https://lodel.appli.univ-poitiers.fr:443/shakespeare/index.php?id=2137 Index de Performance fr 0 https://lodel.appli.univ-poitiers.fr:443/shakespeare/index.php?id=821 This paper takes as its starting‑point three particular moments in The Winter’s Tale (Exit pursued by a bear (3.1), Time (4.1) and the Statue scene (5.3) – moments that have become famous, or infamous, even mythical, by being so difficult to stage1. Having worked intensively with The Winter’s Tale throughout the academic year 2012/13 (among other things directing it with two consecutive groups of students of English here at Lund University, Sweden), the present writer has had ample reason to reflect on the problems of stagecraft, in theory as well as in practice. It seems natural to base this paper on some professional productions that provided the inspiration for our stagings, and also show something of the creative, emotional and intellectual process behind them for director and students ; how the choices we made bore a relation to previous, professional productions, and to what extent we chose to (or chose not to) align ourselves with their treatment of some mythical moments. mer., 22 avril 2015 16:19:14 +0200 dim., 15 déc. 2024 01:33:08 +0100 https://lodel.appli.univ-poitiers.fr:443/shakespeare/index.php?id=821 https://lodel.appli.univ-poitiers.fr:443/shakespeare/index.php?id=961 This study of William Shakespeare's comedy, Love's Labour's Lost, deals with the importance of writing(s) in the play. From the love of study to true love (towards the other or oneself), the notion of writing(s) is at the core of the play, in such a way that one would wonder “What's in writing(s)”, paraphrasing Juliet's famous words. It will show how the different facets of writing(s) function as both dramatic and comic catalysts, and means of identifying, revealing, denouncing one or several characters. These characters progressively turn into true actors, staging their writings in a movement towards self-staging and mise en abyme of the play. Finally, through this game on/of writing(s), for example between the writing of love and love writings, this paper will linger on the writing of the play itself and its transmission, along with the link between writing and performance. Cette étude de la comédie de William Shakespeare Love's Labour's Lost s'intéresse à la place de l'écriture (ou des écritures) et des écrits dans la pièce. Entre amour de l'étude et amour véritable, pour l'autre ou pour soi, la notion d'écriture(s) et les écrits sont au cœur de la pièce, à tel point que l'on se demande, en reprenant les paroles célèbres de Juliet : « What's in writing(s) ». Nous montrerons de quelle manière les différentes formes d'écritures et les écrits produits par les personnages sont, tout à la fois, des catalyseurs de la comédie, des ressorts dramatiques et des moyens d'identifier, de révéler, de dénoncer un ou plusieurs personnages. Ces derniers deviennent de véritables acteurs de leurs écrits dans un mouvement de mise en scène de soi et de mise en abîme de la pièce. Enfin, ce jeu sur l'écriture/les écritures – l'écriture de l'amour et les poèmes d'amour par exemple – nous fera nous interroger sur l'écriture de la pièce et sa transmission, ainsi que sur le lien entre écriture et mise en scène / représentation. lun., 01 févr. 2016 16:52:13 +0100 sam., 28 déc. 2019 14:43:11 +0100 https://lodel.appli.univ-poitiers.fr:443/shakespeare/index.php?id=961