Du Bestiaire dans le théâtre de W.B. Yeats
Yeats’s drama is thoroughly filled with animals. Birds of all kinds, cats, donkeys, pigs and of course horses : a whole bestiary runs across all the plots and talk in his plays. In the beginning, the project of the Miracle Plays cycle determines this concrete and spiritual landscape, where diabolica...
Saved in:
| Main Author: | |
|---|---|
| Format: | Article |
| Language: | English |
| Published: |
Centre de Recherche "Texte et Critique de Texte"
2016-07-01
|
| Series: | Sillages Critiques |
| Subjects: | |
| Online Access: | https://journals.openedition.org/sillagescritiques/4524 |
| Tags: |
Add Tag
No Tags, Be the first to tag this record!
|
| _version_ | 1832578515214532608 |
|---|---|
| author | Pierre Longuenesse |
| author_facet | Pierre Longuenesse |
| author_sort | Pierre Longuenesse |
| collection | DOAJ |
| description | Yeats’s drama is thoroughly filled with animals. Birds of all kinds, cats, donkeys, pigs and of course horses : a whole bestiary runs across all the plots and talk in his plays. In the beginning, the project of the Miracle Plays cycle determines this concrete and spiritual landscape, where diabolical creatures confront divine figures, and dissonant sounds contrast with birdsong. Later, in the Plays for Dancers, Yeats creates a different acoustic universe, mostly « acousmatic », in which animals are paradoxically the manifestations of the spiritual aspect of the natural world. Eventually, one of these animals is singled out: the « hawk-woman » of At the Hawk’s Well, for the creation of which Yeats and Michio Ito spent so much time in the London zoo. We must look back to Kleist and Craig to understand what is at stake with this « guardian of the well ». In fact, poet and dancer are fascinated by this particular bird because of the hawk’s power to surpass the hero, as the bear triumphs of the swordsman in Kleist’s On the marionnette theatre : in At the Hawk’s Well, the bird overcomes the man because it has a grace that the man will never find. Therefore, the « hawk-dancer » is this figure of original innocence, or the representation of the unity of being that Cuchulain seeks in vain. |
| format | Article |
| id | doaj-art-e8634b8f185f4ad9a3adc58e356acb6b |
| institution | Kabale University |
| issn | 1272-3819 1969-6302 |
| language | English |
| publishDate | 2016-07-01 |
| publisher | Centre de Recherche "Texte et Critique de Texte" |
| record_format | Article |
| series | Sillages Critiques |
| spelling | doaj-art-e8634b8f185f4ad9a3adc58e356acb6b2025-01-30T13:48:08ZengCentre de Recherche "Texte et Critique de Texte"Sillages Critiques1272-38191969-63022016-07-012010.4000/sillagescritiques.4524Du Bestiaire dans le théâtre de W.B. YeatsPierre LonguenesseYeats’s drama is thoroughly filled with animals. Birds of all kinds, cats, donkeys, pigs and of course horses : a whole bestiary runs across all the plots and talk in his plays. In the beginning, the project of the Miracle Plays cycle determines this concrete and spiritual landscape, where diabolical creatures confront divine figures, and dissonant sounds contrast with birdsong. Later, in the Plays for Dancers, Yeats creates a different acoustic universe, mostly « acousmatic », in which animals are paradoxically the manifestations of the spiritual aspect of the natural world. Eventually, one of these animals is singled out: the « hawk-woman » of At the Hawk’s Well, for the creation of which Yeats and Michio Ito spent so much time in the London zoo. We must look back to Kleist and Craig to understand what is at stake with this « guardian of the well ». In fact, poet and dancer are fascinated by this particular bird because of the hawk’s power to surpass the hero, as the bear triumphs of the swordsman in Kleist’s On the marionnette theatre : in At the Hawk’s Well, the bird overcomes the man because it has a grace that the man will never find. Therefore, the « hawk-dancer » is this figure of original innocence, or the representation of the unity of being that Cuchulain seeks in vain.https://journals.openedition.org/sillagescritiques/4524poetic dramabestiaryYeats’s dramaanimal metaphoranimal and spirituality |
| spellingShingle | Pierre Longuenesse Du Bestiaire dans le théâtre de W.B. Yeats Sillages Critiques poetic drama bestiary Yeats’s drama animal metaphor animal and spirituality |
| title | Du Bestiaire dans le théâtre de W.B. Yeats |
| title_full | Du Bestiaire dans le théâtre de W.B. Yeats |
| title_fullStr | Du Bestiaire dans le théâtre de W.B. Yeats |
| title_full_unstemmed | Du Bestiaire dans le théâtre de W.B. Yeats |
| title_short | Du Bestiaire dans le théâtre de W.B. Yeats |
| title_sort | du bestiaire dans le theatre de w b yeats |
| topic | poetic drama bestiary Yeats’s drama animal metaphor animal and spirituality |
| url | https://journals.openedition.org/sillagescritiques/4524 |
| work_keys_str_mv | AT pierrelonguenesse dubestiairedansletheatredewbyeats |