on stage in this comedy, Shakespeare nonetheless refers to it on several occasions to provide the audience with metaphorical imagery. The term dance is repeated twelve times throughout the play, and four dance forms are mentioned: the measure (5.2), the brawl (3.1), the jig (3.1; 4.3), and the canary (3.1). The abundance of dance vocabulary is also linked to the prominent use of puns, double entendres, homophones, as well as implicit or explicit references. The linguistic analysis of the semantic and lexical fields leads to a deeper understanding and exploration of the diegetic structure of the play. Thus, this article aims at analysing the correlation between dance and language, transforming the Shakespearean text into a series of “choreographic hypotyposes”.</p>
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              <p>L'importance de la chorégraphie au théâtre est souvent sousestimée, la réduisant régulièrement à une fonction purement ornementale et esthétique, voire ludique. Pourtant, la danse entretient avec l'art dramatique une interdépendance forte, les deux formes ayant en commun une « même matrice esthétique » (Corvin 397). Dans l'oeuvre de Shakespeare, la danse apparaît à différents niveaux. L'exécution d'une danse est une strate visible de l'écriture chorégraphique : partie prenante de la mise en scène, elle permet régulièrement des avancées narratives, tout autant qu'elle offre un intermède divertissant. Toutefois, le motif ne peut être envisagé uniquement dans la perspective de la représentation. La danse participe également de l'architecture des pièces, devenant « matrice textuelle de représentativité », selon des termes empruntés à Anne Ubersfeld :</p>
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