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            <title xml:lang="fr">La tragédie sans drame : Relire la Médée de Sénèque à partir du nō</title>
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                <title xml:lang="fr">La tragédie sans drame : Relire la Médée de Sénèque à partir du nō</title>
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                <title level="j">Mètis. Anthropologie des mondes grecs anciens</title>
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              <p>According to many scholars, Seneca’s tragedies lack a dramatic structure. Thus, they wouldn’t fit to the stage. However, if we compare Seneca to another tradition, the Japanese noh, plot doesn’t appear necessary for the stage. When comparing two similar plays – Senecas’Medea and the noh Kanawa – we discover that the show doesn’t rely on a drama but rather on a theatrical codification. On the contrary to a realistic drama, the protagonist doesn’t perform a story but rather elements of show based on music and dance. Instead of the scenes, we have what we can call modules: elements of the show that have their own specificity and that work together as visual and aural components.</p>
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              <p>On a souvent reproché aux tragédies de Sénèque de ne pas être suffisamment dramatiques et, à cause de cela, d’être inadaptées à la scène. La comparaison avec le nō permet de changer cette approche et d’envisager la tragédie sans intrigue. En confrontant deux pièces apparentées par leur histoire – la Médée de Sénèque et le nō Kanawa – nous constatons qu’il s’agit dans les deux cas de spectacles fondés sur la codification de l’espace et du jeu, à l’opposé des théâtres de la représentation. Le spectacle repose non sur un drame abstrait ou sur une psychologie réaliste mais sur des structures attendues. Le nō nous permet de substituer aux scènes, la notion de modules : des formes spectaculaires autonomes et typiques, caractérisées par une forte autonomie et suivant d’une pièce à l’autre un enchaînement codifié.</p>
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