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De la tragédie parlée shakespearienne à la tragédie lyrique : mutations, intertextualité et interprétation

Abstract : Vocal rendition, the nexus of the complex articulation of text and music, gives the coordinates of operatic dramaturgy. It is, in fact, through singing that this hybrid conjunction between these two media appears as one and the same autonomous unitary action. Thus, opera transcends the hiatus of the juxtaposition of two protean contents, with limited synergies and numerous antagonisms, in a homogeneous semiotic content that can be appreciated in its representation. It effects the passage from a bipolarized matter to an immaterial conciliatory energy that is made to be performed. This transcendent combination makes the source work of art suffer, as a result of vocal technique, the musical language and the contingencies of the operatic performance, in the same way that the music submits to the requirements of tragedy. This research work aims at bringing up questions about the sense and the issues at stake in the operatic tragedy as well in the Shakespearean tragedy, about what stands out from the entirety of text altered by the musical requirements and the music given over to it. It also undertakes to shed light on certain functions of the language and the music forms which, even if they are not fixed or universal, become effective in the singular case of the works that are examined; and also on some latent data of Shakespeare’s tragedies which would open new floodgates to the outpouring of human passions. This poses the question of what the connection between the heterogeneous contents of the operatic tragedy, releases, modifies and stifles in the source drama.
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Submitted on : Friday, June 3, 2016 - 2:23:08 PM
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  • HAL Id : tel-01326318, version 1

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David Pouliquen. De la tragédie parlée shakespearienne à la tragédie lyrique : mutations, intertextualité et interprétation. Musique, musicologie et arts de la scène. Université Rennes 2, 2016. Français. ⟨NNT : 2016REN20016⟩. ⟨tel-01326318⟩

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